Artists2artists Social Network2024-03-28T17:30:40ZVerneda Lightshttps://artdeadline.ning.com/profile/VernedaLightshttps://storage.ning.com/topology/rest/1.0/file/get/65476318?profile=RESIZE_48X48&width=48&height=48&crop=1%3A1https://artdeadline.ning.com/group/creativematerials/forum/topic/listForContributor?user=3879vldwntxqs&feed=yes&xn_auth=noTraditional Media combined with Digital, What do you call it?tag:artdeadline.ning.com,2013-03-30:3077055:Topic:1720072013-03-30T14:51:55.038ZVerneda Lightshttps://artdeadline.ning.com/profile/VernedaLights
I work in both traditional and digital media. Recently I have been labeling the media as:<br />
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Mixed Media: Watercolor, Chalk & Oil Pastels, Calligraphy, Digital.<br />
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I list the media in order of it's use in the creation of the artwork. When the traditional aspect is finished I scan it at a high resolution and then add elements, paint in colors, and add textures. I print them in small limited edition print ranges of usually 3 or 10.<br />
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This seems to be the acceptable standard for the juried…
I work in both traditional and digital media. Recently I have been labeling the media as:<br />
<br />
Mixed Media: Watercolor, Chalk & Oil Pastels, Calligraphy, Digital.<br />
<br />
I list the media in order of it's use in the creation of the artwork. When the traditional aspect is finished I scan it at a high resolution and then add elements, paint in colors, and add textures. I print them in small limited edition print ranges of usually 3 or 10.<br />
<br />
This seems to be the acceptable standard for the juried exhibitions that I enter. I'm interested in hearing your experiences and comments. Question about rapidographstag:artdeadline.ning.com,2012-08-02:3077055:Topic:1457982012-08-02T23:39:58.265ZVerneda Lightshttps://artdeadline.ning.com/profile/VernedaLights
<p>I am a huge fan of rapidograph technical pens, especially because of their accurate and consistent lines. However, the thinnest size I have successfully used is the 4x0 (.18mm). Many people argue about the 6x0 (.13mm), saying that it's lines make what you draw too faded. I disagree, but have had huge problems with that size. Although I regularly cleaned with the bulb and cleaning solution, and used ultradraw ink, my 6x0's had bad problems with clogging. Some clogged within two days…</p>
<p>I am a huge fan of rapidograph technical pens, especially because of their accurate and consistent lines. However, the thinnest size I have successfully used is the 4x0 (.18mm). Many people argue about the 6x0 (.13mm), saying that it's lines make what you draw too faded. I disagree, but have had huge problems with that size. Although I regularly cleaned with the bulb and cleaning solution, and used ultradraw ink, my 6x0's had bad problems with clogging. Some clogged within two days although I used them regularly and kept the ink flowing, some survived to be cleaned once just to clog a day later, and a couple actually clogged within hours even when capped.</p>
<p>I'm fine with the 4x0, but I just want to know, has anyone had any consistent success with the 6x0's? and if you have, did you have to do anything out of the ordinary (ie different ink, different cleaning tactic)? </p> Packaging for Mailingtag:artdeadline.ning.com,2009-06-16:3077055:Topic:148472009-06-16T23:03:17.743ZVerneda Lightshttps://artdeadline.ning.com/profile/VernedaLights
Just wondering what materials and web sites people use to get packages for mailing of art work? A full-size watercolor needs something near 29" by 37". And do most of you matt your work before sending? I can roll a watercolor into a tube without matt.
Just wondering what materials and web sites people use to get packages for mailing of art work? A full-size watercolor needs something near 29" by 37". And do most of you matt your work before sending? I can roll a watercolor into a tube without matt. Framing Issuestag:artdeadline.ning.com,2009-05-19:3077055:Topic:117862009-05-19T12:58:35.922ZVerneda Lightshttps://artdeadline.ning.com/profile/VernedaLights
Advice/help needed.<br />
I'm looking into framing canvas boards and would like to hear from someone who's done this. I'm interested in ideas about matting (if they can be) or just framed as is. I'm particularly curious about any kind of frame that would let them be shown whole (edge to edge) with the wood part of the frame just next to the edges and not on top of. (Hope this is clear enough!!)<br />
Thanks much for any forthcoming help.<br />
Clair
Advice/help needed.<br />
I'm looking into framing canvas boards and would like to hear from someone who's done this. I'm interested in ideas about matting (if they can be) or just framed as is. I'm particularly curious about any kind of frame that would let them be shown whole (edge to edge) with the wood part of the frame just next to the edges and not on top of. (Hope this is clear enough!!)<br />
Thanks much for any forthcoming help.<br />
Clair Quick Art i.e.- Computer/Digital Arttag:artdeadline.ning.com,2009-05-11:3077055:Topic:109612009-05-11T17:26:35.092ZVerneda Lightshttps://artdeadline.ning.com/profile/VernedaLights
Ever get the feeling that people think that computer generated art is not really art? and that because of the process and means to achieve the results implies that it should be inexpensive? anyone can do it attitude?
Ever get the feeling that people think that computer generated art is not really art? and that because of the process and means to achieve the results implies that it should be inexpensive? anyone can do it attitude? Gestalt Compositiontag:artdeadline.ning.com,2009-04-20:3077055:Topic:73142009-04-20T12:52:40.909ZVerneda Lightshttps://artdeadline.ning.com/profile/VernedaLights
i always start a painting from a drawing or collage. i have done collage for 30 years - my own, and also "assembling" my late partner's collages.<br />
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i build the collages from material that (usually) i have generated myself, and then cut up. the source material is sometimes nebulous, sometimes a slight pattern reference, but always the cut out shape itself has "structural" (in my head anyway) properties. i assemble them (7x7") by holding the pieces over various parts of the collage, and rotating…
i always start a painting from a drawing or collage. i have done collage for 30 years - my own, and also "assembling" my late partner's collages.<br />
<br />
i build the collages from material that (usually) i have generated myself, and then cut up. the source material is sometimes nebulous, sometimes a slight pattern reference, but always the cut out shape itself has "structural" (in my head anyway) properties. i assemble them (7x7") by holding the pieces over various parts of the collage, and rotating them, until they SNAP! that is the gestalt moment i refer to in this group.<br />
<br />
anyone else use that? any variations on it? if not, what DO you use? Signing Photographstag:artdeadline.ning.com,2009-04-18:3077055:Topic:69732009-04-18T23:41:37.654ZVerneda Lightshttps://artdeadline.ning.com/profile/VernedaLights
My educational background is in Printmaking, not Photography. I know very well the protocol of signing a lithograph or woodcut, but I am unsure if the same rules apply to signing photographs.. I looked some info up and talked to a few people around me and there seems to be different opinions on what the proper way to signing a photograph.<br />
<br />
I'm curious to know how other artists sign there photographs? I signed mine on the white border about 2 inches away from the right hand corner. I didn't…
My educational background is in Printmaking, not Photography. I know very well the protocol of signing a lithograph or woodcut, but I am unsure if the same rules apply to signing photographs.. I looked some info up and talked to a few people around me and there seems to be different opinions on what the proper way to signing a photograph.<br />
<br />
I'm curious to know how other artists sign there photographs? I signed mine on the white border about 2 inches away from the right hand corner. I didn't include the title. Does it matter or is there some etiquette that should be followed???<br />
<br />
Thanks! I'm working with metal leaf, mostly on canvastag:artdeadline.ning.com,2009-04-12:3077055:Topic:54392009-04-12T18:05:33.940ZVerneda Lightshttps://artdeadline.ning.com/profile/VernedaLights
Just wanted to share this technique I'm enjoying so much...by covering an under-painting with carefully <i>torn</i> silver or copper leaf. I'm just loving this, and how the light changes on the surface from different perspectives.<br />
I've tried a couple different Urethane to see what might be clearest and remain flexible on a canvas.<br />
After using a marine spar urethane on a fiberglass sculpture I treated I'm sensing this will be the strongest, but for interior use, probably over kill.<br />
I wonder if…
Just wanted to share this technique I'm enjoying so much...by covering an under-painting with carefully <i>torn</i> silver or copper leaf. I'm just loving this, and how the light changes on the surface from different perspectives.<br />
I've tried a couple different Urethane to see what might be clearest and remain flexible on a canvas.<br />
After using a marine spar urethane on a fiberglass sculpture I treated I'm sensing this will be the strongest, but for interior use, probably over kill.<br />
I wonder if anyone might have something they'd suggest as a good sealant for, especially the copper leaf which tarnishes so fast. I want to keep them glistening.<br />
Thanks all. Anyone working with Tea??tag:artdeadline.ning.com,2009-04-02:3077055:Topic:19432009-04-02T19:12:42.381ZVerneda Lightshttps://artdeadline.ning.com/profile/VernedaLights
I began staining my papers with tea while in college. In the beginning I took more of a Frankenthaler approach with the material and would pour cups of various teas onto random papers and just enjoying the results that would occur. Now I am taking a more watercolorist approach with the material. I also deconstruct the tea bags and save the materials for projects.<br />
<br />
I have come across some work by other artists working with tea, but they are mostly using the bags and materials in a sculptural…
I began staining my papers with tea while in college. In the beginning I took more of a Frankenthaler approach with the material and would pour cups of various teas onto random papers and just enjoying the results that would occur. Now I am taking a more watercolorist approach with the material. I also deconstruct the tea bags and save the materials for projects.<br />
<br />
I have come across some work by other artists working with tea, but they are mostly using the bags and materials in a sculptural matter. Which is AWESOME! However, I would like to know if others are using tea as a drawing/painting material and would you be willing to share your results? Which teas do you work with and why? what surfaces were the most challenging to stain/paint and how did you overcome it?<br />
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Below is my most recent tea drawing "The Crying Portrait". Its a combination of graphite with Raspberry Zinger (Celestial Teas) as the blueish violet color and drippings from various oolong teas brought home in a cup :P. It may be difficult to see some of the the tea details in the photo as the material tends to be a light and transparent.<br />
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The drawing is not complete yet. I have spent the past two weeks sketching, erasing, redrawing, lightly painting in the tea while the image was standing upright and adding heavier layers with the image flat on the floor (otherwise unwanted dripping will occur).