The above are two examples of synthetic materials that can be used in place of animal based sizes. Although they are intended for use in acrylic based systems they can be used in conjunction with commercially produced oil primers although it is advisable to use acrylic primers over acrylic sizes.
PVA is prone to deterioration and should be avoided.
Acrylic priming systems are easier to use; unlike traditional materials, their properties are predictable, strengths do not vary from batch to batch and the entire process is speeded up.
This section contains 8216;How to8217; guides for every part of an artist’s career. From exhibiting, to earning money and more. Everything you need to know about sustaining a career as a practitioner is here.
Slade alumni and artist Sam Belinfante has shared this great guide on how best to back up your computer data and files, giving many different options. The guide has been written by an artist specifically for artists. This is a must read for anyone using a computer.
Converts color data to different color standards (RGB, CMYK, L*ab, L*ch, L*uv, Hunter, XYZ etc.). All the math implemented in this calculators is available in the math/formulas page.
Create color harmonies
From your RGB colors it creates colors complements, harmonies and themes. It can be used to easily create a Web site color theme or to select good trim and accent colors for your home decorations.
From RGB values to commercial tints
Matches your computer generated RGB values to color cards, paint lines, inks, fandecks, standards and more8230;
Helps you find a commercial product matching your computer generated colors. Also let you get cross-products matches of paint and ink products. Transforms 8220;virtual8221; colors in 8220;real world8221; references.
From commercial tints to RGB values
Search through our commercial tints database for specific color codes or names.
Once selected the desired color, find the closest match in competitors8217; fandecks and color cards, create harmonies or get full chromatic data.
Software and color database
We can supply software and color database to perform this site8217;s services without the need to be on-line all the time.
Popular chromameter interfaces are also available upon request.
You will find a rich collection of color related information here. Math and formulas, FAQ, useful links, monitor resolution notes and much more8230; A constantly updated source of useful color tips.
Freely submit your tints
We will be glad to freely post readings of your tints samples on our pages. Before sending us your color cards, fandecks or color collection please contact us first.
Easy Website Building Tools
Onepager is the easiest way for small business owners to setup a professional looking website in minutes.
Easy to Update & Maintain
Our interface allows you to easily update and maintain your website on your own. Save money and never hire a developer again!
Professional Look & Feel
Give your customers a positive first impression! Create a website with our professionally designed themes or create your own look and feel.
Get Found By Customers
Sites built with Onepager have the best standards for search engine optimization so your customers can easily find you online.
Helpful Website Analytics
Get insightful analytics on where your users are coming from and how they are finding you through your dashboard.
Use Custom Domains
Your domain name is important to your business8217;s online presence. Purchase one through Onepager or use one you already own.
You can test out the interface and tools before committing
We8217;re drowning in email. And the many hours we spend on it are generating ever more work for our friends and colleagues. (Here8217;s why.) We can reverse this spiral only by mutual agreement. Hence this Charter8230;
1. Respect Recipients8217; Time
This is the fundamental rule. As the message sender, the onus is on YOU to minimize the time your email will take to process. Even if it means taking more time at your end before sending.
2. Short or Slow is not Rude
Let8217;s mutually agree to cut each other some slack. Given the email load we8217;re all facing, it8217;s OK if replies take a while coming and if they don8217;t give detailed responses to all your questions. No one wants to come over as brusque, so please don8217;t take it personally. We just want our lives back!
3. Celebrate Clarity
Start with a subject line that clearly labels the topic, and maybe includes a status category [Info], [Action], [Time Sens] [Low Priority]. Use crisp, muddle-free sentences. If the email has to be longer than five sentences, make sure the first provides the basic reason for writing. Avoid strange fonts and colors.
4. Quash Open-Ended Questions
It is asking a lot to send someone an email with four long paragraphs of turgid text followed by 8220;Thoughts?8221;. Even well-intended-but-open questions like 8220;How can I help?8221; may not be that helpful. Email generosity requires simplifying, easy-to-answer questions. 8220;Can I help best by a) calling b) visiting or c) staying right out of it?!8221;
5. Slash Surplus cc8217;s
cc8217;s are like mating bunnies. For every recipient you add, you are dramatically multiplying total response time. Not to be done lightly! When there are multiple recipients, please don8217;t default to 8216;Reply All8217;. Maybe you only need to cc a couple of people on the original thread. Or none.
6. Tighten the Thread
Some emails depend for their meaning on context. Which means it8217;s usually right to include the thread being responded to. But it8217;s rare that a thread should extend to more than 3 emails. Before sending, cut what8217;s not relevant. Or consider making a phone call instead.
7. Attack Attachments
Don8217;t use graphics files as logos or signatures that appear as attachments. Time is wasted trying to see if there8217;s something to open. Even worse is sending text as an attachment when it could have been included in the body of the email.
8. Give these Gifts: EOM NNTR
If your email message can be expressed in half a dozen words, just put it in the subject line, followed by EOM (= End of Message). This saves the recipient having to actually open the message. Ending a note with 8220;No need to respond8221; or NNTR, is a wonderful act of generosity. Many acronyms confuse as much as help, but these two are golden and deserve wide adoption.
9. Cut Contentless Responses
You don8217;t need to reply to every email, especially not those that are themselves clear responses. An email saying 8220;Thanks for your note. I8217;m in.8221; does not need you to reply 8220;Great.8221; That just cost someone another 30 seconds.
If we all agreed to spend less time doing email, we8217;d all get less email! Consider calendaring half-days at work where you can8217;t go online. Or a commitment to email-free weekends. Or an 8216;auto-response8217; that references this charter. And don8217;t forget to smell the roses.
Our Basics section covers some of the most common issues that you might come across while developing an art or design related career, from gaining confidence to sorting out your taxes. We8217;re expanding this section all the time so keep checking back.
The articles here are intended as informal guidance, giving you an overview of some important topics. For in-depth advice, always consult a lawyer, accountant or other relevant professional. You can also get one-to-one guidance from our free helpline service, Fuel Line, plus there are lots of helpful books on business matters and career development in the FuelRCA library collection.
Prepare a small quantity of size by soaking the glue granules in water until swollen. Warm the glue in a double boiler or a Pyrex glass basin, until melted. Remove from the heat source. Add a small amount of whiting to the size and stir gently with a brush. Test the mixture by painting onto a piece of waste wood; it should coat it with a milky film. Allow to dry for 12 hours.
Prepare a fresh batch of size (but this time with larger quantities) and melt as before. Start to add the whiting by slowly slipping it into the warm size; the solution will take a surprising amount of whiting. When the level of whiting is just below the surface of the size, and no more can be added, the correct amount has been added. This is easier to gauge with a glass basin. Resist the urge to stir the mixture and allow it to stand for 5 minutes before straining through a sieve into a clean basin. Take a wet hog’s hair brush and gently stir without lifting it out until the mixture feels smooth. The gesso can now be used and should be applied fairly generously, ignore slight imperfections as returning to them can cause the coating to lift away from the panel. Apply 5 or more coats, each time waiting for the previous one to go dull before recoating. In cold weather the mixture may start to gel during application and will have to be stood over warm water to loosen it, if this is necessary add a drop or two of water to compensate for the small amount of evaporation that will occur. Failure to do this will make the upper coats have a stronger glue content and may result in them peeling away. All coats should be applied in one session otherwise the coats will not bond together, so it is just as convenient to make several panels at one sitting.
Allow the panel to dry before smoothing down.
If the resulting gesso is fairly level and free from ridges, it may be sufficient to polish it with a piece of damp cotton until a smooth porcelain finish is achieved. If the surface is ridged it will need to be levelled before smoothing either by sanding or using a scraper, the latter creates less dust. To use the scraper it should be held almost vertically and pulled towards you following a zigzag or lattice pattern.
To complete the process the surface should be made perfect by sanding lightly with fine wet and dry paper.
The surface of gesso is unlike any other and is the only one that will accept water gilding and true egg tempera.
*Based on Kremer pigment Rabbit skin glue (code 63020)
Egg / linseed oil emulsion Ground for canvas and panels
Raw linseed oil
Titanium white (or other) pigment
Rabbit skin glue solution (1:30, glue to water)
Sized panel (1:15 solution) or sized linen (1:30 solution)
Break the egg into a glass jar and shake. Mark the level on the side of the jar and double the existing level with the oil. Again mark the level and double the quantity with water and shake to form an emulsion. This will store for 1 week in the fridge.
Put some Titanium white pigment onto a glass slab and gradually add the emulsion mixing with a palette knife to form a well-mixed, stiff and glossy paste. Dilute the paste with the glue solution to a thin cream consistency. The glue should be warm; hot glue will cook the egg.
Other pigments may be mixed with or substituted for the Titanium white to give a toned ground. The priming should be brushed on very thinly. 3 coats will provide a brilliant white priming.
The Half Chalk and Egg /Oil Emulsion Grounds can be applied to sized panels and also Linen where it must be applied very thinly and fairly quickly to prevent cracking. The back of the canvas should be supported with some board to avoid pushing it out of shape.
To prime linen, dip a decent housepainters or artist’s varnish brush into the primer by only ¼8221; so that a sparing amount of it is taken up. Push the primer ahead of the brush by angling it at 45 degrees working in a circular motion to work the primer into the weave, finish off with a light straight stroke to bring it onto the top of the canvas tooth.
CONSISE NOTES ON PREPARATION OF GROUNDS, PRIMINGS AND OTHER MATERIALS.
Former Keeper of Conservation
The National Gallery, London
In 1950 Arthur Lucas was invited by the Slade Professor, Sir William Coldstream to lecture and demonstrate the methods and materials of painting to Slade students, who previously (since the 1930’s) had been taught a course called Chemistry of Painter’s Materials, by Mr H Terrey from the department of chemistry.
Lucas taught twice weekly lectures and the Methods and Materials Room in the basement of the Slade was established. The room, now a sculpture studio, had a double sink and was fitted with cupboards around all walls to store equipment with surfaces for the preparation of materials. In the centre was a magnificent large table for the preparation of panels and stretching of canvases.
Arthur Lucas taught regularly at the Slade up until his retirement from the National Gallery in the 1980’s and then only occasionally. At the end of his career his notes where complied and produced at the Slade into this small book. It contains information on supports, grounds, glues, varnishes and frames and is a testament to his life’s work and dedication to teaching.
8220;How To Make Oil Pastels8221; by Kenneth Leslie -exerpt from Oil Pastel: Materials and Technique for Today8217;s Artist
What You Will Need:
Blended White Beeswax
A large can that fits in an old pot, to serve as a double boiler
Large palette knife
Soft clay or homemade modeling dough (see recipe below)
Plate glass or plexiglass on which to grind pigments
Rubber gloves to protect hands from hot drips
(Recipe for modeling dough)
1 1/2 cups flour
3/4 cup salt
1 1/2 cups water
1 1/2 tablespoons cream of tartar
3 tablespoons vegetable oil
Mix all ingredients together in a pot over medium heat, stirring constantly, until mixture is thick and no longer sticky. turn out onto waxed paper to cool. If stored in a sealed container in the refrigerator, the dough will keep for months.
WARNING: Many of the ingredients are highly flammable, especially the wax, mineral spirits, and oil. Most pigments are toxic in some way, and many people are highly allergic to them. Wear proper mask to avoid accidental inhalation of pigment dust. Do not mix oil pastels with improper equipment orin an inappropriate space. Do not try this in your kitchen 8211; only a well-ventilated studio, when you are fully alert. Unless you are experienced, use only the safest, least toxic pigments. Stay away from cadmium, lead, arsenic, and other highly toxic pigments.
Instructions for making oil pastels:
1. The first thing you must make are molds for the molten pastel mixture. Heavy duty aluminum foil works well. Tear off a 208243; by 68243; sheet and fold the length in thirds, for a thick, stable wall. Lay the foil flat on a table and place a dowel that is the thickness of the desired pastel in the middle. A broomstick works quite well. Bring the ends of the foil up to meet, and roll them together back down to the dowel, to make a strong, sealed seam. Slip the foil tube off the dowel, and implant it in a lump of modeling dough or clay, to hold it upright while pouring into the molds. You will need several molds, enough for the volume of pastel you are making. Other shapes (square, triangular, and so on) are also possible, folded without a dowel, if the seam is well sealed.
2. Prepare a can for pouring molten pastel by bending the lip into a V with a pair of pliers. This will eliminate the need for a funnel later. Pour the dry pigment into the can. Because you8217;ll be adding more ingredients, and you will want to avoid spills, fill no more than a third of the can. Make a paste by gradually stirring in as little turpentine as possible.
3. Dump the pigment paste onto a palette 8212; plate glass or plexiglass is best. With a large palette knife, grind the paste until it has a smooth consistency with no lumps. Return the paste to the can, and cover it to keep it moist.
4. Break up the beeswax into chunks and put it into a clean can. Put the can into a pot containing a few inches of water. If the can floats a bit, spill out some of the water in the pot, to be sure that the can of wax sits on the bottom. Put the pot on a hot plate. Don8217;t use a burner with an open flame, because that poses too much of a fire hazard; an electric hot plate is safer to use. On medium heat, slowly warm the water bath, until the wax thoroughly melts. You can stir it to separate the chunks.
5. Remove the can from the water bath, and carefully pour in stand oil at a ratio of one part oil to three or four parts wax by volume. Too much oil will produce a stick that won8217;t harden, but you need enough to make a creamy pastel. The cold oil may solidify some of the wax, so return the brew to the water bath until it is smooth again.
6. Remove the oil/wax concoction and pour some of it into the can of pigment paste. Again, varying the proportion of pigment to oil/wax will give you different results. The matter is further complicated by the fact that various pigments absorb oil differently, as discussed earlier. Any good handbook on artists8217; materials will list the absorption ratios of pigments, which will serve as a guide for how much oil/wax you will need to mix in. Start out with equal parts pigment and medium. The brew should be as thick as you can make it without being grainy from too much pigment. The more oil/wax used, the more transparent the pastel will be, allowing more of the paper or undercolors below to show through. If you don8217;t use enough oil/wax, the pigment won8217;t bind together sufficiently and the resultant stick will crumble when you try to use it. (If you don8217;t like the consistency of the finished sticks, simply melt them down again and adjust the recipe.) Reheat the brew in the water bath, and stir it until smooth and creamy.
7. Using the V lip bent into the can, it is fairly easy to pour the mixture into the molds. There will be some spilling and ripping, so be sure to work over newspaper or a drop cloth. Keep one gloved hand on the mold as you pour, to be sure it won8217;t tip over. After the pastels have cooled and contracted for a few minutes, 8220;wells8221; will form in the center, which can be refilled with more molten pastel.
8. Allow them plenty of time to cool 8212; several hours 8212; or they will crush when you try to use them. You can speed the cooling up a bit by putting the sticks in the fridge. When cold they will still seem quite soft, but after a week or so, they will cure a bit more. If you have poured without drips, the same mold foil can serve as a wrapper. Peel off only an inch from one end. If the mold foil is messy, remove it and replace it with a fresh foil wrapper. Store extra sticks in their foil with the ends crimped down to keep them fresh.
A book about code that doesn8217;t read like a 19808242;s VCR manual8230; It8217;s not just for programmers, it8217;s written and presented to make it easy for designers, artists, bloggers, content and e-commerce managers, marketers to learn about the code used to write web pages8230;
Learn how to:
Read and write HTML5 and CSS3
Structure and design web pages and sites
Prepare images, audio and video for the web
Control typography and layout
You will also find lots of helpful hints and practical advice alongside the code
Machine-made watercolor papers come in three surfaces:
Hot-pressed or HP
Cold-pressed (or NOT).
Rough watercolor paper has a prominent tooth, or textured surface. This creates a grainy effect as pools of water collect in the indentations in the paper.
Hot-pressed watercolor paper has a fine-grained, smooth surface, with almost no tooth. Paint dries very quickly on it. This makes it ideal for large, even washes of color.
Cold-pressed watercolor paper has a slightly textured surface, somewhere in between rough and hot-pressed paper.
Watercolor paper differs from manufacturer to manufacturer, so experiment not only with the different kinds of paper but also with various brands of paper.
The thickness of watercolor paper is indicated by its weight, measured either in grams per square metre (gsm) or pounds per ream (lb).
The standard machine weights are 190 gsm (90 lb), 300 gsm (140 lb), 356 gsm (260 lb), and 638 gsm (300 lb). Paper less than 356 gsm (260 lb) should stretched before use, otherwise it8217;s likely to warp.
Watercolor paper is usually white, but it need not be. A variety of cool and warm tints is available.
Use acid-free paper will yellow less with age.
Cold-pressed watercolor paper is called NOT paper because it8217;s not hot-pressed.
John Purcell Paper: http://www.johnpurcell.net/
Falkiners Fine Art/Sheperds Book Binders: http://store.falkiners.com/store/
Got a broken TV to dispose of, or want to know how to recycle batteries, bulbs or an old laptop? Find out how to recycle an array of household products and electrical appliances here.
Select the product you8217;re interested in and we8217;ll let you know if and how you can recycle it, plus share insider tips from Which? experts on how to make money recycling certain products and the range of recycling services available to you.
15mm section of acrylic gesso surface. This surface shows three layers of acrylic gesso. Each layer is sanded to achieve a very smooth even ground for painting. The surprise with this image is the apparently rough appearance of the surface close up. perhaps it needs more sanding..
On a glass slab form a well in the centre of the whiting and add the glue size, gradually folding in the powder and work with a palette knife until a firm but glossy paste is formed. If the mixture is too dry it can be adjusted with a small addition of 1:15 glue size, if too wet a small quantity of whiting can be added.
The stiff paste can be stored in a jar and refrigerated. To apply the paste it needs to be diluted to a brushable thin cream consistency by transferring a quantity to a basin adding a 1:30 solution of warm glue size. 2-3 coats of this priming will usually suffice. The surface can be made smooth by wiping with a damp cotton handkerchief.
Half chalk ground for panels and canvas
1 part Titanium white pigment
3 parts whiting
3 parts glue size (1: 15 water)
1 part Stand linseed oil
Sized panel (1:15 solution) or sized linen (1:30 solution)
Mix the whiting with the Titanium white pigment on a glass slab. Form a well in the centre and add the glue size leaving room to float the stand oil on top. Gradually fold in the powders and work with a palette knife until a firm but glossy paste is formed. If the mixture is too dry it can be adjusted by adding more glue size, if too wet a small quantity of whiting can be added.
The stiff paste can be stored in a jar like the chalk ground. It also needs to be diluted to a brushable thin cream consistency by transferring a quantity to a basin and gently warming it through by standing it in hot water before adding a 1:30 solution of warm glue size.
A defining characteristic of Graduate Painting is the rich diversity of approaches to painting that includes paint on panels and stretched canvas, indoor and outdoor murals and installation-based painting in which objects, moving images, photography, printmaking and performative art can play a significant role.
This richness is shaped both by the culturally diverse international student cohort, and by the different practices of the four artists who teach on the programme. These artists share a deep fascination with material culture and its relation to artistic transformation 8211; this underlines the pedagogic thrust of the programme.
The Materials Research Project is supported by Onya McCausland, who works under the guidance of Gary Woodley and Jo Volley foregrounding the role of materials within the creative process, so the ‘what’ of a student work is always explored in relation to the ‘how’ of its making.
The Methods Room is a permanent site where students and staff experiment with materials extending their research by shared discovery, discussion and display. Although the Materials Research Project is based in Graduate Painting it is open to all Slade staff and students across the school.
The Material Research Project has three strands:
1. Guided Exploration 8211; Testing new ways of developing the relation between image and material. Different cultural materials and methodologies are explored, supported by a growing materials sample library. Technical Talks and seminars are conducted regularly by Jo, Gary and Onya on a wide range of materials-related subjects such as the properties of industrial paints and varnishes; investigating material as immaterial; supports and surfaces- laminate, veneer, vinyl, acrylic, aluminum.
2. Methods Surgery – Research is conducted to resolve a technical materials-based undertaking or problem that a student or staff member has encountered with a particular artwork.
3. Documentation – The results of research are documented. Information ranges from recipes for paints and grounds, to cataloguing materials and disseminating insights into experiences with materials, including an ongoing Image Library of materials and close up photographic imaging of the painted surface.
Onya McCausland is Honorary Research Assistant in Graduate Painting. Her practice focuses on how physical materials and their histories effect the production and meaning of the art object. She specialises in knowledge of materials and their sources in the British landscape. Onya’s painting practice extends into video, performance and installation. She is currently engaged in research flowing from the preparation of pigments with Jo Volley and scientist Spike Bucklow, HKI Cambridge University.
The Methods Room is Studio 2 of Graduate painting. It8217;s where material related questions are investigated and problems solved.
Each week the Material Research Project hosts an event such as a seminar, technical talk or materials 8216;surgery8217; in the Methods Room, Onya McCausland is there to work through ideas and material related questions for students across all areas of the school.
If you have a material related enquiry that you would like support with come to studio 2 on Fridays and Onya will attempt to help you out.
• Emulsion paint for walls and ceilings (vinyl matt and silk)
• Kitchen and bathroom paint
• Paint for interior and exterior wood and metal (gloss, satinwood and eggshell)
• Undercoats and primers
• Masonry paint for exterior brickwork
• Varnishes and woodstains
• Floor and tile paint
Reclaimed paint is available in a wide range of colours and sizes – from 750ml to 10 litres. A range of ‘as new’ paint donated from commercial sources is also available.
Reclaimed paint is available from the following locations for a suggested donation of £1 per litre:
FRP The Paint Place
Unit 7 The Sidings (Off Hainault Road)
London E11 1HD
020 8539 9076 (please leave a message)
Open: Monday, Wednesday and Thursday 10am to 4pm
Closed: Tuesday, Friday, Saturday and Sunday
In addition to our normal weekday opening hours FRP The Paint Place will be holding another fantastic free selected paint giveaway on the last Saturday of the summer months:
Saturday 27th April 8211; 10am and 1pm
Saturday 25th May 8211; 10am and 1pm
Saturday 29th June – 10am and 1pm
FRP ReUse Centre
2c Bakers Avenue
London E17 9AW
020 8539 3856
Open: Monday to Thursday 10 am to 4 pm.
Closed: Friday, Saturday and Sunday.
FRP also supply reclaimed paint to the following organisations where it is available to buy:
Bright Sparks Re-use Centre (Tufnell Park)
153 Fortess Road
London NW5 1AD
Open: Tuesday to Saturday 12:30pm to 5:30pm, Thursday 12:30pm to 7pm
Closed: Sunday and Monday
Enfield Re-use Centre
Units E4-6 Harbet Road (near Costco)
Stonehill Business Park
London N18 3QP
020 7324 4627
Open: Tuesday to Saturday 10am to 5pm
Closed: Sunday and Monday
Homestore (Referral Only – registration required)
Units 2 Maryland Industrial Estate
26 Maryland Road
London E15 1JW
020 8519 6264 (weekdays)
Open: Weekdays – if you are on low income or benefits, call to register as a Homestore customer
Petit Miracles ***Coming Soon***
West 12 Shopping Centre
London W12 8PP
Open: Tuesday to Saturday 10am to 5pm
Closed: Sunday and Monday
Splash Pilion (Appointment Required)
Unit 8 Clarendon Buildings
25 Horsell Road
London N5 1XL
020 7700 2498
Open: Monday to Friday 10am to 5pm – contact Howard on 020 7700 2498 to arrange an appointment
Closed: Saturday and Sunday