Wednesday, July 31, 2019
Various types of additives, such as stabilizers, defoamers, coalescing solvents, thickeners, and preservatives, are added to the acrylic paint to produce the desired results.
The chances of acrylic paintings cracking are relatively low as the paint is flexible and can withstand pressure. However, acrylic paintings may become very brittle and crack in freezing temperatures. Sometimes acrylic paintings may develop a gray veil on the surface or form a yellow discoloration over a long period of time.
Since acrylic films are soft at room temperature, dust particles can settle on the surface and become mixed with the paint, resulting in stained paintings. Protective framing can combat this problem up to a certain extent. Varnishes can protect the paintings considerably from scratches and dust. Many artists do not like to varnish their paintings. Another major problem faced by acrylic painters is that of mold growth and as of now, no perfect solution has been devised for this problem.
There is a wide range of acrylic paints available in the market. It is imperative for acrylic painters to purchased superior quality products as poor quality paints fade easily when exposed to ultra violet light.
Regardless of high standards of care and maintenance, many artists continue to use acrylic paints because of their fast-drying quality and versatility.
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Monday, July 29, 2019
Friday, July 26, 2019
and International Portrait Competitions Awards and Honors
and a Graduate of the acclaimed Academy for Fine Arts in Tbilisi Georgia. His works are in private and public Collections throughout the Russia, Canada, Israel, Georgia, USA and has been featured in several national publications.
Since 1987 he is a member of the association of Arts in the Soviet Union. In 1995 he immigrated to Israel and become a member of the Israeli painters and sculptors association.
A Master of Fine Arts, he has a strong belief in the Eternal Values offered to the artists by the Renaissance, which are:
Love and Respect for God's Creation, Appreciation of it's Harmony and Beauty without alterations.
Necessity of study for the Knowledge of the Human Anatomy, Perspective, Composition, Painting and Drawing Methods.
A Must of the Drawing Skill, based on that Knowledge.
The foundation of his painting philosophy is the pursuit of superb draftsmanship skills to ensure the integrity of the painting. Equally important is the creation of a dynamic and unified composition that invites the viewer in for closer inspection. Each painting is carefully thought out and a drawing is submitted for approval before the canvas is built.
With a desire to create distinguished portraits that speak to many, he searches to convey quiet, sensitive insight into the life of the sitter. His visual understanding is greatly enhanced by painting from life when possible.
"I feel profoundly blessed and grateful to God for the gift of painting, the ability to express my visions, filings and fantasies on canvas, to share it with others, and the opportunity to pursue a career I dearly love." - Michael Khundiashvili.
Michael Khundiashvili is a recipient of National and International Portrait Competitions Awards and Honors and a Graduate of the acclaimed Academy for Fine Arts in Tbilisi Georgia. His works are in private and public Collections throughout the Russia, Canada, Israel, Georgia, USA and has been featured in several national publications. Since 1987 he is a member of the association of Arts in the Soviet Union. In 1995 he immigrated to Israel and become a member of the Israeli painters and sculptors association. A Master of Fine Arts, he has a strong belief in the Eternal Values offered to the artists by the Renaissance, which are: Love and Respect for God's Creation, Appreciation of it's Harmony and Beauty without alterations. Necessity of study for the Knowledge of the Human Anatomy, Perspective, Composition, Painting and Drawing Methods. A Must of the Drawing Skill, based on that Knowledge.
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Wednesday, July 24, 2019
Monday, July 22, 2019
You already know there are only three Primary Hues: Red, Yellow, Blue. Where they merge, they create the Secondary colours: Orange, Green, Purple. These are the major colours we see when light is projected through a prism, separating into its different wavelengths. A strip of these colours can be joined to make a circle: The Colour Wheel. Looking at a rainbow, or at a scene in nature, you will notice that many more colours than these are discernible.
And so, the basic principle of The Colour Wheel has been expanded to include the Tertiary colours: Red Purple, Blue Purple, Blue Green, Yellow Green and so on. Using this advanced model, you can make far more accurate colour matches.
Take a ruler and pencil a line joining any colour with the one opposite it on the Wheel. Each is the Complement of the other. For instance, the complement of Red is not Green, but Blue Green. The colours Adjacent, or next to, Red are Orange and Red Purple. If you pencil a wedge shape - or 'slice of the pie' - to include the Adjacent and the Dominant hues at the wide end, with the Complement at the pointy end, you will have the basis for a sound colour composition.
If you were to analyse any successful painting you see - in a museum or gallery or art journal - you would find the artist has used colours that fit into this wedge shape on the Wheel.
Taking that pencil again, draw an equal-sided triangle starting from the Dominant hue. The bottom corners of the triangle will be over the two Discord hues. Used sparingly, these colours will give your painting a pleasing contrast that enlivens the work. The final, and very important, element of your colour composition is made up of the Neutral hues. They are made by mixing a colour with varying amounts of its Complement.
Experiment by drawing a line between two colours, adding just a little more of the Complement to each as you work towards the centre of the Wheel. You can see how lively are the greys you can mix this way. Because they are made from the colours you are using in your painting, they will give the work a satisfying cohesiveness, while letting the eye rest from the dominant hues. A grey made by mixing White with Black is dead, artificial, and does nothing for your artwork.
So here is your 'recipe' for a colour-balanced painting: Dominant hue: comprises the bulk of the composition. Adjacent hues: equal amounts of both, but use less of each than the Dominant. Complement: very small amount (diminished in Chroma - more on that later.) Discord hues: equal, small amounts of each. Neutral hues: mixed from colours used in the painting.
Dorothy Gauvin is an internationally acclaimed Australian painter in oils who specializes in an epic theme of Australia's pioneers. See models of the Colour Wheel that you can freely print out and experiment with on her website at http://www.artgallerygauvin.com/
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Friday, July 19, 2019
Wednesday, July 17, 2019
So my point is, there are ways to fix a broken watercolor so don't give up. Learn the basics first to avoid many beginner problems but then remember.... With a tough watercolor paper, you can wash, scrape, erase, rub and scrub lots of those mistakes away. Don't give up and don't believe that watercolor is too difficult, because if I can do it, anyone can! That's that!
Paint like no one is watching!
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Monday, July 15, 2019
Sunday, July 14, 2019
Friday, July 12, 2019
The puritan values of early English settlers in North America were so severe that they shunned all sorts of luxury including artistic expressions such as painting, a flourishing art in Europe especially in England. Beginning to settle in a strange land was very hard for these new settlers so they busied themselves with only the most essential things.
However, there were already some portraits noted during the early years of their settlement. These paintings were done by painters who identified themselves as "limners." They were the earliest known American painters. They were naturally artistic as they only trained themselves by going from one place to another to paint portraits of common folks. Training in an art school was contrary to their strict Puritan way of life.
Growth of American Art
Apparently, early Americans' interest in painting grew bigger that several years later after having established their life in America, American painters began to go to England to study.
Although early American painters were highly influenced by artistic styles already developed in Europe, as years passed by they began to create their own style in painting. In 19th century in particular, notable difference between paintings of American painters and those of their European counterparts began to show up. This distinctive American style was not only shown by American painters but as well as other American artists, especially in the field of architecture.
Diversity in painting styles of American painters was also promoted by the country's big geographical size. American painters from each region showed variations in their works. Moreover, there were differences in the works of American painters living in the cities and those of American painters living in rural areas.
National Academy of Design
The National Academy of Design, formed in 1825, was an honorary association of American artists, including American painters. Today it is now called The National Academy, which is also a museum and a school for fine arts.
Society of American Artists
First members of the Society of American Artists include American painters Robert Swain Gifford, an American landscape painter; John Henry Twachtman, most popular impressionist landscape painter in his time; John LaFarge who was also famous for his stained glass windows and writings; and Albert Pinkham Ryder, famous for his seascapes. These American painters left the National Academy of Design and formed their own association because the first failed to meet their needs as artists.
Ten American Painters
Due to the Society of American Artists' rising commercialism, ten significant American painters resigned from the association and were know as the "Ten American Painters." Among them were John Henry Twachtman, Thomas Wilmer Dewing, Edmund Charles Tarbell, and Frank Weston Benson. The group was identified as impressionists.
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Wednesday, July 10, 2019
Monday, July 8, 2019
The stiff brushes are used for the majority of painting tasks and it comes in three shapes: the round, the flat and the filbert. For all ye art beginners, filbert is a shape that is rounded at the base and tapers to a point at the tip. Stiff brushes are made of hog bristles but there are also synthetic bristles available that can make acceptable results. Naturally, many painters prefer the genuine article.
The soft brushes are used for putting in fine details. Painters agree that the best soft brushes are the ones made of sable. Since sable brushes are expensive, there are substitutes available. But the brush strokes made using these replacements are not as good as the ones made by the sable-made soft brush.
There is also a kind of brush made of either sable or hog hair. It is called a fan-head brush and it is needed to seamlessly blend paint on the canvas.
We have heard of painters not taking a bath during a painting marathon, and there are painters known for having chaotic studios. But many painters liked to be organized and the most cared for of their tools are the brushes. Besides, many painters believed, though no scientific data supports this, that used but well cared-for brushes perform better than new ones.
The first rule in caring for paint brushes is to never use them to mix paint. There are painting knives to do this task. Another important thing to remember is to never stand the brushes, especially the soft ones, with the point down in the jar. Those expensive hair or bristles are sensitive and may be bent permanently.
When a painter mentors you to place just the right amount of paint on the brush, he wasn't thinking about saving the paint. He was trying to save the brush. Too much paint on it will clog the ferrules, the part that holds the hair or bristles together. If clogged, you have to clean it and cannot avoid parting the hairs. If done too often, the brush ultimately become useless.
Lastly, brushes should be cleaned as soon as you are done using them. You may use turpentine with soap and water. For soft brushes, these can be dipped in milk and allowed to dry for a couple of days. Remember to keep the tips up.
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Friday, July 5, 2019
“Our vision for TAF has always been to develop young artists and grow the market for African art and elevate art collecting across a wider market. South Africans have really embraced this Fair since the beginning and we are delighted to be moving to a bigger venue in 2019. Visitors will be able to view exciting installations, larger gallery spaces and a more conceptually curated Fair but in the relaxed enviroment that has always been the signature of Turbine Art Fair ” says Fair Founder, Glynis Hyslop.
Proudly partnered for a second year by RMB, TAF is a unique South African art collaboration that brings together galleries and artists from around the country to present and sell works. As a talent brand, RMB nurtures and celebrates creativity widely, making this partnership a natural extension of the Bank’s respect for the possibilities that creativity unleashes. Enabling access to the arts by supporting and exposing emerging artists, attracting diverse audiences and existing and new collectors, demonstrates RMB’s commitment to transforming lives through the growth of the creative economy.
“The RMB Turbine Art Fair thoughtfully extends the visual arts market in an environment that is dynamic, accessible and strongly African,” says Alison Badenhorst, Head of RMB Corporate Marketing. “Our own art collection is a tangible example of deliberately sharing the creative energy that art naturally inspires. Totaling 2000 works, the inclusiveness of RMB’s collection comes from it being sourced locally, thus communicating the shared African story”.
“The Forum Company is proud co-sponsor of RMB TAF. As leaders in the field of hosting and conceptualising events and pop-ups as well as creating timeless shared experiences through sustainability and innovative, iconic spaces we are hugely excited about being part of one of Johannesburg’s much-loved events – RMB Turbine Art Fair” adds Glynis Hyslop.
RMB TAF is not just an art fair but an all-encompassing cultural experience for visitors, with artisanal food and beverages and vibrant entertainment programme. It also differentiates itself from other South African art fairs through its accessible pricing strategy. The selling price of artworks generally falls between R1000 and R50 000, which presents opportunities to savvy investors and new buyers to extend their collections easily, and for new artists to thrive off this talent platform.
RMB Turbine Art Fair will present a series of special projects for visitors to view during the Fair as well as a multidisciplinary public programme curated by Kefiloe Siwisa and Nomvuyo Horwitz – titled “The Year of the mirror” which will include performance art, music, screenings, masterclasses and a children’s programme, talks and walkabout series sponsored by RMB Private Bank. The talks and walkbaouts are offerd to the public for free and on a first come first serve basis. The full list of talks, speakers panelists and talk times can be found on the website.
Daily walkabouts sponsored by RMB Private Bank with art specialists and cultural enthusiasts will be hosted on a first come first served basis. The full list of walkabouts will be on the website ahead of the Fair opening.
Children are not forgotten at RMB Turbine Art Fair. A Children’s Programme has been created and will be run by Imbali Visual Literacy Project, which includes children specific walkabouts held daily and will be lead by Alison Kearney.
Radio partner Kaya FM will be broadcasting live from the Fair on Saturday 13th July.
For more info: www.turbineartfair.co.za
Dates: 12 - 14 July 2019
Venue: 10 Fricker Rd Illovo, JHB
Tickets: R120 via Webtickets or R150 at door
Weekend pass: R250 via webtickets or R300 at door
Children R100: 4 years & older Includes access to children’s arts area and children’s walkabout on a first come first serve basis
Students & Pensioners: R100 at door and R80 via Webtickets (Friday only)
VIP opening night (11th July): R750 via Webtickets only and will include Performances by Gregory Maqoma (founder & executive director of Vuyani Dance Group) and Mabuta
FAIR HIGHLIGHTS & SPECIAL PROJECTS
· RMB Talent Unlocked is an emerging artist and curator mentorship program that started in 2014 under the name Fresh Produce. Assemblage, in collaboration with Visual Arts Network of South Africa (VANSA) and RMB Turbine Art Fair, has coordinated a six-month intensive workshop programme funded by RMB for emerging artists that integrates practical art-making (focusing on process and conceptual development) with professional practice training. The objective of this comprehensive programme is to provide the selected participants with support and guidance to develop their work and, very importantly, with tools to sustain their art career once the programme is completed. Appropriate industry professionals are carefully selected to facilitate each workshop whilst sharing their knowledge and personal experience. The workshop programme culminates with a curated booth by Fulufhelo Mobadi at the RMB Turbine Art Fair. This is a unique opportunity for an emerging artist’s work to be viewed publicly at a prestigious event.
· A Meeting of Minds: Louis Khehla Maqhubela and Douglas Portway Presented by Strauss & Co
Strauss & Co is proud to present the third in a series of museum-quality exhibitions (2017: JH Pierneef; 2018: Irma Stern) at the RMB Turbine Art Fair focusing this year on two prominent South African artists whose work has a great synergy: Louis Khehla Maqhubela and Douglas Portway met for the first time in St Ives, Cornwell, in 1967, after Maqhubela won the prestigious Artist of Fame and Promise award at the Adler Fielding Gallery in Johannesburg, which included the prize of a trip to Europe. It was a meeting of great minds: they were artistic kindred spirits in the true sense of the term. Both were already highly successful artists in their own rights, albeit having had very different entry points to their careers. The meeting impacted both artists’ thinking and the manner in which they painted subsequently. The aim of this exhibition is to examine the intersection of the work of these two artists, looking at their art training and early influences, and how their styles developed after they met.
· Market Photo Workshop alumni exhibition - As a school of photography, a gallery, and a project space, the Market Photo Workshop has played a pivotal role in the training of South Africa’s photographers, ensuring that visual literacy reaches neglected and marginalised parts of our society. Since it was founded in 1989 by world-renowned photographer David Goldblatt, the Photo Workshop has been an agent of change and representation, informing photographers, visual artists, educators, students and broader communities of trends, issues and debates in photography and visual culture. Market Photo Workshop believes in progressive education that challenges traditional modes of thinking, continuously encouraging students to critically engage with the world around them.
· Dumisani Mabaso benefit exhibition - As an artist and printmaker, Dumisani’s life and work is inextricably linked to the history of South African Art. He was introduced to print making by his father who worked at a printing press and took his first art classes at the age of thirteen. He was fortunate to have had training at the Rorkes Drift Art Centre in KwaZulu Natal when access to fine arts was largely denied to black communities. It was here he learnt weaving skills and printmaking, which have formed an important part in our cultural heritage. Dumisani went on to teach and work at the Johannesburg Art foundation, managed by Bill Ainslie to encourage expressionsisn in art and where many of South Africa greatest artists started their careers.
We hope this retrospective will give Dumisani the exposure he still deserves and emphasize the importance of the role he played in South African Art. His colleagues and friends will never forget this quiet and gentle man who showed so much strength in his commitment to expressing his feelings and sharing ideas though colour, texture and form. May he remain an inspiration for many years to come.
· The Graduate Exhibition curated by Kefiloe Siwisa in collaboration with Maja Marx returns for a 5th year and draws huge attention from those who attend the Fair. Visitors can expect to see the exciting work of graduates who have been handpicked from across South Africa. The Graduate Show presents a great opportunity to buy and start collecting some fabulous work of artists who are at the beginning of their artistic careers.
· Installations have always been an exciting part of the RMB Turbine Art Fair and 2019 will be no exception. The new space lends itself perfectly to installations and visitors will see the likes of Nkhensani Rihlampfu presented by M Studio Community and Jake Singer.
· Gerard Sekoto Foundation wlll be presenting an exhibition at RMB TAF.
Thursday, July 4, 2019
Wednesday, July 3, 2019
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Tuesday, July 2, 2019
The birth of this art movement during the 1950s-1960s wasn't a coincidence. Artists were getting tired of the inwardness and opacity of the abstract expressionism; the American society (and the British one, but on a less extent) was enjoying deep changes in terms of economic revival after the constraints of the Second World War. Therefore, the artist community mocked the shallowness and the materialism of the Americans, employing symbols of mass culture (Coke cans, magazines or comic strips) in their pop art paintings.
The artists who had embraced this art style used different symbols: American flags (Jasper Johns), comic strips (Roy Lichtenstein) and soup cans (Andy Warhol) or stuffed animals (Robert Rauschenberg).
Pop art paintings also represented icons of the artists' reaction against the dullness and complexity of the abstract expressionism. Abstract techniques were replaced with more accessible ones like humor or surface appearance. The central idea of this art movement was to express messages to the mass by transforming the ordinary things into art objects.
Although the pop art stream was very popular among the layman public, it was highly controversial among the art critics community. Some considered pop art paintings as cheap, tacky imitations of everyday life symbols; others regarded them as icons of the shallow American society at mid-century.
Nevertheless, this art movement represented a breath of vivid, fresh air in an art characterized until then by opacity and seriousness.
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Monday, July 1, 2019
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#mondaymotivation One of our goals is to build relationships with you - share ideas and goals, and to be there for each other through it all. We need your talent on our canvases, and you need the best canvas for your talent! #artist #largecanvas #largecanvaspainting #acrylicpouring #art #artcanvasfactory #artistsoninstagram #southafricanartist🇿🇦 #giantcanvas #customartistcanvas #stretchcanvas #canvaspainting #canvasart #canvasframe #boxcanvas #artistboxcanvas #roundcanvas #roundart #roundcanvasart #customcanvas #oilpainting #oilpaint #watercolor #watercolorpainting #mixedmedia #hexagoncanvas #mandalacanvas
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