How to make a sketchbook – VERY inspirational video

I am really inspired by this ladies work – I absolutely have to share -check it out! Her website and youtube videos – creative! inspirational and artistic! Sketchbooks are very important to an artists development and if you do not have one I highly recommend building your own as it personalizes your work and inspires you to draw!

sketchbook project campaignGet yours before April an excellent way to improve your skills as an artist.

http://www.arthousecoop.com/projects/sketchbookproject?utm_source=Art+House+Co-op+List&utm_campaign=1b7befd6bb-November_16&utm_medium=email

FOr more see TrAnsIEnt ArT by Lauren Nash

http://www.transientart.com

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Alto Relief – Moonlight Sonata

Here is my recent work & my attempt at Alto Relief – Sonata 30″ x 20″ sculpted with a porcelain clay – still in progress. Current photos and more updates to come. I will be cold cast bronzing this piece so will show the process for cold cast bronzing. Most people do not realize that Alto Relief is a rare form of sculpture and one of the most difficult art forms to master and to my knowledge it is not taught in any of the fine art schools. Low relief is also more difficult followed by 3d , painting and drawing as you do not have to alter the axis for any of the elements. I believe Low relief is taught in the last year of most fine art schools after students have learned painting, drawing, and 3d. I advise every artist I know to work in all of the art forms from low relief – high relief – painting – drawing and 3d. Each builds on the strengths of the others. It is a synergistic relationship. Artists that work in all the mediums in the past became great and I believe it is because they did all of the art forms rather than just focusing in one area – Take Michealangelo for example he sculpted and painted throughout his life and I am thoroughly convinced that this was the key to his success. So I plod on ….. My Alto Relief…

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Photolithography on Clay

Here is a project that I thought might interest you as it intrigued me. I sketched a drawing of my sister for a book cover – she loves books and I decided to make her a journal.  I have always wanted to put my drawings onto clay and this method allows for an (almost) seemless image. Sketching on clay is difficult but if you sketch onto paper – then transfer the image onto clay and kiln fire the piece you have essentially a permanent record of your drawings.

Here is the method that I have been experimenting with over the last several weeks:

Step One : Make the Ink, photocopy image, Roll out clay slab
In a small container add 3 parts linseed oil to 2 parts mason stain – stir for about 10-15mins.
Let mixture stand overnight for best results

The mason stain is toxic so PLEASE wear rubber gloves and a dust mask for SAFETY.
Photocopy image on a black and white xerox copier – ink jet will not work as it is the toner that is the ingredient that allows the image to transfer. I recomment copying in reverse (negative) so the image will be right side or positive when place down on the clay.
Roll out slab and let sit until leather hard – overnight.
Take a break and start again in the morning….

 

Step two: list of items required
On a table place 2 pieces of glass – one for your image and one for the ink
2 sponges
In 2 bowls fill with water one large and a smaller container
In the large container of water put a small drop of gum arabic
Have on hand premixed ink, brayer, papertowels, spoon to mix ink, photocopied images and leatherhard clay slab.

As you can see in this photograph the sketch is photocopied reversed so that it will be correct when finished.

Next place about a tablespoon of GUM ARABIC onto the glass set out for the image AND onto the other piece of glass put a line of INK ( STIR first).Smooth out the Gum Arabic over the glass until you have covered the glass in the same approximate area of your image.

Now place the image FACEUP on the glass over the gum arabic. With your fingertips (remember your rubber gloves) gently smooth the gum arabic over top of the image until an even layer all over is applied.

With a papertowel remove the excess gum arabic from around the image and the glass.

Place the brayer over the ink and roll in one direction until the brayer has an even coat of Ink. Now carefully roll onto the image until an even coat is ontop of the image.

Take the wet sponge from the container with the gum arabic and squeeze the water over the image – do not touch the image with the sponge – this is the wash out stage. Now with the other smaller container of just water wet the sponge and ring out until damp. Lightly sponge up the excess water from the image and pat dry over top of the image in the white areas – leaving the darkened areas as much as possible.

DO NOT rub the image as the wet paper will tear – GENTLY pat dry.

 

Step three: Repeat Inking, gumarabic water sponge washing out, patting dry with clean sponge. cleanup arean with papertowel around the image.You should ink and wash out and pat dry – three times.

Step Four: Place image face down onto clay slab.
This is the most difficult part as you must be careful not to rip the wet paper image.

With your fingers or a tool pull up the corner of the image. You only have one chance at this so be careful when placing the image onto the clay. center it carefully. I use a larger slab and just place it in the middle and then cut my clay to size. It is also important that your clay slab is smooth for best results as a clay slab with pit marks or dents will affect your image transfer. Once the image has been placed onto the clay pat down with a clean damp sponge – being careful that the paper does not move on the clay and smudge the ink image. Gently pat removing air bubbles and making sure it is adhered to the clay.

Let dry for about 10 – 20 minutes. With the back of a spoon burnish over the entire area of the image. Once the burnishing is complete you can pull up a corner to see how well your image is transferred – if it needs more burnishing place the corner back down and burnish over the area again. Remove the paper in an upward movement – The paper image must be removed prior to firing in the kiln.I have also noticed the longer it is left to dry on the clay it adheres making it difficult to remove leaving behind paper bits. If this occurs try to remove as much as possible but only leave to dry approximately 20 minutes for best results before burnishing.

I have made a book cover as my sister loves books and I want to make her a journal. I cut the clay to the size and leave to dry before placing in the kiln.

Or watch the video by ceramicsartdaily.org
http://ceramicartsdaily.org/ceramic-supplies/ceramic-colorants-ceramic-supplies-2/photo-lithography-on-clay-a-surprisingly-simple-way-to-print-images-on-clay/

Be patient it took me several trys before I got results that I was happy with and still need some more practice with other mason colors and other projects – plates? inspirational messages on cubes ? sculpture?
– Have FUN!! It is endless what you can do with clay!

Art sites

A comprehensive list of internet sites for Artist competitions, calls for entry, marketing and juried exhibitions :
This is for the artist that likes to apply themselves in as many directions as possible all at once.
I spent hours on the computer over a month collecting these sites on my favourites hopefully they will be helpful to all my artist friends out there. If you find something of value let me know or if you are not happy with one of the sites listed here for some reason let US all know so that we can help each other.
Current information: 
http://www.canadianartauction.ca/pdf/CAA_EmergingArtists.pdf
http://www.artshow.com/juriedshows/page2.html
http://www.artelagunaprize.com/?gclid=CKrL0fKQoaMCFQNigwodnHl-5A
http://www.gamblincolors.com/torrit.grey/index.html

Book cover:  Art will be accepted through December 31, 2010
http://www.lanevonherzen.com/id1.html

http://www.artworkinternational.com/grant.html

Grants:
http://www.artworkinternational.com/grant.html
Here is a site with lots of excellent opportunities for artist residencies (with some paid stipends) and international opportunities – worth checking out and probably one of the best sites on the internet for artist opportunities.
scroll through the pages for many different types of opportunities:
http://re-title.typepad.com/opportunities/
For artists focusing on feminist approach and women
http://www.ceresgallery.org/invitational-membership.htm

drawing competition: http://www.manifestgallery.org/nda/
Canadian Institute of portrait artists:  http://www.portraitscanada.ca/  
Artist competitions and designers —-Designboom.com
Anyone want to design a puzzle go here: http://www.masterpiecesinc.com/AboutUs/ArtistSubmissions.aspx
or for prints and publishing artist submissions you can check this out:
http://www.artinmotion.com/aboutsubmittingart.aspx
Great idea and want to be published?
http://www.larkbooks.com/submissions
Have a need to exhibit in a craft market?
http://www.americancraft.com/BMAC/artist/PDFs/PDF_PF08/ProspectusIndividualPgssmall.pdf
For next year you can also check out one of a kind show and sale for toronto vancouver new york etc.
http://oneofakindvancouver.com/participate.php
ART Competitions:
http://www.susankblackfoundation.org/
http://www.aestheticamagazine.com/submission_guide.htm
http://www.artshow.com/juriedshows/page2.html
http://www.manifestgallery.org/ drawing competition deadline dec31 2009
or their other competitions here http://www.manifestgallery.org/about/submit.html
http://www.artistsnetwork.com/competitions/
http://www.graphiccompetitions.com/
http://www.americancraft.com/NICHE_Awards/index.html
http://www.artshow.com/juriedshows/
Want to be on a stamp? http://www.whc.org/en/stamp-print-program/
http://www.kingstonprize.ca/index.htm
http://www.artshow.com/juriedshows/
http://www.dezignare.com/competitions.html
A free artist opportunities site: http://www.studiochroma.net/art_opportunities/about-2/
CERAMIC
  artist /sculptors
http://www.tilecompetition.com/
http://www.sculptor.org/old_default.htmhttp://www.callsandopps.com/index.php?list/27
Design a small teapot http://gallery.saddleback.edu/shows/11FEB10/ 
http://ceramicartsdaily.org/ceramics-monthly/call-for-entries/#international-exhibitions
http://www.vickihardin.com/links/callforentries.html
Live in New York? http://www.nyfa.org/opportunities.asp?type=Opportunity&opp=OppArtist&id=95&fid=1&sid=54
http://www.newamericanpaintings.com/
http://americanwatercolorsociety.org/
http://www.utrechtart.com/contest/
Portfolio space: http://www.lwcr.com/artistfront/
http://www.artshow.com/juriedshows/
http://www.visualoverture.webs.com/
Marketing
ARTbook :http://www.internationalcontemporarymasters.com/artists.html
http://99designs.com/contests?page=10
http://www.artbyus.com/
invitation to design invitations? http://www.invitationconsultants.com/designcontest.aspx
Interested in tile? http://www.tileheritage.org/TileHeritage-home.html
Deadline for submission dec 8th (tile)http://www.juriedartservices.com/index.php?content=event_info&event_id=224
Call for artists: http://artistsonline.biz/call_for_entries/craft_show.htm
Ok here is where ART and SCIENCE collaborate apparently: http://www.asci.org/
http://www.strathmoreartist.com/
CONT”D http://www.artcalendar.com/adlisting/index.asp?EntryFee=1

Zelli Porcelain: http://www.zelli.co.uk/award2009.html
A national ceramic competition:
http://www.samfa.org/ncc.htm
ART Fair/ shows:
http://re-title.com/
http://www.friezeartfair.com/
Too late for this year (held in late oct) but really early for next year!! 😉
http://www.artrenewal.org/articles/2004/Salon/winners1.asp
Gallery submissions
Charles cummings gallery : http://claylink.com/zen/index.php?main_page=page&id=18&chapter=0&zenid=07bb5fb63d09ffc2a2b9591020a3509e
ARTIST SITES FOR EXHIBITING:
EBSQ http://blog.ebsqart.com/2009/08/03/ebsq-announces-revamped-featured-artist-program/
ETSY etsy.com
For How to information for artists or anyone check out:
http://www.howtd.com/
http://www.instructables.com/
Would like to get into the movie industry go here:
http://www.talentmatch.com/
A construction material that artists are using as a substrate for watercolor, acrylic and oil  etc :
http://www.magnesiacore.com/art.html
Artist Projects to get involved with:
http://www.arthousecoop.com/projects/sketchbookproject/rules
For Encaustic artists:
international encaustic artists – this site is not user friendly you need patience.
http://talk.international-encaustic-artists.org/index.php
Competitions cont’d
http://artelagunaprize.com/  added extra bonus wine label competition !!

Greenhouse gallery portfolio submission: http://www.greenhousegallery.com/portfolio.html
Greenhouse gallery 2010 prospectus for competition submissions for traditional representational artists:
Salon international 2010 http://www.greenhousegallery.com/si/
http://www.internationalmastersoffineart.com/view.asp?file=main.html
Publishing:
http://www.ipcny.org/
Emerging Artist auction NYC
http://www.igavel.com/aboutUs/emergingartists.php

Wine labels usually held annually
http://www.calonavineyards.ca/artist/artists_calona.cfm

If anyone has some more sites of interest do not hesitate to add them to this post. I am currently interested in wine label competitions.
Angela

My Family History

As an artist your talent and creative ability comes from somewhere. We are all unique and different but as much as our genetics doesn’t have anything to do with who we are it can also have very much to do with who we are. In researching my family history I was not only surprised but amazed at the some of the similiarities in their artwork and mine. I love to do portraiture, cameo’s, sculpture, drawing and figurative.

Cameo by Angela Pistrucci

Bettina Pistrucci Portrait Cameo by Angela Pistrucci

 The artists in my background were figurative realists in both painting and sculpture. Most notable ancestors are Benedetto Pistrucci a sculptor that worked in the Royal British Mint, his brother Phillipe Pistrucci a printmaker closely associated with Dante Gabrielle Rosetti ( He is known for his painting of Dante’s sister Christina Rosetti -a poet), my great great grandfather  E.J. Cobbett was a member of the Royal British artists and William Cobbett (famous  for  his writing and member of England’s parliament  mid 1800’s). I am not saying that I have arrived but to say the least I am proud of my heritage and am influenced everyday by the legacy left by my ancestors. Trust me somedays it feels like a lot to live up to. 

Benedetto Pistrucci (May 29, 1783 – September 16, 1855) was a talented engraver of gemstones, cameos, coins and medals.

Pistrucci’s St. George design

Search Wikimedia CommonsWikimedia Commons has media related to: Benedetto Pistrucci

Born in Italy, he moved to London in 1815 and was employed at the Royal Mint as an engraver, where his most famous work is his portrayal of St. George & the Dragon used on British gold sovereigns and crowns from 1817 to the present day. He also engraved the dies for many other coins, medals, and medallions, including the Waterloo Medal, which took him over thirty years to complete.

He refused to copy the work of any other artist or engraver, and insisted that all his work was his own original work. Because of his Italian origin, he was not officially recognised as the chief engraver at the Royal Mint, and there were rivalries with other engravers including the Wyon family.

To immortalize the successful Waterloo campaign, the Duke of Wellington suggested that a couple of special medals be prepared. From a July 11, 1815, letter from Master of the Mint W.W. Pole to the president of the Royal Academy:

I have been commanded to strike two Medals at the Royal Mint in commemoration of the battles of Les Quatre Bras and Waterloo; One, in gold, of the largest size, to embrace the exploits of the allied army under the Duke of Wellington the Prince of Orange and the Duke of Brunswick, and of the Prussian Army under Field Marshal Blucher. This Medal will probably be given to each of the sovereigns in alliance with the Prince Regent, to their ministers and generals.”

Medallists were petitioned to submit designs for the medal. Pistrucci’s design was selected over a design by John Flaxman, which had been recommended by the Royal Academy. However, due to an internal strife at the Royal Mint between Pistrucci, Pole, and Wyon regarding the position of chief engraver, work on the medal got off to a slow start. Ongoing personality conflicts within the Royal Mint, salary disputes, a heavy workload, and the utter complexities of the proposed design were all contributing factors as to why it took Pistrucci 33 years to complete his masterpiece. In 1849 the dies were reportedly finished, but only in terms of design execution. Although the dies were created in four pieces to assist in their hardening, it seems that nobody was willing to take the risk of damaging Pistrucci’s work that was three decades in the making. Unfortunately, by this time all of the intended recipients of the medal were deceased, with the exception of Wellington. Gutta-percha impressions and electrotypes were finally created. Pistrucci was finally able to see his magnum opus in medal form. He died a few years later, in 1855. See: Heritage Auction Galleries, Sept 16 2008 auction of electrotype medal, copyright acknowledged.
Pistrucci is buried in Virginia Water, Surrey, England at Christ Church. He has a prominent gravestone which cites his title as Her Majesty’s “Chief Medallist”. His grave is situated at the front of the Church under a tree.File:Waterloo medal.jpg

E.J. Cobbett :PAG79663024 PaintingXPorcupineGazetteGeneric17972

Porcupines Gazette by William Cobbett – The ‘ blog of the 18th century!!!! ‘