Passionate about both art and nature, Tom Jones has been commissioned by government agencies, corporations, environmental groups, clubs, and private collectors for his renowned landscape paintings. His art can be found internationally in many private and corporate collections, including paintings displayed in the Florida State Capital Building, Walt Disney World Corporation, Marriott Corporation, and the Omni Corporation. Tom's work has been featured in many books and on magazine covers as well as posters and brochures. In the upcoming watercolor workshop, Tom will teach specialty techniques including how to paint dynamic skies, textured landscapes through layering, and more! Learn new ideas to enhance your current painting style.
9-12pm, 1-4pm each day; SINGLE DAY $135, FULL 3-DAY COURSE - $375
Oct 7-9: Jaimie Cordero - Watercolor Pouring
Jaimie is a nationally recognized watercolor artist for her creative and abstract expressions of tropical imagery. She exhibits internationally, holds signature membership in several Watercolor Societies, has solo shows bi-yearly, is widely collected, and has had work published in nationally recognized books/periodicals. Learn from Jaimie's experience and wisdom as she instructs participants step-by-step in planning and preparing for watercolor painting (i.e. composition, stretching watercolor paper), as well as painting techniques including applying masking fluid, pouring, glazing, layering, value, use of materials, and critique.
9-12pm, 1-4pm each day; FULL 3-DAY COURSE - $375
Dec 7-9: Ted Nuttall - People & Portraits
Ted is a figurative watercolorist whose painting expression was born out of his observation of people. Though often viewed as intimidating and challenging, painting the figure can be just as approachable as a still life or landscape. In his workshop Ted will discuss the pitfalls and pluses of painting from photographic reference. Through daily demonstration, slide presentation, one on one interaction, and critique, you will learn how to achieve spontaneity, character, and life in your figure paintings-- and have fun in the process.
9-12pm, 1-4pm each day; FULL 3-DAY COURSE - $425
***CALL FOR MORE INFORMATION OR RESERVATIONS! 941.366.2301***
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( 3 / 211 )Good news for all you watercolorists! Due to popular demand, we now have an extended day for our Tom Lynch Workshop: Monday, Feb 16. It will repeat the content covered on Wednesday, Feb 11. There are also a few openings still available for Feb 13 & 14, but space is filling up fast so call or stop in to make your reservations ASAP!
Feb 10--Free wine & cheese party followed by Tom Lynch watercolor demo (no reservations needed; first come, first serve)-here at Art & Frame @ 5:30-7:30pm
Feb 11 & 12--FULL
Feb 13--Painting the Florida Landscape
*Transform your work from ordinary to exciting & dramatic
Feb 14--One day Plein-Air Workshop
*A relaxing & enjoyable day outdoors! Tom will assist you in creating your own painting.
Feb 16--Repeat of Wednesday, Feb 11 content
*Painting Trees, Rocks, & Water/Painting Mist, Mountains, & Fog
For more detailed information, check out the Tom Lynch Workshop flier on our "events" page.
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( 3 / 176 )New Products:
*Caran D’ache NEOCOLOR II Water-Soluble Artists' Pastels---available now at Art & Frame!
-Water-soluble
-Strong, bright colors
-Soft & easy to work
-Dry or wet drawing on all materials
-Watercolor effects & washes
-Available in open stock or metal box sets
*GOLDEN will be introducing five new Fluid Acrylic colors in 2009---two Fluid Historical colors (Viridian Green Hue and Van Dyke Brown) and three Fluid Interference colors. As the next generation of Fluid Interference colors, Color Travel Interference colors shift dramatically when viewed at different angles, revealing not just one shift, but multiple tones between two points on a spectrum.
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*Discontinuation of GOLDEN Garnet Gel
Over the last few years, it’s been difficult finding a consistent supply of the garnet raw materials that are used in Garnet Gel, especially coarse and extra coarse. The supplier is no longer able to provide the size and color previously used in GOLDEN's Garnet Gel. After much consideration towards replacements, as well as supply and consistency problems, Golden has decided to discontinue production of all grits of Garnet Gel, effective the end of 2008. Stop in Art & Frame and pick up supplies while they are still available!
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( 2.9 / 177 )VOLUME 20 NOVEMBER 2008
Evolving Earth
It is not lost on painters capturing the exposed earth and rocky terrains that define the American West that the yellows, oranges, reds and browns on their palettes are created from the same colored material found in the landscape before them.
This newsletter takes a look at the rich history of the world's oldest group of colored material – earth pigments – and how artists have used these colors for over 40,000 years.
Gamblin's offering of earth colors can be categorized into four groups: natural iron oxides (Ochres, Siennas and Umbers), synthetic iron oxides ("Mars" colors), hydrated synthetic iron oxides (Transparent Earth colors) and modern earth colors (earth colors "boosted" in choma with modern organic pigments).
Natural Iron Oxides: There Will Be Haimai
Found all over the earth in various shades of brown and muted shades of red, orange, yellow and green, natural iron oxides, more commonly called "earth" colors, have been on artists' palettes for more than 40,000 years. The cave paintings, still visible today, are a testament to the stability of these mineral colorants. These muted yellow, orange, red and brown hues dominated the work of the Old Masters because earth colors were the only lightfast pigments available.
The range of colored earth is derived from the nature of iron oxide present in the material. Limonite ranges from yellow to brown and contains water in its chemical composition (hydrous ferric oxide). Artists know these as Ochre, Sienna, and Umber. Ochre is clay-colored with hydrated iron oxide. The famous "Terra di Siena" is a hydrated iron oxide from Tuscany. It contains silicates and aluminates that increase the transparency of the pigment. When limonite is heated through calcination, the water content is eliminated, resulting in the red hematite known as "Burnt Sienna." Red earth colors, either natural red oxides or red hematite from roasting, have been used in funerary purposes throughout history because of their close association with human blood. In fact, the word hematite is derived from the Greek haimai, meaning blood.
Umber, from its Latin origins meaning "shade," is found in sites where naturally occurring manganese dioxide combines with iron. Umbers and other pigments containing manganese make quick-drying oil colors.
In the studios of the Old Masters, painters pushed against the limitations of their colors. Sienna and Umber are key colors in creating effects of depth like Caravaggio's chiaroscuro or Leonardo's sfumato with its almost imperceptible transitions from light to dark.
Synthetic Iron Oxide: Mars, the Red Pigment
The expanding industries of the late eighteenth and nineteenth century expanded painters' color palettes. This was first seen with the development of synthetic iron oxide pigments, commonly known as Mars colors. Mars colors have a high degree of opacity compared to natural iron oxide pigments. Their strength, one would assume, links them to their namesake, the Roman god of war.
There is some discussion about why synthetic iron oxides were first produced, especially when so much pigment was then available in earth mines. The most logical explanation is commercial painters demanded consistency in color and texture for the emerging house paint industry. The British started to build homes with wood but still wanted their houses to look like brick. Also, through the manufacturing process, shades can be changed. "Mars" was an internationally recognized word for iron.
Hydrated Synthetic Iron Oxides: Transparent Earth
A hundred years after the Masters' great era, there was a revival in their techniques. Asphaltum was used when painters wanted to artificially age their paintings to make them look like an Old Master could have painted them. Organic in nature, the original Asphaltum was coal black and crumbly. The pigment was not ground into oil but rather melted into oil and turpentine. Among the few transparent earth colors, Asphaltum was used in glazing and shading. But by the end of the 18th century, painters were dissuaded from using the color because it caused paintings to fade and deteriorate at an alarming rate. Gamblin Asphaltum is made with lightfast, stable pigments, creating a transparent brown with a warm red undertone.
Two hundred years later, painters' interests have turned again toward the techniques of Renaissance masters. Like their predecessors, contemporary painters are pushing against the limitations of their colors. Often painters ask if earth colors are less transparent today than hundreds of years ago. The answer is YES. Today's earth pigments are more opaque because the once rich deposits in Siena, Corsica and Cyprus are nearly mined out. Today's earth colors must be mined from various locations and mixed together to achieve consistent colors. The bulk of earth pigments are used to color concrete for stucco and other building materials. The result is a rise in cost and a decline in transparency.
The late 20th century has produced the first significant change in iron oxides with the invention of transparent Mars colors for the automobile industry. These colors are made by hydrating earth colors, a process by which opaque colors are made transparent (the same process that turns opaque Chromium Green Oxide into Viridian). As painters we have come full circle. The prized transparent earth reds of antiquity have returned to our palettes.
Modern Earths
A few year back, when Gamblin looked to expand their color offering, a fresh approach to earth colors was taken by boosting the chroma (intensity) of traditional earth colors with modern organic pigments. Gamblin Gold Ochre is a mixture of Yellow Ochre and Indian Yellow to fill an important place within Color Space. Gold Ochre has the appearance of Yellow Ochre in its thicker mass tone, and then the Indian Yellow takes over when it is applied as a thinner glaze, revealing a warm, glowing undertone. Gamblin Brown Pink is a mixture of Transparent Earth Red and Perylene Red to make a contemporary, lightfast replacement of this traditional, fugitive color made from berries.
Even with so many intense colors available today, painters still prize and value earth colors for their beauty, stability and connection to the rich heritage of painting.
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( 2.9 / 188 )Lauren processing internet orders for Art Supplies at In2art.com
Wyatt processing our order...something you don't see everyday.
Mike hard at work, he must be placing a big order
Stephanie loves her Golden Acrylic Paints
Judy getting ready to build another custom frame.
Can the customer stump Jackie??? I don't think so.
Just some images of Art & Frame of Sarasota.
Cool Art Supplies !!!
Friends in Art. Art Supplies draw them together. (Pun intended)
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