As this year gently comes to an end, many of us are thinking of the one about to start. What will it bring us? Will it be better or worse than the ones we have just lived through? And for many, the thought of “what can I do better?” creeps into the mix. Even if you have given up on making “official” New Year’s resolutions (because you know you won’t actually keep them), the end of one year and the beginning of a new one will subconsciously pull at your desire to improve, to be better. It’s human nature. Babylonians were making New Year’s resolutions 4000 years ago! Check out this website if you don’t believe me! Although I am sure some people still resolve to pay their debts or to return borrowed objects, most people make resolutions aimed at improving themselves, such as losing weight, drinking less, etc. There is certainly nothing wrong with these noble thoughts, but I would like to suggest another idea, one that might have a better than 8% chance of success, if only because it is much more pleasurable than going to the gym or cutting out desserts or wine. And that suggestion is: Add some art to your life! Art is a wonderfully easy, guilt-free way to add beauty and pleasure to your life. This could be done many ways, but here are a few suggestions:
So, what do you think? Are you ready to be a better you by becoming a “patron of the arts”? Let me know in the comments below, and all the best for 2023!
0 Comments
Last April, I wrote in my blog that I had just discovered linocut printing, and that I was quite taken by it. I explained then in very rough terms what it was, and today, with weeks of experience under my belt, and having talked to many people -- including artists-- who had no idea what linocut printing was, I decided to give you a more thorough explanation. Linocut printing is a form of “relief” printing. This means that the relief, or “bumps”, on the printing block serve to leave an impression of an image on paper. Other forms of printing, like etching, do the opposite, that is that the ink is deposited in the grooves rather than on the raised surfaces. A design is drawn or transferred onto the surface of a block of linoleum (that’s where the name comes from) or other newer surfaces such as vinyl or rubber. Then using special cutters, the artist carefully carves out the spaces between and around the lines of the design. Whatever is left will make up the printed image. A lot of planning goes into preparing a linocut design, as there is no way to repair the block if a part is cut out by mistake. The image will print in reverse, which must be considered at the design stage, especially if lettering is involved! If the artists wants several colors or even tones in the final print, they will probably have to separate the design into several blocks that will be printed onto the same piece of paper, so these designs must match up perfectly. For example, my “Bouleaux d’été” print required two blocks, one for the background, and one for the black lines on the trees. There is another technique to get multi-color prints which is called “reduction printing”, but I haven’t tried it yet. It requires the image to be cut out in stages, printing several copies in one color at each stage. More of the block is cut away at each stage (hence the reduction), making any error a potential irrecoverable disaster. I am not quite ready for that! Once the design is cut out, the artist will do a test print to see if the block needs adjustments. For example, there may be some stray lines in blank areas that need to be cut away, or some lines may need to refined. But nothing can be put back, only removed! To get a print, special block printing ink is rolled onto a glass or other very flat surface with a roller or brayer. The goal is to cover the brayer with a thin, even layer of ink so it can be used to transfer this ink to the block. Once the block is properly inked, a sheet of paper is pressed onto it to transfer the image from the block to the paper. To ensure proper transfer and a clean crisp print, a baren or other flattish tool (including the bowl of a large spoon!) is used to rub the back of the paper. If the artist wants more prints, they re-ink the block to make each individual impression. I don't have one, but a press can also be used at this point instead of hand tools. It is actually a simple process, but a lot can go wrong! Too much ink, too little ink, not pressing enough or evenly on the paper, pressing too hard and tearing or crumpling the paper, etc. Making prints from multiple blocks is even more prone to problems! I am very much enjoying my discovery of this art form, and I hope you enjoyed this mini-lesson. There is still a lot yet for me to discover and I hope you follow me along for the ride! Suggestions for print are always welcome! I would have liked to leave you with a link to a short video that showed all the above steps, but couldn’t find any that were less than 15 minutes. But if you are interested, just search for “linocut printing” on youtube and you will find many videos, surprisingly mostly by British artists! Take your pick! Ever since I started painting seriously, and even when I was just painting for myself, framing has been top-of-mind. Because watercolor paint is rewettable (unless it is varnished or waxed of course), paintings must be protected if you have any hope of preserving them for any length of time. The standard way to do this is framed behind glass, with an acid-free mat or mount between the glass and the actual painting. The mat serves many purposes: it gives the painting a nice crisp edge, it increases the visual size of the watercolor, it may enhance the painting by repeating or contrasting with the colors used in the painting, and it ensures the painting doesn’t touch the glass, which could lead to permanent damage. The glass itself protects the painting from outside elements; it can be acrylic or glass, and comes in various quality/protection levels, particularly for U/V protection and glare. Acrylic is lighter but prone to scratching, so glass is most often used. Framing can be very expensive. Custom framing, where a professional helps you choose the mat and the frame, and builds it to fit your painting, can easily run into the hundreds of dollars, even for smallish frames. Standard frames come in fixed sizes and are much more affordable than custom frames, although there is of course less choice of designs! To me, a frame is a very personal thing. Some people like fancy, traditional frames, and others prefer simpler, modern frames. Most like a mixture of both, depending on the artwork. For example, an old-fashioned pastoral scene would probably look better in a traditional frame than in a modern one. For paintings that I show framed, I try to keep to a standard minimalist look to keep things simple and not distract from the artwork itself. When I discovered the cost of framing (my frames would actually be more expensive than the artwork!) I started looking for alternatives. Being thrifty, as you know by now, and also wanting to keep my art affordable, I started looking for good-quality frames in second-hand shops or yard sales. I was quite successful in searching out gently-used, mostly simple silver or black metal frames, and soon built up quite an inventory, which would allow me to switch out broken parts from frames too damaged to use as is. I learned a lot about frame types and quality, what to look for and what to avoid. If you own any art bought from me before 2021, chances are excellent that the frame is one that was saved from the landfill! I must say that is one aspect that I really like about reusing frames, the other being that each frame I can re-use keeps a new “made-in-China” one out of circulation. Now that my art is a bit better and my prices are a bit higher, I have started occasionally using new frames, which of course I never pay full price for! I also have started offering matted but unframed work in standard sizes, so the buyer can choose the frame that suits them. It also helps to keep my prices down, and makes transporting, storing and even shipping that art much easier! I either cut my own mats or buy precut standard sizes, again to keep the costs down. I have yet to have one of my paintings professionally framed! For oil paintings, framing is different. There is usually no glass involved, as the oil paint does not need the same level of protection. I have less experience with framing oil paintings, and tend to prefer the simple modern look of the “floating frame”, which is a very simple border that is separated from the actual painting, leaving a space that makes the painting look like it is floating inside the frame. My darling husband has been making them for me on an as-needed basis, so I guess I could say I have my own personal custom framer! How lucky am I ?!? If you have some old frames collecting dust (let's face it, they all do, but I really mean 'not being used'), or if you know of any good sources of gently-used frames, do let me know! Thanks! A few weeks ago, I had an idea for a painting. I needed one that would fit in with the theme of the upcoming art show, which is “À table”, which can be loosely translated as “Let’s eat”. When trying to figure out I could use this theme, I had this vision of a couple of tomatoes seen from up close. I also wanted to get back into poured watercolor, so this project could serve both purposes. I did a few pencil drawings (thanks to the composition course I recently took) to work out the composition and settled on one. I enjoyed painting it, using only three primary colors and masking fluid, applying each in many layers to achieve the desired forms and colors. It’s a long process, but it’s great to see the painting slowly appear. I described the watercolor pouring process in more detail in this past blog entry. If you are wondering about the painting's title, it is a tribute of sorts to a french "kid joke" my daughters liked when they were young. About a tomato, a potato and an onion. It isn't very funny, and can't really be translated, but the humor resides in the fact that the words in it kind of sound like the English word for tomatoes, potatoes. and onions.... yeah... kids! Because of its more abstract nature, I wanted to frame this painting in a modern way, finishing it with wax rather than the more traditional frame and glass. So I had planned to adhere the finished watercolor to a cradled wooden panel (10x10x1), wrapping the edges of the painting around the cradle, as you often see with gallery canvas in oils or acrylics. I had adhered watercolors to panels before, but had never tried wrapping the edges. Indeed most waxed watercolors I have seen, and all those I have done, are trimmed along the edges of the board after they are adhered, but I had never seen a wrapped one. I of course searched Youtube to find tips on doing this, but found no examples of what I wanted. There were instructions for wrapping a sheet of watercolor paper on a canvas before painting, but my painting was done at this point! I asked the members of the Waxed Watercolors Facebook group, but no one had tried this. That began to worry me, as I assumed there had to be a good reason! The main concern I had was that the paper would break along the folds, as it is relatively thick, and is, of course, just paper! I did a few tests with some scrap watercolor paper and found that scoring the back of the paper, like when you want to make a neat crease when making a card, was just the ticket! It gave a very neat fold, and relieved the stress on the paper so it would not crack. It took a bit of time and a few items borrowed from my husband’s workbench, as well as a bit of planning, but I did it, and I am very happy with the results! I hope you agree! But, and there’s always a but, when I checked the website for the show to get the entry deadline, I was extremely disappointed to see that the pieces entered had to be at least 150 square inches! This one, at 10inx10in, was sadly too small for the show! I don’t know if this requirement had always been there, but I obviously hadn’t noticed it! So now I have a very nice painting, specific to a theme, which I can’t put in the themed show! Thankfully, this is the same show in which I have a solo wall, with MY rules and MY requirements! So it will be in the show! Now I just have to paint something else for the main show. I have 10 days, and an idea.... A few weeks ago, I explained why I felt everyone should own at least one piece of original art. You can read that here. This week’s week topic may seem to be contradictory, but I don’t think it is. Read on and decide for yourself! So what, you may ask, is a derivative? If you google derivative, you will likely find an incomprehensible description of some financial contract. That is not what I am talking about. The definition I was looking for I found under “derivative work” in Wikipedia and reads “is an expressive creation that includes major copyrightable elements of an original, previously created first work”. Still not very clear, so I will give you my own definition: “a product which is decorated with a reproduction of an original piece of art”. So, a cushion, a cup, a towel, a wall hanging (canvas, wood, paper), etc., on which an image of original artwork has been applied by some mechanical means. Definitely NOT an original. You may or may not know that, in addition to original artwork, I offer derivatives, also known as print-on-demand products through my website. Although I really do want everyone to own at least one piece of original art, there are several reasons for this apparent contradiction:
You can probably think of others, but those are some of the reasons why you might want to consider getting a “derivative” rather than an original. The “magic” of the original is obviously not present in the copy, but sometimes practicality surpasses magic! I will be taking a few weeks off starting next week, and I will be sharing some of my older blog posts for the next few weeks. I hope you and your loved ones have a very happy, peaceful, healthy, and restful Christmas season. I will return with new and hopefully interesting topics to share with you in 2022! Suggestions are always appreciated! If you are reading this blog, you probably like art. And even if you landed here totally by accident, you probably own some form of art. But is it original art or a reproduction? And how do you tell? If you already know the answer, you may not learn anything new here today. But if you’re not sure, read on! The first clue about whether or not the art is original is where you buy it. If it is directly from the artist, or in a reputable gallery, chances are it is original. And you can always ask. If it is in a home or renovation store (Home Depot, Winners, etc.) it is no doubt a reproduction. And even if it may look like the surface has brushstrokes on it, the fact that there is a whole stack of the same painting for sale is a dead giveaway! If it is in the secondary market, i.e. it is being resold, it could be either. Who hasn’t seen an episode of the Antiques Road Show where a flea market find has turned out to be an original oil painting by some obscure but still valuable artist? You may be wondering what exactly is meant by “original” and “reproduction”. To confuse matters, whereas it is actually an art form in its own right, the word “print” is now being commonly used to designate both originals and reproductions! An original work of art is a piece in which the artist has had direct input. I give that vague description because the artwork could be designed by the artist but actually produced by his “atelier”. An original work of art is usually one-of-a-kind. There may be several similar copies of the design, but each one was produced by the artist, not by someone copying or imitating the design. For example, a limited edition print will be similar to the other prints in the edition, but each one will have a unique number, like “1 of 10”, usually hand-written, and may also be signed a second time by the artist. Limited editions are called limited because there is a finite number of them in circulation, and although less valuable than the original artwork from which they were made, they can go up in value. Open editions, on the other hand, although usually very inexpensive to purchase, will never go up in value, as unlimited quantities more can be printed whenever needed, usually by mechanical means. A term that has crept into the art vocabulary in the last few years is “giclée”. It sounds so fancy, but it in fact is nothing more than a frenchified word for “ink jet”. It is not a medium used for producing original art, it is a printing (reproduction) technique and can be done on paper, wood or canvas. Don’t be fooled! I recently saw a few art pieces showing in the same space as original art, where the medium was listed as “Giclée (Oil)” and where the artist was selling this mechanical reproduction for as much as others were selling original works. Very deceptive in my opinion! So what is wrong with reproductions? Nothing, really, as long as you know that is what you are getting. If your artwork’s purpose is strictly decorative, then reproductions can do the job, and in some rooms, such as kitchens and bathrooms, they may actually be a smarter choice than originals! You can swap them out when you change up your decor and not worry about having spent too much. Just don’t expect to be able to sell them for anywhere near what you paid. If you don’t believe me, check the quantities of decorative art for sale on Kijiji or Marketplace. People are literally giving it away. And actually, you can occasionally pick up some original art there for not a whole lot of money! Rarely is it good, but it is original! Original art is more expensive than comparably sized reproductions. But it is original. No one else will have this picture on their walls. People will notice and ask you about the art, and you will have a story to tell about how you met the artist, or how you found it at a garage sale! Because you chose it, it will tell people something about you. And every time you look at it, the art piece will remind you of how you felt when you first saw it, so make sure you buy only original art that you love. I strongly believe that everyone should own at least one piece of original art. There is magic in knowing that you share a connection through time and space with another human being, who first thought up then created this very piece of art, held it in his or her hands, looked down at it for hours, perhaps days or weeks, stroking its surface with brushes or pens or sculpting tools, deciding what went where, and struggled with it until it was done. Just for you! So what is my message? Buying reproductions is easy. Buying original art is harder, but it can also be much more rewarding. Do your research, because when something seems too good to be true, it usually is. Visit a lot of art shows and don’t expect to like everything you see there. Figure out what you do like. Don’t be in a hurry to buy, but don’t regret not having bought that art piece that called out to you when you first saw it. If possible, buy directly from an artist. Visit their studio and see where the sausage is made. It will only add to the story you tell your friends and make you a patron of the arts! I realize it’s been quite a while since I last added some Frequently Asked Questions (FAQs) (and answers!!) to my website, so today I will attempt to remedy that by answering a few more questions I often get. These will be added to the website shortly How long does a commission take? I guess I should start off explaining what a commission is. I have a much more complete answer on my “Custom Work” page, but basically a commission is a made-to-order painting. The collector and I will discuss what is wanted and when it is needed. Unless I am particularly busy or the commission is especially large or complicated, it will usually take no more than a few weeks from the time the details are agreed upon. Can you paint anything from a photograph? Some things are difficult to paint in watercolor, especially very bright light, simply because the white of the paper is the brightest or lightest color you can have. There is no white paint in watercolor. It is also difficult, but not impossible, to get tiny details in watercolor. Some artists believe it is impossible to get good paintings from using only photographs, but I don’t agree. I will use the good parts of the photograph, while dismissing its less desirable elements; because of this, people often say that the painting looks better than the photo! What are the modes of payment that you accept? For purchases made from my online store, the pay system I use accepts credit cards only. If you are picking the order up at the studio, you can pay cash, or by credit card with my Square reader, or you could also use Interac from your own phone (just don't complete the order online if you want to pay in person--contact me directly). I will accept checks from people I know. Do you only sell paintings? I have some greeting cards made from some of my paintings. You can see what is currently available on the Cards for Sale page. On that same page, I also have a link which you can use to send a free e-card! There is a limited quantity of these available per month, so first come first served! I also have a few reproductions and “derivative” products, including a beautiful, Canadian-made, decorative pillow cover, which are available to order directly from the ArtofWhere site. Check this page for details. Finally, I also offer Electronic Gift Cards which are automatically emailed to the recipient! Perfect for last minute gifts or when you want the recipient to choose their own gift! Gift Cards are available on both the Greetings Cards and ACEO pages. They could also be used to purchase an original painting (contact me for details) Is a watercolor painting hard to take care of? Watercolor has two mortal enemies: liquid and sunlight. Watercolor is rewettable, so water or any liquid can cause spotting or runs that can not be fixed. It could also cause the paper to buckle or mold. Watercolors are usually framed under an acid-free mat and protective glass, but dampness could still get in, so avoid hanging your painting in damp areas. The mat is to keep the paint surface from touching the glass, to which it could stick after a while. Just as it does to furniture or carpets, sunlight will fade the pigments in watercolor, slowly making parts of the image disappear, as not all pigments are equally affected. Avoid direct sun exposure and use UV (ultra-violet) protective glass if possible. Waxed watercolor is covered with a product called cold wax medium, which is mainly bee's wax, This protects it against water, but not against UV rays, so avoid direct sunlight or extreme heat. Both types of framing will require a light dusting of the frame. The glass can be wiped with a barely damp cloth, but avoid spraying glass cleaner which could seep behind the glass and stain the mat. Waxed watercolor can also be gently wiped clean if necessary, avoiding solvents. An occasional very light buffing of the waxed surface can also give it a soft sheen. If you have questions you would like answered, write them in the comments below! Thanks! In the past few months, in addition to expanding my art by exploring new painting mediums and techniques, I have been working very hard to try to build my network of collectors. The last year has been difficult on a lot of people, and the cancelling of art shows or exhibitions have meant that there are very few ways of getting artworks and collectors together in the same room. Some things are easily marketed and purchased online, but in my opinion, fine art is not one of them! Art is, quite understandably, not on the priority list when so many are stressed by job losses or business closures, not knowing when or if children will be in school, and of course the constant worry about the threat of illness or death of loved ones. I have always enjoyed learning new things, so in that respect it has been an incredibly interesting year. I thankfully am not worried about job loss, close family is doing alright, and I have my appointment for my first vaccine next week! I can see the day when we will be back to in-person art shows and exhibitions. In the meantime, I continue to try to learn more about marketing, especially art marketing. One of the big questions I have been trying to answer is “Why do people buy art?”. The most common reason I have found in my readings is “Because they like it”. Art is a uniquely human activity in that it serves no practical purpose, other than perhaps to cover a hole or blemish on a wall. So if it has no useful purpose, why do we surround ourselves with it? Art, and here I include fine art, music, film, poetry, literature, etc., touches our soul like nothing else can. Not everyone likes the same art, because we don’t all come to this art with the same experiences. Some art will remind us of a happy time or place, while other art will stir up emotions about social issues that must not be forgotten, and although the art itself doesn't resolve these issues, it makes us think. So why do YOU need art? Perhaps being surrounded by beautiful things makes you happy. Perhaps it reminds you of someone you love or of some place or time when you were happy. Emotions are usually what motivates most purchases, and art is no exception. This week I was lucky to see this in action. A local group of painters I belong to is having an exhibition and it was my turn to “mind the store”. A couple of young women came in and one of them was obviously taken by one of the paintings. She asked for permission to take a photo of it to show her husband. She came back about an hour later and bought the painting. She said it reminded her of a painting she had seen a few years ago and that she had always regretted not buying. She said that even though her husband didn’t really like the painting, she did not want the same thing to happen again. She knew exactly where she would hang it. It was definitely her heart that made the purchase. She walked away a very happy customer, and I am sure she will love it every time she looks at it. Remember your first apartment or home? How long did it take for you to hang or display something that meant you were “home”, that you had taken possession of the space? Even if it was only a picture calendar because that was all you could afford at the time. We want to surround ourselves with art, with beauty. Art that we love allows us to escape momentarily, to mentally travel to a different place. For some it is like meditating or even praying when they get lost in a piece of art. The art you choose says a lot about you. It is a way of communicating some of this to others who may visit your home. It can stir up emotions and be a way of starting engaging discussions about the art itself or the way different people interpret it. Except for rare exceptions, it was probably created by a human being, and it is a way of connecting with that other human. Some people enjoy the fact that, in the case of original art, they own something no one else can own. It gives their ego a boost. Some people buy art because it matches their decor. I am always saddened to see how much of this type of art winds up for sale on Kijiji or Facebook Marketplace, sometimes for as little as $5 or $10. Throwaway art. Besides the very rich, who are often doing it for prestige, few people buy art as an investment, and unless you know a lot about art, are very lucky, and aren’t afraid to lose your money, you probably shouldn’t either! But good quality art is long lasting. Unlike mass produced art that might look like it was hand painted, original art from a conscientious artist will be made using archival materials and methods, and if properly cared for, will still be around long after you and even your children’s children are gone. And it will still be beautiful, and it will make your descendants happy as it did you. And who knows, it might also be very valuable! So why do you need art? I would love to read your comments!
Do you have a great photo that brings back special memories? Would you like to be able to see it transformed into a one of a kind painting that you and your family can cherish forever? Well, it may be easier and more affordable than you think.
In the past few months, I have painted a few commissions for the same collector. She asked me to create original paintings from photographs to offer to special friends. In one case, it was of a shared childhood memory, in another, it was to cheer someone up during covid times, and in other cases, it was capturing special moments that her friends would cherish.
The process is quite simple, and full details are available on my website, but it basically boils down to 1) determining your needs and budget, 2) getting the source material (photos), 3) doing an optional sketch or two to pin down options, 4) doing the actual painting and 5) delivering it.
The cost is based on the size of the final painting, and also whether or not it is framed (you can, like my collector above, save a lot of money by handling the framing yourself). Some commissions I was honored to do were to help preserve memories of people’s beloved homes or summer cottages, often as the properties were being sold. So now, even though they may no longer live there, the paintings’ owners can, every time they glance at their painting on the wall, recall the memories of the happy times they had there.
So if you have a favorite photo that you would like as a painting, first please read the Custom Work page on my website which explains the process more fully, then get in touch to see what we can work out to preserve your special memories, either for yourself or for a lucky friend!
When an artist or art gallery presents a new show, they usually will hold a special opening reception, or “vernissage”. This is often by invitation only, and the artist or artists will be present, cocktails and finger food will be served, basically a party. But do you know where the name comes from?
I have been painting, mostly in watercolors, for about 15 years now. Watercolor is a wonderfully simple medium, in that it comes in either a dry or a paste form, is water soluble and dries very quickly. Contrary to popular belief, it can be corrected, at least up to a point, because it will dissolve in water even once it has dried on paper, which is a good thing. This also means that if a finished painting is accidentally exposed to water, or any liquid, it can be ruined, which is obviously a bad thing. That is the reason why watercolors are most often framed under glass, and surrounded by a mat to keep the painting from actually touching the glass. Recently I have started exploring oil painting. Very different from watercolor painting! SO much to learn!! Oil paint is made from pigments mixed with oil, usually linseed oil. It does not dry by evaporation, but rather by oxidation of the oil. This can take a long time. A very long time. Six months to a year depending on how thickly the artist applied the paint. Some argue that the process never really ends. Although all colors are shiny when freshly applied, some of them, especially the darks, may lose some of their shine as they oxidize, causing some areas of the painting to appear dull. Usually this is not desired, so varnish will be applied to even out the sheen. Varnish will also protect the painting’s surface, making it easier to keep clean. The trouble is that varnish dries hard, so it can’t be applied to the still moving (oxidizing) painting until it has stabilized (6 to 12 months). If applied too soon, the varnish will crack as the paint underneath keeps moving. As you might guess, most artists don’t want to wait 6 months to a year before they can sell a new painting. So there is a different kind of varnish, mysteriously called “Retouching Varnish” that can be safely applied to touch-dry oil paintings. Some of you are seeing where this is going…. According to what I have found, in the 19th century, the day before an exhibition officially opened, artists would go to the gallery to give their paintings some finishing touches, including varnishing. Patrons started visiting the exhibition during this “varnishing day”, and this eventually led to the now current practice of inviting friends and collectors to a show’s “vernissage”. Thankfully there is little or no retouching done at a vernissage today. I can’t imagine varnish fumes with my smoked salmon canapé, can you? |
AuthorMy name is Claire Bureau. Archives
March 2023
Categories
All
|