Phone Us

UK: 0330 22 30 922

(Mobile Friendly)

 

INT: +44 1337 860 860

(0)Shopping Cart

You have no items in your shopping cart.

Creativity Art Blog

Art & Crafting Hints, Tips & Discussion

  • The Art of Paper Marbling

    Suminagashi

    The technique of Suminagashi originates from Japan. It's name translates to "ink floating", as the ink patterns that marble the paper are prepared on the water surface.
    You can use this impressive, versatile technique to decorate sketchbook covers, wrapping paper or to dye fabrics.

    History

    The practice of paper marbling was invented in Japan in the 12th century, and it's still a popular technique today, all around the world.

    In 15th century Turkey and Persia they developed a similar technique called Ebru ( “cloud art”) but they used oil or gouache paint instead of inks to create the prints.

    The technique of paper marbling came to Europe in the 17th century, and was mainly used for the purpose to decorate book covers.

    You will need:

    • Watercolour or Japanese Ink Paper / fabric
    • (Chinese) brushes
    • Tray filled with water
    • Marbling ink, or Acrylic paint and Turpentine
    • clear dispersant (Photo Flo, or alternatively dish soap or conditioner)

    Do It Yourself

    The name Suminagashi describes the technique in one word, as it really as about floating ink on the surface of water.

    All you need to do to create these unique patterns is to switch dipping coloured and clear brushes on the surface of water. While it sounds rather easy, it can be a bit tricky, as you basically can't really control how the image will turn out.

    the technique comprises of the variation of colour(s) and clear 'circles', and when you have enough, you can try to create new patterns by blowing into a straw.

    Useful Tips:

    • you only have to touch the surface of the water with the end of your brush - but even if accidentally touching the bottom of the tray, it won't influence the whole image.
    • if the ink doesn't "float" properly, try wiping the water surface with a piece of newspaper to get rid of all the dust
    • try to lay your paper in one even motion - otherwise tiny air bubbles might appear that will leave white dots on your image
    • change the water every now and then
    • or try the technique on other surfaces like fabrics and wood!

    Videos

    References

    • http://www.ruthbleakley.com/blog/2013/11/suminagashi-marbling-tips/
    • http://suminagashi.com/
    • https://en.wikipedia.org/wiki/Paper_marbling
    • https://www.freeartsminnesota.org/2014/04/suminagashi-tutorial/
    • http://www.silverdragonstudio.com/sumie/sumnag.html
    • http://www.exo.net/~jyu/activities/Suminagashi.pdf
    • http://www.ehow.com/how_12191990_make-suminagashi-acrylic-turpentine.html
  • Photo Transfer Gel

    Introducing the Amsterdam Photo Transfer Gel

    Why would I need something so "niche" as Photo Transfer Gel? Well, if you have doubts about this product, keep reading to find out what you can use it for, and who knows, you might want to give it a try, after all?

    What's Photo Transfer Gel for?

    Photo transfer Gel can be used for many purposes, from craft to fine art, everyone can find a good use for it. You can use it to transfer a sketch directly from paper onto the canvas or wood, saving time with sketching before painting. Or you can just transfer your images in order present them as they are, on a more durable surface than paper. It is also comes handy for craft projects!

    How to Transfer Photos onto Canvas & Wood?

    For the project, you will need:

    • Photo Transfer Gel (obviously)
    • Brush (make sure you choose one that will give an even coating!)
    • (stretched) canvas or wood panel
    • Photocopy of your image
      note that especially with writing, you will have to use the reverse of the image! Also, generally Laserjet copies work, but Inkjet won't. It's also useful to choose images that aren't coated (like magazines and postcards tend to be)
    • water and a tray
    • sponge or a cloth

    The Method

    Place your image on the surface where you're transferring; and mark the edges of the photocopy to make sure you will know where to put it.

    Spread the gel on the surface evenly; look out for small gaps, otherwise the photo won't transfer perfectly.

    Place your photocopy onto the surface, and press it with your hands or with the help of a roller.

    Leave it for at least 24 hours, but leaving it for a few days is fine too!


    Especially with unstretched canvas, it's a good idea to soak the surface with water, as it makes it easier to peel off without ruining the image. Peel off the first layers of paper, then rub off the excess with your fingers, a wet sponge or towel.


    Enjoy the results!

    image source: Fast Image Transfer with Melanie Matthews

    Transfer a photo to wood:

     

    References:

    • http://www.instructables.com/id/Image-Transfers-with-Acrylic-Gel-Medium/
    • https://www.royaltalens.com/brands/amsterdam/auxiliaries/mediums/amsterdam-photo-transfer-gel-041/
  • Ceramics: Pinch Pots

    Possibly the most ancient and also the most accessible and simple method of making a clay pot is the Pinch technique. People have been making pinch pots for thousands of years, as it requires only a ball of clay and your own two hands.

    Getting Started Pinching your Clay

    To begin making your pinch pot, simply take your ball of clay and roll it around in your hands,  kneading it like dough on your worktop. This will warm up your clay allowing it to me moulded easily.

    Push your thumb into the centre and begin to pinch the clay, opening out the mouth of your pot. This is a very tactile technique and only requires you to keep shaping your pot with your thumb and fingers until you are happy with your shape. You can also add handles, or faces or whatever you like to personalise your pot.

    Here's a great tutorial demonstrating the ease of this technique.

    You can now decorate your pot with various under glazes, or you could allow it to sit overnight until it is 'leather dry' (a term describing partially dried clay that will allow you to work into the surface without altering the shape or structure of your creation). Once 'leather dry' you have the option to smooth the interior and exterior, trim the lip of your pot or carve a design into the clay.

    You don't have to stop at pinch pots, however, you can used this technique to make anything you can imagine from cups to strange creatures. Here are some different examples of the results you can achieve!

     

     

    www.galatiak12art.blogspot.co.uk/2016/02/art-i-pinch-pots.html
    www.youtube.com/watch?v=2CQAdMxjBik
    www.kathyjeffersstudio.com/pottery/pinch-pot/
    www.juliannakunstler.com/ceram1_pinchpot.html#.WUumiOvyu00
    www.jennygulchpottery.wordpress.com/2008/09/13/

  • Ceramics: Coiling

    Ceramics Coiling...Explained

    Coiling is a very straightforward ceramic technique that can produce fantastic results, from simple pots to intricate vessels. Evidence of this technique has been discovered all over the world showing many ancient civilisations having used clay in this way, from China and Japan to Africa, Greece and Mexico.

      

    The Process of Coiling Clay

    Using the coiling process you start with just the base of your vessel and you build up layer upon layer of clay using long sausage-like shapes around the circumference of your base. This technique allows you to control the thickness of the clay walls and also means that the design and shape can be planned and developed from the very start. The interior and exterior of your clay creation can be smoothed over or you can keep the the coils depending on your desired aesthetic.

    You want to start off by kneading your ball of clay with a decent amount of pressure to try and force out any trapped air, then the clay can be rolled out flat and evenly with a rolling pin. Using a template you can cut out a shape to become the base of your pot. From here you simply roll out sausage shaped coils of clay and begin building up your layers; merging, cutting and shaping them as you go. Slip should be used as well as scoring the clay in between each coil layer to act as a glue to hold the coils together

    Cutting coils - Click this image for a full step by step tutorial

    This is repeated to the desired height and shape of your vase, bowl or pot. You may wish to smooth the the interior and exterior depending on your desired result.

    You do not have to stick to this design; coiling can be a very versatile technique, check out some of these examples of more intricate designs!

      

    Also check out this time-lapse of the process!

  • A Different Painting Technique

    Painting With Palette Knives

    Forget the idea that palette knives can only be used for mixing colours!

    Choose from a wide range of palette knives 

    Tips for Painting with Palette Knives

    Not only are brushes are suitable for painting – using palette knives can give an entirely different effect, and they are particularly recommended for Impasto technique.

     

    Palette knives are especially useful when you want to achieve ‘clean’, brushstroke-free surfaces. Colours applied with a knife are pure and more vibrant, and due to the range of different sizes, it’s even possible to cover larger surfaces.

     

    Painting with palette knives is more like layering paint, so it’s the perfect tool for expressive marks as well as for realistic details like waves on the sea and tree trunks.

     

    Palette knives are very useful for painting outside (plein air) as it’s not only faster to put the constantly changing scenery onto a canvas with it, but it saves time and effort as knives can just be wiped clean in order to use a new colour.

    Palette Knife Types

    regular palette knives
    • Use a short blade for angular strokes
    • Use long blades for sweeps of colour
    • Use sharp pointed blades for thin scratches and lines
    • Use round blades to avoid sharp lines
    palette knives for unique effects

    Palette Knife Painting Techniques

     

    • Scraping back the paint, revealing the previous layers is a technique called sgraffito (using the end of a brush)
    • Pressing paint onto the surface will make a good textured effect
    • Pressing the edge of the knives is used to make fine lines
    • For making ridges, press the blade flat down into the paint
    • Or simply spread paint across the canvas like butter on bread with the long side of the blade

    Watch this Demo!

     

    Examples:

    References:

    • http://thevirtualinstructor.com/knife-painting-acrylic-paint.html
    • http://www.buildart.com/secrt_of_PaletteKnifeOilPainting.htm
    • http://www.artinstructionblog.com/oil-painting-with-a-palette-knife
    • https://www.thoughtco.com/learn-how-to-paint-with-a-knife-2578778

     

  • Handmade Paper

     

    How To Make Your Own Paper?

    Want to recycle your spare printouts, write a special note, or just looking for a fun creative activity? Making paper on your own doesn't require professional knowledge, and you can't go wrong with it: the results are always going to be unique, and definitely gives a visually pleasing effect.

    A brief history of paper-making

    Paper-making began around 105 A.D. and was invented by the Chinese. It is said that Ts’ai Lung, an official of the Imperial Court made the first paper by using the fibres of mulberry tree bark. With this starting point people began experimenting, creating more and higher quality paper by adding rags and fish nets to the pulp. The method of paper making was kept a secret until the defeat of the T’ang dynasty by the Ottoman Empire. The method then spread to the Arabs from Chinese prisoners, who also began to guard the knowledge. In 10th century the Egyptians learnt the techniques from the Arabs and in Europe it was first introduced in Spain around 1150 A.D.

    In the UK, the first evidence of an existing paper mill was around 1495.

    What You Will Need

    • Water
    • Scrap paper
    • storage tub/ vat
    • blender
    • mould and deckle
    • Wood boards / sponge
    • towels

    Make Your Own 'Mould and Deckle'!

     

    [embed]https://www.youtube.com/watch?v=sU71fWKR0wg[/embed]

     

    DIY Paper - The Method

    Cut your scrap paper into small parts and soak it for at least a few hours
    Fill up a blender with water, or use a mortar to create a pulp.

     

    Fill the tub with the pulp, and add more water – the more pulp you add, the thicker the paper will be.

    Get the Mould and Deckle, and place it in the water (mould screen up, deckle on top). Shake it a bit when you lift it out. The next step is called couching (pronounced “coo-ching”) when you transfer the sheet to a flat, absorbent surface. Then remove the deckle, gently place the mould face down on the surface, press down and lift it up.

    If you don't mind the uneven edges, or don't have access to Mould and Deckle, you can also use a roller to for the sheets.

    You can dry the finished sheet in different ways. You can place the sheets on a wood board or glass, and just leave it to dry. You can also place the sheets together (with an absorbent surface in between), put a wood board on top then weigh it down with something heavy.

    Customise Your Paper!

    When you have learnt the basics, it's time to experiment!
    Try adding different colour dyes to your pulp to create coloured paper. You can also try adding pressed flowers and plants to your paper while it's still wet.

    Videos:

    References:

    • http://paperslurry.com/2014/05/19/how-to-make-handmade-paper-from-recycled-materials/
    • http://www.instructables.com/id/How-to-Make-Handmade-Paper/
    • http://www.silk-road.com/artl/papermaking.shtml
    • http://baph.org.uk/ukpaperhistory.html
  • A Guide To Pigments

    Learn Useful Things About Your Paints

    It's easy to get used to going to the art shop and just selecting the most suitable tubes of paints. Even if contemporary painters don't necessarily have to make their own paint, it's very useful to know the components of your primary medium, This guide is for everyone who's interested in broadening their knowledge about paints and their colours.

     

    What Are Pigments?

    Pigments are fine powders, used for the colouration of paints, inks, ceramics, plastics and wax.
    In order to be able to use them, pigments have to be added to liquids. When the solvent evaporates or cools down, the pigment molecules solidify.

    A Little Pigment History

    • Until around the 19th and 20th centuries painters mostly used paint made from natural minerals
    • Before paints began to be manufactured in factories, painters (or their apprentices) were in charge of making their own pigments and paints.
    • Pigments play a very big role in identifying the age of a painting,  for example Prussian blue was first available in 1706, and lead-tin yellow was only used until the 18th century.

    Different Pigment Types

    • Earth colors - ochres, umbers, siennas, terre verte
    • Mineral colours - azurite, malachite, lapis lazuli (ultramarine), cinnabar
    • Organic colours - cochineal (derived from insects), Indian yellow, indigo
    • Manufactured colours - lead-tin yellow, white lead, verdigris, Prussian blue, vermilion

    Lemon Yellow
    (Steinbühl yellow, barium yellow, yellow ultramarine)

    Lemon yellow pigment has been used since the early 1800s. It has an opaque quality, and excellent light-fastness.
    It has a tendency to turn slightly greenish when mixed with oil binders.

    Green Earth
    (terre verte, Verona green)

    Green earth pigment is a mixture of different minerals (glauconite, celadonite), and has been used since antiquity. In medieval Italian paintings, it was common to use it for under-painting for flesh tones.

    Ultramarine Blue
    (lazurite, french ultramarine)

    Organic Ultramarine has been used for the last 6,000 years from when they first began mining its base mineral, lapis lazuli. It was used in Egyptian tomb painting then later in Europe by artists such as Leonardo da Vinci, Raphael, and Michelangelo Buonarotti. Synthetic ultramarine has been produced since the 19th century.

    Zinc White
    (chinese white)

    Up until the end of the 18th century, the main pigment for white paint was lead white, however, due to its toxicity, it was ideal to replace it with zinc white. And not only that,  zinc white proved to be less opaque, which was favourable for 19th century's changing colour preferences, as it was easier to create more vibrant colours.

    Cadmium Red
    (selenium red, cadmium scarlet)

    Cadmium red pigment has always been a popular colour choice from Edvard Munch to Salvador Dali and Francis Bacon. However, the pigment is quite expensive due to the scarcity of cadmium metal, not to mention its toxicity. In 2015 artists faced a possible Europe-wide ban, but luckily it hasn't been issued and artists no longer have to fear the disappearance of their vibrant reds and oranges.

    Vandyke Brown
    (Cassel earth, Cologne earth)

    Vandyke brown pigment or "earth" as it is sometimes referred to as, is very telling: it contains almost entirely organic compounds like soil, and it has been a very prominent colour choice of old masters, since the 17th century.

    Bone Black
    (Ivory black, bone charcoal)

    Bone black pigment also has a telling name: it's partly made out of carbonised animal bones. It's also sometimes called ivory black which is similar but more exclusive as it's made out of carbonised ivory pieces.

    Description of pigments:

    http://www.visual-arts-cork.com/artist-paints/colour-pigments.htm

    Get to Know the Universal Pigment Codes!

    It's very useful to choose your paint consciously - knowing what different signs and symbols indicate on the paint tube can save you from buying unwanted colours, as well as predicting the mixed colours interaction.

    It's good to learn what Colour Index names mean, as they tell which specific pigment(s) make up that particular colour.

    The United States the Association of Textile Chemists and Colorists (AATCC) standardises these codes. They have two parts; ten pigment codes and different numbers after them.

    Colour Index Names

    PY = Pigment Yellow
    PO = Pigment Orange
    PR = Pigment Red
    PV = Pigment Violet
    PB = Pigment Blue
    PG = Pigment Green
    PBr = Pigment Brown
    PBk = Pigment Black
    PW = Pigment White
    PM = Pigment Metal

    Other things to note:

    • Colours that have a "hue" in their name means that the paint was made with less expensive  substitute pigments, but are a very similar colour.
    • paying attention to Colour Index Names can help you with mixing colours as well. It's particularly useful when you only need a small amount of a particular colour. For example, Payne's Grey is made from Ultramarine Blue (PB29) and Carbon Black (PBk7)!
    • The same codes might be on different but produce a similar colour. For instance, both Burnt Sienna and Raw Sienna have PBr7 pigment, the difference is how these pigments were prepared for the two colours.
    • You might want to keep in mind that some paints that have more than one Colour index name, indicating that the colour is made up of more pigments, therefore you might not want to mix that colour more as the high consistency of different pigments could result in a dull colour.

    What is Light-fastness?

    Pigments' light-fastness means how much they are resistant to change when exposed to light. This can depend on the pigment's chemical composition and whether it is mixed into oil, acrylic or other type of paint. Generally, light-fastness determines the "life expectancy" of the artwork, as less light-fast paints are sure to eventually fade.

    There are different systems to determine the light-fastness of paints and pigments.

    • The American Society for Testing and Materials’ light-fastness rating:
      ASTM I — Excellent Light-fastness
      ASTM II — Very Good Light-fastness
      ASTM III — Not Sufficiently Light-fast to be used in artists’ paints
    • There are some colours without ASTM ratings, therefore Pigments usually have the B/S (British Standard) ratings, a scale that goes from 1 to 8. (8 being the most light-fast)
    • The light-fastness of Royal Talens products is indicated on tubes, labels and colour charts by these symbols:

    +++ = at least 100 years light-fast under museum conditions
    ++ = at least 25 - 100 years light-fast under museum conditions
    + = at least 10 - 25 years light-fast under museum conditions
    º = at least 0 - 10 years light-fast under museum conditions

    What's the Difference between Pigments and Dyes?

     

    • colour-giving substances are separated into two types: dyes and pigments. The main difference between them is their light-fastness. Dyes blended with paint or ink have a maximum of moderate  light-fastness.
    • Dyes dissolve in water, pigments are insoluble.
    • Dyes are used for illustrative purposes, when preserving the original work is not essential, as it will be published.

    Things to Know About Opacity and Transparency

    • Pigments can be arranged on a scale between Opaque and Transparent qualities.
    • The main difference comes at the stages of painting: for instance, painting with a light but opaque colour will be visible on a dark surface, but not the other way round.
    • The paint’s opacity and transparency does not relate to pigment density!

    Opaque Pigments:
    Cadmium yellows, Cadmium reds, Cerulean blue, Yellow ochre, raw sienna, raw umber
    Transparent Pigments:
    Hansa yellow, Azo yellow, Quinacridone reds, Pthalo blue, Ultramarine, Burnt sienna.
    In-between:
    Cobalt blue, Burnt Umber

    From left to right, the yellows shown are PY110 , PY 153, PY108, hansa yellow (PY3), and yellow ochre.

    What are the signs on paint tubes

    Useful :
    The Colour of Art Pigment Database
    http://www.artiscreation.com/Color_index_names.html#.WK1q22_yhQJ

    A Vault of Colour: Protecting the World's Rarest Pigments

     

    References

    • http://katharinethayer.com/html/optrans.html
    • http://www.chromaonline.com/products/au/archival_oils/colour_range/lightfastness_rating_what_it_means
    • https://www.royaltalens.com/information/frequently-asked-questions/lightfastness/
    • https://www.handprint.com/HP/WCL/pigmt6.html
    • http://www.artiscreation.com/Color_index_names.html#.WK1r02-LRQI
    • https://www.youtube.com/watch?v=SJz6i_YeTEA
    • http://www.museartanddesign.com/paints-pigment-codes/
    • http://www.artiscreation.com/ColorCharts.html
    • http://makingamark.blogspot.co.uk/2008/06/colour-naming-dyes-pigments-and-paints.html
    • http://stapletonkearns.blogspot.co.uk/2010/09/color-index-names-what-in-this-paint.html
    • http://www.lilinks.com/mara/pigments.html
    • http://www.essentialchemicalindustry.org/materials-and-applications/colorants.html
    • http://learn.leighcotnoir.com/artspeak/elements-color/hue-value-saturation/
  • Escoda Brushes

    A Little Background

    For over 80 years, Escoda – a family business based in Barcelona – have been handcrafting high quality brushes for all forms of artistic expression.  Founded in 1933, Josep Escoda Roig (1902-1982) had the dream of starting a company that would produce high quality brushes for fine artists; 3 generations later the world renowned company is still flourishing.  Today, Escoda have a wide range of natural and synthetic brushes, of which they handcraft around 1 million every year whilst maintaining their dedication to create the best brushes possible.

    Expertly Crafted Brushes

    When crafting their brushes, Escoda marry expert skill with the highest quality raw materials, ensuring the final quality of each brush stroke and the lifespan of their range.  Each brush is handmade by highly trained brush makers and must meet the high standards set out by Josep Snr.  A wide selection of natural and synthetic fibre brushes are available, each designed with their specific qualities in mind to provide the artist the best possible brush.

    Escoda's natural hair brushes are the result of decades of experience and knowledge into what makes the perfect brush for each medium. For oils and acrylics, Escoda's Bravo (ox ear), Saturno (polecat), Arco (badger) and Clasico (hog bristles) ranges provide artists with robust, predictable brushes in different sizes designed to compliment the natural properties of the paint.  For water-colourists, the Artesana (pony), Aquario (squirrel) and Reserva (kolinsky) ranges provide the soft fine hairs necessary for a delicate touch and increased control.

    Not only do they make exceptional quality natural brushes, but they also have a large range of synthetic fibre options. Each artificial brush is designed specifically to produce the same high quality performance and brushstroke as the traditional brush - for many artist this provides a new standard for their practice.

    Escoda - Brush Features

    The Escoda family and their dedicated team of highly trained brush makers have transformed the making of brushes into an art form of its very own. Here are a couple videos from their Youtube channel demonstrating the process and craftsmanship standards the Escoda family strive to maintain.

     

    www.escoda.com/
    www.globalartmaterials.com/escoda.html

  • INTRODUCTION TO OIL PAINT

    Don't be scared to try oil paints!

    Using oil paint might seem a bit scary at first – they require the use of chemicals, they are more expensive and generally considered harder to learn the proper techniques. This general introduction to oil paint should prove useful if you’re considering making the decision and try them out – even though they require more painting knowledge, it is worth getting into!

    So what really are oil paints?

    Oil paint is a traditional material that has been used in Europe since the 15th century. It basically consists of one or various pigments (organic and/or metallic based - these days synthetic versions are much more common) mixed with oil - typically linseed, poppy or sunflower.

    Different Solvents

    The most striking feature of oil paint is that they will not dissolve in water. But don’t let it discourage you! With enough knowledge, these chemicals will become less sinister!

    Turpentine

    Spirits

    Painting Medium

    If you are not sure about what kind of brush to use with oil paint, find more information here

    Curious what brand of oil paint to choose? Read our comparison here

    Painting Surfaces and Preparation

     There are two main surfaces for oil painting: stretched canvases, canvas boards or wooden panels. You can prepare your own preferred painting surface, or purchase them.

    Canvas stretching
    canvas boards
    Wooden panels

    It is advised to put a layer of (rabbit skin) glue onto the surface of the canvas before the Gesso, but it is essential when you’re working with wood, as otherwise it could curl due to the moisture in the paint. After two or three layers of glue another two or three layers of Gesso (a mixture of rabbit skin glue, water, and chalk that creates a flexible and absorbent layer between the canvas or wood and oil paint) are applied. It’s not necessary to paint too many layers, as it could result in dull colours if the heavy layers absorb the oil paint. In between preparatory layers you should always use sandpaper to smooth the surface.

    Oil Painting Techniques

    “Fat over lean” technique

    This is the basic principle of oil painting, which is the method of applying thinned down paint (high percentage of solvent) first, and gradually using less and less solvent. “Fat” refers to the oil paint that’s diluted with an oil medium (linseed or poppy seed oil) while “lean” means oil paint that’s diluted with turpentine or spirits. If the layers aren’t applied correctly, it could cause cracking.

      

      

    Artwork by Meredith Milstead

    “Alla Prima” / Wet on wet technique

    This is a technique where layers are applied without leaving the previous one to dry.

      

      

    Varnishing Your Painting

    No matter what kind of varnish you use, it is important to know when to varnish oil paintings - however dry they seem, they might not be completely!
    With other paints, the drying process is basically just evaporation – but not with oils. While the surface is seemingly and “physically” dry, truly it is an ongoing chemical process of oxidation, and after this stage the painting begins to age.

    Therefore, oil paints are advised to be varnished after at least half a year after the work has been finished. Otherwise, the varnish will work as a seal and won’t let oxygen pass through the layers effectively. Halting the oxidisation process will leave the deeper layers still wet, which on a long run will cause the surface layer to crack.

      

    Read more about varnishes here.

    How Do I Clean My Brushes Properly?

    Getting out of oil paint from your brushes might seem to be a struggle – but in reality, it’s not so hard! First of all, you don’t necessarily need to have completely clean brushes. It is easy to simply wipe your brush with a towel, or for a cleaner bristle, damp it with a bit of solvent, linseed oil or brush cleaner solution. Even when you’re starting a new painting, it is useful to have a bit of leftover paint in your brush, as it is perfect for sketching. As Mark Carder* demonstrates in his useful video, cleaning your brush frequently does more damage to the bristle than leaving paint in it! However, even if oil paint dries very slowly, you do have to take care of your brushes when you don’t intent to use them for a few weeks. In that case, the best way is to use some sort of spirit in a well ventilated area, and clean the brush with a (paper) towel.

    *make sure to check out his tips on "easy ways to take care of oil paintbrushes"

    Important!
    How to dispose of turps and other chemicals?

    It is essential to know how to dispose of hazardous waste properly when you’re working with such materials. It is not only illegal to pour them into the sink or on the ground, but highly dangerous to the environment. 

    When you no longer intend to use your paints or solvents, make sure you either donate it to someone who would use it or take care of them properly. One way is to let the used turpentine or brush cleaner to sit in their container while the paint separates – the clear liquid can be reused, the remaining paint then poured onto an absorbent surface such as cat litter, saw dust or concrete. Let it completely dry and them put it in a fire-safe trash container.

    Next step is to find your local hazardous waste collection site:

    • https://www.gov.uk/hazardous-waste-disposal
    • http://www.williamtraceygroup.com/capabilities/special_hazardous_waste
    • http://www.sepa.org.uk/regulations/waste/special-waste/
    • https://www.biffa.co.uk/business-waste/where-we-operate/scotland/

    References:

    http://webartacademy.com/art/free-bonuses/The-Oil-Painting-Guide.pdf
    http://www.artistdaily.com/wp-content/uploads/HowToPaint_V3.pdf
    http://willkempartschool.com/glossary-for-oil-painting-terms-the-essential-guide-for-beginners/
    https://blog.udemy.com/oil-painting-techniques/
    http://www.thisland.illinois.edu/57ways/57ways_25.html

Items 1 to 10 of 269 total

Page:
  1. 1
  2. 2
  3. 3
  4. 4
  5. 5
  6. ...
  7. 27
BackTop
Post your comment

iartsupplies.co.uk ~ trinity arts