Art Center Information

Just in the Event You Missed the Event

From time to time, Art Center Information prefers to refer our visitors to some selected past blog posts. Since most of our fans are artists or people that are interested in art, our passion is to progress art through awareness. In case you missed these past blog posts, we suggest you check them out. We selected three of our favorites that we feel inform and entertain. Enjoy!

Love That Dog:

Lynn Burton: "Untitled" oil on canvas — Lynn Burton: “Untitled” oil on canvas

This was the introduction to our new Blog Post Title: MONEY TIP, which we will post routinely to suggest ways that artists can make money while still pursuing their one great masterpiece.

Let’s face it, artists are talented in many ways, however the concept of marketing their art (in many cases) escapes them. This is simply a tip to help the artist to use their abilities to present them with a better financial life, and still allow them the time to pursue artistic dreams. To read the post, click on the picture to the right>>>

Sketching: Where Ideas Come From:

In this post, we asked: Where do ideas for a drawing or painting come from? Was it the way you noticed a person tilting their head, or had a certain gleam in their eye as you passed by them? Is it the way the sun shines through the near transparent petal of a flower? We continued to discuss the importance of those little sketches on pieces of paper or napkins artists do that come from a sudden urge when we’re struck with a scene that we feel would make a good painting or picture. Don’t miss it. Click on the picture and read on.

Find Your Next Painting Within Your Last Painting:

If you missed it, this is one of the most interesting articles, one of our favorites. As an artist, this may have happened to you. In this post, artist Richard D. Burton discussed finding one of his best watercolor painting came from another picture he was painting. He said, “ While I was painting the picture, Winter Farm, some years ago, I kept having a nagging feeling that there was a lot more than meets the eye to this old Ohio farmhouse. Please take time to enjoy the article by clicking on the picture to the left.

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Tips for Watercolorists: Color, Brushes, and Paper

R.D. Burton: Knobby Tree (watercolor on paper) — Richard D. Burton: Knobby Tree (watercolor on paper)12″X16″

Watercolors can be divided into two kinds: transparent and opaque. The distinction is imperfect because some pigments, classed as transparent, are less transparent, that is to say more opaque, than others. What are called transparent colors are those composed of pure pigment and a little gum to make them adhere to the surface of the paper. When they are spread over the paper by means of water, the paper shows through, unless the color is applied very strongly; the greater the proportion of water used, the more transparent the color, because a larger surface of paper is visible between and through the particles of pigment.

When considering painting with watercolors, an artist must consider color, brushes, and paper:

R.D.Burton: "Winter Farm" (watercolor on paper) — Richard D.Burton: “Winter Farm” (watercolor on paper)

COLOR: All manufacturers of any standing clearly state in their catalogues the origin of each color and its degree of permanence. Certain manufacturers supply a few colors with unique attractions, other than this, the rest vary but a little. For the beginner and others who have not developed any prejudices, the best plan is to try each kind.

BRUSHES: Inferior brushes will severely handicap a painting. If a brush is not really good, it is just BAD! As an artist, this is not the area to scrimp. Whatever the circumstances, there can be no economy in this direction. Only the best will do. A brush should be springy without being stiff, come to a point (that is if it is made to come to a point) without hesitation, and last long enough to make it far cheaper than any substitute.

R.D.Burton: "Woman In The Field" (watercolor) — Richard D.Burton: “Woman In The Field” (watercolor)

PAPER: The nature of the surface to which the color is applied is an important factor. Many artists habitually use a very small number of recognized makes and, by so doing, they limit the scope of their work and tend to stultify their abilities. The characteristics which concern the artist the most are: thickness; surface; absorbance; tone; color; and permanence. Only with an open mind and the determination to experiment widely can artists truly judge what is the best for them.

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Posted in art, Artist, brushes, color, paper, watercolor | Tagged art, art center information, art information, artist, brushes, color, painting, paper, Richard D. Burton, watercolor, watercolorists | Comments Off

Talking Art

Two artists discussing art and artists — Lynn and Richard Burton

When artists Lynn and Richard D. Burton get together, whether in person, telephone or internet, they talk art. Their conversations are often detailed, no matter how brief.

Lynn often reminds Richard that art is study, understanding, and action. “I can assure you, that when it comes to the overall understanding of art, I probably should have a doctor’s degree,” he repeats over and over. He believes it. He got the only degree he ever received from studying at the university of hard knocks, beginning his career as a self employed sign painter at the age of nineteen. As far as art, he began private lessons from famous artist, Roderick Mead, at the age of fourteen and has never stopped taking lessons from someone he believes can help him. “If I find someone who can do something I can’t, I find a way to take lessons from them,” he says. He’s had a brush in his hands for more than half a century!

“I remember Lynn making good money ‘pin-striping’ and ‘flaming’ fellow teenagers ‘hot-rods’ back in the late 50s,” Richard adds.

Artist, Lynn Burton, testing shape and color on painting

Lynn insists that when he paints, he always has references for the subject. An example of this is the way he holds the flower up to his painting to the right.

“I have to feel it…the color, I mean,” he says. We’re not quite sure what he means, but we think we get it. He talks a lot about color, sometimes emotionally. “It’s the artist in him,” Richard says when talking about it. “I know the experience, I’ve felt it before, maybe not as seriously.”

Adam and Eve, in progress — Lynn Burton: Adam and Eve in progress

“When I painted Adam and Eve, I had more leafy vegetables than you can imagine,” Lynn explains, “of course I had the apple. I don’t know how many I went through, but it was necessary. But to get the foliage, I used every thing I could find; cabbage, collard greens, spinach, bib lettuce, endive, regular lettuce, and I think I might have had a little poke salad…something I was nibbling on made me feel a little crazy…perhaps, a little ‘mean fisted’, especially when I couldn’t get the colors to work right.’

“I really agonized over this painting because I wanted to make a painting of a scene that has probably been painted more than any other over and over throughout history. However, I wanted mine to be something totally different.”

Posted in art, Lynn Burton, Lynn Burton's Adam and Eve, Richard D. Burton | Tagged Adam and Eve, art, art information, artist, Lynn Burton, Richard D. Burton | Comments Off

What Inspires You? I Saw The Figure 5 in Gold

Charles Demuth: I Saw the Figure 5 in Gold (1928)

I Saw the Figure 5 in Gold, by Charles Demuth, was an exuberant response to a poem by William Carlos Williams, who was trying to establish an American modernism.

Williams had dedicated Spring and All to the artist in 1923. The volume presented an authoritative version of the voice he sought to achieve. At the time, both men were trying to establish a new iconography, as expressed in the poem “The Great Figure”.

The work is one of nine poster portraits Demuth created to honor his creative friends. He painted posters devoted to artists Georgia O’Keeffe, Arthur Dove, Charles Duncan, Marsden Hartley, John Marin, and other writers than Williams.

Among the rain
and lights
I saw the figure 5
in gold
on a red
firetruck
moving
tense
unheeded
to gong clangs
siren howls
and wheels rumblings
through the dark city~William Carlos Williams

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Posted in Charles Demuth, William Carlos Williams | Tagged art, art center information, art information, artist, Charles Demuth, William Carlos Williams | Comments Off

Should You Paint With Overcast Light or Bright Sunshine?

“Most people like sunny, cloudless days, but artists and photographers often prefer the soft illumination of a cloud-covered sky.”~James Gurney

Lynn Burton:Blue Mountain cottage (oil on canvas)

Artist, Lynn Burton, elected to paint Blue Mountain Cottage in overcast light (left). This gave him the benefit of the soft illumination of a cloud covered sky, not having the problems that stark shadows can cause.

Shadows can be direct or mysterious, subtle, or stark, but if they are not portrayed correctly, they can be very disappointing. Since there is no accuracy or dimension without shadows, it’s necessary to take a great deal of study and understanding for an artist to get shadows depicted correctly. Regrettably, the least experienced viewer can detect when the shadow is painted wrong. However, painting shadows accurately is sometimes the most frustrating exercise for an artist.

The study of light and shadows and how they interact with each other is a lifetime experience for many realist artists. Light defines shadows. Without shadows, light becomes an irritating brightness. Get your shadows depicted accurately, and you can turn lemons into lemonade.

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Posted in art center information, art information, painting, Painting Shadows | Tagged art, art center information, art information, artist, Lynn Burton, painting, painting shadows, Richard D. Burton | Comments Off

MONEY TIP: Love That Dog

Artist, Richard D. Burton making a full size graphite drawing for "The Old Woodie" — Artist, Richard D. Burton making a full size graphite drawing for “The Old Woodie”

Art Center Information is always interested in sharing ideas that may help artists increase their incomes. We will be giving a tip biweekly as a new category. The article will be named Money Tip. We hope it furnishes some ideas for our art friends.

Artists, by their very nature, are usually at a loss to the “know how” of marketing their work. Since we tend to love our own art (whatever the genre we’ve selected), we seldom stretch ourselves into considering painting a marketable product, relying on being “discovered” someday and hoping some promoter can sell our work to the world.
However, with our talent their are several marketable possibilities for us to earn a couple of dollars while we starve our way to fame. Below is a suggestion of just one of them:

Realizing that some people are as attached to their pets as other people are to their children, animal lovers is a very good market that is near limitless. I haven’t seen any pet stores going bust! The market can stretch past pet cats and dogs to horses, canaries, snakes, fish, and whatever a person considers a loved pet; perhaps, iguanas or tigers. The good news, for this kind of work it is almost essential to work from photographs. If you advertise your expertise globally, your market is broadened past your local area. It also means you can work in your studio on the off hours of painting your dreamed masterpiece.

There is a down side, however, you have to be very good at what you do. You can’t use your artist’s license as much as you wish. Remember, animal lovers know the exact size, shape and position of their pet. They will hold you to an accurate drawing or painting.

How much do you charge? Prices will depend on your client’s love for their pet and their pocket book. Start locally and after arriving at a few negotiations, go global with a minimum starting point.

Posted in art, art center information, Art Marketing, painting, Pet Art | Tagged art, art center information, art information, art marketing, drawing, painting, painting pets | Comments Off

Paul C’ezanne and the Post-Impressionists

The artists that often come to mind when discussing the Post-Impressionists are Vincent Van Gogh, Paul Gauguin, Maurice De Vlaminck, and, of course, Paul Cezanne, the central figure in the movement whose art had the greatest influence over the others. The term “Post Impressionist” was first used by Roger Fry in 1910 at the London Art Exhibition

In his painting, Still Life: Flask, Glass, and Jug, Cezanne shows his preoccupation with structure. He was more focused on showing the volume and space the objects in the painting inhabited than capturing a convincing likeness.

220px-Cézanne,_Paul_-_Still_Life_with_a_Curtain — Paul Cezanne: Still Life With a Curtain

Posted in art, Paul Cezanne, Post-Impressionists | Tagged art, art information, Art movement, artist, Paul Cezanne, Post Impressionist | Comments Off

Ideas for Framing Your Artwork

I recently read an article in one of my favorite magazines, the Artist’s. The article is in the April, 2013 issue. Each month the magazine covers helpful tips and art interviews. I highly recommend any serious artist to subscribe to it; and, no, I’m not being paid to advertise for them. I sincerely do recommend it. Anyway, the article I have in mind gave helpful advice about framing pictures which I felt was worthy of discussing. Without plagiarizing the article, I wish to pass on some helpful hints and ideas they discussed, as well of some of my own.

Before I do, however, I wish to mention that the cost of framing pictures has always been a sore spot for me. Let’s all admit, a picture with a frame is so much better than a picture without one. It also helps to sell the picture when it is framed. But, sometimes the frame can cost as much as we plan to price our paintings and artwork, which can more than doubles the price when desiring to get an honest net profit for our work.

Richard D. Burton: Grinding Gears of Time (Graphite on Paper) 2012 — Richard D. Burton: Grinding Gears of Time (unframed)

I nearly gulped when I got the invoice for framing my graphite drawing, “Grinding Gears of Time”.

Richard D. Burton: "Grinding Gears of Time" Graphite on Paper — Richard D. Burton: “Grinding Gears of Time” Graphite on Paper (framed)

At half price it was over a hundred and fifty dollars. Of course, this included all the things that go into pricing; such as, museum quality glass, matting, and decorative frame. Let’s face it, if an artist believes in the quality of their work, they do want to have a frame that enhances that quality…right? Perhaps, they should be better at business…hm-hm-hm. Okay, I really wasn’t going to sell this one anyway. I did this one just for me, so to me it was worth the money. But, what about those you do plan to sell?

Generally, artist can’t afford to put the money into quality frames, so they present their work with lesser quality, which tends to lessen their work when presented. Obviously, if they wish to sell their work for $300.00 dollars, they do not want to tag it with a $180.00 frame.

Tip: Get to know the framing market in your area as well as on the internet. There are a lot of small independent local framers that if they get to know you, and realize that you are a constant source of business for them, will discount to you.

Tip: Remember when considering mounting paper, everything must be acid free, and whatever you do must be able to undo so that work on paper must be able to be restored to the original condition.

Tip: Matting should compliment your work. Beware of overwhelming the artwork with matting.

Tip: Although metal frames tend to be less expensive, wood frames are much richer and can help sell your work for the price you are asking.

Tip: If you can afford to take wood working classes and the equipment to make your own frames, it may be well worth the investment.

Tip: Price your work at a show both framed and unframed while displaying it framed. In most cases one of two things will happen: either the customer feels they can get a cheaper frame and will purchase unframed, or they will realize how much the frame and artwork costs separately and willing to purchase as is.

Posted in art information, Artist, Artwork, Framing Artwork | Tagged art, art center information, art information, artist, Grinding Gears of Time, painting, Picture Framing, Richard D. Burton | Comments Off

How to Paint Reflecting Surfaces

Here at Art Center Information, we have often been asked about the proper way to portray reflections. Reflections are images bouncing off an object and reaching your eyes indirectly such as by bouncing from a shiny surface, mirror, water, or some other reflective object. If properly rendered, they add interest and dimension to many realistic paintings.

Lynn Burton: Segment of "Swan Lake Reflections" Showing hard and soft edges — Lynn Burton: Segment of “Swan Lake Reflections”

As an artist wishing to give your painting an extra measure of depth, you will want to understand thoroughly the proper use of reflections. Of course, there are many more considerations when painting reflections, but hopefully this handful of tips is helpful art information.

On a smooth surface such as a still lake, reflections will be sharp-edged and clear.
Reflections on a rough surface such as rippled water will be blurry and broken.
Water ripples are similar to small mirrors all at different angles sending reflections in various directions.
Caustic reflections are the reflected light by means of reflecting off waves on water. For example, spots, arcs, or bands of light off the side of a boat reflected from light hitting the waves.
Detail of “Old Woodie” R. D. Burton
Remember, the angle of incidence and the angle of the reflection are always the same.Specular reflections bounce off shiny surfaces. For example, the face of a man fishing reflected in the contour of a chrome boat railing, or depictions in a shiny hubcap.

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R. D. Burton: segment of "The Red Truck" (Acrylic on Board) — R. D. Burton: segment of “The Red Truck” (Acrylic on Board)

Posted in art, art center information, painting, reflections | Tagged art, art center information, art information, Lynn Burton, Old Woodie, painting, R. D. Burton, reflections, Swan Lake Reflections, The Red Truck | Comments Off

Tips: Drawing and Painting Heads and Faces

snapshot of two pages from "atlas of human anatomy for the artist" — snapshot of two pages from “atlas of human anatomy for the artist”

In a drawing or painting where a person is displayed, the head probably has more to do with its acceptance than anything else. Though the overall figure may be splendid, the viewer will not look past a badly constructed face. Over the years, I’ve labored over this fact. At a certain point, as far as the human anatomy was concerned, I became very serious and realized it was time that I learned everything I could about the subject.

"atlas of human anatomy for the artist": by Stephen Rogers Peck — “atlas of human anatomy for the artist”: by Stephen Rogers Peck

In a sense, I discovered construction. I read and studied many art books on the subject, some of which I still have on my shelf. The one I refer to most often is the seventeenth printing of atlas of human anatomy for the artist by Steven Rogers Peck. I purchased the book in the mid-seventies (for those who don’t know, that’s in the past century); it’s been around for a long time, and the yellowed pages are beginning to fray.

When you realize a beautiful face is not necessarily a type. Any set of features in a skull that is normal can produce an interesting and arresting face. The underlying word here, is normal. No face can be out of construction and look right. You can be correct drawing an ugly and leering face, and if the construction is proper, it will work.

Here are a few tips that may help an artist when they are drawing or painting faces:

Tip: Draw or paint the skull correctly from your viewpoint and then place the features properly within it.

paint sketches for "The Old Woodie" — paint sketches for “The Old Woodie”

Tip: There must be a positive balance of the two sides of the face.

Tip: The spacing between the eyes must be right in relation to the skull.

Tip: To keep from your face depiction from appearing imbecilic, pay particular attention to the accurate placement the ears

James Frederick: "Original American" Graphite on Paper — James Frederick: “Original American” Graphite on Paper

Tip: Do not disregard hairline. It is extremely important because it not only frames the head but helps to tip the face at its proper angle.

Tip: The placement of the mouth at its proper distance between the nose and chin can mean the difference between allure and a disgruntled pout.

Tip: There are no two faces alike, so it’s best to draw people rather than stock heads.

Tip: Once you are satisfied that you have the ability to draw the head of people comfortably, it is only the beginning. It should be your life-long interest to learn to portray character.

Olivia Frederick: The Face — Olivia: The Face

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Posted in art, art center information, ART COFFEE TABLE BOOK, drawing, painting | Tagged art, art center information, art information, artist, drawing, James Frederick, Lynn Burton, Olivia, painting | Comments Off