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 Monday, March 30, 2009
Can This Surface Be Saved?
Posted by richard
When a painting just doesn’t work out, is there a way to salvage the surface? Even with the best of efforts, some paintings just don’t work out. Whether due to an unclear concept, poor composition, faulty drawing, bad value relationship, lack of color harmony, or a combination of these, nothing we attempt can resurrect it from the mountain of failed attempts every artist produces. As frustrating and depressing as this can be, remember that more is learned from these attempts than from a safe painting. Embracing this philosophy may help our artistic outlook but doesn’t negate the monies invested in materials. As a medium, pastel (compared to wet paints which dry out and have to be disposed of) can prove quite cost effective. Considerable investment might be made in the purchase of large assortments of colors and brands, but they last. It’s the surfaces we go through quickly. To justify working on the best supports, while still providing food for the table, many of us look for ways to recycle failed paintings. Depending on the surface, most of the pastel on a failed painting can be removed, allowing for a fresh layer to be applied. To avoid inhaling the dust, however, it's best to avoid brushing off the pastel. If extremely heavy layers of pastel need to be removed, place a trough under the bottom edge of the upright painting. Gently drag a painting knife or flat edge utility blade down the surface, allowing the dust to fall into the trough. The best way to remove further pastel dust is to make it wet and use a blotting action. But before you do, consider what the surface can tolerate: water can swell and leave a thin paper or surface wrinkled; alcohol can soften certain binders used to adhere grit to a surface; and mineral spirits can soften certain glues used to mount paper to a backing board. Experiment on a section before committing. Once you feel secure in your choice, lay the painting flat, wet a section and blot the pastel off. Do not rub, as this will inevitably leave fuzz from the rag. This wetting and blotting procedure can be repeated as much as needed until the pastel is lifted off the surface, leaving the paper stained. Good quality papers and surfaces can take quiet a beating. Artists have described placing them under a faucet in their bathtubs or even taking them outside and spraying them off with a garden hose. What ever works! You’ll notice that certain pigments stain more than others. To avoid the distraction of the ghost image stain, turn the paper upside down so it is not recognizable, and then begin anew. This often leads to interesting possibilities. From something failed, something exciting may arise, and a dollar was saved.
3/30/2009 11:37:11 AM (Eastern Daylight Time, UTC-04:00)
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 Monday, March 23, 2009
The Taxing Side of Art
Posted by richard
 Here it is again—time to file those federal and state taxes. As artists, we typically spend more time engaging the creative side of the brain, which can’t be bothered with records and itemized lists of expenses. Creativity is great but best avoided when filling out tax forms. If painting is mostly a past-time for you (and there is nothing wrong with that; you are in good company with the likes of Sir Winston Churchill), keeping records and expensing your costs is not a concern. Even as a hobby, painting can prove expensive and being able to declare these costs against other income may be tempting. Be aware that hurdles must be met. It's best to contact a well-trained tax consultant for advice. If you're pursuing painting as a career, though, learning to keep accurate records and knowing what can be deducted, becomes imperative. Let me start by stating that I am not an expert on tax matters and certainly not an accountant. However, having done this for many years has lead to a few observations that might prove helpful: • Find a professional accountant or tax preparer and build a long-term relationship. Quick “drive through” tax businesses may not be equipped to understand the business of art. What we do is not a “cookie-cutter” business and requires a professional that has some experience working with artists. So many aspects of our lives are intertwined with the pursuit of creating art; it takes someone that understands the lifestyle and tax code to filter out what can, and cannot, be deducted. • Keep good records and all receipts. Computer-based bookkeeping programs are very helpful. Personally, I use an old-fashioned line ledger (old habits are hard to break). Don’t procrastinate in recording the information. There is nothing more daunting than a shoebox full of old forgotten receipts. • Set up a separate checking account and credit card for art related matters. This can make bookkeeping much easier. You know that everything on the statements had some art-related purpose. With online record-keeping, these records can be directly downloaded to accounting software, making it even easier to track those expenditures. • Deposit all income derived from your art, such as sales and tuition, into the dedicated checking account. Itemize these deposits by breaking them down into separate categories of income. Add a description to jog your memory, in case clarification is required. • Place a small notebook in your vehicle and record mileage to and from all art-related activities. All those trips to the art store, framer, classes, and shipping agent really add up. Even drives in pursuit of “landscape inspiration” are part of what we do. • If you have a separate studio space solely devoted to your art, it can provide a major deduction. If you utilize a room within your living space, it can become a little tricky and is best left to your tax consultant to work out. • Classes and workshops are considered part of continuing education. Everything involved can be deducted: tuition, travel, lodging, and meals. Even the upcoming trip to the IAPS (International Association of Pastel Societies) convention in Albuquerque, N.M., is deductible. Speaking of which, the artist Terri Ford happens to be offering an interesting IAPS session titled: “The Art of Keeping Good Tax Records,” on May 30th, 12:30 to 2:30 pm. To find out more, click here. It was Benjamin Franklin who said, "Certainty? In this world, nothing is certain but death and taxes." If painting is a major expense in your life, it may prove helpful to talk to your tax person and see if you can’t declare some of it against your income, ultimately providing more money for pastel purchases.
3/23/2009 2:27:03 PM (Eastern Daylight Time, UTC-04:00)
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 Monday, March 16, 2009
Traveling Light
Posted by richard
 Traveling with pastel supplies can be a delicate operation, be it for painting adventures in faraway locations or the opportunity to participate in a workshop. The actual process of packing is daunting to even the most seasoned pastel painter. When traveling by car, we can bring a portable studio with us; there's ample room for multiple paper choices in a variety of sizes, an extra pastel palette, easels, umbrellas, and multiple hats (depending on the environment and your mood). Rarely are all these extra supplies utilized, but we know they're there, just in case the need should arise. This provides a sense of security; we relax, knowing everything is safely stowed in the back of the vehicle. For this reason, many of us choose to drive long distances, investing days on the road, just to have the comfort of a well packed/stocked portable studio at the ready. When air travel is required, it becomes the opposite scenario. Everything needs to be downsized to the bare minimum, providing portability. A good sturdy pastel case for transport is a necessity (see my previous blog post from December 2007). Keep the case as small as possible. You'll be lugging it around in the airports, through security, and stowing it in an overhead bin. What feels light around the house can become a burden after a day of travel. Due to increased security, it's advisable to hand-carry your pastels instead of packing them in checked luggage. If you decide to check your pastel case; remember that all baggage, not just hand carried, is scanned for dangerous content and most are inspected away from your care. Even if you have placed your palette deep in the middle of your luggage, surrounded by cushioning clothing, an inspector may open the contents, disrupting the pastel sticks, creating a considerable mess. If you must pack them in checked luggage, be sure to place the pastel palette in a plastic bag that is easily opened and closed, and post a large note stating that the contents are “Fragile Artists Chalks” with instructions on how to carefully open and close the box. When traveling outside the country, make the note bilingual. Adding a polite “Thank you for your care and consideration” never hurts. To transport the pastel paper and finished paintings, create a protective sandwich consisting of two Gatorfoam panels and surround this with cushioning clothing within your checked luggage. Gatorfoam is a multi-layer composite of extremely dense and durable polystyrene foam board that resists crushing and denting. It's lightweight, puncture-resistant, and also makes a good drawing board surface for your pastel papers. Stack your painting surfaces with glassine insets placed between layers and tape or fasten the boards together to stop slippage. Seal this in a plastic bag before placing it in your luggage to protect the contents from any pastel dust migration that might occur during transport. This “sandwich” rarely peaks the interest of the TSA inspectors, but a note describing the content is still a good idea. With some practice and a little trial and error, you'll be gliding through the airports on your way to many pastel adventures; that is, if your luggage makes it to the same destination you do. In the photo: I carry a large, checked bag that contains a half French easel, my Gatorfoam pastel paper sandwich, miscellaneous art supplies, and yes, some clothing and toiletries. The black carry-on bag contains my pastel palette and a few extra pieces of pastel paper in case my checked luggage is delayed in arriving—an inexpensive easel can always be found.
3/16/2009 11:16:38 AM (Eastern Daylight Time, UTC-04:00)
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 Monday, March 09, 2009
When Are We Done?
Posted by richard
On a recent visit to the exhibition, “Da Vinci: The Genius” at the Oregon Museum of Science and Industry in Portland, Ore., I was reminded of the struggles artists have deciding when a piece of artwork is finished. The traveling exhibition is filled with models and examples of da Vinci's creative and scientific ingenuity. Of particular interest to painters are the sections dedicated to Mona Lisa and The Last Supper. French scientific engineer and photographer of fine art, Pascal Cotte, used a 240-million pixel digital camera, which he invented, to photograph Mona Lisa in the Louvre. He and his team were given unprecedented access to examine her outside the frame without the protective enclosure. Giant high definition images of the painting revealed incredible details that the human eye is incapable of seeing under normal conditions, which unveiled 25 secret revelations about the world’s most famous painting. The exhibition also compares the color as it appears now versus how it appears with the yellowed varnish removed. For more information, visit www.davincithegenius.com. Knowing when you're finished is possibly the hardest part of the painting process. We know that Mona Lisa always resided with master Leonardo and
sustained periodic adjustments by his hand. His attitude towards her
and possibly all of his endeavors is summed up in his words: “Art is
never finished, only abandoned.” The challenge for artists is that, while we often start with a clear purpose in mind, it's easy to loose sight of that goal and aimlessly wander around, throwing things at the painting, hoping for an exciting conclusion. If you don’t know where you want to go, you won’t know when you’ve arrived. So, ask yourself: Why am I painting this? What do I want to communicate to my audience? If you find yourself adding strokes to the painting just to be making marks: stop, step back and remind yourself what was your original intent. Before resuming, reevaluate the core elements of the composition. Is it drawn accurately? Does the linear movement (visual flow) accentuate the focal point? Are the values in proper relationship? Do the color choices have a shared sense of harmony? Have I conveyed the mood and attitude I desired with these choices? What was my concept? Have I communicated it? Reviewing these questions prevents us from spending hours, days, and weeks adding things just because we thought we needed to. If it isn’t clear or you don’t know what to do, do nothing. It is time to move on to the next painting. Mona Lisa (oil on wood, 77 x 53 cm) by Leonardo da Vinci (1452-1519), Louvre, Paris, France
3/9/2009 9:56:14 AM (Eastern Daylight Time, UTC-04:00)
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 Monday, March 02, 2009
Preparing the Pastel Stick
Posted by richard
 Many years ago I worked in an art supply and framing shop, it was a great experience and very informative. They handled a few pastel lines—two brands, I think (it was the 1970s after all)—and whenever a shipment came in, there were invariably a few broken sticks. This was especially an issue with the unopened boxed sets. Often, after purchasing a set, a customer would return upset because some of the beautiful sticks were “not perfect.” We’re not talking crushed or in multiple pieces, just broken in half. The policy was to give an exchange or refund, and the customer always departed happy. Some time during this period, I began teaching pastel classes and many of the pastel customers would filter through these sessions. It was always a traumatic experience for them to arrive the first day, open their pastel boxes preparing for work, only to be told to remove the paper label and break the sticks into usable sections. The look of complete horror on their faces was quite comical and I admit being amused. Hard-earned monies had been spent on these beautiful sticks of pure pigment, and they wanted them perfect. Even I am guilty of selecting another stick from open stock when I discover it is broken. It is human nature, especially for us OCDs. But the issue is not about whether a pastel stick is perfectly formed; our concern is whether it's a usable tool. To draw is to use a stick and make marks consisting of lines. To paint is to make a variety of shapes consisting of value and color. This is a simplified definition but gets to the aesthetic differences between the two mindsets. The longer we hold on to those perfectly wrapped pastels, the longer we hinder their potential. Whether rectangle, round or disk shaped, the new pastel stick needs to be readied for use. Think of these pastel pieces like a brush. The wet artist obtains a variety of sized brushes for the strokes they employ. The pastel artist mirrors this by breaking their pastels into pieces that provide a diversity of edge. The exposed side of the pastel stick is capable of broad strokes; the tip a blunt mark; and the edges a variety of line and dashes. By applying more or less pressure on one edge, varying degrees of pigment will be deposited, replicating the loaded or lean paint application of the oil painter. So ... peal the paper off and break those beautiful pastel sticks into usable sizes! Think of them as brushes. If you don’t do it now, some instructor will insist on it in the future. Save your shocked expressions for the awards your paintings will ultimately win.
3/2/2009 11:25:53 AM (Eastern Standard Time, UTC-05:00)
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