Any pastel artist who frames their work will tell you that pastel dust is an issue. Over time pastel dust falls from the work and dirties the bottom edge of the matting. When framing and matting a pastel painting, before mounting the matting into the frame fix a thin piece of mat board (about an inch wide) around the back of the last mat, an inch or so from the window opening, on all four sides. This will give a space for that dust to fall and not smear the bottom edge and will keep the artwork just a little farther from the glass.
It was most interesting to watch the interview that Joan Flynn gave Paula, Leonard and Victoria on her show “Life is Good”. Although it is televised through Comcast I want to let interested people know that you can view this interview right on your computer! Just go to www.cityofwarren.org and click on TV Warren in the RIGHT column. Scroll down to the “Life is Good” video and click on the arrow to start.
To thin my oil paints, I prefer Weber Odorless Turpenoid. It’s thin and colorless and it decreases drying time. I pour into a glass jar with lid (think pickle jar) and reuse. The paint sediment will fall to the bottom of the jar leaving the clear turp floating on the top. Although odorless, the thinner is still a hazardous material and should not be poured down the drain (save the fish people).
I recently tried a non-toxic thinner, Oil of Spike Lavender. This medium smells like heaven, that is if you are a fan of Lavender, which I really really am. I poured a small amount into a bowl and dipped my brush directly into the lavender oil then into my paint. The strokes started out very smooth however as I was working, the painting started to get gummy. As I reworked the painting adding layers the medium started to have a sticky consistency. Also, the smell of Lavender can be very intense and made my eyes tear after prolonged use (or was I crying over my sticky painting?). This product is also much more expensive then the turp.
In the end, I decided to continue to use the odorless turp when sketching out my painting and save the Lavender for the final details.
Information regarding the disposal of toxic chemicals in Warren can be found at the Sanitation Division 586-775-1400.
with Marilynn Thomas
June 14, 2014, 10 am until 4 pm
Motor City Artist Studio LLC
3555 East 14 Mile Road, Sterling Heights, Michigan 48310
See the Motor City Artist Studio page on Facebook or
and my work at
Choice of two subjects: hummingbird or flower
$70 fee, $20 deposit mailed either to Marilynn Thomas
c/o Sutton Leasing
3555 East 14 Mile Road, Sterling Heights, Michigan 48310
or to Marilynn’s home address.
Please let me know your choice of subject,
(hummingbird or bleeding hearts) along with deposit
One sheet Arches cold press paper 10′ x 14′ or 12′ x 16″
Frisket film, available at art supply catalogs or Utrecht’s on Woodward
Sharp X-acto knife, Masking liquid
Mouth atomizer, also available in catalogs or possibly Rainy Day Co.
A basic selection of watercolor paints, brushes, paper towels,
blue painter’s tape
and your usual working materials.
If you choose the bleeding heart, quinacridone pink would be nice to have
and if the hummer, leaf green would come in handy
Please email me at email@example.com if you have questions.
I started out to post a ‘short’ list of 5 points on which a Critical Appreciation of a work of Fine Art can be based. I thought that I should say a few words about what Fine Art is and after about an hour I realized that it would be months before I finished the thing that I was trying to say………So I deleted what I had written and put the words of Ted Lang, our beloved Website Master in mind. …”keep it short or nobody’s going to read it.”…..and I’m going to try to start over and do that. So………….
A long time ago, my Aesthetics Professor gave me this list and I would just like to pass it on. The points will be listed in an ascending order of importance with the lowest or 5th point first and the 1st or highest most significant criteria last.
4th. CHOICE OF SUBJECT MATTER
3rd. FORMAL DESIGN
2ND. DEGREE AND QUALITY OF INTELLECTUAL AND MORAL CONTENT EXPRESSED
1ST. THE SUPREME UNITY OF FORMAL PROPERTIES AND EXPRESSED CONTENT
OK, there it is. Short (for those of you who want short), but for those who think that FORMAL refers to wearing a TUX or a FLOOR LENGTH GOWN it isn’t going to be much help.
I’m going to talk about each one of the points a little so those of you who ‘only’ want short may be excused.
Now that they’re gone… For the rest of you don’t worry I’m still focusing on ‘short’… if you want the full version there are books written on this stuff and you could spend a lot of time and money studying this stuff and even get degrees in it…… well here it goes…’short’……………
5th. SKILL, TECHNIQUE: that would be about judging or appreciating the Level of mastery of the methods, mediums, and physical abilities of the Artist.
It helps if you actually have some personal experience and knowledge of what it takes to use “ART” media masterfully in order to appreciate Art on this level.
Sad to say that most people, especially those who don’t actually have any idea of what Fine Art is, never get past this level if they even get to it at all… that is as far as critical appreciation of Fine Art or even non-critical appreciation for that matter.
People tend to look at ART the same way that they look at the every-day world around them.
Realize that somebody who is looking at a painting and saying, “isn’t this a pretty tree?”,…is appreciating the natural aesthetics of an object (a tree which isn’t even there) which has absolutely nothing to do with Fine Art… they are in fact “ART BLIND” and don’t even know that they aren’t appreciating the Genius of the Artist and in fact are appreciating something other than ART.
However If the notion that this isn’t a tree and it is something that was created by an Artist does creep into their appreciation and they appreciate the human accomplishment they have moved into appreciating the Art and this consideration is a valid point on which to begin to make a value judgement.
4th. CHOICE OF SUBJECT MATTER: What is this exceptional idea that interests this mind that is manifesting in this Artwork? Fine Art aspires to manifest “the Beautiful” as to the highest aspects of humanity. For example, in a landscape painting, the artist isn’t just trying to express that he saw some trees. The artist is trying to express and or communicate a feeling that was in his being during an experience. The fact of trees may be insignificant and the subject matter of the painting might more properly be identified as perceived grandeur or majesty. Beauty is a value judgement and what is valued is a significant aspect of the Character of the Genius being appreciated. This is not about natural aesthetics. This is an entirely separate branch of aesthetics dealing with the beauty coming into being through the manifestation of Human Genius.
3rd. FORMAL DESIGN: Art is both expressive and communicative and it does this through Form. Formal Empathy is very significant in the appreciation of Fine Art. Art is not just about WHAT it is; it’s also about HOW it is what it is.
Form? Let’s consider the elements of form in painting. Points, Lines, Shapes, Light to Dark Values, Colors, relative scale, movements, rhythms, textures and anything else you can come up with all can be composed into a work that can then be submitted for appreciation. All formal elements have abstract components that can be used to express and communicate. This can be complicated and hard to explain. The Book that I wrote “COMPOSITION and the ELEMENTS OF FORM” is an introduction to the subject. It takes about 3 hours to go through the material. so you see there isn’t time to say too much about it here.(keep it ‘short’ stupid!)… but I will say “think of the Idea of communicating with COLOR.” Happy colors… Warm colors… Sad colors… restful color combinations…. color is an element of form and communicating with it is a Formal Communication. Formal Design is about Formal Communication. It is just as significant in objective Art as it is in Abstract Art. In fact it can be argued that all Art is Abstract Art.
2nd. DEGREE AND QUALITY OF INTELLECTUAL AND MORAL CONTENT EXPRESSED: Remember that Aesthetics is about a value judgement. Beauty doesn’t exist as an objective substance. THIS CAN GET COMPLICATED! It can be so subjective as to create irreconcilable disputes. Critical judgements regarding this aspect are related to personal value systems. It’s hard to maintain a totally disinterested viewpoint when judging Intellectual and MORAL values… and the FIne Art Aesthetic viewpoint supposed to manifest from a disinterested mind-set. You can start to see a seeming contradiction between disinterested mind-set and value judgements. You might hear from a critic who agrees that something is ‘ART’ but calls it “degenerate art”.
I just want to add that I believe that there is a lot of Intellectual and Moral degeneration going in in the world today… so it’s no surprise to me that it would be reflected in what is passing itself off and being accepted as Fine Art.
1st. THE SUPREME UNITY OF FORMAL PROPERTIES AND EXPRESSED CONTENT: Do all of the Formal Elements work together perfectly in this exceptional manifestation of Creative Genius to communicate what the Artist is expressing? Whether the work may be addressing issues considered in themselves to be of questionable value, is there a Formal Communication that is working in perfect unity with the concepts being explored.
…… Hope this is clear enough to get some of you thinking about this ” Fine Art Stuff”.
Remember,there’s nothing wrong with ‘picture-making’ and there have actually been many Fine Art works created by Artists who mistakenly believed that ‘picture-making’ was what they were doing…… but that’s a topic for another day.
I’m very happy that I decided to “jump into” pastels. I’m truly enjoying my attempts and wish to thank all the nice people I’ve met in the Pastel Skills Class that have given me suggestions and help. I’ve attended the last 3 monthly meetings and once again I want to thank all that work hard to keep the WTCFA going. The guests at these meetings have been outstanding and entertaining.
For those of you who are unaware: Baby Oil is a better solution for getting paint off your skin, than Turpentine or Mineral Spirits. But, if you are sensitive to Petroleum Distillates as I am, you may want to wash your hands, after using. For as you may know, Baby Oil contains Petroleum Distillets as an ingredient. But in the long run, smells better and is kinder to your skin than Turps. Teresa
There will come a time when you need to create an excellent photograph of your completed artwork. Maybe you need to submit a digital image for entry in an art show. Or, you might want to capture your work onto a digital file in order to create a print.
Here are three suggestions based on the most common “mistakes” I see people making.
1. Use a tripod. This should be your “Gold Standard” when creating any image that you want to be more than just a casual snapshot. This is especially true when photographing artwork. And. it’s even more important if you are using the automatic mode of your camera, because then your camera will decide which shutter speed to use. If it’s a slow shutter speed, chances are you will not be able to hold your camera still enough to avoid some shake, thus getting blur in your final image. Again, always use a tripod.
2. Don’t use the flash on your camera to photograph artwork – especially flat art like oils or acrylics. First, you will probably get a glare bounced right back to the lens – and in your final image. (Especially if the surface of your art is glossy.) If photographing indoors you will usually be better off using two lights, in reflectors, placed at 45 degree angles on either side of your artwork.
3. A good method is to photograph your artwork outdoors. But to do it correctly, consider these tips:
- Try to avoid bright sunlight. This is apt to give you contrasty, harsh shadows.
- Photograph on an overcast day or photograph in open shade. (An area that is protected from the sun, but still has enough light to give you a good exposure.) Watch that you are not in an area partly in shade and partly in sun, which can give you harsh, “mottled” areas of lighting on your subject.
Also, when photographing outdoors, be careful of what is in the background. While concentrating on other things, it is easy to overlook a background that is busy with distractions. Try to find a simple, solid background, such as a full evergreen tree for the background. Or, you can also use an “artificial” background, such as a solid tablecloth or a dark cloth. But, when doing this, be careful. Be sure the cloth does not have wrinkles which may show up in the final image if you can’t crop them out.
There are other tricks to getting good photos of your artwork, but these are a few of the basics.