From the President
Greetings from the Tallahassee Watercolor Society, and a joyous New Year to all!
First of all, I like to applaud and express gratitude to the hard work in past 2023 year to well organized and motived board of TaWS: Bobbie Buckingham, Debra Lachter, Echo Gates, Marty Holland, Jennifer Lange, Yoshiko Murdick, Elena Thurmann Scibelli, Maryo Smith, Mary Liz Tippin-Moody, Juanita Whiddon, Suzanna Winton.
As we embark on this fresh journey into the year, we hold high expectations and full confidence in your ability to make it truly remarkable. Have you set any New Year's resolutions, or are you contemplating doing so? Whether your aspirations are artistic or community-focused, know that it's never too late, and the Tallahassee Watercolor Society stands ready to support you.
Many individuals resolve to paint more, experiment with new techniques, or participate in community arts programs. Some set specific goals, such as painting daily or creating a new work of art weekly or monthly. Whatever resonates with you, now is the perfect moment to contemplate what you might want to submit for the 2023 Tri-State exhibition. The prospectus is already on TaWS website, with an application deadline in March 12.
If you seek more structured guidance or instruction, consider enrolling in our May workshop featuring a nationally renowned watercolor artist Richard Russell Sneary. Attend our monthly general meetings to glean insights from local experts.
For those who haven't explored personal growth through community engagement and leadership, now is the ideal time to do so. The watercolor society is actively looking for members to step into new (or previous) roles, with elections for next year's officers scheduled for April and a nominating committee to be established in February.
Here's to a splendid New Year for all! We eagerly look forward to reconnecting with you soon.
Natalia Andreeva
President, TaWS
Tallahassee Watercolor Society,
Signature Member AIS, PAPSE, OPA
2024's Meeting featured presenters
January's presenter will be Michael Harrell (painting in the style of Winslow Homer)
Michael J. Harrell is a native of Tallahassee, Florida. He received a B.F.A. from the University of Georgia in 1988.
His oils and watercolors have, won numerous awards and can be found in corporate and private collections around the country. The Hilt "Harrell possesses a total command of his medium" and that his recent one-man show was on Head Island Packet recently wrote that a "resounding success." For six years Harrell was invited to participate in the American Miniature Show at Settlers West Gallery in Tucson, Arizona, featuring two hundred of America's top artists.
Harrell's work is reminiscent of American realists such as Andrew Wythe and Winslow Home and he is well known for his remarkable ability to capture the luminous effects of light. In 2005, "The Artists Magazine" list America to watch.
Corporate clients include the community of Seaside, Florida, MasterCard, American Express, and Paramount Pictures, Maritime Museum at Mystic Seaport, & The Masterworks Museum of Bermuda Art.
Michael’s presentation will consist of analyzing 2-4 Winslow Homer paintings (He will bring a few reproductions of his), & show how his techniques were likely done, colors used, etc.. basically, how to “read” a painting to figure out how to employ similar methods in your own artwork. Mark your calendars, you won’t want to miss this opportunity to hear and see this Demo and Presentation!
- Feb-Bob O’Leary (How to photograph your Art for entering Art shows)
- March-Debra Lachter (Alcohol Inks Expert Artist)
- April-Dean Mitchell (Quincy Native, Aclaimed and Award winning Artist)
- May-Maryo Smith (Professional Artist)
Call For Entries!
2024
36th TaWS Annual Tri-State Juried Watercolor Exhibition
Join your fellow Tallahassee Watercolor Society artists from Alabama, Georgia and Florida for the 36th Tri-State Juried Watercolor Exhibition.
DEADLINE: MARCH 12, 2024
Visit our website to enter the show: www.tallahasseewatercolorsociety.org
If you have any questions, call or email Bobbie Buckingham at
(850) 766-4672
Richard Russell Sneary Workshop
MAY 14-16, 9:00AM TO 4:00PM EACH DAY
Richard Russell Sneary, architect and renowned architectural illustrator, has begun painting en plain air in watercolor over the last three years also begun painting en plein air in watercolor. Through his training as an architect / illustrator of architecture he is often compelled to include something of the built environment into his paintings. Like many artists, Richard is drawn to subjects by light and color, but also by the sense of place, its character, and the story he sees in it, and it is the juxtaposition of light, color, contrast, form, abstraction, and detail that make the stories work. Richard is a signature member of the National Watercolor Society and Missouri Watercolor Society, a member of the American Watercolor Society, and a member of Missouri Valley Impressionist Society. Find more information on his website: www.richardsneary.com
Workshop Description: The emphasis of this workshop will explore the fundamentals of drawing, perspective, design/composition, contrast, basic watercolor washes/ mixtures, color relationships, value studies & color studies from photos and life, and how to simplify what we see in front of us. We will also explore how mood, atmosphere, and story can bring more meaning to your painting. Each day will start and end with a demo on a different subject related to the day’s focus. You can join in and paint along with me, or just listen. I will talk about the materials used and explain my thoughts as I paint. Questions are encouraged. They keep me awake, so speak up! There will be plenty of one-on-one guidance and a question/answer session daily. A class critique will be conducted at the end of each day.
SEATING IS VERY LIMITED, SO REGISTER NOW!
APPLICATION DEADLINE: APRIL 24, 2023
Member Cost: $300.00
Non-Member Cost: $350.00
Deposit to hold seat: $100.00
FOR MORE INFORMATION, EMAIL MARY O AT MARYOSMITH7@GMAIL.COM OR CALL AT (912) 266-5720
Artist Dialogue- Here is what members are saying:
TaWS Artist Dialogues is a benefit often overlooked. That our society provides a monthly artist dialogue, is a service I very much appreciate and get a lot out of. The dialogue consists of critique and discussion. Constructive criticism offers insights that I may not have considered. The input often offers a new perspective which often helps with a piece I haven’t finished or am having a problem with. The best part for me is discussing art and gaining deeper connection with the art community. There are times when it is almost magical, when as a group, we are problem solving together, really seeing more as we analyze a piece. It is always done in the spirit of helping! Consider coming to the main library on the first Sunday of a month and check it out. I don’t think you’ll be disappointed. - Debra Lachter
Artist Dialogue is like a lifeline to me. I moved to Tallahassee from Marietta, GA during Covid so I have only been involved in the art world here for about two years. I am so grateful to TaWS for facilitating Artist Dialogue where you can meet new people, exchange ideas and see your work from a different perspective. Recently, I brought a painting to critique that I was so frustrated with I was ready to destroy. Instead Debra, a new member to me, had a small matt and showed me how viewing it in a smaller format could save the painting. It was a miracle!! Artist Dialogue is a friendly, non-threatening, helpful group of artists who want to learn and improve their artistic skills while enjoying the camaraderie of fellow artists. If you are a beginning artist or a professional artist I think you would love being part of Artist Dialogue. - Beverly Harding
I find it very interesting and inspiring. The group gets me painting so I have something to bring. I feel like I learn a lot from what others are doing and what they say about their own work. - Tristan Mor
I think the most valuable thing for me is to hear others interpret what I’ve done from their perspective, which is often very different from my own. It opens my eyes to how we see others’ work. - Lynn Heacock
I found it supportive and encouraging. - Gita Soltani
I look forward to our artist dialogue! It’s a wonderful way to get insight from fellow artists and get to know them better! We all have different approaches and styles but I always leave with a fresh way of looking at the piece I’ve brought in. I highly recommend! - Elena Scibelli
The Artist Dialogue is a unique opportunity to meet and interact with artists of all levels who share their strengths, weaknesses and talent. I enjoy hearing the different suggestions about one picture and how differently the picture is viewed by others. I also like sharing and receiving the different tips, techniques, lessons, experiments, etc. - Lana Dixon
Join us for Artist Dialogue on the first Sunday of each month at the downtown library from 2:00 to 4:00
200 W Park Ave, Tallahassee Fl
Room locations and any changes to dates provided on the website and via e-blast
Next two meetings
- February 4, 2024 in Room B on the 1st floor
- March 3, 2024 in Room B on the 1st floor
Nancy Dias
Nancy Dias, TaWS was accepted into the Rhode Island Watercolor Society's online open juried show "Negative Spaces” announced by Kathleen O'Hara, Gallery Director for her painting Magnolia Spray. The on-line show ran through December 15 but can still be seen on the RIWS website.
Nancy’s painting Autumn Spray was also selected as one of the 12 to be featured in the organizations 2024 Calendar
Nancy home state is Rhode Island so it was a special Christmas treat for her.
You can see both events on their Facebook link as well.
Tristan Mor
When I attended the TaWS Artist Dialogue at the Leon County Public Library on January 7, I brought two paintings I had created using a poured watercolor technique I learned in Nina Freeman’s class at LeMoyne. I completed these paintings using Zentangle to create the effect of a fantasy underwater garden.
Several attendees expressed an interest in the technique, but I could not describe it well. Fortunately, Nina has a good explanation of her method for pouring watercolor on her blog.
I also brought a leaf painting that I was working on. Again, some attendees asked about materials and techniques. I use Derwent watercolor pencils on Winsor & Newton hot-pressed paper. I begin by tracing the leaves, then sketching in the colors with watercolor pencils. I go over that with a wet brush, then begin detailed work, using a wet brush on the pencil point to pick up color and apply it to the paper. It takes a long time and many layers of paint to create a single leaf.
These are the sorts of things that come up in the Artist Dialogue once a month. Seeing other artists' paintings and listening to them talk about their work is interesting, educational, and inspiring.
Art Change Out at the TMH Rehabilitation and Cancer Centers
We are excited to announce that our partnership with Tallahassee Memorial Health Care is improving and expanding. The display space at the Cancer Center has been redone and they are ready to resume displaying artworks by our members. The available wall space at the Rehabilitation Center continues to be substantially larger, allowing for more paintings. The plan at this point is to select some paintings on display at the Rehabilitation Center and move them to the Cancer Center. The next Change Out is set for Friday, February 2 at the Rehabilitation Center. The data collection process for new displays at either venue is therefore changing to include a digital image and framed painting sizes. This enables us to select size and subject matter cohesive paintings for each site. An e-blast with details on this process was sent to members on January 11.
All members are encouraged to participate. Neither display is juried. Artworks may be offered for sale, with a 20% donation going to support the Tallahassee Memorial Health Care Foundation. This is a Win-Win opportunity, for artists, collectors, patients, staff and the community at large.
Any member who would like to participate should check their e-mail from January 11 and send the requested information to Jennifer Lange at jenlange@comcast.net by Monday, January 29.
Explore creative living through A Week with the Arts
Join us for A Week with the Arts, Gadsden Arts' annual celebration of creative living! A Week with the Arts is your opportunity to gather with friends, learn new approaches to artful living, and support the arts in our community! This week offers something for everyone, and all proceeds support Gadsden Arts programs in our community.
Free Admission Arts Opportunities
Come explore Gadsden Arts’ first major exhibition of the year, the COLLECT: Select Exhibition, showcasing the work of 15 acclaimed Florida artists. This year’s featured artist is Mark Georgiades, a talented sculptor whose expressive indoor and outdoor wildlife, fantasy, and figurative pieces are capturing attention across Florida and the Southeast. The artists for COLLECT are selected by seasoned art collectors and include Susan Antoinette, Jenny Bleakley, Mark Georgiades, Dean Gioia, Anne Hempel, Lesley Nolan, Jimmy Nicholson, Phillip Pollock, Robin Rodgers, Kelly Rysavy, Maria Saraceno, Donna Seltzer, and Doell West. The exhibition will be open January 13 – January 27, 2024 at Gadsden Arts, Tuesdays – Saturdays, 10am – 5pm, with admission free for everyone.
Meet these artists at the COLLECT Reception at Gadsden Arts on Saturday, January 20, 2024, 5pm – 7pm, also admission-free for everyone. Hear short Artist Talks and talk individually with these talented individuals, while enjoying music, refreshments, and hors d’oeuvres by Black Fig.
Through COLLECT, you can also start or expand your own art collection with artworks by renowned regional and Florida artists. Most prices start at just 60% of market, with the COLLECT Auction and Sale offered January 24, 12pm – January 27, 2024, 9pm. Come see the original works of art at Gadsden Arts, and then bid online. Registration is free.
Make Your Reservations for Great Events!
During the same week, experience our Afternoon with the Arts, featuring Tallahassee’s rising star in the culinary arena, Chef Leon Brunson! This event is January 24, 2024, 12pm – 3pm, and features a gourmet luncheon by Leon Brunson followed by an intriguing conversation with him. Brunson starred on the HULU series Secret Chef, and says his cooking is a combination of
international and Southern flavors. Reservations are required – visit www.gadsdenarts.org, limited to 90 patrons.
Also join us for our Evening with the Arts at the historic Sawano Club on January 27, 2024, 6pm – 10pm to dine and dance with friends and support Gadsden Arts programs in our community!
This elegant evening will feature music by multiple Best of Tallahassee award-winning Top Shelf Band, a seated dinner, fun “wine pull,” silent auction, and more! Reservations are required, limited to 200 patrons.
Thank you to our generous sponsors for making the Week with the Arts possible - Greenberg Traurig, Capital City Bank, Chris & Susan Dudley, Supporting Your Choices, Inc., Thomas Howell Ferguson, P.A., Corry Law Firm, Henry Buchanan P.A, May Nursery, Inc, Southern Forestry Consultants, Tallahassee Community College, The Filling Station, CSI Contracting, Cypress Capital, Fixel Law Firm, Hayes, Jason Boone – The Big Bend Group, Keller Williams Town Country, Barbara and Michael Hartley, Ranie Thompson – The Big Bend Group, Keller Williams Town & Country, and Dawn McMillan Design.
To learn more about A Week with the Arts and the Gadsden Arts Center & Museum, visit our website www.gadsdenarts.org. Gadsden Arts Center & Museum is open to the public Tuesdays – Saturdays from 10 am – 5pm, and is located in Quincy, FL just 25 minutes from Tallahassee!
Five Winsor & Newton watercolor innovations throughout history
Art Materials
With a long history of innovation, Winsor & Newton have revolutionized the watercolor medium, introducing ground-breaking tools, technologies and products over the course of two centuries. We explore five of the company’s key contributions to watercolor painting, and their lasting impact.
A magic touch
Winsor & Newton was established by the combined efforts of chemist William Winsor and professional artist Henry Newton at the beginning of the 19th century. But it was Henry who supervised the watercolor laboratory and brought watercolors right up to date as we know them today, in little pans of completely soluble paint which work at the touch of a wet brush. This apparent ‘magic’ was brought about using glycerin instead of honey, which was first introduced to the market with Winsor & Newton’s moist watercolor cakes in 1835.
Painting en plen air
This new discovery led to fresh markets for the modern watercolor medium. The ability to paint en plein air, or out in the field, was enabled with the creation of various paint box sets, particularly the water bottle box, known today as the Professional Watercolor Field Box. Artists could now document flowers, farm animals and newly explored overseas landscapes in color with ease and accuracy. Featuring a unique pocket-sized set with a water bottle and cup as part of the case, the set opens up to reveal watercolor half pans, mixing areas and brush storage mounted on the inside of the water container.
A brush with royalty
The company’s devotion to expertly crafting quality artists’ brushes was royally acknowledged in 1866 by Queen Victoria. The Queen requested that Winsor & Newton produce the finest watercolor brush in her favorite size: the No. 7. The result of this royal order was the Series 7 Kolinsky Watercolor Brush range, a revolutionary watercolor brush series that provided unprecedented control over the flow and spread of paint, allowing for more subtle gradient work and delicate detail, and is considered the company’s finest brush to this day.
The longevity of the Series 7 was unintentionally put to the test when one was uncovered during a salvage operation on the Titanic. When recovered, the brush head still looked as though it had just been bought. This magic trick owes itself to the brush’s Siberian weasel hairs, which are exceptionally robust and strong due to the harsh Arctic conditions the animals must endure.
Handbooks for hobbyists
Winsor & Newton went on to create a series of books written specifically for the student and amateur by well-known artists, often referred to as the ‘One Shilling Handbooks’. These instructional books were progressive for their time because they helped educate amateur artists and hobbyists who wanted to learn but didn’t attend art school, where the majority of art tuition could be found. Monochrome and color handbooks on watercolor painting include The Art of Flower Painting in Watercolors, Hints on Sketching in Watercolor, Landscape Painting in Watercolors and Modern Watercolor Pigments.
Winsor & Newton continues this approach to educating artists through our collection of guides and masterclasses.
Modern-day mediums
Pushing the boundaries of watercolor painting, Winsor & Newton have transformed it from a traditional medium to a medium for modern works of art. New products began to take off during the early 20th century when the company developed pigment dispersions, which allowed for the production of a range of high-quality watercolor paints. This research led the way for the development of the Watercolor Marker that was introduced into the Promarker family in 2020, providing artists with new tools for creating painterly effects. The range contains 35 specially selected watercolor pigments, which are triple-milled to ensure optimal performance and maximum color permanence.
From the development of more advanced painting tools to innovative new technologies, the legacy left by Winsor & Newton in the field of watercolor painting is tremendous. What began as mere experiments in a watercolor laboratory soon transformed the way in which watercolors were used across the world.
Watercolorist Kate Osborne shows how abandoning a preparatory sketch can result in a more spontaneous floral still life
For this demonstration, I painted an assortment of flowers and vegetation from the garden, including alliums, ivy, and epimediums, which I love for their slightly other-worldly air, with their science-fiction flowers on spiky tangled stems.
The floral artwork is mainly an arrangement in green of different shades and hues. I wanted to show what you can do with ready-made greens, modified with blues and yellows. I used three greens – Green Gold, Perylene Green and St Petersburg’s Green – and modified them by dropping in Cadmium Yellow and Cerulean Blue.
I liked the way the greens and the blue of the background worked with each other in the photo, but, rather than paint the background, I’ve decided to introduce blue into the vase and add a pattern. I’ve also introduced yellow by adding a couple of narcissi at the center of the arrangement, giving it a focus, and I have played very fast and loose with the various elements, not worrying about being too descriptive.
This still life piece was mostly watercolor with some of the more finely drawn lines added using acrylic pens and Inktense colored pencils and blocks, with white gouache used on the vase. These days I’m less of a purist and like introducing other media into what is still predominantly a watercolor work.
I worked without a preparatory pencil drawing, a method I initially developed to stop myself “coloring in” and to allow for more spontaneous mark making.
DEMO: How to paint a more spontaneous floral still life
Kate’s materials
- Paints: Cadmium Yellow, Green Gold, Opera Rose and Perylene Green, all Winsor & Newton Professional Water Color; Transparent Pyrrol Orange, Ultramarine Blue and Cerulean Blue, all Daniel Smith Extra Fine Watercolors; Raw Umber, Daler-Rowney Artists’ Watercolor; Green, St Petersburg White Nights watercolor; Permanent White, Winsor & Newton Designers Gouache
- Brushes: Chinese brushes, various sizes; Daler-Rowney Graduate flat wash brushes, sizes 1/4”, 1/8” and 1”; ProArte Prolene Series 9A Medium Sword Liner, medium
- Paper: Saunders Waterford 300lb Rough watercolor paper
- Derwent Inktense pencils and blocks, various colors
- Derwent Paint Pens, various colors
1. Start at the top
I start the painting on the top left-hand side. I’m using Green Gold and Green, mixed into large puddles on the palette, with a large Chinese brush. I painted onto dry paper and sometimes used the side of the brush to create broken textures. I prefer to paint on rough paper; this technique works much better on it.
2. Drop in pigment
I moved across the page, working swiftly and keeping the leading edge wet, adding foliage (Green Gold and Green) and the yellow narcissi (Cadmium Yellow). While this initial layer was still wet, I started dropping in more pigment by touching a loaded brush to the wet areas where I want to add more tone, and clear water from a bottle with a fine nozzle where I want to lighten an area. I was aiming to get some tonal and textural variation into this early stage of the painting, as it creates a dynamic underlayer and will underpin the later stages.
3. Work with the water
I described the negative shape of the vase by painting the blue background with a mix of Ultramarine and Cerulean blues, using a 1” flat brush. I then soften the hard edge of the vase used a water sprayer – a hairdresser’s spray bottle works well for this. I’ve also added more Cadmium Yellow to the center of the arrangement and, as the paint continued to dry out a little, I added more water and more (wet) pigment to the areas I want to lighten or darken.
It’s important to make sure your pigment is mixed with water to make a moveable puddle, rich but not too dry, adding it to wet areas by touching your loaded brush to the surface.
4. Get the wrong end of the stick
I used the wrong end of a brush dipped in a puddle of Green to start drawing the stalks of the epimediums (you could use an Inktense block for a mark such as this). The long stamens of the epimedium flowers were then painted using the medium swordliner brush. You can see just how wet areas of the painting were at this point, and though it’s tempting to start mopping up and controlling things, it is better to resist the urge and let the paint and water work its magic.
5. Take a break
While the blue background was still damp, I painted the pattern on the vase using a Chinese brush and a swordliner brush with the same mix of Ultramarine and Cerulean blues. After this point I left the image to dry.
It’s easy to keep going and to keep looking for more to do, for more “fixes”. With experience, however, you learn to recognize when you’re looking too hard for the next thing to do and when it’s a good time to call a halt and have a ponder or a break. I’d like to say that experience has taught me never to overwork any stage of a painting but sadly that’s not true. If you’re pushing things or exploring, a little or a lot, there will always be “failures”, but they are the kind we can learn from.
6. Be a bully!
Once the painting dried, the textures (such as the cauliflowers) and the varied tones became apparent and I had a nice dynamic first layer of the painting to work with.
Using a rich but still very wet mix of Green, I started finding the negative shapes of leaves and stalks. I also described the corolla (the circle of petals in the center) of the narcissi with a gorgeous tomato-colored mix of Cadmium Yellow and Transparent Pyrrol Orange. I also added Cadmium Yellow to the bud while the paint around it was still wet. I want the bud to stand out, and Cadmium Yellow acts as a bully, pushing other pigments away and creating more interesting textures.
7. Enrich the colors
I continued to add a bit more detail to the open narcissi and started to find more negative shapes on the left of the painting. I used a very wet, richer mix of Green and Green Gold for the allium bud and its stalk, allowing the colors to blend on the page. I also added a rich mix of Cadmium Yellow to the small flower in the center to make it “pop”.
8. Enjoy the fluidity
I continued painting both positive and negative shapes, adding the darker tones with Perylene Preen where the stems disappeared into the neck of the vase, and dropping Cerulean Blue and Cadmium Yellow into these areas while they were still wet. I allowed the colors to mix on the page – one of watercolor’s many advantages is its great fluidity and unpredictability when used very dilute. I also added a wash of Opera Rose to the long allium bud on the right, and the more delicate flowers and stalks to the bottom left.
9. Experiment with marks
The vase shape wasn’t quite working, so I drew it again, making it rounder and wider using the same mix of Ultramarine and Cerulean blues. I printed the painted pattern with my fingertip and added the curling stalks with the swordliner brush.
Using fingerprinting as a way of making marks works well alongside brushwork and adds another dimension to the picture; again, it takes a little of the control away and adds something more unpredictable. The same is true of using your brush a little differently, whether using the side of the bristles or the handle to draw marks. It’s fun to experiment alongside more traditional brush work.
10. Balance the image
I felt the left side of the painting needed to balance better with the right, so I added a couple more leaves and a glimpse of another one behind the vase to help define its left edge. I also added a couple more of the buds and stalks, a little detail to the center of the open narcissi, some definition to the top of the unopened narcissi bud, and final details and shadows to the allium bud and stalk on the left of the painting. Despite these touches, I was trying to avoid getting too fiddly or specific, so I stopped working on the greenery after this.
11. Find your focus
I still wasn’t quite happy with the vase; it felt a little busy, and distracted from my intended focus of the painting, which was the flower and foliage arrangement. To rectify this, I used Permanent White gouache, tinted with a (very) little Cadmium Yellow watercolor in order to match with the off-white paper, to block out areas of the pattern. Once this had dried, I added more depth to the background to distinguish it a little from the vase by painting a wash of Raw Umber across the area, and finally add more fine stalks with Inktense pencils and blocks.
12. Finishing touches
To finish, I decided to crop the image to focus the attention on the top part of the painting. I also wanted to make the ratio of vase to plants more like 70:30, rather than 50:50, as a division through the middle of a painting can render it rather static.
Working in watercolor with no preparatory drawing in the way that I do means that my compositions will sometimes not work. As a result, the option of cropping becomes an important tool that can make the difference between a painting that really does work and one that really doesn’t.
Professional Cadmium vs Cadmium-Free Watercolor
Cadmium and Cadmium-Free watercolors are compared here to demonstrate the parity between them. Cadmium colors have been valued historically by artists for their opaque and brilliant color. Van Gogh, Monet and Mondrian all used cadmiums in their work. Now we have an exceptional quality Cadmium-Free watercolor alternative and two of the colors are compared here: red in Cadmium and Cadmium-Free, and yellow in Cadmium and Cadmium-Free. Cadmium-Free colors have been formulated to match the mass tone, lightfastness and brightness of the cadmiums; they also give the genuine cadmium experience of the original in the weight of the tube. Even when mixing colors, the quality is undiminished and remains comparable to the cadmium version. Finally, for those who wish to try Cadmium-Free watercolors, the AP symbol on the tube certifies that it is a safe material according to the independent experts at the ACMI.
How to frame a painting
By Artists & Illustrators
If you’re struggling to frame a painting, it might be because you are thinking like an artist, not a framer. Luckily, having framed Van Gogh’s Sunflowers, FA Pollak’s Alexander Roeder knows a thing or two about getting a painting ready to display
- Frames can be used to create a personal visual identity. For example, the Kit Kat Club, a 19th century gentleman’s club, had their own frame design for all pictures inside the club. However, you can never copyright a frame design. We tried it in the 1960s and it doesn’t work – all someone has to do is change the design a tiny bit.
- Why not try putting various pictures in one frame? We recently worked on a few small teacup prints – they were in a long frame with a mount and six openings. It worked well and added variety.
- An ostentatious frame can make the painting look more important and there are some people who just want something expensive-looking on the wall. It’s funny because collectors will look at a painting and not want to make it look expensive whereas a dealer always will. The worth of a painting doesn’t interest me, but the age of a painting does – as it’s good to get a period frame to suit.
- What picture should go in what frame is partly down to perception. People think Impressionist paintings should be in busy, small and thick frames, but they are only in those because the dealer selling the first few had them lying around at the time. You can use this to your advantage – create a Victorian look with something austere or linear, for example.
- Some people want a thin frame, but it can make it look as if it has been framed as an afterthought. Don’t use thin frames with very small artwork because it will look weedy – you need a thicker frame and it should be bevelled, to draw your eye in.
- For landscapes, try to avoid frames with too many lines on them. You might want to go for something curvy instead, that leads the eye into the picture, rather than something flat.
- When it comes to mounting, never choose a color that you’d find in the picture. People always make that mistake: “There’s red in the picture, I must use a red mount!” It’s just wrong. Your eyes will be drawn to the red of the mount and it will kill all other color. The trick is to compliment, not copy. Using a neutral color, like cream, often works really well. We do a lot of silk mounts, too – they are popular and look good.
- Modern prints nowadays are always printed with a lot of paper around the image so you can often save money and use this as a built-in mount. Tray or box frames are a good bet for more modern paintings – they are good ways of containing a picture so it doesn’t just blend into the wall.
- Learn how to stretch your canvases properly if you want them framed properly. Canvas gives. If you stretch your own canvases make sure they are straight, and you use the wedges. All canvases have wedges in a packet on the back of the stretcher and the whole point of these is to be used – they are designed to help stop the canvas from sagging and going out of shape.
- Glass can be expensive so choose only what you really need. There are lots of different types, from bog-standard float glass upwards. There’s a coated glass with chemical on each side that is good. It’s low reflecting and if you hang it correctly and light it well, you won’t even see the glass. Then there’s the museum standard, which is low reflecting but also stops UV light. You can get this from most good framers, it’s just very expensive.
- Oil paintings don’t need glazing. People used to glaze them because there was more smog and smoky fires. These days we are far more hermetically sealed, and people don’t smoke as much, so it’s not necessary.
- My failsafe frame is oak. A decent, not-too-thin wood frame can go round pretty much everything and you can change the color with waxing. However, each individual picture must be considered separately.