Here’s the latest version of the new drawing. I’m gradually getting all the wrinkles placed on the roof underlayment, and bringing the values along.
Today’s the day for hanging my artwork in the new exhibit. There’s a total of sixteen pieces, old and new. The location is a local government office building. All my work runs down two long hallways, and there are two other artists in the show as well. It’s a decent space for showing work, certain to get a lot of foot traffic.
The address for the show the Williamson County Annex building in Round Rock, TX at 1801 Old Settler’s Blvd (Google Maps link). The show runs from now until Oct.15th, Mon-Fri 8:30AM to 5PM. Drop by if you’re in the Austin, TX area. There’s a reception planned for Sep.11th from 3-5PM.
I spent the last few days driving around looking for ideas for something to draw, and woke up this morning to the hammering of roofers next door. Sometimes the work comes to you.
I’m drawing this on Wallis Sanded Paper, which is a very rough surface, and makes an interesting texture. You can see the lines better in the closeup below. I’m using a 5H lead which draws very dark on this surface, but keeps a sharp point longer than softer leads.
I had the frame specially made by my friend, Sonia, at Stinger Studios, and picked it up yesterday. Since I wanted this one to have a metal frame, it was best to let Sonia do it for me. She did a great job, I think.
One last piece needs the hanging wire on the back, and then everything will be ready for the show on the 15th.
I’ve been spending the last couple weeks or so getting ready for another art exhibit in August, and this picture shows a few of the paintings I’ve been sprucing up for delivery. I’ve got one custom-made frame still being assembled, and a few here that need backings and hanging wires attached, but should have all that done by the end of the week.
It will be a large comprehensive show with 18 total pieces, mixing old and new. As soon as I get an official announcement with the dates and times I’ll post the details. It’s nice not being rushed, for a change.
Some time ago I wrote a posting about how paintings can display an uneven shine on their surface that can be annoying when seen from the side. I can resolve this by properly applying a final varnish coat, but it takes time before the painting will be ready for that. There is another option involving the use of an “oil painting medium.” The technique is referred to as “oiling out.”
This medium is sold by a number of different brands. The one I have is from Winsor and Newton. It’s made with a combination of linseed oil and resin.
When your painting has become dry to the touch in all areas, look at it from the side and you will likely see spots that have different reflective qualities. Some patches will have a “sunken in” or matte look to them in comparison to the rest of the painting. This is caused by the type of pigment and/or medium choices you have used. Applying this painting medium to the surface will even out those dull patches and give the whole painting an even shine.
In this example I’m using my recently finished oil painting. On the bottom of this picture you can see how there are uneven areas of dull and shiny patches. At the top edge I’ve started to apply a very thin coat of this painting medium that causes the surface to shine evenly. I’m using a clean cotton muslin rag to dab the medium onto the surface and work it into the paint, and then I go back over this with another clean rag to even it out. Keep this coat as thin as possible. After a few days it should be completely dry.
Note that this acts more as a finish than a varnish. You’ll still want to give your painting a final varnish coat after a few months have passed.
On the Facebook page for Royal Talens, an art supply company, I saw a post from them recently on the proposed ban to the European Chemicals Agency for cadmium pigment in all artist’s paints. This ban, should it adopted, would also affect the availability of cadmium in the United States.
Talens gave a link to the ECHA site where you can review the text of the proposals and even make your own comment response back to them. The ban proposal texts appear as PDF file links for the “Information note” and “Restriction report.” This public reply period ends on September 19th, 2014. If you have an opinion on this let them know.
I have been hearing about the banning of cadmium (and cobalt) pigments for artist paints for some time now, but this is the first time I’ve seen it start to move forward beyond the rumor stage. I personally rarely use any of the cadmiums, but when I do need them, there really isn’t a good alternative. You can see why in these pictures that Talens also posted:
These pictures show tests made that compare cadmium red and yellow with an “alternative pigment in terms of lightfastness, tinting strength, and opacity. No mention was given as to what that alternative was, but from their own color chart of oil paints I assume it was Pyrrole for red and Benzimidazole for the yellow. I’m waiting to get a confirmation on that from them.
Personally, I have to admit I rarely use cadmiums on my palette, but when I do it is because I need the qualities they have to offer. Any alternative is a poor substitute. I still have tubes in various media that are several years old and will likely last for several more. I suppose if I buy one more tube of each that I’ll have enough to last a lifetime. That said, I don’t appreciate being denied access to the colors I need when all that is required is to use them properly and with intelligence.
As such, I sent off my own request for the ECHA to disregard the ban proposal and concentrate more on educating the public on the proper way to dispose of the paints so they don’t endanger the environment or the users themselves. To footnote my response I borrowed information from the Cadmium.org site, and this PDF file from Gamblin.