This Week @ BINDERS - January 3-9

BINDERS HAPPENINGS

Happy New Year everyone! BINDERS is hitting the ground running in 2011! We’re fully stocked with all the basics for the Winter semester — come in and find out what we have for sale right now. Starting soon, The Art School at BINDERS is presenting: Acrylic Painting Bootcamp with JZ Torre (Jan 9); Container Workshop with Anne Elser (Jan. 15-16); Head Portrait Modeling Workshop with Basil Watson (Jan. 20-23); and Painting in Egg Tempera with Phil Schirmer (Jan. 28-30). There’s still a little time left to sign up for these fun and informative events, get more information online or stop by the store and ask. While you’re here, be sure to drop by The Limelight Gallery to see “Group Wohs”, our annual BINDERS employee art exhibition!

ART CLASSES AND WORKSHOPS

Monday,  January 3:

Guided Open Studio with Kay Powell
10:30am-1pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.

Tuesday, January 4:

Architectural Renderings with Joyce Carll
9:30-11:30am, Tuesdays, 6 Sessions, Jan. 4-Feb.8
Beginner to Advanced | Fee:  $195 | Sign up now!

Painting-Design and Technique with Charles Y. Walls 
1-4pm, Tuesdays, 6 Sessions, Jan. 4-Feb. 8
Open to all levels | Fee: $155 | Sign up now!

Bookmaking One: Beginning Bookmaking with Anne Elser 
6-8:30pm, Tuesdays, 6 Sessions, Dec.7-Jan. 25
Beginner-Intermediate | Fee: $155

Painting-Design and Technique with Charles Y. Walls 
6-8:30pm, Tuesdays, 6 Sessions, Jan. 4-Feb.8
Open to all levels | Fee: $155 | Sign up now! 

Wednesday, January 5:

Silk Dye Painting Basics with Hellenne Vermillion 
5:30-8:30pm, Wednesdays, 6 Sessions, Jan.5-Feb.9
Beginner to Intermediate | Fee: $170 | Sign up now!

Calligraphy Three: Advanced Calligraphy with Anne Elser6-8:30pm, Wednesdays, 6 Sessions, Dec.8-Jan. 26
Intermediate-Advanced | Fee: $155

Thursday, January 6:

Palette Knife Oil Painting with Donna Thomas9:30am-12pm, Thursdays, 6 Sessions, Jan. 6-Feb.10
Open to all levels | Fee: $210 | Sign up now!

Architectural Renderings with Joyce Carll 6-8pm, Thursdays, 6 Sessions, Jan. 6-Feb.10 (no class 1/20) 
Beginner to Advanced | Fee: $195 | Sign up now!

Friday, January 7:

Exploring Encaustic Painting with Penny Treese10am-1pm, Fridays, 5 Sessions, Jan. 7-Feb. 11 (no class Jan. 28)
Beginner | Some supplies included | Fee: $330 | Sign up now!

Saturday, January 8:

No special art events today.

Sunday, January 9:

Acrylic Painting Boot Camp with J.Z.Torre 12-5pm, Sun. Jan.9 | Beginners and Beyond | Fee: $105 | Sign up now!

Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.

---

Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!

---

THE LIMELIGHT GALLERY
Group whoS
Works by BINDERS
Showing: Dec 20-Jan 27
Closing Reception: Sunday Jan 23 from 2 to 5pm

This Week @ BINDERS - December 20-26

BINDERS HAPPENINGS

Happy Holidays everyone, from all of us at BINDERS! For all of you last-minute-shoppers, please remember that the store will be closing at 6 pm on Christmas Eve and we will be closed on Christmas. Starting this week, The Limelight Gallery is pleased to present a special exhibition of art created by our very own employees! Come by and see what your favorite BINDERS staff members have been working on. New classes begin the week of January 7 - in the meantime, please see our upcoming schedule and plot out your educational plans for 2011!

The Subject of Art #18: Egg Tempra Painting - An Ancient Medium in the Modern World!

January 28th-30th, BINDERS will be hosting the workshop “Painting in Egg Tempera” with Phil Schirmer. This is a variety of painting that has a long and rich history and it’s worth taking a look more closely. Not to be confused with the contemporary Tempera Paint—also sometimes called Poster Paint, which is a cheap mixture of pigments with glue sizing—traditional Egg Tempera is a mixture of pigments with egg yolk that forms a permanent, fast-drying surface.

Egg tempera paintings are very durable and the medium was favored in the ancient world for that reason. Examples of egg tempera still exist from Egypt, Greece, Rome and India dating back more than two thousand years, but the real flowering of the technique occurred in Europe during the Medieval period, when it was the dominant form of painting up until the advent of oil paint in the 1500’s. Up until the middle of the Renaissance, the majority of paintings on wooden panels were done in egg tempera (the rest were encaustic which is not nearly as durable), with perhaps the most famous example of the time being Botticelli’s “Birth of Venus”. Even as oil paint began to take over, tempera was still used in the underpainting stage because of its fast drying time, but it was the popularity of canvas supports that eventually phased out tempera, which requires a rigid surface, like a wood panel or a plaster wall, to prevent the dry paint from cracking.

Phil Schirmer describes the egg tempera technique as follows:
“The first step is to prepare a traditional gesso by mixing crushed marble or precipitated chalk with rabbit skin glue. This is heated and applied in six to eight coats to a masonite panel (the Italians used either poplar or linden wood panels). After drying, the surface is smoothed by a wooden block dipped in water. The panel is then lightly sanded and left to cure for a few days before painting. The paint is prepared by mixing powdered pigments with egg yolk and distilled water. Chicken's eggs are generally used, though Russian icon painters prefer goose eggs because they have a higher oil content. The paint is then applied in very thin layers to the panel. Cennini's technique calls for executing the entire first layer in a monochromatic tone (black or brown and white), then glazing in the colors. In principle, this is still done by contemporary tempera painters, though they may do the underpainting in different colors. Eventually, many layers of transparent paint are applied, working up into the highlights and down into the shadows. It is this "layering" which gives tempera its unique quality. If done carefully, the tempera painter can create optical effects that can't be obtained by any other medium. No finishing is required. Over the course of several years, the surface will harden and become more durable than any oil-based varnish.”

Although egg tempera has never fully regained it’s former popularity, throughout the centuries artists have frequently “rediscovered” the special qualities that make tempera painting a unique artform. Notable artists who have worked in the medium include William Blake, the Pre-Raphaelites, Giorgio de Chirico, Thomas Hart Benton, Ben Shahn and Andrew Wyeth. You can find a wealth of information on the subject as well as communities of artists like Phil Schirmer who are committed to keeping this artform relevant to the world we live in. Visit the The Art School at BINDERS to find out more about Phil’s upcoming workshop!

This Week @ BINDERS - December 6-12

BINDERS HAPPENINGS

The time to look at the upcoming schedule for The Art School at BINDERS is right now! We have a veritable smorgasbord of classes and workshops to ring in the new year and you’ll want to sign up soon to make sure your space is reserved. We’ll be featuring Oil Painting with Charles Walls, Acrylic and Oil Painting with JZ Torre, Architectural Renderings with Joyce Carll, Encaustic Painting with Penny Treese, Illuminated Manuscripts with Shannon Forester, Screen Printing with the Atlanta Printmakers Studio, Silk Dye Painting with Hellene Vermillion, plus workshops in Egg Tempera Painting, Clay Portrait Modeling and Anne Elser’s popular Container Workshop! There is literally something for everyone at BINDERS in 2011!

ART CLASSES AND WORKSHOPS

Monday,  December 6:

Guided Open Studio with Kay Powell
10:30am-1pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.

Tuesday, December 7:

Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155

Bookmaking Two: The Opened Book with Anne Elser1:30-4pm, Tuesdays, 6 Sessions, Dec.7-Jan. 25 (no class Dec. 21, 28)
Intermediate-Advanced | Fee: $155

Bookmaking One: Beginning Bookmaking with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Dec.7-Jan. 25 (no class Dec. 21, 28)
Beginner-Intermediate | Fee: $155

Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155

Wednesday, December 8:



Calligraphy Three: Advanced Calligraphy with Anne Elser6-8:30pm, Wednesdays, 6 Sessions, Dec.8-Jan. 26 (no class Dec. 22, 29)
Intermediate-Advanced | Fee: $155

Thursday, December 9:

No special art events today.

Friday, December 10:

No special art events today.

Saturday, December 11:

No special art events today.

Sunday, December 12:

No special art events today.


Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.

---

Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!

---

THE LIMELIGHT GALLERY

The Subject of Art #17: Yantra - The Abstract and Sacred Art of India

Many of us are familiar with the figurative art that comes from the Hindu tradition of India, the brightly colored and imaginative scenes of blue-skinned Krishna, the elephant-headed Ganesha and the dancing Shiva Nataraj are certainly familiar to anyone who has set foot in a local yoga studio and have managed to find their way into the popular consciousness of Western cultures. Less well known is the far more esoteric but equally rich paradigm of non-objective art known as the yantra.

In Sanskrit, the sacred language of India, “yantra” means “instrument” or “machine”, implying that this is a form of art that is used for a particular purpose, in this case as an aid to meditation and as a focus in religious ceremonies. The origins of the yantras are shrouded in mystery and it is uncertain when they were first developed and used. Legend has it that the famous philosopher and Hindu saint Adi Shankara traveled around Southern India installing yantras in the temples there in the 8th century CE, many of which can still be seen today, so if the legends are to be believed then yantras have been part of the Hindu consciousness for at least one and a half millennia.

The yantra is an abstract design whose components have very specific, symbolic meanings. They are carefully balanced images combining squares, triangles circles, flower-like forms with varying numbers of petals and other linear forms. Some of these are interestingly familiar to us from other cultural references, such as the interlocking triangles, one pointing up and the other down, that is called the Star of David in Judaism, in a yantra represents the intersection of masculine and feminine energies as well as the point at which divine grace coming down from heaven meets the spiritual seekers aspiration for enlightenment. An arrangement of eight flower petals represent the five elements that make up the material universe, plus the three states of mind (intellect, wisdom and ego).

The yantra is primarily used as a tool for meditation in yoga practice. The meditator stares directly into the center point of the yantra (called the “bindu”) and attempts to clear the mind of all other thoughts – a task that is far more difficult than it sounds! Over time, the physical yantra is less necessary, as the meditator is able to visualize the yantra on a purely mental level and various techniques are taught for mentally constructing the yantra, either beginning from the center and working outwards or the reverse, depending on the school of meditation being practice. The object is to become fully identified with the energy represented by the yantra.

Each yantra is associated with a certain deity in the Hindu pantheon, and each deity is associated with certain energies. The goddess Saraswati, for example, is associated with learning, creativity and purity of thought, so meditating on a Saraswati yantra is thought to amplify those qualities in the practitioner. The goddess Lakshmi is associated with abundance, fertility and wealth, while the goddess Durga is associated with protection and the ability to defeat one’s enemies (who are defined by yogic philosophy as the demons of the ego). During religious ceremonies that honor these deities, yantras are often used in addition to, or occasionally in place of, anthropomorphic icons, demonstrating that they have many dimensions and manifestations. These yantras are typically inscribed on metal plates or carved from precious stones.

If you have the opportunity to see a yantra, take some time to stare deeply into its center, clear your mind of all other thoughts and see what comes up for you!
 
Visit BINDERS website!

This Week @ BINDERS - November 29-December 5

BINDERS HAPPENINGS

Need a one of a kind Holiday gift, wall hanging or addition to your own scarf collection? See what the ancient art of silk dye painting is all about in this fun filled workshop. Join accomplished silk painter Hellene Vermillion and learn a few techniques used in creating silk dye painted scarves and paintings. You will create your own 11"x60" silk scarves using a water based resist and Jacquard Green Label dyes. Hellene’s Holiday Silk Workshop for beginner and intermediate silk painters is happening on Saturday, December 4th from 12-4 pm. Sign up online or ask a sales associate in the store!

ART CLASSES AND WORKSHOPS

Monday,  November 29:

Guided Open Studio with Kay Powell
10:30am-1pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.

Tuesday, November 30:

Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155

Bookmaking Two: The Opened Book with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Oct. 26-Nov. 30
Intermediate-Advanced | Fee: $155

Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, Nov. 2-Dec. 14 (no class Nov. 23)
Open to all levels | Fee: $155

Wednesday, December 1:



Calligraphy Two: Copperplate with Anne Elser
6-8:30pm, Wednesdays, 5 Sessions, Oct. 27-Dec. 1
Beginner-Intermediate | Fee: $135

Thursday, December 2:

No special art events today.

Friday, December 3:

No special art events today.

Saturday, December 4:

Holiday Silk with Hellenne Vermillion12-4pm, Sat. Dec. 4  | Beginner to Intermediate
Fee: $100 (Price includes some materials)  | Sign up now!

Sunday, December 5:

No special art events today.


Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.

---

Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!

---

THE LIMELIGHT GALLERY

The Subject of Art #16: Fresco - Art Made to Last!

When was the last time you found yourself browsing the website of the Vatican? There may actually be a reason to do so now! J.Z.Torre, who teaches painting classes here at BINDERS, let us know about a fantastic web page, hosted by the Pope himself, that lets you take a virtual spin around the famous Sistine Chapel. This wonderfully done application lets you fly up into the air and get a close look at all of the artwork covering the walls and ceiling of the chapel, so you can see the paintings in the context of the entire room, which is very difficult to do in a book. As an added bonus, you don’t have to deal with the crowds!

Here’s the link: http://www.vatican.va/various/cappelle/sistina_vr/index.html

 

The paintings that you see in the Sistine Chapel were created using a technique called “fresco,” which is very ancient and has a number of interesting permutations. The basic concept of the fresco is a painting done directly onto, or into, a plaster wall, what we would refer to today as a mural. Fresco paintings are of two types: “buon fresco”, which is when the artist applies pigment directly into the wet plaster, and “a secco”, which is when the artist paints over a dried plaster surface with a conventional paint. Ancient examples of buon fresco can be found in Italy, where the Romans made extensive use of it in decorating their buildings. The most well preserved examples are inside structures that were buried by the eruption of Mount Vesuvius in Pompeii and Herculaneum. The a secco technique was used by the Egyptians and can be found still intact in many of their tomb complexes that were sealed off from the elements. The fragile watercolor paint used by the Egyptians did not last anywhere else, so the remains of their temples and homes show only the bare stone surface.

Most of the paintings in the Sistine Chapel were executed in the buon fresco style, with only a few additions being added later in the a secco style.  Buon fresco is a difficult technique on account of the rapid drying time of the plaster, which begins to seal after eight to ten hours. The artist would need to do a great deal of pre-planning before each session to determine how much painting could be done in a particular day, then the wet plaster would be laid down covering just enough of the wall that it could be completely painted before it dried too much. The pigment was simply mixed with a little water and then brushed into the wet plaster, mixing with it and effectively becoming part of the wall. That is the secret to the buon fresco’s durability: as long as the plaster wall stays intact, the painting will be perfectly protected. So we begin to see an explosion of fresco paintings during the Middle Ages when they were installed in churches. Because the church was a building that was usually protected and preserved, the paintings within its walls were also similarly preserved and remain available for us to view today.

The a secco method, in which the dry plaster is painted over with watercolor, tempera, encaustic or some other paint medium, is much less permanent and is subject to being scratched or abraded off the wall. A secco painting was often used to touch up the buon fresco, especially where the seams were visible in between one day’s layer of plaster and the next. Over time the a secco paint would flake off, revealing the sections of plaster and giving a window into the artist’s process.

The paintings in the chapel were commissioned by Popes Sixtus IV and Julius II, beginning in 1480, and feature the work of some of the Renaissance’s most celebrated artists. The central tier of the walls feature a series of works by Ghirlandaio, Botticelli and Perugino that depict the lives of Moses and Jesus. But, of course, the most famous sections are the upper tier of the walls, the entire vaulted ceiling and the wall behind the altar that were painted by Michelangelo. Interestingly, Michelangelo was much more focused on sculpture and didn’t consider himself to be much of a painter, so he initially resisted the commission, but in those days if the Pope told you to do something you did it! We are all the more fortunate that that was the case.