Wednesday, December 31, 2008
DVDs are available at http://www.pleinairamerica.com/ as well as a preview of the series.
Tuesday, December 30, 2008
"Although they're still very much representational," says Miura, "they're not about specific locations. Well, actually they are, but the locations are found in the viewer's memories. Not out there in the physical world. "
You can see Terry’s paintings at http://www.terrymiura.com/
Monday, December 29, 2008
Mark Gottsegen studied painting materials with Reed Kay, and painting with Philip Guston and James Weeks. He began teaching in 1974 and has taught drawing and painting at UNC Greensboro since 1976. Professor Gottsegen has been a member of ASTM International's subcommittee on artist's materials since 1978. In 2006 he became the Co-Director of the Art Materials Information and Education Network (AMIEN), a non-profit organization that is part of the Intermuseum Conservation Association in Cleveland, OH. He is a Contributing Editor for The Artist's Magazine and the author of A Manual of Painting Materials and Techniques (Harper & Row, 1986), and The Painter's Handbook (Watson-Guptill, 1993) a complete art materials reference guide.
Tuesday, December 23, 2008
Monday, December 22, 2008
Sunday, December 21, 2008
— American Academy of Arts and Letters, Academy Award in Art
Friday, December 19, 2008
Thursday, December 18, 2008
Wednesday, December 17, 2008
I took an architectural rendering class that opened my eyes to the possibilities of watercolor: rendering in logical steps, background to foreground in controlled washes, dark to light and warm to cool. The one problem was the buckling. We were taught to stretch by soaking the paper for at least an hour, taping and stapling it to ¾ inch plywood. The paper sure seemed attached to the board, but was it stretched? Almost always, it buckled whenever the paper reached a certain saturation point, so this method seemed unreliable at best. My search for a dependable stretching method began.
Almost all methods of “stretching” really only attach the paper to the backing board. The paper is not so much “stretched” but “shrunk.” When the paper is re-soaked during a wet wash, the small amount of tension that is there is released and buckles form. I started looking for a simple way to put more tension on the paper. I finally came up with a way to put tension on the paper as it is being tightened down, so that no matter how wet the paper got again, there would always be more tension to keep it flat.
Other people got interested when they saw how my paper stayed flat as I worked with very wet washes. After being encouraged to market my idea, I decided that I wanted to make a product that I would want to buy, something that would not break or be useless if some part broke or was lost. At the time I was working as an illustrator for a large industrial design firm, so I drew from the expertise that was around me. The result is The Watercolorboard™.
By Joe Leahy (inventor)
**A unique feature of the Watercolorboard™ is the beautiful embossed edge it leaves. The frame tightens on the paper to create a clean, finished edge.
Tuesday, December 16, 2008
“The sketch hunter has delightful days of drifting about among people, in and out of the city, going anywhere, everywhere, stopping as long as he likes – no need to reach any point, moving in any direction following the call of interests. He moves through life as he finds it, not passing negligently the things he loves, but stopping to know them, and to note them down in the shorthand of his sketchbook, a box of oils with a few small panels, the fit of his pocket, or his drawing pad. Like any hunter he hits or misses. He is looking for what he loves, he tries to capture it. It’s found anywhere, everywhere. Those who are not hunters do not see these things. The hunter is learning to see and to understand – to enjoy.
There are memories of days of this sort, of wonderful drifting in and out of the crowd, of seeing and thinking. Where are the sketches that were made? Some of them are in dusty piles, some turned out to be so good they got frames, some became motives for big pictures, which were either better or worse than the sketches, but they, or rather the states of being and understandings we had at the time of doing them all, are sifting through and leaving their impress on our whole work and life.”
Monday, December 15, 2008
Sunday, December 14, 2008
Friday, December 12, 2008
Thursday, December 11, 2008
Wednesday, December 10, 2008
Tuesday, December 9, 2008
Monday, December 8, 2008
Friday, December 5, 2008
1. Lascaux 498 HV has a thick consistency similar to acrylic gel medium. It should be applied generously. Beyond this step, you need to know whether to use the 498 HV inits aqueous or solvent'reactivated form. Raw or acrylic-primed cnvas (cotton or linen) can be glued directly with 498 HV in the aqueous form, just as it comes from the jar. Oil-primed canvas (cotton or linen) is usually sized with rabbit skin glue, which will soften if it gets wet and cause the oil priming to separate from the canvas. Therefore, the 498 HV will need to be used in its solvent-reactivated form (see steps Alt 2a and Alt 2b at the bottom).
2. To use 498 HV directly in its aqueous form, you need to work fast because it dries quickly. Before it dries it is opaque white. If it starts to turn clear before you get the canvas on, you have applie the 498 HV too sparingly and/or have not worked quickly enough.
3. A soft brayer is useful. Using moderate pressure, work quickly from the center outward. Don't press so hard that you squeese the 498 HV out.
6. It's faster and easier to work with pieces of oversized canvas, which can be trimmed after teh panel has cured.
Substitute these steps for Step 2 above if you are gluing oil-primed canvas or linen:
Alt 2a. To use 498 HV in its reactivated form, it should be allowed to dry overnight. Then flood the surface liberally and quickly with Xylene. Make sure you have lots of ventilation.
Alt 2b. Quickly place the oil-primed canvas on the reactivated surface.
Final Note: If the painting ever needs to be removed by a restorer, the 498 HV can be reversed with Xylene.
Thursday, December 4, 2008
Wednesday, December 3, 2008
First of all I would like to congratulate you on well design product. I purchased the 12” x 16” guerrilla box which I use right now for more then three years. I am a professional landscape painter and my travels take me to many isolated and challenging mountain environments. As an artist I experimented endlessly with many plain-air painting setups, which none really satisfied me 100%. Three years ago I traveled on Russian icebreaker “ Kapitan Khelbnikov” to the Canadian far Arctic as a resident artist and a expedition crew member. Since on many occasions time was an issue due to the changing weather, etc. I had to pack my gear in a hurry to be ready for a helicopter or a zodiac pickup coming from the ship. Through careful research I decide the guerrilla box offer me the fastest take down time and most secure both in transport and creating the painting.
Once again thank you again for a great product, I always highly recommend your company to other artists.
Monday, December 1, 2008
Sunday, November 30, 2008
Friday, November 28, 2008
- Don't let your brushes soak in solvent, it can seep into the ferrule and weaken the glue holding the bristles in place.
- Don't strike your paint brushes against a surface. Striking the brushes can damage the ferrule and cause bristles to fall out.
- For hardened paint on brushes, clean by soaking in a pot of distilled vinegar for an hour, then proceed to bring the pot of vinegar to a simmer until the brushes are clean. Rinse brushes in warm water afterwards.
- Never allow a brush to stand or be stored standing on its tip. The tip will become malformed.
- For a malformed brush tip: soak the clean tip in brush conditioner, shape the tip and wrap in butcher paper overnight to hold the shape. The tip should be reformed by morning.
- Synthetic bristles can be restored by placing the brish in hot, but not boiling, water. Be aware that nylong bristles can dissolve in such solvents as acetone.
- Watercolor brushes need to be washed in gentle soap and warm (not hot) water. Anything you would feel comfortable washing your own hair with is good enough to use for your watercolor brushes.
Wednesday, November 26, 2008
I love both of my boxes like children, but the ThumBox™ is definitely the baby of the family and it gets to go on all of my vacations with me. My 9x12 stills makes it out with me on occasion and it definitely looks a lot more organized on the inside. With all my stuff… er, uh, necessary supplies, they weigh about the same in the end.
Tuesday, November 25, 2008
Monday, November 24, 2008
When installing a quick release plate, install it at an angle rather than square with the tripod mount. This will intrease the stability of the pochade box on the tripod and will reduce the tendency wobble.
Sunday, November 23, 2008
- They are bulky, subject to damage and heavier than most panels of the same size.
- Additionally, a stretched canvas is in contact along its edges with the wood stretcher bar, which are very high in acid, and the canvas becomes seriously weakened over time wehre it is in contact with the wood.
- Paintings on stretched canvas eventually require restoration that usually results in mounting on a ridgid panel- so why not start out with a panel anyway?
Panels are an excellent choice for pocade boxes because they are so thin - you can carry up to 4 panels in our 6x8 ThumBox™ and 9x12 Guerrilla Box™, while you can only carry one stretched canvas.
Friday, November 21, 2008
Thursday, November 20, 2008
Now on http://www.judsonsart.com/ you will be able to purchase and redeem gift certificates online. This means that you no longer need to call us just to use your coupon or gift certificate (although we always love to talk to you). We will also offer all the great features from the old website as well; such as being able to choose between paying on the site or via PayPal, requesting a Catalog, links to find local dealers, and so forth.
We would love any feedback, suggestions, or questions to make our new plein air website more useful and enjoyable for you.
Wednesday, November 19, 2008
Tuesday, November 18, 2008
Monday, November 17, 2008
Painting outdoors (en plein air) - what could be more rewarding than to keep a journal or add to a scrapbook with your own painted illustrations done on the spot? Or how about hand painted post cards done on your travels to send to your family and friends? Or, if you don't sell them first, your paintings will become treasured family heirlooms to be passed down to future generations.
But above all, there isn't anything like seeing the world through the eyes of a plein air painter.
- Everything you look at becomes more interesting - you'll see so many details you never noticed before.
- Every color is richer and more vivid - you'll discover colors you never imagined.
In the 19th and 20th centuries many people considered painting outdoors from nature one of the essential pursuits of a well rounded person - no wonder, because there is no better way to achieve intimacy with nature and the world around you. Today outdoor (plein air) painting is experiencing a renaissance among people looking for a rewarding and contemplative way to enjoy the outdoors and deepen their appreciation of nature. Men and women alike report painting out in nature to be deeply satisfying. What a wonderful outdoor activity to be enjoyed alone of with like-minded companions, your partner or spouse!
Sunday, November 16, 2008
Jamie is a Signature Member of New York Plein Air Painters (NYPAP). She serves on the NYPAP Advisory Board and also as the head of their Lower Hudson Valley Chapter. Jamie has taught oil and acrylic painting at Putnam Arts Council. Her paintings have been featured in USA Weekend, The Journal News, Plein Air Magazine (twice), Putnam County News and Recorder, the Catskill Region Guide, Poughkeepsie Journal, and Bedford Record Review. Jamie paints mostly in oils and acrylics, but frequently uses other mediums such as pastel, gouache, watercolor and casein. She nearly always paints from life, with subjects ranging from portraits, homes and figures, to animals, landscapes and still life. Plein air landscapes are her favorite subjects (especially the Hudson River), and she has exhibited in galleries in many areas of New York State and Connecticut.
Friday, November 14, 2008
We love the stuff and our customers agree. Some of you have already noticed that we no longer carry 498HV in 16oz or 32oz sizes, but only in one-liter size instead (1 liter = 33.814 ounces). The 1 liter bottle is more expensive than the 32oz bottle was and you probably want to know why.
We brought in our last order of 498HV three years ago when it was less expensive. Also we got it in five-liter buckets and we did the repackaging in 16 and 32 oz containers ourselves. Our most recent purchase is at the current higher price and in 1-liter packages that the supplier produces.
This leaves many of you looking for something else to use for making your own canvas panels. Well, of course, we have another option: Miracle Muck.
Miracle Muck EVA Reversible Adhesive is a less expensive alternative. It is non-yellowing and can be reactivated with heat (read: hair dryer). It forms a solid bond and works extremely well for attaching canvas to board. It cleans up nicely with warm water. It is low-acid but not acid free.
Yet another option is Yes!Paste. Widely used by artists for years, it is falling into disfavor because it is not fully archival. We will be discontinuing it, but still have some on our shelves – but not for long.
We will continue to carry 498HV because we know it’s the best and we think it’s worth every penny.
Wednesday, November 12, 2008
Monday, November 10, 2008
There will also be a companion DVD that will be completed in the next few months.
Tuesday, November 4, 2008
Sporny was a teacher, a mentor, an inventor, a musician, an entrepreneur and a true visionary. He also developed a line of non-toxic mediums and solvents for oil painting, The Sporny Solution, which we have sold for many years. His death is mourned by the staff at Judsons Art Outfitters as well as many in the art community.
His family has set up a memorial website for those who wish to share their memories about Stanley Sporny.