We've been hugely excited for the launch of the new Winsor & Newton Pigment Marker for some time now. A pen so revolutionary, it's going to change the way people use markers forever. Ergonomically designed for maximum comfort (you'll be able to draw for hours!), their lightfast colours will last a lifetime, and you can use them like paint, mixing and blending the colours.

With such unique characteristics, it’s important to think about which surfaces you'll be using to get the best results. 

Such groundbreaking markers would offer limitless possibilities. So here at Cass Art we've investigated which surfaces you can use with the Pigment Markers, for optimimum results. Read on to find out which ones you might want to experiment with. 


WINSOR & NEWTON PIGMENT MARKER PAPER

Winsor & Newton have produced a specific paper available in a sketchpad: Winsor & Newton Pigment Marker Paper. Unsurprisingly, it's been specially designed with the Pigment Markers in mind. The 75gsm paper allows for maximum blending and for colours to be re-worked and mixed even once they have dried.  Available in A3 and A4 sizes, the paper's unique coating means the colour floats across the surface, giving you unrivalled control and the ability to mix the pigment like paint.

FOAM BOARD

Already a surface widely used by students, illustrators and designers, 3mm or 5mm white foam board works extremely well with the new Pigment Markers. It offers a more rigid support than the Winsor & Newton’s Pigment Marker Paper and allows the ink to flow and glide across its non-absorbent surface. The pigmented colour sits on the surface rather than sinking in, as it isn’t porous, and this means the colour can be easily blended, lifted and reworked once dry. 

 

PRIMED BOARDS

Many of the panel surfaces from Ampersand such as Claybord or The Artist Panel Primed Smooth are absolutely perfect for the vibrant, lightfast colour of the Pigment Markers. With immaculately prepared and smooth textures, they're a real pleasure to work with. Their durability also means they can withstand the 100-year lightfastness guarantee that comes with the markers. Plus, to make life easier, the cradled panels are ready to hang and display, just like a canvas, so you can paint away with the Pigment Markers and have a finished work ready to display.

 

PRIMED CANVAS OR LINEN CANVAS

You can use the Winsor & Newton Pigment Markers on primed canvas or linen. The slight texture of the canvas will show through the marks, offering a granular effect. With canvas as the base, this may encourage you to introduce other media like pencils, acrylic or even gels and mediums over the top of the markers - take a mixed media approach and see what happens! For best practice the canvas or linen surface should be smooth or lightly sanded, just to take care of the marker nibs.

 

TRACING PAPER 

Tracing paper is a similar weight to Winsor & Newton’s Pigment Marker Paper, and can be used for different but just as exciting results. Use the Cass Art Tracing Paper Pad and the marker colour will have a subtler apperance, and you can mix the ink with the unique opaque White Blender for greater effect, using the paper itself as a mid tone. The tracing paper surface could also be mounted onto another surface, either whilst you work or once finished, offering a more durable surface and backing layer to the work.

 

DARK SURFACES

The White Blender is one of the most unique things about this new range of Pigment Markers. And thankfully it means you don't need to work on just light coloured surfaces! You can achieve great results by building up layers, using the White Blender at first and then working over the top with other colours. The Daler Rowney’s Canford Card Black Pad is great for experimenting with dark to light approaches. Give it a go.

GENERAL PLASTICS

As well as the specially produced graphic and fine art surfaces, there are also a number additional surfaces that - perhaps unexpectedly - create great results with the Winsor & Newton Pigment Markers. White High Impact Polystyrene, produced for vacuum forming, is nicely rigid and supports the colour, allowing it to sit upon the surface for blending and reworking. Polypropylene, in a slightly off white colour, can also be used to great effect. You could also try working on Perspex or Acetate for a whole host of other effects and techniques. 

SURFACES THAT WON'T WORK AS WELL

The Winsor & Newton Pigment Markers will perform like any other normal marker if you use them on conventional paper pads, Bristol board or cartridge paper. The colours are still vibrant and the quality of line still brilliant, of course. However these kinds of papers have a more absorbent nature and haven't been specially prepared or coated, so you won't be able to blend the colours like paint, which is one of the most unique properties of these markers. So here at Cass Art we advise that you trial them on any of the suggested surfaces above, or indeed the specially formulated Winsor & Newton Pigment Marker Paper, for best results.

Feeling inspired?

You can buy the Winsor & Newton Pigment Markers now online - they will be available in Cass Art shops very soon.

Shop for different surfaces online so you can draw, blend and paint with these revolutionary new markers.

Winsor & Newton have released a new revolution: a Pigment Marker that's no ordinary Pigment Marker.

A dazzling new marker pen that breaks all the rules, it will be available in November. Keep an eye on our website!

Until then, watch sculptor Gary Webb as he uses the Pigment Markers and explores what's so unique about them, as he blends the colours, uses the first-ever White Blender pen and creates drawings of his sculptures with the range of highly pigmented, lightfast pens.

It's no secret that all our staff at Cass Art are artists. And to celebrate their creative talent and give them a platform to showcase their work, we are delighted to announce VISIONS - an exhibition of work by artists at Cass Art.

With work by over 100 emerging artists, VISIONS will explore a variety of disciplines including painting, drawing, photography, illustration, sculpture, printmaking and mixed media. Cass Art, still lead by CEO and Founder Mark Cass, is committed to supporting artists and getting their work seen by others.

"I'm truly proud to have so many talented artists working at Cass Art," he says. "Visions gives us a chance to celebrate the work being made by artists across the UK - artists who just so happen to be a part of the Cass Art family."

VISIONS is open from Thursday 12th November to Sunday 15th November, and what's more, you're all invited!

It will be hosted at the converted railway venue Hoxton Arches, a hidden gem in the heart of London's East End. It's located at Arch 402 Cremer Street, a short walk from Brick Lane and Spitalfields Market. 
 

Opening times:

Thursday 12 November 12-4pm,
Friday 13 November 10am-7pm
Saturday 14 November 12-7pm
Sunday 15 November 12-4pm

Andrew Stahl, Professor of Fine Art at the Slade School of Fine Art, reflects on the show before its opening.

"This diverse and fascinating exhibition presents us with a show of around 100 emerging artists and demonstrates the wide range of talent and variety that typifies today’s discourse. With work that touches on the materiality of painting, media and sculpture, and work that refers to symbolic, narrative, descriptive and political dimensions. This exhibition celebrates the vision and thriving artistic community that is Cass Art."

The show includes work from artists who work in our nine shops, across London, Glasgow, Bristol and Liverpool, as well as our Head Office. To get a taster of what's on offer, read on to hear from some of the artists themselves - and we very much hope to see you at the show!

HEATHER MILLS


Heather Mills makes intricate papercuts. "What I like most about working with paper is the textures and subtleties that can be created by using different papers – mixing rough, thick watercolour paper with a delicately transparent tissue or a thin, smooth layout paper. I love the control the knife has as well – once the paper has been cut, there’s no going back, no room for mistakes. It’s a very rigid structure, for me."

FERN DIXON

Fern Dixon combines  the tactility of fabrics, wools and threads, alongside her interest in low-resolution camera phone photography. "Feminine crafts are sometimes seen as secondary arts to painting and sculpture, so using sewing to portray frank imagery is my way of quashing these antiquated stereotypes.  I use voyeuristic imagery to entice the viewer, add cheek, and because I am interested in the female gaze and how it explores the male body; a perspective that I think is under represented."

ASHLEY PANTON 

Ashley Panton's piece uses projection mapping to explore the relationship between sound, colour and emotion. "Prometheus, a titan from Ancient Greek mythology is said to have gifted man with fire, a source of light, heat and power that became the catalyst for the evolution of mankind. Taking the story of Prometheus as inspiration, this projection mapped light installation synchronises light, sound, colour and movement in an attempt to create an intensified sensory experience."

JAMES BOMAN

James Boman's futuristic objects look at the things that we will leave behind for future generations. "Even the most simple objects and materials are valuable if given the right context. My mission is to make apparent a secret nature and history that exists within all matter." 

AILISH SULLIVAN 

Ailish Sullivan is presenting a watercolour digital print of four skulls. "These are examples of animals who are endangered around the world, and staring back at us are just the empty landscapes they’ve left behind. They feature a Panda, Polar Bear, Black Bear and Rhino."

RONAN MCGEOUGH

Ronan McGeough is an oil painter. "I observe the knotty system of the urban environment, that in some cases can engulf the human condition. Expressing the decline of the city landscape in the midst of urbanisation, I use a collagist method of composition to record our cultures spiritual wounds, combing all of these elements to create a new environment of experimentation, wonder and unease. I try to create an enlightened way at looking at ourselves, the environment in which we are a part, and the political, social and spiritual factors that shape us. To illustrate what happens when urban landscapes are abandoned for the suburbs, and the remnants of a vibrant neighbourhood are gone."

SANTIAGO ALCON 

Santiago Alcon’s paintings are inspired by life and events in London. Different mark-making materials, text, colour and light combine to create a visual diary, capturing moments in time as images on glass, perspex and canvas. "This interactive piece looks into how the human need for social connections shapes us, gives us a sense of identity, and how we influence the individuals and groups of people around us in return. It questions the blurry lines between individual self-definition and the communal attribution of characteristics towards groups in society. Which do we adopt unconsciously, which do we unwittingly get identified with. And how do these change over time."

Feeling inspired?

See all the Cass Art staff artists' work at VISIONS at Hoxton Arches, from Thursday 12th November to Sunday 15th November. Admission is free.

Please let us know what you think of the show using the Twitter hashtags #VISIONS2015 and #CassArt. 

Calling all professional artists: Cass Art now stocks Sennelier Soft Pastels in individual colours!

Sennelier Soft Pastels were first made by Gustave Sennelier for the painter Edgar Degas in 1900. In a testament to their quality, they were subsequently used by other great artists including Cézanne, Gauguin, Monet and Modigliani.

Today, they are given the same very best treatment as they were back then. They are hand-formed from the highest-quality pure pigment and the finest chalk with a natural transparent binder, and air-dried in moulds rather than compressed.

It is for that reason that they bring you amazing results: wonderfully soft, outstandingly bright, lightfast and water-soluble, they're widely used by professional artists.

For the first time we are offering Sennelier Soft Pastels in invidual colours, exclusively online. 

We've stocked Sennelier Soft Pastel sets for some time, and after listening to the artists out there, we thought it was high time we brought you the individual colours, so have a browse and get shopping for the pastels to complete your collection.

Feeling inspired?

You can shop for individual Sennelier Soft Pastels here.

You can also shop our full range of Sennelier Soft Pastels including the different sets here.

How time as flown - the semi-final of Sky Arts Landscape Artist of the Year is on next week!

This week, alongside the heat winner Sam Taylor, a Wildcard Artist was also put through to the semi-final. The Wildcard Artists were artists that registered online through the application process, separate from the application to paint as contestants on the show. The first 50 artists who registered were then invited to turn up to each location, and the judges then chose the best Wildcard artist to go through to the next round.

David Alderslade was the Wildcard Artist put through to the semi-final, and funnily enough, he was also one of the painting contestants on an episode filmed at Waddesdon Manor! We caught up with David to find out about the slightly different journey that he's had compared to the heat winners, and to ask about his favourite art materials.

Hi David! Can you explain what the wildcard was, how you applied and what it meant on the day?

The Wildcard competition ran alongside the selected artists at every location, although you didn't have the same protection from the weather or materials provided, and we weren't guaranteed the attention of the judges as there were so many entrants. 

Did you paint at Waddesdon Manor too? And if so how did the experience differ?

I took part in a previous heat as one of the selected artists at Waddesdon Manor, and was fortunate to be shortlisted in the final three of the heat. It was quite a surprise when they chose me as I ran really short of time (even though i'd practised some timed paintings beforehand) and had to complete a rushed foreground in the picture which I really wasn't happy with.

After the Waddesdon heat, I thought i'd have a quick look at the competition website and was amazed to see that there were still a few wildcard places left at Trelissick gardens in Cornwall. Once I knew there could be a second chance to do a better painting I couldn't ignore the opportunity.

Painting as a wildcard artist was a bit more like the familiar experience of roughing it with all your own gear. Although it's great to chat about your painting process with the judges and presenters I found the wildcard heat was a bit closer to the solitude of a studio, with less attention from the cameras and less interviews. I found I could focus a bit better on my work and managed to do a better painting. 

 

Did you train as an artist? If so where?

I studied Illustration at the Falmouth College of Arts, quite near to Trelissick Gardens, but during the completion of my degree I realised I wanted to express my own ideas within my work and have since taken more of a Fine Art approach, exhibiting my paintings in gallery's in Wiltshire and Somerset.

Do you have a favourite kind of paint, or do you work across different mediums?

I prefer Winsor and Newton watercolours and like to bring focus into foregrounds by adding pencil crayon outlines. I've also discovered the benefits of using an airbrush to create an even gradient of colour in the sky, which I've found to be quite difficult when using brushes and a high concentration of paint, but there's no time to be a perfectionist in four hours!

What will be your lasting memory of the Sky Arts competition?

My lasting memory of the competition is just how great the whole day at Trelissick was, to have such a successful days painting in such unusual circumstances, and then to be told that I'd been chosen was so unlikely that the day felt unreal.

 
Feeling inspired?

The semi-final of Sky Arts Landscape Artist of the Year will be showing next Tuesday on Sky Arts, at 8pm. 

Visit David Alderslade's website and see more of his paintings here. 

Winsor & Newton have released a new revolution: a Pigment Marker that's no ordinary Pigment Marker.

A dazzling new marker pen that breaks all the rules, it will be available in November. Sign up here to be the first in line to know when it's in stock, and for the chance to win a free set!

Until then, watch illustrator Christopher Corr as he uses the first-ever White Blender pen and explores the range of lightfast, highly pigmented colours on the specialised Winsor & Newton Pigment Marker Paper. You'll soon see what's so revolutionary about them.

Here at Cass Art we believe in young emerging artists - they are the artists of the future, after all. We take a look at the talent across the country, delving into the work of the Cass Art Student Ambassadors. Read on to have a look at the engaging sculpture and installation being made in the UK by young artists.

Above: UV Light Installation- Sarah Padbury- 2015

Sarah Padbury is in her final year studying Fine Art at the Cardiff School of Art and Design.

Sarah is primarily a painter, but has recently become fixated by the world of immersive installations. Her practice is based on the study of consciousness; the mind, illusion and reality. The viewer becomes an integral part of the work, as the artist aims to  break down the boundary between art and life, and forces a re-evaluation of the relationship one has with their surroundings. Sarah's pieces offer an experience for the viewer; a heightened state of consciousness, and ultimately aim to provide a new encounter for the individual, with themselves.

Find more of Sarah's work here.

Negligence of Space- Chloe Monique Tsan- installation made of upcycled materials- 2015

Chloe Monique Tsan studies Fine Art at the University for the Creative Arts.

She works predominantly with sculpture and installation, and is highly influenced by the human condition and the psyche. Her work plays with the viewer's existing perceptions, and aims to evoke an emotional response from her audience. The themes and aesthetic of her pieces reflect her fascination with the macabre, sexuality, and the art movements Dada and Surrealism. Her current body of work focuses on the unusual, the explicit and the concept of excess.

See more of her work here. 

Identity Box- Laura Chafer- laser-cut wooden box & lightbulb- 9.8 W x 9.8 H x 9.8 D inches- 2014

Laura Chafer currently studies Fine Art at Liverpool John Moores University.

Her work explores psychological themes and draws inspiration from the human mind, contemplating her own identity and existence whilst examining human behaviour, thoughts and memory. Laura’s work concerns itself with questions such as "What makes us individual?" and attempts to explore how society and upbringing affect personality. Using a range of mediums, Laura predominantly explores her creativity by printmaking and paper cutting, also incorporating digital processes such as photo editing and laser cutting.

Find more of Laura’s work here.  

Custard Exploding Domes- Lauren Dark- silicone & custard- 2015

Lauren Dark studies 3D Design and Craft at the University of Brighton. 

She works between the disciplines of sculpture and product design, with the intention of questioning socially accepted norms. While ceramics is her preferred medium, she also experiments with wood, metal and polymers. Her pieces tend to be small-scale and modular. Lauren's work is highly informed by process, and she delights in incorporating elements of chance within her making. Consequently, she in heavily influenced by experimentation and materiality, as well as personal experience.

Find more of Lauren's work here. 

Christmas is fantastic, but festive preparations can be stressful; battling through hoardes of people trying to get your hands on that last pack of tinsel or Christmas crackers...we've all been there. That's why, this year, we want to inspire people to MAKE CHRISTMAS. Step away from the shops, use those creative skills, and turn your festive season into something truly unique! 

To help you do this, we've got a series of creative How To features written by our team of art students across the UK. In this edition Tavia Panton goes mad for metallic, and using only a can of Montana Gold Spray Paint, gives us some great ideas for DIY decorations.  

Spray paint is the perfect craft material for creating beautiful and unique Christmas decorations. It can be applied to a range of surfaces; I’ve been playing around with the Montana Gold Chrome Spray, and have chosen some materials you may find around the house to create cheap, simple, but stunning ornaments.

Read on for a step-by-step guide to making Tea Light Baubles.

WHAT YOU'LL NEED

Gold Spray Paint

Tea light candles

Paper

Cotton thread

Small needle

Scissors

Glue

Protective clothing

Mask

Step 1: Prepare the Cases

Take the candles out of the metal cases by gently pulling from the wick. Using your needle, poke a hole through one side of the case and thread in the cotton to create a loop from which to hang your bauble.

Step 2: Quilling

To create the design for the middle of the case, cut or shred thin strips of paper. Take each individual strip and make a few different loops and rolls that can be stuck together with glue, to create a unique ‘quilling’ design. Manipulate the paper quills into the cases so that they are snug enough to not require any extra adhesive to hold them in place.

Step 3: Spray

Put on your protective clothing and spray evenly over your decoration, building up the colour slowly through multiple layers. It’s a good idea to start with the quilling on the inside of the case, and then go on to spray the back and sides. Leave the baubles upside down and allow to dry..

Step 4: Hang and Admire

Switch on your fairy lights, put up your feet and enjoy a well-earned mince pie.

By Cass Art Student Ambassador, Tavia Panton

Feeling inspired?

Visit Tavia's website here, or follow her on Twitter: @taviapantonart  

Shop for Montana Spray Paint and other craft materials online at Cass Art.

Trying out screen printing for the first time can be tricky if you've never seen it in action.

Thankfully, artist Mark Petty has put together a video that showcases the process, so you can watch the steps and give it a go yourself.

Screen printing is an especially useful technique at this time of year, as artists choose to turn their designs into cards and prints that can be gifted at Christmas.

Feeling inspired?

Try screen printing yourself with the Daler Rowney System 3 Screen Printing Set or the Speedball Deluxe Screen Printing Kit.

You can also shop here for screen printing mediums, inks and accessories like squeegees and aluminium frames.

Visit Mark Petty's website to see more of his finished prints and click here to check out his upcoming exhibitions.

The Art Space at Cass Art Glasgow aims to support local artists with regular exhibitions and events - and this month we're delighted to host 6 in the City, an exhibition of work by six recent graduates from Glasgow School of Art.

The six artists all studied Communication Design, which is evident in their diverse range of works, differing in both scale and media.

Come on down to see works by artists Hannah Nixon, Jessica Taylor, Ianthe Appleton, Sam Russel Walker and Ruth Kirkby and a captivating, panoramic, large scale wall drawing of Glasgow by artist Chelsea Frew. We caught up with Chelsea to find out more about her time in Glasgow and what inspires her illustrations.



Hi Chelsea! So tell us about your time at Glasgow School of Art?

I studied Communication Design. After 2 years of study the course allows you to specialise in a specific discipline, and I chose Illustration. This allowed me to spend time focusing purely on the development of my work and interests.

How long since you finished there and what have you been up to since?

I graduated this year, and have since dedicated my time to private commissions and waiting on getting my studio space at the MANY studios development. I am hugely looking forward to getting into my new space and cultivating new work.

Can you tell us about your drawing on the walls of the Cass Art Glasgow Art Space?

My main influences stem from observations and places that I have spent a large amount of time in. This has allowed me to construct the cityscape from memory. For this mural I have used the details of the grids and tenements contrasting alongside modern high-rises, to Glasgow’s most recognised and iconic buildings. I also wanted to give a feeling of the hustling and bustling city that I know. For this mural I used waterbased POSCA pens for the first time. I enjoyed experimenting with the pressure of the pens to create depth and definition to the buildings.  

 

Your drawings are often Glasgow specific – did you grow up here?

I have only lived in Glasgow since I started at GSA, but the city has heavily influenced my work. I draw from my imagination, trying to capture the feeling of the city. I have a strong understanding of perspective, so this allows me to interpret the different styles of Architecture. Through the different cities and countries I have travelled, I have observed and studied the various details of the architecture, from Tudor, Georgian, Brutalist and ultra modern skylines. I also enjoy documenting the small details I find within the every day.

What are your plans now you’ve graduated?

I plan to stay in Glasgow and focus on my freelance and private commission work.  Once I have settled into my new studio space  I’d like to put on a solo show of some of the pieces I am currently working on at home. I also plan to help out Jan Kilpatrick on her courses, by leading some lessons on freeing up your drawing, which takes place in Elphin and The Summer Isles in the summer months. 

Feeling inspired?

Come and see 6 in the City at Cass Art Glasgow - admission is free and the exhibiton is open until 29th November. 

Visit Chelsea Frew's website here.

It was whilst studying Fine Art at the Epsom School of Art & Design that Michael Harding discovered his passion for creating oil paints. Sparked by a curiosity to understand how Rembrandt achieved such a rich consistency in his whites, it could be said that his experiments just kept coming. 

Years later, Michael Harding is a renowned innovator in the world of oil paint; he is one of the few manufacturers to make his paints by hand using traditional techniques. The ambition to create materials that are true and vibrant, and producing paint that is durable and favoured by many artists worldwide, has contributed to his resounding success.

To celebrate his new warm colour Alizarin Claret, we're offering you the chance to win a year's supply of wine, and the chance to have a drink with Michael Harding himself! Enter the competition here. And in the meantime, read on for our interview with the man behind the oil paint.

How did you develop your processes to find the right consistency and aesthetic look? 

I was driven by my own particular quest - to understand what enabled Rembrandt to make his whites have such a beautiful sloppy goopy nature. So, the first colour I made was Titanium White with linseed oil and my finished product looked great, until it dried as a very yellow white. I realised that due to its natural colour, the oil tended to come to the surface producing this yellow colour, a problem that was alleviated by adding zinc white. I was in my early twenties and had a wonderful naivety. Things would go wrong, but I learnt quickly and soon found making paint a wonderful and experiential process. 

It has to be said that your range of oil paint is now extensive, with more and more new colours – what prompted you to expand on the original colours available?

After many years of being asked for numerous additional colours I decided that the time was right to add new and exciting oil paints to my range. Customer demand primarily drove the desire to create my new colours.  Also, my love for some colours which I privately had my eye on for many years like Rose Madder, a wonderfully romantic deep red familiar for centuries to the old masters, spurred me on to make them. Finally, some of my new colours are historically valuable to artists and are important to my range in providing artists with both the historic tones of the Old Masters and the new colours of our ever changing world.

The craft of paint making seems like a combination of science, cookery and wizardry – is this at all similar to what developing the new colours has been like?

Sometimes it seems a mystery to me I seem to just put the ingredients together in a way that appeals to me. The result comes out in a way that everyone tells me is wonderful, beautiful. I really enjoy formulating and mixing ingredients to create something of great value to the artist’s eye. Finally the way in which I formulate and make my colours is that I want them to “leap” out to the artist and scream “paint with me!”

It’s been said by many artists who use your materials that there’s no need to include a medium as the paints are so perfect already. Can you tell us about the mediums available in the Cass Art rangeand what elements they bring to working with the paint?

I always tell artists if they can already achieve with the paint what is in their minds eye then there is no need to add a medium. That said, a medium should only be added to assist in a handling quality or to obtain a surface which cannot be achieved with paint alone. I feel often artists mistakenly assume that adding a medium is like adding a magic ingredient which will have magical results which is not the case.

Beeswax paste is added to a paint to give it body and increase the impasto brush stroke.

Dammar varnish is applied at least 6 months after a painting is totally dry and gives the painting a moist, glowing appearance enhancing the colours and at the same time providing a protective coat against atmospheric dirt.

Oil Paint Medium (PM1) is added to the paint to increase its flow and translucency. It will naturally thin the colour making it more transparent for the artist who desires more translucency in their paintings.

Can you tell us a bit about your new oil colour, Alizarin Claret?

During my travels I have had numerous artists, especially  in America, expressing their queasiness in using Alizarin Crimson due to its slightly fugitive nature. Therefore, I decided to add Alizarin Claret to my range because it is a superb modern pigment which is lightfast with great beauty. In mass tone only, it is slightly lighter in appearance than its sister colour Alizarin Crimson yet more robust.

For those of you who are concerned about Alizarin Crimson, please be assured that it is particularly vulnerable when either in direct sunlight or very tinted with whites. Generally, in good gallery conditions one does not need to worry about lightfastness with Alizarin Crimson.

My Alizarin Claret is an organic pigment made with PR 177 otherwise known as anthraquinone. It possesses average drying time and has high oil content and tint power. Alizarin Claret is beautiful for glazing and creating gorgeous skin tones and is a real "must" for the portrait artist.
 

Do you still paint yourself? 

Yes…Shh.

What are you most proud of through the last few decades of paint-making?

I am a person who always looks ahead. I look at what I want to achieve next more than I look at what I have achieved. I love what I do and I am one of the lucky few that can say that. I just love oil paint!

Feeling inspired?

Michael Harding will be giving in-store demonstrations at Cass Art this February, in our Islington, Kingston, Glasgow and Bristol shops. Click here to find out the exact dates and times. The demonstrations are free so drop by at any time during the session. 

Get 10% off if you spend £100 on Michael Harding oil paint, including his new colour Amethyst, until Sunday 8th February. The offer will also be honoured at the in-store demonstrations.  

Hand Gestures is a visually stunning film, documenting an Italian artist and his craftsmen as they create a bronze sculpture in an historic Milanese foundry. The process of lost wax casting is a technique that dates back to the 4th-century BC, and artists today are still using it to shape, knead, model, mix, repair, sand and polish their creations.

Directed by Francesco Clerici and applauded at the BFI London film festival this year, we've taken some stills from the film to show the age old process in action.

HOW TO CREATE A BRONZE SCULPTURE WITH LOST-WAX CASTING

Model-making. The artist creates an original model.

Mould-making. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. 

Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 1⁄8 inch (3 mm) thick, covers the inner surface of the mould. 

Removal of wax. This hollow wax copy of the original model is removed from the mould. These first steps can today be made in many different ways, but from here (where the film starts) the process has always been identical.

Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. 

Spruing. The wax copy is sprued with a tree-like structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. 

Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand-like stucco, or dry crystalline silica of a controlled grain size. 

Burnout. The coated piece is placed cup-down in a kiln, where heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened shell. 

Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup-upwards into a tub filled with sand. Bronze is melted in a crucible in a furnace, then poured carefully into the shell. 

Release. The shell is hammered or sand-blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting.

Metal-chasing. Just as the wax copies were chased, the casting is worked until the tell tale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished.

Glazing. The Artist choose the patina preferred for the sculpture.

 
Feeling inspired?

Hand Gestures is showing in the UK until 7th December. FInd your local screenings here.  

Hand Gestures was produced by Velasco Vitali, Francesco Clerici, Fonderia Artistica Battaglia. Vitali himself says of the process:

I do not think that things should be left to luck, but in art there is an unpredictable domain of The Case. What has been designed is not at all what will be presented as finished form. The work is conditioned by several variants and the main ones are the process of work and the time required to execute the art-work. The final surprise is given by the combination of these steps, invisible in the final results, but perceptible from the emotional point of view.

The lost-wax bronze casting is one of those cases that, even in total control in the making of, always offers surprises that I could define "alchemical". I like to associate this technique to the traditional engraving, etching for instance, where certain elements like fire, wax, metals, acids and the removal of the material combine in a surprising way to the final result. It is no coincidence that this technique often has spoken of alchemy, certainly for its unpredictable control. Always, when the plate is immersed in acid or cause of the strength of the sign under the pressure of the press, something gets lost . Even this is a technique where the various steps executive, except the design, may be totally entrusted to experts. Indeed, also in this case, it is precisely the skills that determine the differences and considerable impact on the final result.

This is what happens in a similar way in the lost wax casting, where the control of the artifact is absolute, but the margin of error, however slight, and "style" (each artisan has his little secrets and guards) will be the one that when added to other in the later stages it will determine the final character of the work. The artist's role is to be able to recognize these skills and make them their own.

It’s official – Nerine Tassie is the first winner of Sky Arts Landscape Artist of the Year!

Based in Scotland, Nerine studied painting at the Edinburgh College of Art, graduating with a Fine Art degree in 2002. Inspired by natural spaces and the coast and wood that surround her home, she was a natural all throughout the landscape competition, and after winning her heat at Waddesdon Manor, went onto wow the judges once more in the final at Stour Head in Wiltshire. Painting under her maiden name of Tassie (despite being referred to as Nerine McIntyre on the show), Nerine's intricate paintings experiment with composition, textures and different materials to create a depth and atmosphere beyond the image on the canvas. 

Here at Cass Art we want to give a huge congratulations to Nerine, who has won a year’s supply of art materials from us as part of his prize, and a £10,000 commission that will be added to the National Trust's permanent collection. We caught up with Nerine at our Cass Art Glasgow shop to find out more about being featured on the Sky Arts show and to hear about she got into landscape painting.

Hi Nerine! Huge congratulations on being crowned the first Sky Arts Landscape Artist of the Year. How does it feel?

Thank you, it feels amazing, I’m still in shock! The competition has taken up most of my year so I feel like I’ve really been able to build momentum with my painting.  Then to win on top of that was fantastic! There was such a diversity of style from the other artists in the competition and I just feel really privileged to have won considering the talent of the other finalists. 

 

What was your favourite part about being on the show?

It was really special being able to visit Flatford for the winning commission. My grandparents had a print of the Haywain hanging in their home and it was lovely being in Flatford surrounded by the landscapes of Constable which seemed so familiar.

I was also really excited to be able to view the collection in the Victoria and Albert Museum. I’d never been to the V&A before and to be able to view the Constable collection in private for my first visit was an amazing experience, I felt quite overwhelmed by it at the time!   

 

You won a year’s supply of art materials from Cass Art as well as the commission for the National Trust – what art supplies will you be stocking up on?

I like the viscosity of the Georgian oils but also enjoy using Winsor and Newton oils depending on my colour choices, so I’ll definitely be stocking up on these.  I’ve also started experimenting more with Montana Spray Paint in some pieces.   

How did you get into landscape painting in the first place?

I’ve been painting landscapes since my first year at Art College, though at that time I was making more abstract pieces where I was exploring the textural surfaces found within nature. This is where I began experimenting with a wider variety of materials rather than just oil or acrylic. I was focused on the alchemy between materials, and the textures and effects I could produce. This is still something I’m very much interested in but over time my style has evolved so there’s more of a representational element to parts of the work as well.  More recently I’ve been exploring the relationship between composition and frame within each painting, experimenting with this balance in order to create more depth of focus for the viewer.

What is it that inspires your work?

Natural spaces and forms inspire me, in particular the coastal waters and woodlands close to my home. I really enjoy the changeable quality within these natural spaces in terms of light, form and colour and I always try to create a strong sense of atmosphere and connection to place when studying these subjects. 

I’m also still very much inspired by the alchemy of paintwork so I’m constantly experimenting with a variety of materials in order to develop new experiences within each painting. 

What advice would you give someone wanting to get into painting?

Paint as much as you can - the more you practice and paint the more confident you’ll become! Readily experiment with materials and don’t be afraid to take risks within your work, it's all part of the creative process! I also think working alongside other artists is a really good way to expand your subject knowledge and develop your practice so any opportunity to do this is great experience.

 

What are your plans for the future, and what will you be taking away from Sky Arts?

Working in this competition has really driven me in terms of my own practice, I’ve never been so busy with enquiries and commissions! I really want to focus on keeping this momentum and developing a strong body of work to take to exhibition next year. 

I feel so grateful to Sky Arts as they’ve given me a platform where I could communicate my art and style to a much wider audience than I could have ever imagined. The programme really focused on the artwork and the diversity of talent within the competition. It reminds you as an artist to celebrate differences in style and opens your eyes to new ways of seeing artwork. It was a really exciting process to be part of!

 

Feeling inspired?

Watch a time lapse of Nerine working on one of her Sky Arts paintings below.

You can watch the winner's film of Nerine next Tuesday on Sky Arts at 8pm, and read our heat winner's interview with her here.

Visit Nerine Tassie's website here to explore more of her landscape paintings.

Here at Cass Art we believe in young emerging artists - they are the artists of the future, after all. We take a look at the talent across the country, delving into the work of the Cass Art Student Ambassadors. Read on to have a nosy into the astonishing photography and digital work being created at different art schools this year.

Above: Harsh Cloud Grains- Jyotsna Shelley- Digital Photograph- 2015

Jyotsna Shelley studies Drawing at Camberwell College of Arts in London.

She is a multidisciplinary artist who follows her own emotions to drive and direct her creative process. She enjoys the exploration of new mediums in order to relay the individuality of each of her ideas; often working loosely with Indian ink and charcoal, and creating pieces of varied size and dimension. She draws influence from a wide range of artists, including William Blake, William Kentridge, Anselm Kiefer, Turner, Auerbach, Giacometti, Antony Gormley and Paula Rego. Another key influence is her father, who is himself an artist and a true inspiration to her work.

Find more of her work here and here.

Home Away From Home- Keera Kakar- photographic print- 4 W x 6 H inches- 2015

Keera Kakar, originally from London, is currently studying Photography at Nottingham Trent University.

Her work is varied in process and theme; from using disposable cameras to document her life as a young person in London, through to exploring themes such as nature and gender. As a first year student, she is still searching for and experimenting with different ideas to find her true style. She draws inspiration from photographers such as Martin Parr and Francesca Woodman. Her work often mirrors her life, and currently explores her move from London to university, and the new-found distance from home comforts.

Context Poster for the V&A- Emily Ospina Ruiz- digital photography & graphic design- 2015

Emily Ospina Ruiz is currently studying BA Graphic Design; specialising in Design and Interaction, at Central Saint Martins.

Her course allows her to explore varied client briefs, including designing books and producing posters and publications. She views the restrictions imposed upon a commercial brief as an exciting and inspiring challenge, which she delights in solving. Her work is predominantly produced digitally, and converted into small-scale printed imagery, though she has also delved into larger scale collaborative works. She counts amongst her main influences the photomontage work of artist Hannah Hoch, and also the Dada Movement, which was the initial driver that spiked her interest in Graphic Design. She is equally inspired by her peers and tutors, including Professor Phil Baines, who she counts as a great influence.

Follow Emily's work on Instagram: @cestladesign   

Untitled- Hollie Marshall- moving image- 2015

Hollie Marshall studies Fine Art at Kingston University.

Her recent work focuses on the portrayal of femininity and the sexualisation of the female form within pop culture; themes which she explores through both audio, and moving image. Performance plays a key role within her work, and sees the artist mimic female social stereotypes; passing controversial opinions off as her own as a method of mocking them. She sees humour as an important tool for the consumption of art, and deliberately suggests a level of sarcasm in everything that she does. She notes that her pieces can sometimes be viewed as offensive or abrasive, and she revels in this. Her advice: "Take my work with a pinch of salt". 

Face Value- Tavia Panton- face painted with acrylics, photographed & printed onto cartridge paper- 25 W x 23 H inches- 2015

Tavia Panton studies Fine Art and Art History at Kingston University.

The core concept behind her practice is a drive for racial equality, and an exploration of her personal cultural identity. She hopes to use art as a tool to promote a harmonious society and open doors to ethnic minorities. Tavia says "although a harsh reality can sometimes set the tone for my pieces, I use a bright colour palette to reflect a positive vision. It is a suggestion of hope for the future and an incitement for progress". She favours acrylics in her painted pieces, but also likes to experiment with different materials and explore new processes. The artists who inspire her most are Lynette Yiadem-Boakye and Frank Bowling, as well as a myriad of artist-diarists and poets. However, the true influences for her practical work come from experiential research rather than through archives.

Find more of Tavia's work here, and follow her on Twitter: @taviapantonart

Seurat at The Serpentine- Olivia Brook-Alfa- found image, acrylic paint & sticker- 9 W x 6 H inches- 2015

Olivia Brook-Alfa is a second year student at Goldsmiths, studying Fine Art and History of Art.

Influenced by notions of nostalgia and childhood, she mixes traditional, canonical art motifs with the everyday and the mundane to create surreal mixed-media pieces. While images of twentieth century life dominate her 2-D work, toys and other childhood iconography occupy her three dimensional pieces. Olivia intends for each piece's contextual ideas to be at left ambiguous, so to allow the viewer to apply ones' own meaning. Her current work explores the concept of kitsch and the symbiotic relationship between high and low culture.

Find more of her work here. 

Twenty-two-skip- Dean Wilson- digital photograph manipulation- 2015

Dean Wilson is an Irish artist, currently studying in his final year of Fine Art at Northumbria University.

Wilson's work is heavily influenced by his personal political beliefs, and seeks to highlight important societal issues. His multi-disciplinary practice vents anger towards the patriarchal, heteronormative views held within society, through the mediums of film, photography, photographic manipulation, performance and the written word.  He explores our position as human beings in relation to art practice, and how social privilege, and experiences of oppression, colour each individual's perception of reality. His work should be viewed as a form of left-wing, feminist protest. 

Follow Dean on Instagram: @edgarallenyo 

Vinyl Cover Design for Mika- "Celebrate"- Ana Pinto- Graphic Design- 2015

Ana Pinto studies Graphic Design at Middlesex University, and is originally from Portugal.

Her work is mainly digital, but she also revels in the opportunity to get her hands dirty. Working to a small-scale she broadens her creative horizons; dabbling in both photography and painting, as well as her Graphic Design work. One of Ana's greatest influences is the late Portuguese Graphic Designer, Ricardo Mealha, who was the creative mind behind the digital design for the Portuguese Ministry of Culture.

Find more of Ana's work here.

Art has a habit of chasing you down, as artist Ewelina Skowronksa  well knows. After studying science and working in advertising for years, she finally gave in to her love of art-making and came to London to study at Camberwell, where she discovered her beloved medium of screen printing.

A printmaker, illustrator and a fan of the new Winsor & Newton Pigment Markers, we wanted to find out more about her work and her process, but also hear firsthand the brave story of following your heart to make it as an artist.



Your prints and illustrations are colourful, graphic and seem to centre on the process of making – but what themes would you say inspire your work?

It's interesting, because you need to explore this when you write artist statements, but really all I can say is that my work is always life-related. It draws on my experiences and the thoughts that I have, things you think about certain subjects. It's usually about relationships between people, who we are, what we want, what's important to us, the boundaries we have, what allows us to move forward. I would say existential things but that sounds so pretentious! Sometimes I think too much. 

Your practice features print making, illustration and watercolour – but what are your favourite materials to work with?

My friend and I run watercolour workshops but I wouldn't say I'm great at using it! Printmaking and illustration makes up my main practice. 

I start with illustration, where I can say something in a more straightforward way. Screen printing for me is a mixture of what I like the most. It has this physical aspect of creating, but also by using inks you can really play with textures, shapes, colors, you can scan stuff in, print those...there's a big variety of processes you can use. I want to push the boundaries of it to see what I can do.

What is it you love so much about screen printing?

It's a lot of things. A combination of the physical process, working hard to print, but also the unexpected things that happen. You can control it but there are always mistakes, and personally I really like that. I've never been a perfectionist and I never will be. The more I screen print, the more I discover what's possible. With drawing you get a ready result, but with printing I can work layer by layer, and there's always a chance to change and add to it.

 

I also hear you love the new Winsor & Newton Pigment Markers. What do you think is so special about these pens?

Yes I really like them! They work like inks; you can almost paint with them becausae they blend together. Using the Winsor & Newton Pigment Marker Paper they blend and act like watercolours, and you can create painting effects with the blenders. The colourless blender is transparent and lets you mix the colours, and the white blender is cool. It looks great on black paper but also lets you add white details to the colours. 

What top tips would you give someone using them for the first time?

First, experiment. Mix them together, and don't be afraid to use your hands. Explore their interesting effects, like you would with watercolour pencils.

And secondly, don't worry about the blender pens getting dirty. I was really worried at first that I was darkening the tips, but they're really easy to clean. Just keep wiping them on the paper and they're perfect to use again. 

 

Your experience as a copywriter often shows, with the layers of words in your prints. Where do these words come from?

They're usually found and re-used by me! Recently I've been using fragments from the Bible, about how there's a season in life for everything, how we're never happy. We're always aiming for something, and then when we get it, we're aiming for something else. I'm not religious but I felt like these fragments were universal. There's a time in life to be happy and sad. For death and life and crying and keeping silent...

You graduated with Distinction in MA Illustration at Camberwell. What advice would you give art students wanting to make it as professional artists and illustrators?

Try to find who you are and be yourself. It's so easy to get stuck in trends and do what you think people want to see, but you should just believe in yourself. And experiment. Try different things and see what works for you. Be crazy! And it sounds cheesy, but work hrad. I believe in staying true to yourself. It took me 15 years to finally be honest with myself and say I want to do it. I had a good job, good money, but I wasn't doing exactly what I wanted to do. Better to realise it now than when you're 50 and feel like you've wasted your time.

So you didn't study art before Camberwell?

No, I did Politics Science in Poland. The art exams were very classical, all life drawing and painting, and I didn't get in. Plus I felt some pressure to do a more practical course, so I passed the Politics Science exams, and took a 5 year course. But art kept coming back to me, all the time. Once I've started something though, I want to finish it. So I did science, went to work, and then decided to go for it and studied art at Camberwell when I was 33. 

And what inspires you to keep on making art?

I write a lot. Put things on paper, reflections. And I look at stuff. For me, the world around me and the people around me - it's a huge source of inspiration.

Finally, what are you working on at the moment – any events or exhibitions?

A few things. I'm exhibiting in a group show arranged by UAL,  "We All Draw". It's on from 5th-8th November at Bargehouse, Oxo Tower Wharf, Bargehouse Street, South Bank, London, SE1 9PH. My work has also been selected for this winter edition of The London Illustration Art Fair, also in the Oxo Tower, from 4th-6th December.

Also next week I'll be starting a new body of work - I've not printed anything since I graduated, so I'm excited about this. It's about love, and is it enough for us to have love, is it only what we need. 



Feeling inspired?

See Ewelina's work in We All Draw at UAL, and find out more about the exhibition here. 

You can view more of Ewelina's prints and illustrations on her website.

Want to try your hand at some of her favourite art materials? Shop for the Winsor & Newton Pigment Markers and a Screen Printing Set at Cass Art.

With Christmas around the corner we want inspire you to MAKE CHRISTMAS! Get crafty, get creative and spread the homemade touch throughout your festivities in any way you choose.

To help you do this, we've got a series of creative How To features written by our team of art students across the UK - The Cass Art Student Ambassadors!

Read on as Jodie Cox, armed with nothing more than some card and bright, beautiful Staedtler Fine Liner pens, shows you how to create your own Christmas cards. 

WHAT YOU'LL NEED:

Envelopes A5

Blank Greetings Cards A5 (Or card if you wish to fold your own!)

Pencil

Rubber

Ruler

Fineliners, or any pen you like!  (I am using a 10 pack of Staedtler 0.3mm triplus fineliners)

A sprinkling of festive wit 

For those who wish to make their cards from scratch, you'll need to fold your card firmly in half, ensuring there is a neat edge with no creases.

Now is the chance to double check that the card and envelopes are the same size. 

To begin creating your design, it’s best to map out your idea with pencil.

Use the ruler to help you centre images if necessary, allowing you to make sure any text on the card is also aligned.

At this stage embrace Dad-jokes and/or any form of pun as they inspire great drawings!

Once you are happy with the look of your design, you can move into fine liners to add depth and tone to your image. I like to give my drawing a bold, black outline as it makes the design really stand out. 

At this stage I like to use linework within each shape, giving the object a more three dimensional representation. 

When the outline is complete, I like to add a touch of colour! I have chosen to decorate my Christmoose with green and red to give it that extra festive feeling!

Add your own personal greeting to the interior of the card, and then if you wish go ahead and make any finishing touches – glitter, tinsel or confetti - and you are good to go.

When you're happy with your card, pop it into the post and spread your festive handiwork far and wide. To be even more resourceful, you may wish to scan your card design into your computer to make further copies or transform it into an E-card.

By Cass Art Student Ambassador, Jodie Cox

Feeling inspired?

Visit Jodie's website here and her facebook page here to check out more of her illustrations. 

The BP Portrait Award is the most prestigious portrait painting competition in the world.

2016 marks the thirty-seventh year at the National Portrait Gallery and twenty-seventh year of sponsorship by BP, and the competition is now open for submissions.

With a first prize of £30,000, and a total prize fund of £61,000, the BP Portrait Award encourages artists of all backgrounds to develop portraiture in their work. The competition is open to everyone aged 18 and over - so why not enter this year?

The BP Portrait Award 2016 exhibition will run at the National Portrait Gallery from Thursday 23 June to Sunday 18 September 2016. 

HOW TO ENTER

You can upload an example of your portraiture as a digital image to the BP Portrait Award website. As part of the entry process you'll also be asked to give more details about yourself and your work.

Register your entry and upload your picture here.

Upload one image of the entire portrait, and then you can also submit an additional image of the same work -  a close-up, perhaps, which shows off your brush strokes, for example.

It costs £40 to enter, and entries close on 2nd February 2016.

Feeling inspired?

You can enter the BP Portrait Award 2016 on their website.

Read our interviews with the 2015 exhibiting artists here.

Here at Cass Art we know that art students are the future, and aim to showcase the work of the emerging artists across the country. As part of our Student Spotlight series, we caught up with postgraduate student, Nadim, who studies Artist Teachers & Contemporary Practices at Goldsmiths, University of London.​

Above: The Whale- acryclic paint & spray paint- community art project with school children- 900 W x 220 H cm- 2013

Where do You Want to Be?- various objects- 2012

What motivates you to make art?

The learning; the unrivalled knowledge acquired through creating art and research. Art-making has so much in common with "living" and "becoming". To me, art practices are life practices: curiosity, doubt and constant wonder all represent the continuously changing nature of "making", which strongly resembles the ways in which we deal with the things that happen within and around us in everyday life.

Shake well before use- markers on paper- 32 W x 24 H cm- 2011

What are your preferred materials to work in?

I don't have a favoured medium or method, and prefer to explore and test out new ideas using different materials. As a concept or idea evolves into a finished piece, it influences the choice of material and process used.

What are the benefits of studying at Goldsmiths?

Goldsmiths has an outstanding and diverse learning community. It's an excellent place to share insights and put numerous ideas into practice.

Untitled Self-Portrait- Prismacolour marker on paper- 2015

Could you tell us a little about your 100 self-portraits project?

I was not familiar with the term "self-portrait" until I saw the work of Android Jones back in 2003. I followed his 1000 self-portraits project, and became so inspired that I began looking in the mirror to draw and paint myself. The results were far from satisfactory. At that time, my technical skills were poor and I had no idea about what I was doing.

A self-portrait is part of who I am at the time during which I am making it, but the self-portrait itself (the outcome) is not who I am. I made the first portrait on January 1, 2015, and the second on January 2. On the third day I decided I would continue until reaching 100 pieces. This project now acts as a warm up - and practice - for future ideas and projects.

Feeling inspired? 

Follow Nadim's self-portrait project here, or view more of his work on Instagram. 

Choosing different surfaces for your art and getting your work framed can be something of an enigma when you're working as a profesional artist. 

Thankfully, John Jones is here to help! A Global Centre of Excellence for the Presentation and Protection of Art, John Jones was established in north London in the 1960s, and is a family owned and run business. With highly skilled craftspeople, conservators, technicians and designers, they offer bespoke picture framing, fine art conservation and collection management. 

John Jones also specialise in professional quality artist canvas, stretchers and artwork panels in both standard and made to measure sizes. Their bespoke painting surfaces are all hand-made by British craftspeople and can be ordered for delivery or collection from their London workshops. Their technicians can create customised canvases and panels in all shapes and sizes, un-primed, pre-sized or primed to your individual requirements.

We caught up with the professionals at John Jones, so they could give their top tips for artists looking to branch out with their framing and surfaces needs. Read on to find out more about what's possible, and whether John Jones can help you present your work in future.

 

6 TOP TIPS FOR FRAMING YOUR ARTWORK

1.     Artists wanting to sell their work should consider professional framing

Whether you are established, emerging or just starting out, artists should consider the frame and materials used as an investment in the longevity of the art, particularly if it is to be sold. Selecting a frame isn’t just about choosing a colour and material, and you can go into John Jones for a consultation so that they can spend time looking at the art and help you decide what is needed. 
They take time to assess its condition, considering how a frame can not only present a work most effectively, but also protect it from damage and degradation. It’s also important to consider where the work will be displayed: is it going stay in the same place for many years, will it be in a gallery, or will it be required to travel? All of these early questions guide you in choosing the right frame.

Artists and galleries have individual needs and requirements, whether it is about working to deadlines and budgets or designing something particularly unusual or spectacular for the artwork. All of the frames and artist surfaces at John Jones are hand manufactured and crafted at our studios in London and Hertfordshire, from simple wood and welded frames sprayed white or black for gallery work, to intricate designs and special finishes such as gold leaf gilding. A professional service like John Jones can also help you make very large scale frames; they have just completed framing for artist Martin Ramirez work for Frieze Masters, measuring over 6 metres long!

 

2.     If you are on a tight budget, consider constructing your own stretchers, without compromising on quality

John Jones are able to maintain the same level of high quality materials to suit a range of budgets. For example, you can have a prepared linen canvas ready to paint, hand-primed with acrylic primer and stretched over a large section tulip stretcher bars by experienced technicians – or you can have the same large section tulip stretcher bars with pre-primed fine linen, flat packed and ready to construct yourself for a fraction of the price. So really browse until you find a product that not only suits your artistic practice, but also your budget. 

 

3.     Consider your style and medium when choosing canvas

Firstly, artists should consider the style of their work. Do you apply thick layers of paint in an impasto, fine detailed brush strokes, or anything specific to your practice? What size and shape do you require? What medium will you be using? This will determine the weight, texture, and finish of your canvas. Secondly, consider where the work is being made, and where it will be displayed. Linen, while a traditional choice for painters, maintains a tendency to expand and contract in different humidity and can often cause the canvas to go slack if not treated in the correct conditions.

 

4.     Research alternative options to traditional canvas

Outside of the traditional canvas materials, there are other options, including Polyester that can be stretched to mimic Linen or Cotton Duck. As Polyester is a man-made material, it will not breathe in fluctuating environments and conditions, meaning it is a great choice for artwork in public spaces, large artworks and circular canvases. There are also painting panels made from wood or aluminium, either unprimed or primed with a variety of finishes. These are a great choice for artists who require a rigid surface, and for those who want their work to exist as an object.

 

5.     Seek guidance from the experts

John Jones has a team of experienced technicians and consultants, many who are practicing artists themselves with a real interest in the client's work and finished product. Tell our Artist's Surface Consultant about your work and they will recommend particular products to help support and progress your practice – sometimes it’s best to try something completely different!

 

6.     Experiment with unusual canvas shapes for high impact

There's a huge variety of different shaped canvases such as hearts, vector-diagram circles, triangles, multi-faceted shapes and more. One of the most interesting at John Jones was a large arched canvas to be fitted into a mansion in France! Think about what you need to make the work shine, and know that with the right help, you can make things possible.

Feeling inspired?

Visit the John Jones website here. You can also find case studies on John Jones website showing special projects.

You can shop for linen and cotton canvas at Cass Art.

Images all © John Jones, London