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Call For Entries: Ashurst Emerging Artist Prize 2016

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As an artist, it can be hard to get your work noticed, but there are some fantastic prizes and great advice out there to help you on your way. And the good news is that applications for the Ashurst Emerging Artist Prize 2016 are now open!

Sponsored by Ashurst, 3 winning artists will win £6,500 of prizes, solo exhibitions in London in 2016, and £1,000 to spend from us at Cass Art. There's also a new prize for 2016, the Sculptor Prize, with £1,000 in cash, a £250 Cass Art voucher and a solo exhibition in London. This year the judges are Conrad Carvalho, Gallery Director and founder of the prize, Briony Marshall, sculptor and Council Member at Royal Society of British Sculptors, Howard Lewis, Owner of the Schorr Collection, Barbara Cevasco, emerging artist, Dr David Bellingham, Art Lecturer at Sotheby's Institute of Art, Anna Delgrade, partner at Ashurst LLP, and Rosa Sepple, artist and Director of the Society of Women Artists.

Applications are now open, and you can apply by 14th February 2016 here.

The prize is organised by Oaktree & Tiger, a gallery that specialises in emerging artists, with helpful talks and career guidance. We caught up with Conrad Carvalho, director of the Ashurst Emerging Art Prize, to find out his advice on promoting yourself as an artist and getting your work seen. We wish you the best of luck with your application, and of course your journey in becoming a professional artist!

Ashurst Art Prize 

5 TOP TIPS FOR SELF PROMOTION AS AN ARTIST by Conrad Carvalho

1. Get your work seen

Use social media and newsletters, particularly focusing on Facebook and Instagram with posts of artworks with links to your website and very short educational commentary on the artwork. Have a really simple, clean website that is focused on showing the art and have links to grab emails and to social media profiles.

2. LinkedIn

This platform is great to get seen by art professionals, share status updates and connect with all art professionals and contacts.

3. Build your audience size (Likes, Followers, Subscribers)

Start out with friends and family, and encourage them to help you share posts, etc. The number of people seeing your work should then rapidly expand.

4. Don’t approach galleries

Engage with their artists, and their clients if you can, and without any hard sells. With some luck, you will get recommended to the gallery directors and then they will approach you if you are right for them. Do you know any artists that asked a gallery to represent them and was successful?

5. Practise your pitch

Have a well written and practised pitch for when you meet an important art professional or collector. You should have succinct and interesting 1 and 3 liners, which inspires the listener to want to ask you about your work.

Ashurst 2016 prize 

Feeling inspired?

You can apply for the Ashurst Emerging Art Prize 2016 and find out more about the prize here.

Applications close on 14th February 2016.

You can also find out more about the Oaktree & Tiger Gallery on their website.


Golden Ochre: Colour of 2016

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It's the colour of the 2016 - the stunningly warm shade of yellow-gold. Golden Ochre has been named colour of the year by Colour Futures, AkzoNobel, and our newest tote bag, Golden Ochre, matches the golden hype.

Golden Ochre is a vibrant shade that's already a must-have this January, and the bag is available now in all our shops for £1.50.

The New Colour 

Golden Ochre is an earth pigment which produces a warm, brownish yellow colour (which is a lot more attractive than it sounds). It has been used since prehistoric times, although it has been made synthetically since the 1920s.

Let's take a look at the Golden Ochre paintings that use this stylish shade and inspire your love for yellow this year.

Ed Ruscha
Ed Ruscha, Made in California, 1971, Three Colour Lithograph Print 

Barnett Newman
Barnett Newman, The Third, 1962, Oil on canvas

Mark Rothko
Mark Rothko, Ochre and Red on Red, 1962, Oil on canvas

Jean-Michel Basquiat
Jean-Michel Basquiat, Mona Lisa, 1983, Acrylic and Oil stick on canvas

Helen Frankenthaler
Helen Frankenthaler, Nature Abhors A Vacuum, 1973, Acrylic on canvas

Art makes children powerful
Bob and Roberta Smith, Art Makes Children Powerful, 2012, Enamel and household gloss on board

Handcuffs, Michael Craig-Martin
Michael Craig-Martin, Handcuffs, 2002, Acrylic on canvas

Patrick Heron
Patrick Heron, Big Rumbold Orange: December 1970, 1970, Oil on canvas

THE STORY OF THE CASS ART TOTE BAG

It all began with the original 'Art in a Bag' tote, which launched in store in 2008, when  Mark Cass, CEO and Founder of Cass Art, and Pentagram Designer Angus Hyland, got together to give customers a sustainable way of carrying their art supplies home.

"The original 'Art in a Bag' is what the Cass Art tote bag is all about!" says Mark. "The idea was that once you've bought the tools you're already carrying the art home, ready to create it."

Cass Art tote bags 

Over the years Cass Art has released several different coloured tote bags, and an additional black 'Art in a Bag' tote for our 30th Anniversary. Emblazoned with the colour names, the back of the bags then refer to the names of paintings that use that colour - for example, Ultra Marine blue was used in Kenneth Noland's Beyond. 

This was to reinforce a palette that great artists have used throughout history - to remind us of our love of original paint colours.

"This is Cass Art's own frame of reference and we wanted to highlight the colours that Picasso and Lichtenstein had used," says Mark. "We wanted to remind customers that at the heart of everything we're in the colour business."

Feeling inspired?

You can buy a Golden Ochre bag in any Cass Art shop. Let us know your favourite tote bag colour on Twitter with the hashtag #casscolour. 

Shop for Cass Art tote bags online. 

Get 30% off Tickets To The London Art Fair 2016

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It's the start of the new year, and that can only mean one thing in the art world - time for the London Art Fair! This year it will be hosted at the Business Design Centre, just a five minute walk away from our Islington Flagship (where we have a sale on, no less, so you can hop from one art heaven to another!)

This is the 28th edition of the London Art Fair and it will be open from 20th to 24th January. And there's 30% off tickets for Cass Art customers, for a limited time only - read on for your special code.

London Art Fair is the UK’s premier Modern British and contemporary art Fair. The 28th edition of the Fair brings together over one hundred carefully selected galleries from the UK and overseas, with two curated sections, Art Projects and Photo50, running alongside the main Fair.

On Thursday 21 January the Fair stays open until 9pm, providing you with the opportunity to enjoy evening performances, talks, film screenings and complimentary drinks served by Peroni Nastro Azzurro.

The London Art Fair is the largest of its kind in the UK, and is the place to be for all art-lovers, whether you're buying, selling, or simply there to have a good old look at the talent of 2016.

Alan Davie 

The fair will cover everything from photography to painting, and sculpture to ceramics, so there's guaranteed to be something here to surprise and delight anyone who browses the stalls


TICKETS & 30% CASS ART DISCOUNT

To take advantage of the offer, please book by 11 January and quote the code LAF837.

The advanced ticket price is £15, with the code £10.50*. On the door tickets will be £20 each.

Book here.

*applies to standard day tickets only, booking fees apply


Feeling inspired?

If you visit the London Art Fair you'll be right round the corner from Cass Art's Islington Flagship.

Our Sale is now on so pop by to stock up on your art materials with up to 75% off. We'd love to see you there! 

*applies to standard day tickets only, booking fees apply

Image Credits

Main Fair Image courtesy of London Art Fair

2. Alan Davie, 1920 - 2014, Animal Migration, 1967, Oil on canvas, 51 x 61 cm, Courtesy of Alan Wheatley Art

Step by Step Oil Painting with Michele del Campo

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January is here and many people have promised to pursue more creativity in 2016. Cass Art is here to help you do that, and we asked oil painter Michele del Campo to share his step-by-step process of oil painting. Learn from him, pick up a brush and give it a go yourself!

HOW TO: PAINT WITH OILS

With “Sunny Time” I wanted to contrast a bright sunny scene with a certain idle and melancholic mood in the two young girls. In my paintings strong colours and light, especially the direct sun, are essential features. I am not too faithful to nature or to what I see, and I often exaggerate slightly the contrasts, the intensity of colours, the forms and textures to give more interest and intention to the image.

I started drawing on the white canvas with a brush and raw umber, this very thinned with white spirit and some Winsor & Newton Liquin. I had traced just a cross in the middle of the image, to help me keep the proportions in comparison with the reference image. I always avoid squaring up too much, it would constrain too much my interpretation of the forms. I value more the results that come from a more spontaneous capture of the forms, I think that it allows more life and personality in the final painting. 

Finished the drawing, which provides just the essential outlines, I start working from the furthest elements in the background to the closest ones.

All colours are thinned with white spirit at this stage. Thicker, unthinned paint straight from the tubes follows on the top, following the rule of fat on lean, even when painting “alla prima.”

I apply unnatural bright colours to create a more interesting visual texture and a stronger vibrancy. I use various types of blue colours, yellows, greens and browns. In my palette I count with about 30 different hues of Winsor and Newton Artists' oil colours, but I am careful not to mix too many of them together, as that can deaden the result and turn into greyer tones.

My range of Winsor and Newton Artist's Oils.

I start at this point to define the leaves, avoiding going too much in details.

I leave momentarily the background to dry and I start painting the first girl. Big flat hog brushes are good even for delicate areas like the face, they avoid getting stuck in details.

I tried the blue colour for the eyes but, unhappy with the look in general, I changed them to green eventually (I then gave a blue glaze to the background instead, to make it recede).

This is how the first girl appears in the finished painting, with the green eyes.

I start now the portrait of the redhead girl. 

This is the palette that I used for the skin and the hair of the redhead girl. I create a gradation of tones from dark to light, paying attention to keep them separate. For this purpose I also use many brushes, for each colour I use at least one brush for the light, one for the shadows, and sometimes one for the mid tones. Keeping the mixes well separated helps also towards a farter application on the canvas.

With a softer brush I apply the highlights on the hair. Brushstrokes are individual and I am careful not to blend them too much. 

The head of the redhead girl finished. In the background I sandpapered slightly the surface and then I applied a blue glazing to give more unity to so many colours. This way the girl stood out more.

I use palette knives to prepare my colour mixes on the palette. I keep everything tidy, it saves me time and it is a good philosophy when one aims to work with clean colours.

The finished painting: “Sunny Time”, oil on linen, 90x105cm

Feeling inspired?

Watch a time lapse of this painting below, and shop for your own oil painting materials at Cass Art.

Exhibit at the 11th edition of The Other Art Fair

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Get ready for the Other Art Fair 2016! The 11th edition of the fair will be held at the magnificent Victoria House in the heart of Bloomsbury from 7-10th April 2016.
 
The Other Art Fair is the UK’s largest artist-led fair, attracting an audience of art buyers, collectors, journalists and gallerists from across London. It provides a unique platform from which artists can independently showcase their work: to gallerists, curators, critics and collectors. Not only about selling artworks, these four days enable artists to launch their work in the contemporary art world, gauge the public’s response to their pieces and meet fellow artists for potential future collaborations.
The 10th edition of the fair in October 2015 welcomed over 14,000 visitors and attracted representatives from over 200 leading contemporary galleries and art organisations such as Tate, Blain Southern, Sotheby’s Institute, Rosenfeld Porcini, Gazelli Art House, White Cube, Christie's, Lisson Gallery and Hauser & Wirth. Many artists at the fair have been approached about public and private commissions as well as post-fair sales and gallery collaborations. 
 
APPLY NOW
The call for artists to get involved is out now, visit The Other Art Fair website to apply. Deadline for applications: Friday 15th January 2016.
 
For further information contact Sophie Roberts sophie@theotherartfair.com or call 0203 805 6670.

A Guide to Collecting Art: Framing, Hanging & Caring for Artwork

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Rebecca Gordon from Rise Art gives her professional insight into framing, hanging and caring for the art in your collection.

FRAMING

Framing helps to enhance and protect your artwork.

Educate Yourself It is important to know the proper materials and procedures for framing, whether you will be doing the job yourself or taking it to a professional.

Use Archival Materials They are worth the investment.

Store Artworks Flat If you're not framing immediately.

Avoid Dry Mounting Please use a hinging technique.

Glass vs. Acrylic Glazing

- Glass Pros: cheaper, easier to clean, and more resistant to scratches.

- Glass Cons: heavier, more breakable, sensitive to variations in temperature, and highly reflective so it often creates a glare.

- Acrylic (often known as Plexiglas) Pros: better thermal insulator, shatterproof, lighter.

- Acrylic Cons: attracts dust, cannot be cleaned with regular glass cleaners, inherent properties of static electricity and therefore should never be used in framing pastels, charcoals, or any other powdery pigment surface.

Framing Styles

Window Mounting is one of the pricier options in the world of framing, but it certainly pays off! It provides an elegant effect, especially with abstract and figurative works. If you are trying to fill a large space then this frame is for you. It can also give smaller works a greater sense of importance with its wide matte and dramatic presence.


Box Frames provide a significant amount of visual depth to an artwork. It will draw the eye of the viewer in, and finishes it off beautifully.


Floating artworks in their frames is personally my favourite type of framing! This option is terrific for works with a hand torn or textured edge so that it remains visible to the eye, and will showcase the original nature of your work. An acid free tape will provide the support for this floating / rippling effect - but beware, the artwork can slip down with age.


Tray Framing is a shallow box-like frame that often comes unglazed (without a glass or perspex cover). It is a contemporary style of framing a canvas, which reveals the sides of the artwork. The piece will sit slightly recessed below the front of the frame and creates a minimalist feel.

Hanging & Displaying art to its best advantage

● Hang so the centre point of artwork is at eye level.

● Use wire versus string. It is much stronger, more reliable and the knots won’t come undone. As an added bonus, it doesn’t stretch or relax.

● Use D-rings and wire combined or just D-rings for heavier works.

● Lighting - Essential to light the artwork well. As a guideline, use a light source that is three times the intensity (brightness) of the ambient (room) lighting. This helps to accent your piece without the light appearing too dim or overwhelming.

Hanging Styles

The Stairwell The principal, focal artworks should follow your eye line as you climb or descend the stairs. Then work outwards, filling the space around them with smaller pictures. Try to get a broad range of different-sized frames to add plenty of interest.


The Salon The central frame is the focal point and all the other works should be mounted moving outwards away from the main (central) piece. This is where you can really let loose with a mix of different artwork and frame styles.


The Geometric Aim for symmetry and precision. You should use the same size pictures, the same size frames, and measure the exact same distance between each work, as well as the top and bottom rows. This layout looks great hanging above a bed or sofa.

Caring for Artwork

Exposure to light: UV rays will damage and ultimately fade your artwork. Where appropriate use UV protecting glass.

Poor quality mounting and framing: While we touched on this already, it is worthy of emphasis. Leaching of acid based materials will damage your artworks. Avoid dry or wet mounting on delicate original works.

High humidity and change in temperature: Acute changes in temperature and humidity will cause swelling and contraction as the materials in an object or artefact attempt to adjust to the environment.

By Rebecca Gordon

Feeling inspired?

Explore the Cass Art blog for Rebecca's full A Guide to Collecting Art series. 

Visit the Rise Art website for further advice on collecting artwork.

 

The 4 Different Winsor & Newton Marker Pens

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Artists and designers worldwide love a good marker pen - vibrant, clear and offering varying types of line. But if you don't know the ins and outs it can get a little confusing. Brush marker, pigment marker, watercolour marker, promarker, all twin-tipped and of professional artist quality...so which marker is the one for you?

Winsor & Newton have the complete set of 4 different markers, and we thought we'd help you out by breaking down their differences, so you can choose the Marker Pen that suits your needs.
 
 Pigment Marker

Winsor & Newton Pigment Marker 

-              100% lightfast for up to 100 years

Contains the highest grade pigmented artists' colour

Brand new marker that comes in a range of 118 colours

-              Twin tipped featuring a Chisel and Bullet point nib

-              Range contains two blenders – one of which is a revolutionary opaque White never to be seen before within a Marker range

-              Slim, comfortable, contemporary, ergonomic design

-              Re-workable when dry on selected surfaces and maximum blending ability like paint

-              Unique mixing abilities with greater fluidity and a slower drying time

The range includes a Colourless Blender which allows you to mix the markers together like paint

- Available in sets and with specially formulated Pigment Marker Paper
 
Pro Marker 

Winsor & Newton ProMarker 

- Formerly known as Letraset ProMarker

- Available in 148 colours, individually and in sets 

- Twin tipped colouring marker

- Fine bullet & chisel tip

- Twin tipped Illustrators marker

- Versatile brush tip chisel tip

- Alcohol based ink

- Non-toxic

- Can be blended and layered

- Ideal for students, amateurs, illustrators, designers and professional artists alike

Brushmarker 

Winsor & Newton Brushmarker 

- Twin-tipped Illustrator's marker

- Versatile brush tip for fluid strokes and variable line widths

- Chisel tip for colour fills

- Translucent alcohol based ink

- Non-toxic

- Can be blended and layered

- Ideal for students, amateurs, illustrators, designers and artists alike

- Once known as the Letraset Flexmarker, the Brushmarker range comes in 72 colours, matched to those within the Promarker range
 
 Watercolour marker

Winsor & Newton Watercolour Marker 

-              Highly pigmented watercolour markers

-              Enable superb colour performance and added precision in using watercolour

-              Lightfast

-              Intermixable with conventional watercolour

-              Twin tipped – fine bullet point and flexible brush tip

-              Colour matches with Winsor & Newton Watercolour

- Watersoluble markers that come in a range of 36 colours, individually and in sets


Feeling inspired?

Shop all Winsor & Newton art materials online and in-store at Cass Art. 

Browse for: Winsor & Newton Pigment Markers, ProMarkers, Brush Markers and Watercolour Markers.

Collage & Keep: The Basic Principles of Collage

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This January we're exploring different mediums to inspire your creativity in 2016. The medium of collage is on the rise, with creative journals, scrapbooks, photography and mixed media more popular than ever. 

With this in mind, we turn to the new book Collage and Keep by Eleanor Shakespeare - A Creative Journal Inspired by your Life. With an excellent introduction to collage and some tantalisingly creative projects, it gives fantastic insight into the satisfying and limitless medium of collage.

Basic Principles of Collage

Photocopy material to avoid destroying the original, especially precious things like old photographs.

Get a good craft knife and replace your blade regularly.

Photograph items you want to include and print them out.

Use a strong gluestick. Cheaper ones will come unstuck eventually.

To start your own collection of ephemera, keep your eyes peeled in charity shops and in flea markets, as well as online.

If you need to cut a shape out of a page, slide a cutting mat behind it first. 

SNEAK PEEK

Take a look inside the pages of Collage & Keep, to inspire your own collage work. You can buy copies of the book in all Cass Art shops and enjoy all 52 of its projects.

Paperchain

Footprints

Faces

Bright ideas
Feeling inspired?

Get your own copy of Collage and Keep to get your own collage practice started.

All images and copy taken from Collage and Keep, by Eleanor Shakespeare, Frances Lincoln Limited. 


Call for Entries: Pebeo Mixed Media Exhibition

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You are invited to submit your artwork to the Pebeo Mixed Media 2016 exhibition. 

This group exhibition will showcase a variety of mixed media artworks on canvas, from contemporary artists from across the UK.

Successful entrants will be displayed in the Brick Lane Gallery, London, in June 2016.

One selected artist from the exhibiion will win the £500 Art Materials Prize awarded by Pebeo.

Mixed media 

HOW TO ENTER

Submit a photo of your entry via WeTransfer to lturincio@pebeo.com.

All work must be submitted digitally. Up to 3 works per artists can be submitted.

Deadline for entries is 30th April 2016. The exhibition will run from 14th-19th June.

Mixed media art 

Feeling inspired?

Find out more about submission details and rules here.

Get some inspirsation from the Pebeo Mixed Media e-magazine and shop for Pebeo mixed media materials at Cass Art.

Artist Interview: Sarah Delgado on Watercolour & Pigment Markers

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Sarah Delgado is an artist who dabbles in across mediums and subject matters. Portraits and landscapes, pigeons and people - her drawings and paintings embrace different art materials and explore the possibilities of both dry and wet media. 

A staff artist at Cass Art Hampstead, Sarah has fallen for the new Winsor & Newton Pigment Markers, a revolutionary marker that works with a White and Colourless Blender. We ask Sarah her top tips on using these pens, and discover a bit more about her work in the process.

We know you’re a fan of the Winsor & Newton Pigment Markers – what do you like about these pens?

I love that they work similarly to both marker pens and paint. The colours are vibrant and it's great how the colourless blender allows you to erase or blend. You can even smudge them with your fingers, which is something I've loved playing around with. I can't really compare them to anything else I've used before, and I'm desperate to get my hands on all of the colours now! 

What would your top tips be for using them?

Definitely use the Winsor & Newton Pigment Marker Paper! The markers and the paper compliment each other perfectly and help to create the best possible results. Also, don't be afraid to get messy by smudging the surface with your your fingers and layering colours on top of one another. 

Tell us about your work – what inspires you, and the kind of drawings/animations you make?

I generally prefer drawing people and portraits, but occasionally dabble in environments. I grew up liking cartoons and anime, but I also love more realistic styles and representational art. I guess my work varies in terms of style. Recently I've been very inspired by the painter Christian Hook and watercolourist Sunga Park. 

What are your favourite art materials to work with (aside from the Pigment Markers, of course!)

I love watercolours, and often carry a set around with me to use when I'm out and about. There is something special about the delicacy and beautiful accidents created by watercolour, which make it such a fun material to work with. I honestly love experimenting with an array of materials; from markers, to coloured pencils, to acrylic paint. Whatever drawing materials I can get my hands on I will use! 

What are your plans for the future?

I am keen to focus on producing art using more traditional methods and materials, as I created a lot of digital and 3D work during university. I will be working towards an exhibition, organised by myself and other members of my art collective - Nu Tab Collective, which we hope will take place in February. Exhibiting isn't something I've really done before, so I hope this will be the start of something new and very exciting! 

Feeling Inspired?

Follow Sarah's work on Instagram, and follow the Nu tab Collective

Shop for Winsor & Newton Pigment Markers online at Cass Art.  

Artificial Realities at The East Wing Biennial

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We are very excited to be supporting one of the UK's largest and most well-established student-run contemporary art exhibitions in 2016; The East Wing Biennial. 

The show, titled 'Artificial Realities' opens on 30th January, and will run for 18 months at the Courtauld Institute of Art, in London. Based at Somerset House, The Courtauld is an independent college of the University of London, and one of the world’s leading centres for the study of the history and conservation of art and architecture, and its gallery houses one of Britain’s best-loved collections


The East Wing Biennial was the vision of Joshua Compston, a student at the Courtauld Institute between 1989 and 1992. The first show opened on 27th November 1991 and exhibited the likes of Gilbert and George, Howard Hodgkin and Damien Hirst, many of whom were recently graduated and stretching the boundaries of the British art scene.

‘Faced with seminar rooms of such bareness, that the eye and mind revolted… I decided, by hook or by crook, to find some contemporary art to destroy all the vestiges of such nudity, and by this act restore to its rightful position art in everyday surroundings’ - Joshua Compston, 1991

Since it began over 20 years ago, the biannual exhibition has grown and progressed, but stayed true to its founder's original concept. It contiunously strives to bring the public some of Britain's most exciting contemporary art, by both established and young emerging artists.

The East Wing Exhibition in 2016 is led by a team of 38 current students of the Courtauld Institute, and will feature work from artists including Tracey Emin, Rachel Whiteread and Anthony Gormley,

'Artificial Realities' questions the relationship between the real and the virtual, and highlights the ambiguous borders where human perception lies. This theme is carried through the exhibition by both dynamic and subtle art pieces, ranging in scale and medium, and is woven into the fabric of the building through insightful use of transitional spaces and reflective curation. Go along for a contemplative but exciting exhibition, and celebrate some of the best contemporary art in Britain today. 

Feeling Inspired?

Book your tickets to the exhibition opening night.

Image Credits

1-  Elpida Hadzi-Vasileva, Reoccurring Undulation (detail), 2011, Preserved salmon skins on zinc plated tiles, 225 tiles 20 x 20 cm each, Courtesy of the artist

2-  Gabriel Kuri, Rojo y negro con lata, 2008, Marble slabs and found aluminium can, 152.4 x 37.5 x 2.5 cm, © Gabriel Kuri, Courtesy of Sadie Coles HQ, London and Galleria Franco Noero, Turin and Kurimanzutto, Mexico City

3- Jacob Hashimoto, Gossamer Cloud, 2006, Paper, bamboo, dacron, acrylic colours, 200 x 150 x 20 cm, Courtesy of Studio la Città, Verona Photographer: © Michele Alberto Sereni

How To: Create an Auto-Destructive Oil Painting

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Auto-destruction is a term used to describe the process of applying and stripping away oil paint on a surface. The technique detaches itself from the traditional methods of painting, which focus heavily on application, and instead plays with the concept of removal. As it's a season of Resolutions and new discoveries, we wanted to share this unorthodox method with you!

The artist, Callum Innes, has used auto-destruction to create some of his most unusual and beautiful abstract paintings. Student, Chloe Monique Tsan, from the University for the Creative Arts lends us some of her insight into this technique, and shows how to create an auto-destructive oil painting. 

WHAT YOU'LL NEED:

Stretched canvas (any size)

Wide flat head brush

2 different coloured oil paints

Linseed oil

White Spirit

Palette

Step 1: Choose Your Paint Colours

Consider how your selected shades will work together, and avoid colours that will turn muddy when blended. I chose two complimentary colours, a red and an orange shade, which mix well and will create a solid base before the white spirit is applied. Using too many colours in the background can overwhelm the painting and distract from the marks created by the auto-destruction process.  

 

Step 2: Apply the First Background Colour

Mix the darkest shade of paint with linseed oil, in a ratio of 1:3, and apply to the bottom 2/3 of the canvas. I chose to use Winsor & Newton oil paints and made sure to use a thinner, refined linseed oil, to ensure the best possible results. Use a large flat brush in order to work quickly and achieve an even finish. It's best to keep the canvas laid flat during this stage to avoid drips.

Step 3: Apply and Blend the Second Background Colour 

Mix your second colour in the same way and apply paint to the top 1/3 of your painting. You need to make sure the two shades are blended well together, and avoid leaving white space on the canvas.

After the background is complete, sit the canvas upright and leave for 5 to 10 minutes, allowing time for the paint to settle. 

Step 4: Add the White Spirit:

Time for the fun part! Cover the floor with a waterproof sheet, or place the bottom edge of your canvas into a plastic tub or container. Hold the open bottle of white spirit above the front top edge of your canvas and slowly start to pour the liquid across the surface of your painting. It's hard to maintain too much control at this point, and the best outcomes are often acheived when this step is left somewhat up to chance.

Step 5: Voila 

As the white spirit drips down the face of your work it will cut into the freshly painted colour, revealing new shades and hues, and creating lines, patterns and cracks in the paint's surface.

Once your piece has been left to dry it is ready to hang and admire.

Feeling inspired?

Find more of Chloe's work here. Shop for painting materials online at Cass Art. 

Student Spotlight: Exposure Cardiff

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In late 2015 we went down to Cardiff for the Private View of "Exposure", a group exhibition organised by creative students and sponsored by Cass Art. Since the event we've had the chance to catch up with our Cardiff Student Ambassador, Sarah, who tells us a little more about what happened...

Where and when did the event take place, and who was involved?

The residency and exhibition were held in early December at The Abacus in Cardiff, a large and interesting venue much-loved by the art student community of the city. We gave ourselves three days to make the work, and opened the exhibition to the public on Friday the 11th, immediately after finishing our pieces in the space. All of the exhibiting artists are third year students of Fine Art or Illustration at Cardiff Metropolitan University. We are: Sarah Padbury, Ethan Dodd, Magdalena Lackowska, Emily White, Eloise Barratt, Sam Wall, Rhys Scorey, Miller Elliot, Nathan Mullis, Fingal Green, Emily Panizzi, Heather Kirk and Mabli Eustace. 

Why did you choose the name “Exposure”? How does it relate to the work?

This show is the second for us as a group, and follows on from the exhibition "Substance", which we organised the previous year. To us, "Exposure" translated as a breaking down of barriers between the artists in the group, which we hoped may spark a newfound closeness between us and the wider public. By making our work together in the exhibition space we created a new environment, where ideas and inspiration were able to bounce off one artist to another. Our differing world views and opinions melded together over the course of the residency, and by inviting the public to view the work within the studio space, we were able to put the shamanic nature of art-making on-show. The making of the work became intinsic to the exhibition, allowing a feeling of closeness between the viewer, the space and the artist. From the perspective of personal artistic growth, we hoped that this may lead to candid and insightful feedback from the audience, many of whom were not artists themselves.

Were there any stand-out themes within the show?

Since we were working in such close proximity to one another it's unsurprising that intrinsic connections emerged between each artist's work. Recurrent themes seemed to surface throughout the show, including emotional experience, colour theory, abstraction, mysticism, esoteric occultism, and explorations of the nature of human consciousness.

What materials were used by the artists?

There was a vast range of materials used throughout the residency; everything from spray paint, to clay, to found objects and light. Dead materials, such as wool, feathers, and lard were also adopted by a number of the artists. Cass Art were kind enough to send us a range of additional materials to experiment with, including spray paints, acrylic, paper and brushes, which were all used to great effect over the course of the residency.

How was the exhibition received by the public?

We were really happy with the public reaction! The private view attracted a large and varied crowd of people throughout the night, and since we had arranged live music for the duration of the evening, there was a fun, excited atmosphere in the space. We had recently received some unexpected news that the The Abacus would soon be closing down, which was incredibly sad for ourselves and other members of Cardiff's creative scene, many of whom came along to show their support and gratitude to the venue. This meant that that it became a real celebration of the space itself, as well as the artists and the work on show.  

Will you be doing anything similar in the future?

We are all currently in our third year of study, which means the next big exhibition will be our degree show in June! While we may not have time to organise another show during our undergraduate careers, we have bigs plans for after we graduate. We hope to find and run a new exhibition space in Cardiff, where we can continue to feed our passion for creativity; making work, holding shows and helping the next generation of art students in the city.

Feeling Inspired?

Take a look at more of the artists' work online: Sarah Padbury, Ethan Dodd, Nathan Mullis, Fingal Green, Emily Panizzi, Eloise Barratt, Mabli Eustace, Rhys Scorey, Mylo Elliot, Heather Kirk, Emily Unsworth White, Sam Wall, Magdalena Lackowska

Shop online for art materials at Cass Art.

How To: Use Chameleon Pens

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Everyone's talking about the Chameleon Pens. A twin-tipped marker pen with a difference, its special mixing qualities allow you to discover a range of light to dark hues, all in one pen. Perfect for fashion illustrators, designers, comic book artists and crafters alike, it's creating a stir in the world of art materials.

The pens are super easy to use but it's a tricky concept to put into words - the best thing to do is to watch the video below and see how these pens work. Read on for the 6 different ways the Chameleon Pens can be used, too, which gives a little bit more detail, and make sure you get the most out of them.



1. Use it like a regular marker

Take the cap off and draw normally, and the ink is as vibrant and clear as any other marker. It comes in many different colours - 20 vibrant colours which can produce over 100 different tones.

2. One blend pens

Each marker includes a chamber that includes a colourless toning medium. When you touch this chamber to the nib of the pen, the medium lightens the colour of the marker. Then when you start to draw, the ink gradually and seamlessly returns to the original colour, giving you a brilliant gradient of colour. The colour starts light, and gets darker as you draw. The longer you keep the chamber touched to the nib of the pen, the longer it will take for the marker to get darker.

3. Blend two colours together

You can use these pens on top of each other to achieve different blends of each colour.

Chameleon Marker Pens

4. Create new colours

Work over the top of each colour with different variations of the infused nib. This will create new colours and tones, so you are not limited to the colours of the markers alone! The possibilites are endless.

5. Blend two opposing colours

Just as you would lay down one colour using the gradual gradient, do the same thing with another colour over the top. You'll achieve a blend of one colour into another. 

6. Use with other alcohol-based markers

The Chameleon Pens can be used in conjunction with other alcohol-based markers like Copic or ProMarkers.

Feeling inspired?

You can buy the Chameleon Colour Tones Pens as a 5-Pen pack (available in 4 different colours) or a Deluxe Set of 22

Experimentation, Expression & Dirty Hands: Student Ambassador vs. Modelling Clay

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We catch up with Fine Art student and Cass Art Ambassador, Christina Marshall, who has been playing around with DAS Modelling Clay to make unusual, abstract forms.

What draws you to working with clay?                                      

I like to work spontaneously, and clay allows me to re-mould and re-model my work numerous times. There is a freedom in the resilience of the material, that makes me feel able to take risks and find out how a piece can change and evolve. Much of my artwork represents my own emotions, and I see clay as a particularly expressive material; it's incredibly tactile and malleable, and when kneading and warping it with my own hands I feel I am really able to relay my feelings. Playing with and appreciating the textural qualities of clay is also incredibly therapeutic and relaxing, and of course I love to get my hands dirty!

Your work is quite abstract; do you plan your pieces before making them, or do you work instinctively as you go?

Working instinctively allows the most creativity and imagination in my pieces. Without planning I'm able to connect my mind more fully to what my hands are making, and to honestly express my fleeting thoughts and feelings through my work. I tend to be quite spontaneous as an artist, and I constantly try to push my personal boundaries by experimenting with a range of materials and processes, which means I can enjoy an ever-expanding comfort zone. I'm currently at university, and keen to explore and discover what my artistic practice is, and can be. 

Did you use any tools to help you create the form, or did you just work with your hands?

Working with my hands is very important to me as it helps to intrinsically link myself to my work, and adds a deeper level of authenticity to the pieces I make. In this piece I didn't use tools, and found that working directly with the materials allowed me to psychically engage with the object and its subject matter.

What are the themes behind this work?

I explore a range concepts through my practice, and often fall back on the ideas of abstraction and reconstruction. I am also extremely inspired by themes of human nature and emotion, including compassion, peace, transformation and pride.

How long did the clay take to dry out once you’d finished sculpting your piece?

Air-drying clay tends to dry quite quickly, and my piece took around 2-4 hours to dry and harden. It's really great to find a clay that dries so easily and that I can use at home. It's also fun to work in a familiar medium that follows different rules than the norm. 

Did you consider painting or decorating the work at all?

I did think about painting the piece, but decided that the form and the idea should be the main focal point. The work is quite experimental; I drew influence for it from my experience of making it, and I wanted the marks made with my hands to be the main decorative element of the form. I use paint a lot at university, and I wanted to create something completely different and step out of my comfort zone.

Does this piece link in with the work you are currently creating at university- if so, how?

This piece is definitely relevant to my current studio practice, as they both utilise abstraction to tackle themes of transformation and deformity. At university I am currently using deconstruction and reconstruction to play with materials and create unusual and unique objects, which is what I have attempted to achieve in my clay piece.

Do you see this as a finished piece or more of an exploration of the material?

To me, this is definitely an exploratory piece, the benefit of which has been to find out more about clay, and think about how it can be applied to relay the themes within my own practice. Some of the pieces I make can appear unfinished- as I judge a work's completion purely on my own intuition. I'm conscious not to over-work an idea, so often force myself to stop, take a step back and move on to the next thing.

How do you imagine the piece being displayed?

I see this piece being at home within a natural environment. The piece is deliberately unusual, and I am keen for its exhibition to be as unexpected as its appearance, and as such I would like the artwork to be displayed outside of a gallery, in a non-conventional setting.

Do you have any tips for somebody else using DAS modelling clay?

My top-tips for making experimental objects using DAS air-drying clay are:

  • Work in an open, clean space (protective covers for furniture can come in handy) 
  • Be open-minded and imaginative with your design
  • Engage fully with the material and don't be afraid to get your hands messy!
  • Feel connected to the object and feel free to change your ideas as you go
  • Go beyond your comfort zone- make something unexpected 
  • Use expressive gestures and play with the tactile quality of clay
  • Think outside-the-box when displaying your piece

Feeling Inspired?

Find more of Christina's work here.

Shop for DAS Modelling Clay online at Cass Art.


Artist Interview: Alex Hirtzel on Creating a Buzz

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Discover why bees see patterns we can’t, taste honey produced in one of London’s eight Royal Parks and walk through a room full of flowers in The National Gallery. Between February 17 and 20, ‘A Right Royal Buzz’ exhibition will take place across three venues in London – Duck Island Cottage in St James’s Park, The National Gallery and Mall Galleries. The community arts project, led by The Royal Parks, aims to teach the public about the importance of pollination through the medium of art, and you can see the work created by the community at Mall Galleries.
 
We caught up with appointed artist in residence, Alex Hirtzel, to find out more about her residency. You can see her work on display at the cottage, normally closed off to the public, where Alex takes you on a journey she has called 'Plight of the Bumblebee'. 
  
What is it like to be the first artist in residence at St James’s Park London and how did it come about?
I keep pinching myself that I have been given this role! The residency was advertised widely and attracted a lot of attention. I sent a proposal about a subject I have loved all my life. It was flexible but ambitious, I knew that the Royal Parks, along with The National Gallery and Mall Galleries would have the scale to accommodate a wide-ranging project. I had a lot of ideas about the science of bees and how flowers attract bees and other pollinators, which I knew would work well in those spaces. I knew there would be a lot of competition, and I thought it was such a long shot, that I never even told my family I had applied.
What was your inspiration for the project?
I have always been drawn to scientific environments in my work. I had come across the work of Professor Beverley Glover at the Botanic Gardens in Cambridge where I had done some very exciting projects. She and her team have done ground-breaking work on how plants attract bees and how bees in turn see the plants – which is very different from the way we see them: it is extraordinary and very beautiful. Ultraviolet light, invisible to humans, uncovers patterns on plants which draw bees to the source of pollen and nectar. These distinct patterns act as landing strips or arrows guiding them to the right spot.
What do you enjoy about collaborating with the community?
We have some very diverse groups of people joining in the project: under 5s, over 60s, families, 6th formers and two community engagement days. So for me as an art educator this was also a very exciting part of the residency. My aim has been to make it a lot of fun for everyone – and also to give people some take-aways to think about in terms of how important it is for us to support bees and provide them with good habitats, and things that each of us can achieve to do that even if all we have at home is a window box. 
Your practice is quite diverse, from painting and etching to block printing and sculpture. How do you choose the right tools for the job? 
I have to admit I have a voracious appetite for art materials of all shapes and types. I do not stick to fine art materials of course, but pick up bits and bobs from all over. I had a tutor who told me early on never to be hung up about the cost of materials, as it would stop one creating. The tools I use are the best I can afford at the time. Whenever I sell any artwork I try to put 50% of it aside for next art bill. My favourite paints are Golden acrylic, I love their translucency. I love good paper, big sketchbooks, I use the Seawhite landscape A3 with black pens such as the Faber-Castell Pitt Artists' Pen Wallet. I am lucky to have inherited a lot of studio equipment from my mother (Alison Musker RWS), for instance her huge art board. My kiln came second hand from an amazing couple 10 years ago, and I have just had it upgraded by Corby Kilns.
Feeling inspired? 
Find out more on the Mall Galleries website, take a look at the Royal Parks website or visit Alex’s website here.

4 Ways To Encourage Creativity in Other People

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Artist educator and guest writer Paula Briggs is Creative Director at Access Art, a platform which supports art teachers across the UK with great resources for teachers and schools. With the release of her new book Drawing Projects for Children, Paula shares her top tips on how to inspire creativity in others.

Ways to Encourage Creativity in Other People

Whilst many artists can make a living from their work, many others, as we all know, turn to teaching as a way of making ends meet. But the artist’s relationship with teaching is much more than one of convenience: artists can actually make great educators.

Sheila Ceccarelli and I have spent over 20 years helping artists realise their skills as facilitators and educators, and helping teachers develop their own creativity, through our charity AccessArt. Sheila and I see the symbiotic relationship between teaching and creativity as being a very empowering relationship for all concerned.

First of all we need to agree upon what we mean by “teaching”. Of course there is a wide spectrum of teaching opportunities out there, from formal jobs in schools and colleges, to part-time lecturing, to community-based workshops, freelance sessions in museums and workshops, or voluntary sessions in an after school club. The important point here, is not where or how or with whom the teaching takes place, but the act of sharing, and the notion that the skills it takes to teach, can actually re-feed and re-fuel your own creativity.

I've put together 4 key strengths that will help you encourage creativity in other people.

1. Share your Skills

I love the notion of artists transforming the world through their hands, head and heart. Whatever your preferred medium, you will have discovered your own ways of bringing your ideas into fruition. You will have in your head a myriad of practical processes for manipulating the world. You’ll have your own special way of seeing the world, and of interpreting it. Sharing these skills and insights is NOT about the people around you creating watered down versions of your work – that won’t happen. This is just about you taking the time to sit down, think about all the different skills that you have to offer, and then to think about your learners, to enable you to devise an activity. Who are they? What is their level of experience? What are their interests and motivation? What do they need from you, to set off on their own creative journey.

The AccessArt website has lots of resources to get you started, but it is your particular set of skills that will make your teaching unique.

2. Share your Passion

All artists know how fragile the creative ego can be, and how easy it is to talk yourself out of making work. It is hard to put something out there in the world. It is the artist’s appreciation of this – of the sheer leap of faith it takes to commit pen to paper, or hand to clay, to follow a small urge to bring something into being, when the voice in your head is telling you it might not work, that I believe makes artists such great enablers. They understand how difficult this process can be, and yet they persist in trying. Contrary to the image of a desperate artist working in a studio, tearing his or her hair out in despair as they commit their tormented soul to canvas, I actually think artists are amazingly optimistic people. They continue to create despite the fact that many times it doesn’t work out. They are driven. They have a passion, and people respond to this passion.

Be supportive and nurturing to your pupils. The best teachers are passionate, supportive, critical friends, who respect the creative process.

3. Share your Creative Process

Many people find the notion of being an artist intriguing. Where do you get your ideas? What do you do with your time? Mention the word studio, and people want to learn more: What’s the space like? Can we see it? Show them a sketchbook and they feel like they have a privileged glimpse into the workings of your mind (which they do). We know of course that artwork can inspire – but we really do need to remember that the whole process of making art can be even more inspirational.

Take the time to stop and think about your own processes. I’m not talking this time about the skills (not the etching, the sewing, the building, the drawing), but instead I mean the creative processes: the way you might follow your intuition or instinct. How you let an idea appear; the way you follow two trains of thought into they merge into one new idea; your fascination for a particular colour and what you do with that fascination; the joy of putting first marks on canvas; the fear you might feel; the exhilaration; the doubt which creeps in; the reflection and the final stage of allowing something to exist without you. These creative stages are unique to you as you experience them, and yet a shared part of the creative process. After years of working as an artist you will be familiar with them, and I’m sure they help you through the creation of your work. But these stages will be fascinating, terrifying and encouraging in equal measures to your pupils. Introduce them to these stages through exercises or projects in which they can experience them for themselves. Give these stages names, help them acknowledge them, and you will be supporting your pupil’s creativity for many years to come.

4. Share your Artwork

And finally to the work you produce - your hard earned artwork. How can you use that to encourage creativity in others? Of course if you are an established artist you might already feel confident that your artwork has the power to inspire, but what if you’re still finding your way with your own work? Can you still inspire others with your work? The answer is a very definite yes. In 2015 AccessArt ran a very successful project called Share-a-Bird. Over 160 artists gifted artworks of birds, which AccessArt passed on to schools across the UK. The artists were of all levels, as was their artwork, but with each artwork we asked each artist to write a message of inspiration for the school who would be receiving the bird, sharing their passion, skills and processes. Without fail, each bird landing as a gift in a school went on to inspire pupils and teachers to make their own work, resulting in a very poignant yet powerful project. Don’t feel you must wait until you have achieved some kind of recognition as an artist before you share your work with the world – just make sure you share your skills, passions and processes (honestly) and you WILL enable others.

Finally...

If you’re thinking “Maybe, I might do that, one day” but need a further push of encouragement to get out there and share a skill, then consider this:

Be brave, and build relationships. Until you reach out and see how your ideas can inspire others, then you’ll never really know how powerful your own creativity can be.

By Paula Briggs. Creative Director at AccessArt, Author of Drawing Projects for Children, Black Dog Publishing, 2015 & Make, Build, Create: Sculpture Projects for Children, Black Dog Publishing Spring 2016.

Join Access Art to use their resources and fuel your teaching here. You can also apply for the artist educator discount at Cass Art here.

Why Primary Schools Need to Invest in the Visual Arts

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Artist educator and guest writer Paula Briggs is Creative Director at Access Art, a platform which supports art teachers across the UK with great resources for teachers and schools. Paula explores why schools should be investing in the visual arts, and breaks down how this can be done.

Why Primary Schools Needs To Invest in the Visual Arts (And 5 Ways to Do So)

In 2015 I wrote a post for the AccessArt website called “What is the Real Value of the Visual Arts?” which has been shared over 1000 times. The post aimed to give the artists, teachers and parents who know instinctively that a visual arts education is important, the confidence to shout even louder, through a series of statistics and key questions. Did you know, for example, that 1 in 12 people work in the creative industries? The creative industries contributed £76.9 billion in 2013 and that the creative and cultural industries are the fastest growing area of the UK economy (they grew by 11.3 % in 2012).

Sounds encouraging…and yet. Those of us working in art education are aware of a number of realities which seem to contradict the above statistics. The number of specialist art teachers in primary schools is still decreasing. Although art is part of the National Curriculum at Key Stage 1 and 2, teaching is not always rigorous and there is huge pressure on the subject in terms of time and space from other subjects that are deemed more important. Materials budgets are exceptionally small. Many children do not develop key skills at an early age. At Key Stage 3 there is yet more pressure on creative subjects from the EBAC which puts emphasis on the five key areas of Maths, Science, English, Humanities and Languages. The jury is still out on whether this will result in a decrease in the number of students taking GCSE art, but we do know there is huge pressure on pupils, parents and schools to focus on these core subjects.

A fear shared by many key academics and key practitioners is that there will be a skills shortage to feed the pipeline with young people with creative skills, which can't happen if we want to see the creative and cultural sectors continue to grow.

Nigel Carrington, Vice-Chancellor, University of the Arts London comments: “There is a perception (amongst parents and teachers) that creative subjects don’t deliver careers. The evidence is that they do. In a world where goods can be made anywhere, innovation is increasingly important. The creative industries on their own are the UK's second biggest business sector. Maintenance/supply of this workforce is central to the ongoing success of the UK creative industries, now one of our biggest business sectors.”

The pipeline to the creative industries begins at pre-school, continues through primary school, through to secondary school and into Higher Education and Further Education. At each of these stages, and every time we fail to provide an opportunity for children and young people to explore their relationship with the world through making and drawing, we weaken this pipeline. This potentially prevents the next generation of creative individuals from helping build the creative industries of the future.

So, what can primary schools do, with limited time, space and money, to help create a climate in which the arts can flourish? Here are five key points which we have seen make a big difference to the arts in schools.

1. Use sketchbooks.

Sketchbooks are a great tool to enable creativity, and even the youngest children will benefit from sustained use. Don’t be too controlling in the work which goes on in sketchbooks – let the books be places of personal exploration. By all means set tasks, but do allow pupils to pursue their own journeys in the sketchbooks – this will help make confident creative learners. If when you open each sketchbook at for example page 5, each pupil’s book is identical, think again about how you can give the children more creative space. Use this page for ideas. 

2. If you have a spare room, make it into a creative space.

AccessArt has been researching how schools with specific art rooms tend to then invest in art in other ways. Art rooms ultimately lead to specialist art teachers, and an embedding of art across the curriculum.

3. Make full use of a weekly art lesson to teach art as rigorously as any other subject.

You can use this page for lots of teaching ideas and approaches. But in addition, try to think of ways to squeeze more art into the normal school day. Art weeks provide a great focus (but don’t let them replace weekly lessons), and after-school clubs can be great ways to feed interested pupils.

4. Build links outside of the school.

Seek out local artists, and become friends with your local museum or gallery. Try to enable children to see art in the flesh (taking sketchbooks on any visit of course!) Seek out local and national competitions, or even consider organising a local competition that puts your school at the centre.

5. Lastly, build the profile of art in your school by sharing the outcomes.

Sharing outcomes help show pupils that you value their work, and helps parents understand why art is important. Consider adding artwork to the school website, or even create a separate blog (with the children’s help!) Look for links outside the school – can your artwork be displayed in local cafes or community centres, for example?

 

By Paula Briggs, Creative Director of  AccessArt

Author of Drawing Projects for Children, Black Dog Publishing, 2015 & Make, Build, Create: Sculpture Projects for Children, Black Dog Publishing Spring 2016

Join Access Art to use their resources and fuel your teaching here. You can also apply for the artist educator discount at Cass Art here.

Artist Interview: Chantal Joffe

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In Chantal Joffe’s new show currently on at Victoria Miro Mayfair, celebrated writers keep company with the artists’ friends and relatives. Joffe prompts a re-evaluation of notions of self-disclosure and intimacy in the making of work. 
 
Cass Art visited her studio in London to find out more about the show, her practice and her new found love of pastels.
Joffe’s studio is every painter’s dream. Light floods in the huge windows, pastel works bursting with vibrant colour cover the floor on one side, books and reference material litter the desk and shelves, and piles of Michael Harding paint, brushes and pastels are heaped on the tables. A huge mirror, perfect for self-portraits reflects her works in progress, colourful paintings and drawings that line the walls.

Can you tell us a bit about your new show at Victoria Miro and the inspiration behind it? 
I’d been reading a lot of poet biography, a lot about Robert Lowell and people I’ve always been interested in, Sylvia Plath and some of the other confessional poets, and I kept thinking could you make a painted equivalent of that somehow. So I ended up painting portraits of them from biographies so that’s some of the work in that show along with quite a lot of paintings of my daughter.

There is a room of pastel drawings in the show, is this a recent development in your work?
Yes I started making pastel drawings which I hadn’t really done before. I got more and more keen on it and I began to do them really obsessively, doing one of my mother and then myself naked and then my sister and my daughter, some big ones. I was thinking a lot about Degas and Vuillard. Because I’d never used pastels you’re sort of inventing your own technique. You have to work more broadly in pastel because they are brutal and you have to see in light more than in detail. They are so intense and everything is so vivid. Every day I go to Cass Art and buy another box of Sennellier pastels, they’re the best.
Do you think it’s important for artists to try new mediums? 
It’s been really useful in terms of trying not to stay the same, which is such a danger in painting, trying not to get stuck in one’s own mannerisms, I’m always having to say to myself, ‘I don’t want to have a way’, I mean of course one does but I don’t want to because that sort of narrows it all down. Some of these pastel works were so new I wasn’t sure how to show them or what I thought. I knew I was unbelievably excited about them, it was the first time I’d made pastels let alone shown them. And then at the show people were really positive about them and so I was so happy because I’d been so nervous about the show anyway. You know when something’s new to you and you think maybe it’s good or maybe I’m deluded by the sheer pleasure I have in doing it! I wanted rawness and I was trying to find different ways to get there, it was important they weren’t in any way narrative or illustrational, it’s hard to find a balance with figurative art. I felt like I’d gone back to art college, I loved being at art school and that feeling of constantly changing, it’s rare, the older I get the harder it is to feel that. You’re always looking for that sense of newness about making things. 
Do you feel the same excitement when you paint?
Like everybody, I experience boredom, despair and occasional bits of good! But when I was doing the pastels I would finish the day and I’d be desperate to come back to do some more. I couldn’t stop. I go through patches of that, high bits and low bits. There are people who work in a measured way but I work in manic bursts. I’m in the studio every day, you have to be there, you have to turn up, everything else is jam but you’re not going to make anything if you’re not there. That’s the advice I’d give to people just starting out. An ability to be on your own is also important.
What are your essential materials for painting? Do you have any top tips?
I like Michael Harding oils, I like to buy a random assortment of colours like Amethyst or Crimson and Emerald. My favourite brushes are Pro Arte and I wash my brushes probably four times a day. My top tip for brush washing is Imperial Leather soap because it’s hard. I use Cold Pressed Linseed Oil to help make my paints fluid and it helps to keep the colour clean. For me I everything is about keeping the colour clean, as un-muddied as possible. If you muddy it you’ve had it from the outset. I don’t use turps anymore because I don’t like the smell.

You’ve painted a lot of self-portraits and there are two in your current show. What do you enjoy about making them? 
With yourself you don’t have to care about any feelings, you can do what you want to yourself so that’s very liberating. There’s a huge pleasure in describing things other people would find really awful. There’s a piece in the current show, Self Portrait in Red Jumper, and I had such pleasure making that painting, it’s like a game of how honest you can be and how hard on yourself. Peeling away your own vanity. Anybody can look hard at other people but to do it to yourself is much more entertaining. I’m not sure I’d distinguish between ugly and pretty but if I’m painting myself I fall in love with awkwardness. I like the way a hand folds back or a foot sticks up, or how hunched I could look, I like what the body can do.
You often paint on bright, colourful grounds, and use a range of surfaces. What’s your preference?  
I choose the ground colour fairly randomly, at one point I was using apple green because Degas used that a lot and then I was using pink because Guston used pink. The choice of ground colour is a feeling really. If you’re painting people painting white against white is very hard. I paint on pretty much anything, I use those Pebeo canvases partly because of the texture and partly because of the colour. I like Ampersand panels but I also make my own and I also use canvas. I go back and forth between them but board is probably my greatest love. 
 
We know about the poets and writers you admire but which artists have influendced you? 
It depends on the day of the week really, Matisse, Munch, El Greco, Corbet, De Kooning, Vuillard, Bonnard, Dianne Arbus, Guston, Paula Modersohn Becker because she’s less known and really great, look her up. 
 
Feeling inspired?
'Chantal Joffe' is on display at Victoria Miro Mayfair, 14 St George Street London W1S 1FE until 24 March 2016. Visit the website here for further information. 
 
 
Image credits: All images © Chantal Joffe
First image: Robert, Harriet and Elizabeth, 2015
Second Image: Chantel Joffe's studio
Third image: Jean and Rober, 2015
Fourth image: Esme in NYC, 2015
Fifth image: Esme in St Leonards, 2015
Sixth & seventh images: Chantal Joffe's studio
Eighth image: Self-Portrait in a Red Jumper, 2015
Ninth image: Phoebe with Andrew, 2015

Enter the Derwent Art Prize 2016

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The Derwent Art Prize is now open for entries. Launched in 2012 the prize aims to reward excellence by showcasing the very best artworks created in pencil by British and international artists. Since it began, the competition has attracted over 4,000 entries from over 67 countries with a huge variety of drawing styles and techniques.
From all artworks submitted, eighty will be selected for display at the Mall Galleries, London from 19-24 September 2016. Not only will the lucky selected artists get to exhibit in central London but there are also nearly £12,500 of prizes which will be awarded on the opening night of the exhibition: First prize £6,000, Second Prize £3,500 and Third Prize £1,000. There are also two People’s Choice Awards of £700 and a Young artist Award of £500 for the best artwork from an artist aged under 25.
 
This year’s panel of judges include Meryl Ainslie, Director and Founder of Rabley Drawing Centre, Eileen Cooper RA, painter & printmaker and Keeper of the Royal Academy Schools, and Michael Glover, art critic at The Independent and London Correspondent for ARTNews, New York.
How to Enter
The deadline for entries is 1 June 2016 so sharpen those pencils! Artists can submit up to six of their works. For further details and full terms and conditions on entry requirements visit www.derwent-artprize.co.uk.
 
Feeling inspired?
Shop for Derwent drawing materials here. Need some good quality paper to get you started? Find our range here
 
 
 
Image Credits:
First image: Hara Takayuki ©
Second image: Anne Howeson ©
Third image: Giacomo Burrattini ©
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