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Frequently Asked Questions
Miscellaneous Questions II
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31. What does lightfastness on the acrylic tube of paint mean and the number 1, 2, 3 after it? | |
Lightfastness has to do with the fading quality of the paint when exposed to ultraviolet light. The higher the number the better the lightfastness of the paint. In other words, the higher the number the less likely the paint will fade when exposed to ultraviolet light. |
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32. How do you go about choosing the size of canvas for your paintings? Is there a rule to follow? | |
In reference to canvas size, there is no rule -- your composition effects the shape and size of the canvas you choose. For instance, if you have an object or group of objects that stretch across in a horizontal format, a long horizontal canvas may be what you need. A long vertical waterfall would require a long vertical canvas. Most generic landscapes that contain no specific subjects which require a long vertical or horizontal canvas do better on canvases the size of 8 x 10, 16 x 20, 18 x 24, 12 x 16, 14 x 18, 12 x 24, 30 x 40, or 24 x 36.
Some of the more odd sizes for vertical or horizontal formats are 8 x 16, 10 x 20, 12 x 24, 15 x 30, and 24 x 48.
Remember everything depends on what composition you are using. |
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33. I have tried to make a gray scale and can't seem to grasp the concept. Can you help me? | |
I am not fond of using the traditional gray scale, but there is a simple way to do it. Start with a swatch of black. Then, add a small touch of white. To that mixture add another touch of white. Continue until you have a wide range of gray values. This is the same process you use when changing the values of dark colors. Try it with a blue or brown and you will see how well it works. It is much easier than they make it out to be. |
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34. When I applied varnish to one of my paintings, I noticed that after it dried, it had "puddled" in a number of places. How can I correct this? | |
Be sure the painting is lying completely flat. Brush evenly as you apply a very thin coat of varnish. Brush first in one direction and then the other. It is important to be sure your canvas is fairly tight. A sagging canvas will cause the varnish to puddle. The other option is to use spray varnish and apply 2 or 3 light coats letting each coat dry thoroughly. |
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35. I stored my paintings where moisture got in between several of the canvases and caused mold to grow. Is there a way of cleaning the mold without causing damage to my oil painting? | |
You have a problem. Mold on a canvas is its worst enemy. If any of the canvases have begun to rot or are very brittle they cannot be saved. If not, use a mild liquid hand soap. Make a soapy solution, then take a soft scrub brush and scrub the molded area. Rinse with clear, clean water and pat dry with a towel. Then, take linseed oil and apply a very light coat to the entire painted side of the canvas. |
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36. I am using the Martin Weber brand of paint and, after a couple of years, my paintings develop a slight greenish cast. Please help me understand what is happening. | |
I have worked with many of the leading paint companies over the years, including Martin Weber. Martin Weber paints are inferior paints. They are low-grade with low pigmentation. They do not hold up to museum standards. I recommend you switch to a higher-quality grade of paint, such as Windsor & Newton, Grumbacher, or Liquitex. |
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37. Do you have a suggestion for what to do when the canvas develops a line where it meets the stretcher? I often get a somewhat noticeable crease line where the canvas has been constantly pushed up against the inside edge of the stretcher bars. Any suggestions for (1) how to get rid if it once it's there, and (2) how to avoid it? | |
(1) As far as getting rid of the existing line, all you can do is tighten the canvas as I describe below and repaint that area. (2) To prevent it from happening, wet the back of the canvas. As it dries, the canvas will shrink and become very tight. This helps greatly. The other thing is to take the small triangle-shaped pegs that usually come with the stretched canvas and drive them securely into each of the corners. This will also tighten the canvas. |
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38. Since the canvas is stretched over a wooden frame, how do you frame these? Do you need a special deep frame? I paint with oils, so the rule is no glass (right?) | |
It does take a special frame for a canvas painting. Most moldings are cut with a recessed lip that the canvas fits into firmly. Then, you attach the canvas with either bar clips or small finishing nails. You can also buy ready-made frames at most large art stores. You do not put oil paintings under glass. |
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39. What is your opinion of Bob Ross Oils? | |
I was asked by Martin F. Weber to test their oil and acrylic lines for Bob Ross paints. They are not the best. They are low in pigmentation, which means it takes more of each color to achieve the desired effect. They work alright for underpainting, but I would definitely finish with a more professional-grade like Winsor & Newton, Liquitex or Grumbacher. |
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40. I have several canvas boards that are bowed. Any suggestions on flattening them out? | |
This is very common. Cardboard absorbs moisture which can cause it to concave or convex. It is difficult to keep these boards flat unless you put a backing on them. When framing a canvas board, place a 1/8 inch masonite board behind the painting. You can actually glue the canvas board to the masonite without placing a frame on the painting. |
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41. I would like to know your opinion of using anti-freeze in place of commercial retarders? | |
I have heard of this. I think it would be a mistake. It was not an archival process used to refine the painting. All other art products are tested for archival qualities. Therefore, it may not be compatible with the chemical makeup of your paints. In time, the paint will probably fade, crack, yellow or peel. Better safe than sorry. |
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42. I have a tear on a finished painting. I could paint over the damage, if only I could mend the tear. | |
Mending a tear in a painting canvas is done by taking a clean piece of white cotton artist canvas. Cut it about one inch bigger than the tear. Then, use a high-quality glue for bonding fabric and glue the patch onto the back of the canvas. Lay something heavy on top of the patch to press it flat. When the bonded patch dries, lightly sand the torn area on the front. Next, fill in the area with gesso and lightly sand again. Now, re-paint the area. I have done this many times and it works very well. |
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43. What canvas is best for portrait paintings? | |
You should probably use a linen portrait canvas, which is smooth, for painting portraits. |
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44. What is your opinion of polyester canvas? | |
I am not against polyester canvas. It has a similar feel to cotton, but it is more elastic and has a tendency to not always hold its form. Plus, it has not been proven as an archival painting support. Very few art stores carry it. I just prefer a high quality medium weave cotton duck canvas. |
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45. What is your opinion of the new Fredrix Watercolor Canvas? | |
I truly believe the watercolor canvas is a great invention. I like it very much. The only thing I can say is that it, of course, has not had the chance to stand the test of time. Also, I am not sure how archival it actually is. I guess we will just have to wait and see. |
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46. I will be traveling overseas and don't know what to take -- acrylics or watercolors. I want acrylics, but cannot take canvases. What else could I paint on? | |
I would suggest you use your acrylics and paint on a 140 lb. watercolor block. A watercolor block is perfect for traveling because the paper is glued around the edges into a block form. You can get these blocks in different sizes, and you do not have to do anything special to the paper to prepare it. Just start painting on the paper, then tear it off and start another one. I prefer Archer watercolor blocks. |
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47. How would one stretch linen for oils? | |
The process for stretching a linen canvas for oils is the same for stretching a cotton canvas for oil or acrylic. Assemble the wooden stretcher bars, and cut your canvas about 2" larger on all 4 sides. Next, lay the stretcher frame on the backside of the canvas and centered in the middle. Wrap the canvas over the stretcher bar. Then, with a staple gun, put one staple in the center of the strip to hold the canvas in place. Repeat this step for each of the four sides of the canvas. Continue adding one or 2 staples on each side, starting in the center and working your way out toward and off the stretcher bars. You will have to use stretcher pliers to hold the canvas as you staple it. I recommend going to a local framing shop and asking them to show you the basics. |
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48. I am painting a still life and need help creating a soft edge. I have the background, but now I need to push some of the bouquet back into it. I want a flower to look fresh but faded into the darkness behind. | |
The best way to create soft edges on an existing object and to push it back is to apply one or two transparent glazes. You do this by taking water with a little bit of white paint and whatever color you want for the glaze. This should be a very thin, transparent glaze. Now take a soft brush, preferably a Hake brush, and apply this glaze over the area which you want to soften - then let it dry. Repeat, applying the glaze as many times as you wish until you get the desired effect. |
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49. I am to paint a background for the baptistry in our church. Since I have never painted on walls before, is there a special process I need to follow, or do you have another suggestion? | |
I have done numerous murals for churches and other places. If you paint directly on the wall, you must gesso the wall first with one or two coats of gesso. Or, what I prefer to do, attach untempered masonite to the wall then gesso the masonite. You can also paint the mural on a masonite panel in your studio then attach it to the wall. There are many different ways to do this depending on the size of the mural. But, painting directly on the wall is probably the best thing for you in this case. Just be sure to gesso it first and use large bristle brushes. |
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50. What are your feelings on Certificates of Authenticity, and where can the form be obtained? | |
The truth is, once your signature goes on a painting or a print, it is automatically copyrighted. The main reason for a certificate is mostly for reproduction of prints because there is more opportunity for fraud in that area of the art world. I don't know where you would buy these certificates. We make our own on the computer and most artists and publishers do the same. So, search around and look at some others to help you create your own. |
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51. What setup do you suggest for plein air painting? | |
For outdoor work there are many different set-ups. The main thing you need is a good tripod easel. I suggest the French easel and painting box. It is a combination easel and painting box. It folds up into a rectangular box that hold all of your supplies. They are very popular and are found in most art stores. I also suggest an umbrella attached to the box to control the sun. |
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52. What are the copyright laws protecting works of art? | |
Helpful information on copyrights can be found on this web site http://www.whatiscopyright.org |
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53. I can't draw. I know I could follow the paintings in your books if I had an outline. What do you suggest? | |
I do not use patterns in my teaching. However, there is a machine called an opaque projector that artists use to enlarge objects on their canvases if they are unable to draw. You can find these in most art stores and art catalogs. Projectors come in a variety of sizes and price ranges. They work very well for transferring drawings. |
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54. How do I price my artwork? | |
There are two ways to price any form of artwork. First, by the popularity of the artist. Second, artwork is priced based on where you are in relation to your peers' artwork. You usually know this by which galleries or art shows accept your work. Most beginning artists price artwork under $500.00. If you can create a demand, your prices could double. |
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55. How do you feel about "Atelier Interactive Acrylics" by Chroma? According to an article I read, they stay open for blending and can be reworkd for hours. They are reopened by a spritz of water and finally set in about 24 hours or with the application of heat. | |
I have heard of these paints and talked to several artists who have used them. I have not used them myself, but I will give you my honest opinion.
These paints are still a huge experiment in the art world. The jury is still out on their archival steadfastness and durability. For myself, I plan to stay away from them for a few years until I am absolutely sure they have proven themselves. It took 30 years for acrylics to be widely accepted, and I expect at least 10 or 15 years before these acrylic paints are accepted.
Water miscible oils came out over 15 years ago and there still is a lot of controversy over them. Remember, anytime you mess with the natural chemical make up in the binders of any paint you run the risk of them breaking down. |
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