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Watercolour Paper

CHOOSING YOUR WATERCOLOUR PAPER

By Charlene McGill

Choosing your watercolour paper is more important than you think, and can definitely affect the outcome of your painting. It is important to acquire the best watercolour paper your budget will allow. This being said, what is the best for you? When you work with fine detail, a rough paper can be very frustrating, and if you are looking for interesting water effects, a smooth paper will do your head in. We discover the in’s and out’s of watercolour paper, in an attempt to assist you in making the best choice.

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What do Gallery Owners expect from Artists?

Approaching a gallery to accept your work, or to consider you for an exhibition is a daunting task and many gallery owners are put-off by artists, although it often has nothing to do with the work they present – it is the way they present themselves. It is easy to forget that people who run galleries are running a business, so when you, an artist, approach them you should treat the meeting like you would any other business meeting – think of how you handle a meeting with your bank manager you will be half way there.

Before approaching a gallery, visit it a few times as a customer. Look at the type of work they show; is it presented as solo exhibitions, or does the gallery have themed exhibitions with work from several artists, or is it a commercial gallery with mixed stock.
Be honest with yourself and ask: “Will my work fit with what the gallery does?” You might paint very well, and sell your work from time to time, but that does not mean that it will be appropriate for all galleries.

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Composition in Perspective

CONTROLLING YOUR COMPOSITION

It is extremely frustrating pouring hours of time and effort into a project only to find it wanting. As artists it is our very nature to break the rules and push the boundaries of perception ever further but it makes a lot of sense to keep the accepted conventions of composition in mind when you start a new project.

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Copyright

ARE YOU A PIRATE?

By Kim Kerr

There have been a lot of discussions of late regarding the rights and responsibilities of artists and the people who buy our artwork. So it is timely we cover copyright laws as explained in ‘Code of Practice for Artists and Dealers in Aotearoa/New Zealand’ published by the Artists Alliance, a now defunct non-profit organisation that was based in Ponsonby in Auckland, New Zealand.[1] Artists Alliance provided information, resources, career advice, networks, and advocacy for the visual artists of Aotearoa/New Zealand. Artists Alliance was also part of WeCreate[2] (the copyright coalition of New Zealand[3]).

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Reading Oil Paint Labels

ARTIST QUALITY PAINTS

Every pigment has a unique Colour Index Name, consisting of two letters and some numbers. It’s not a complex code, the two letters stand for the colour family e.g. PR - Red, PY = Yellow, PB = Blue, PG = Green. This, plus the number identifies a specific pigment. For example, PR108 is Cadmium Seleno-Sulfide (common name Cadmium Red), PY3 is Arylide Yellow (common name Lemon Yellow).

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Watching Oil Paint Dry

UNDERSTANDING THE DYING TIMES FOR OIL PAINT

Traditional oil paints are bound with drying oils. This is what gives them their unique working properties and makes them much slower drying than water-based media. A drying oil is a vegetable oil which dries by oxidation (explanation below) and there are many types including poppy seed oil and safflower oil amongst others. Linseed oil is the one used in the majority of oil paints because it dries to the most durable film.

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