Title: War, When There Should Be Peace
Acrylic on Board
24" x 24"
Thursday, October 30
Wednesday, October 29
Painting - Done Unto
Title: Done Unto
Acrylic on Stretched Canvas
12 in x 12 in x 1.5 in (30.48 cm x 30.48 cm x 3.81 cm)
Acrylic on Stretched Canvas
12 in x 12 in x 1.5 in (30.48 cm x 30.48 cm x 3.81 cm)
Tuesday, October 28
Framing Tips - Watercolors
It is always best if possible to use a professional framer. I mean they do it every day so they are bound to be at least a little better at it than those of us who don't. But if you would like to try your hand at framing on your own here are a few tips for watercolors. Even if you decide to use a professional framer, knowing some of these tips will help you determine if you like their service. I will cover framing other types of artwork and prints in future posts so be sure to check back. :)
**Before you get started you should know you should always use acid free materials when framing original artwork. Professional artist materials are almost always acid free or specially prepared to make the surface acid free. If you apply mats, backings or frames that are not damage and/or serious discoloration can occur over time.
Choosing a mat and frame
One of the biggest mistakes I see made in framing artwork is in the choice of frames. Of course your personal taste and current fashions will affect your choice but it is always wise to keep in mind that when framing artwork "less is better". Overly ornate frames and extremely bright mats can draw the viewers eye away from the the artwork when you want the main focus to be the artwork. Of course, if you just really love that particular frame or mat you may want to choose some art that will compliment it instead of the other way around. :) A well chosen mat and frame not only enhances the appearance of your artwork but also helps to protect it. Watercolors, pastels and drawings are considered fragile so the mat and frame are important. With the right care these types of artwork can last many years.
Mats
If you have never tried framing a watercolor before I highly recommend choosing a mat and "trying it on" before purchasing the backing and frame. How the work "sits" in the mat will have a lot to do with the final size of the frame and of course the backing.
A mat serves two purposes really (besides looking great!).
1) It acts as a buffer between the the glass and the artwork. If the art is in contact with the glass condensation can build up causing serious damage to your painting. Damp spots, stains and mildew can ruin your investment!
2) If the paper the work is created on has texture, the pressure between the backing board and the glass can compress the art and ruin the texture changing the overall appearance of your painting.
Works on paper, including watercolors, are traditionally surrounded by a wide mat. But this also is personal taste. Generally a small image looks best with a wider mat. You have more of a choice with larger paintings both wide and narrow work with those. Some look better with almost no mat or mounted directly on the backing without a mat even. The choice is yours of course.
I highly recommend having the mat professionally cut. Mat cutters can be expensive and unless you plan on framing a lot, the investment probably won't be worth the cost. Also, keep in mind professional mats are usually cut deeper at the base than the top and sides. This can be as little as 1/4 inch (6mm) or or more. I usually cut mine 3/4 inch (18mm) wider. Some can be larger but this is not usually the case. This is to prevent an illusion that the bottom is smaller than the three other sides. So when you purchase your mat make sure you place the wider edge at the bottom!
Backing
Always choose an acid free backing for your watercolors. This is as important as using an acid free mat. Remember, the backing will be directly touching the entire back of your painting. Archival quality backing boards, quality uncut mats or special acid-free foam boards can all be used. Never use untreated cardboard. There are methods for treating the cardboard so it can be used but unless you are an artist or framer it is unlikely you keep them around the house and it is a lot easier just to purchase acid free backing. All of these materials can be purchased from a quality frame supply or local art supply store. Make sure the back board is the correct size to fit the frame, not the same size as the artwork itself unless you are planning on framing the work without a mat and without allowing the edges of the paper to show. Even when you frame without a mat some paintings look nice with some of the back board showing. Especially when a complimentary color is chosen. Uncut mat is perfect for this technique.
The artwork should be mounted to the backing with either archival mounting tape or a removable spray adhesive. I always use the tape and "tab" it to the back of the painting or the far edges as I don't fully trust the adhesives. I know several other artists however, that love the adhesive and say they use them with little trouble. These items can also be purchased at a framing or art supply store.
Spacers
Spacers are not usually necessary with watercolors. However, if even with a mat, the paper touches the glass or the inside edges of the frame you should use them. If you decide to frame without a mat at all you should definitely use them. Spacers are just small strips that are placed between the glass and the mat or artwork. They are placed under the lip of the frame, out of sight. They serve to place a space between the glass and the artwork to prevent damage (such as the paper sticking to the glass from even tiny amounts of condensation). Spacers can be made of wood or plastic. I like using the clear plastic ones because they are less likely to show around the edges even if they slide a little. Also, the ones I purchase have an acid free adhesive that makes it easy to attach them to the frame, mat or backing. (Hint: I will offering these for purchase in my eBay store soon).
Glass
In my opinion, regular picture glass is the best to use. Non-reflective types cast a shadow across the artwork that can reduce the brilliance of the colors causing a matte effect. Personally I am not a fan of plexi-glass either although I have been told there is actually a static free kind. I have not confirmed this nor ever used it but I would love to hear from you if you have. Tell me what you think.
Did I leave something out? Need more info? Please feel free to comment or email me. I would love to hear from you!
Until the next post... Peace and happiness!!
**Before you get started you should know you should always use acid free materials when framing original artwork. Professional artist materials are almost always acid free or specially prepared to make the surface acid free. If you apply mats, backings or frames that are not damage and/or serious discoloration can occur over time.
Choosing a mat and frame
One of the biggest mistakes I see made in framing artwork is in the choice of frames. Of course your personal taste and current fashions will affect your choice but it is always wise to keep in mind that when framing artwork "less is better". Overly ornate frames and extremely bright mats can draw the viewers eye away from the the artwork when you want the main focus to be the artwork. Of course, if you just really love that particular frame or mat you may want to choose some art that will compliment it instead of the other way around. :) A well chosen mat and frame not only enhances the appearance of your artwork but also helps to protect it. Watercolors, pastels and drawings are considered fragile so the mat and frame are important. With the right care these types of artwork can last many years.
Mats
If you have never tried framing a watercolor before I highly recommend choosing a mat and "trying it on" before purchasing the backing and frame. How the work "sits" in the mat will have a lot to do with the final size of the frame and of course the backing.
A mat serves two purposes really (besides looking great!).
1) It acts as a buffer between the the glass and the artwork. If the art is in contact with the glass condensation can build up causing serious damage to your painting. Damp spots, stains and mildew can ruin your investment!
2) If the paper the work is created on has texture, the pressure between the backing board and the glass can compress the art and ruin the texture changing the overall appearance of your painting.
Works on paper, including watercolors, are traditionally surrounded by a wide mat. But this also is personal taste. Generally a small image looks best with a wider mat. You have more of a choice with larger paintings both wide and narrow work with those. Some look better with almost no mat or mounted directly on the backing without a mat even. The choice is yours of course.
I highly recommend having the mat professionally cut. Mat cutters can be expensive and unless you plan on framing a lot, the investment probably won't be worth the cost. Also, keep in mind professional mats are usually cut deeper at the base than the top and sides. This can be as little as 1/4 inch (6mm) or or more. I usually cut mine 3/4 inch (18mm) wider. Some can be larger but this is not usually the case. This is to prevent an illusion that the bottom is smaller than the three other sides. So when you purchase your mat make sure you place the wider edge at the bottom!
Backing
Always choose an acid free backing for your watercolors. This is as important as using an acid free mat. Remember, the backing will be directly touching the entire back of your painting. Archival quality backing boards, quality uncut mats or special acid-free foam boards can all be used. Never use untreated cardboard. There are methods for treating the cardboard so it can be used but unless you are an artist or framer it is unlikely you keep them around the house and it is a lot easier just to purchase acid free backing. All of these materials can be purchased from a quality frame supply or local art supply store. Make sure the back board is the correct size to fit the frame, not the same size as the artwork itself unless you are planning on framing the work without a mat and without allowing the edges of the paper to show. Even when you frame without a mat some paintings look nice with some of the back board showing. Especially when a complimentary color is chosen. Uncut mat is perfect for this technique.
The artwork should be mounted to the backing with either archival mounting tape or a removable spray adhesive. I always use the tape and "tab" it to the back of the painting or the far edges as I don't fully trust the adhesives. I know several other artists however, that love the adhesive and say they use them with little trouble. These items can also be purchased at a framing or art supply store.
Spacers
Spacers are not usually necessary with watercolors. However, if even with a mat, the paper touches the glass or the inside edges of the frame you should use them. If you decide to frame without a mat at all you should definitely use them. Spacers are just small strips that are placed between the glass and the mat or artwork. They are placed under the lip of the frame, out of sight. They serve to place a space between the glass and the artwork to prevent damage (such as the paper sticking to the glass from even tiny amounts of condensation). Spacers can be made of wood or plastic. I like using the clear plastic ones because they are less likely to show around the edges even if they slide a little. Also, the ones I purchase have an acid free adhesive that makes it easy to attach them to the frame, mat or backing. (Hint: I will offering these for purchase in my eBay store soon).Glass
In my opinion, regular picture glass is the best to use. Non-reflective types cast a shadow across the artwork that can reduce the brilliance of the colors causing a matte effect. Personally I am not a fan of plexi-glass either although I have been told there is actually a static free kind. I have not confirmed this nor ever used it but I would love to hear from you if you have. Tell me what you think.
Did I leave something out? Need more info? Please feel free to comment or email me. I would love to hear from you!
Until the next post... Peace and happiness!!
Thursday, October 23
Abstract Painting - The World is Burning
Title: The World is Burning
Acrylic on Board
24" x 24"
This painting is based on my personal feelings about the environmental crisis our world is experiencing. I worked on the composition for several days and finally settled on a combination of three. As I painted I allowed the paint to flow freely with only minimal control.
Thursday, October 16
Painting - Meditation
Title: Meditation
Acrylic on stretched canvas
Gallery wrap 12 in x 12 in x 1.5 in
Smallworks Series
Here's another in my smallworks series. I can't seem to keep my fingers out of the paint lately. This one was painted using a combo of fingers and brush strokes. There is a slight glare in the photo. For some reason I have had problems with that lately. In the painting itself the gloss is even.
Wednesday, October 15
Painting - Shelled
Title: Shelled
Acrylic on stretched canvas
Smallworks Series, 12 in. x 12 in x 1.5 in
Gallery wrap canvas
This painting was only partially planned. I had an idea of what I wanted but I still didn't have the details worked out. So I just started painting with only a vague idea of where I was going with it. This one was painted using both brushes and my fingers.
Tuesday, October 14
Sunday, October 12
Painting - Nude and Dressing Table
Title: Nude and Dressing Table
Acrylic on Gallery Wrap, Stretched Canvas
18" x 24" x 3/4"
Saturday, October 4
Thoughts and Ramblings...
Art...
...like life
is about transformation.
Everything...
...is becoming
...something else.
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