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Mixed Media Art, Techniques, Collage & Artists
Rock art is a fun and easy way to spend craft time with your kids. All it takes is paint, a few rocks and your imagination! In this free demonstration on painting on rocks, expert rock artist Lin Wellford shows …
The Ohio Arts Council’s Riffe Gallery will present the “Outside in Ohio: A Century of Unexpected Genius” exhibition from July 26 – October 14, 2012, displaying the work of 18 Ohio artists who have never studied art.
Ephraim Rubenstein’s news series of mixed media drawings of ancient temples and cathedrals harnesses the expressive power of the wax-resist method. Here, he shares a step-by-step demonstration of how he created Selinunte II (mixed media, 50×38). Don’t miss this free demo of his work.
Since the time of French artist Edgar Degas, pastelists have been experimenting with a variety of experimental techniques that may employ fixatives, solvents, and mixed-media. One of the most popular solvents that pastelsists use, and one that is happily free of health concerns—is water. Since pastel sticks are water-soluble and most contain high degrees of pigmentation, they can easily be liquefied, producing beautiful underpainting effects. The disadvantage of water when compared to other chemical solutions is its density. Depending on the fibrous content of the pastel surface, water can make it swell, creating an irregular wavy surface when dry. This makes the application of pastel more difficult and contributes to a less than satisfying final appearance. To remedy this, fibrous surfaces should be stretched or securely mounted to a rigid backing board.
Congratulations to The Artist’s Magazine’s 2012 All Media Art Competition winners! View the first places and honorable mentions in the categories for Acrylic; Colored Pencil; Graphite, Charcoal and Ink; Mixed Media and Collage; Oil and Oil Pastel; Pastel; and Watercolor.
Starting a pastel painting with an underpainting is one of my favorite methods. It sets the stage for the subsequent applications of pigment and provides something upon which to respond. An underpainting can be both utilitarian and serendipitous in its intention. One focuses on blocking in the large value and color relationships, making it easier to respond with detail. The other provides a more accidental/spontaneous happening, which often leads to new creative possibilities. Marrying these two concepts into one application can be a frustrating procedure. Either a solid value/color ground is achieved and creative spontaneity compromised, or an exciting spontaneous underpainting is achieved and a solid value/color structure is lacking. With practice, though, these two concepts can come together into one underpainting but until that technical ability is achieved, there are a couple of techniques that can be employed that will provide a solid value foundation upon which a serendipitous application of color can be applied.