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All materials are available through suppliers listed in chapter 16
Here is a brief outline of the book:
Table of Contents
FOREWORD
INTRODUCTION
Chapter 1 What is paint?
Chapter 2 Paint Making in the Artists Studio
Chapter 3 Painting Supports and Grounds
Chapter 4 Pigments
Chapter 5 Drying Oils or Binders
Chapter 6 Mediums and Glazing
Chapter 7 Water Based Medium, Egg and Egg Tempera Preparation
Chapter 8 Diluents and Thinners
Chapter 9 Acrylic Paint Preparation
Chapter 10 Ink Preparation
Chapter 11 Making Pastels (Oil and Chalk)
Chapter 12 Watercolour and Gouache Preparation
Chapter 13 Alkyds
Chapter 14 Varnishes
Chapter 15 Waxes and Encaustics
Chapter 16 Suppliers of Materials
FOREWORD
By Koos van der Watt
There is a growing need amongst serious professional artists and students to know more about the composition and properties of the art media that they utilise in the creative process. This results from the curiosity of contemporary artists to explore alternatives to traditional materials and techniques. In order to be able to experiment with new and unconventional materials a basic knowledge of traditional conventions is a necessity. An understanding of the properties and characteristics of traditional art media and processes will equip the artist with knowledge that will enable him/her to develop new possibilities founded on stable and tested principles. The high cost of commercially prepared art materials has been a major influence in the artist’s ongoing quest to find reasonable substitutes.
This book provides artists with the basic knowledge to experiment freely and produce their own media at a fraction of the cost of premixed commercial products. Apart from these benefits it encourages painters to enjoy the process of mixing the magical substances that become part of that wonderful creative process - the art of painting.
Koos van der Watt
Department of Fine Arts,
University of South Africa.
INTRODUCTION
The origins of modern art can be traced far back in the history of humanity. The abstractions of human forms in African cave paintings and that of the Egyptians have without a doubt influenced modern painting. The pioneering efforts of the great artists such as Cézanne, Matisse and Picasso, taught the modern artists that the rigid rules of expression had changed, and that the limitations of these rules could now be shed. One of these results was a revolutionary way of thinking and seeing which gave birth to amazing creative energy that has resulted in many important works of art in this century.
Along with new ways of preparing paintings, there came the idea that the concept and the process of the realisation of the work was more important than the final work produced, whether or not it self destructed was and appears of no concern to some artists. If it were not for the idea, the painting would have no meaning. This is surely undeniable, but there is something very discouraging about seeing an idea lose its meaning because the artist forgot, or ignored, the tradition of sound craftsmanship which has a direct bearing on the permanence of the artwork.
The trend toward the disintegration of practical information about artist materials began with the industrial revolution. This new world had neither time nor patience for the traditional method of transmitting knowledge orally from master to apprentice. Consequently, a great deal of information was lost. Colleges and universities with art programmes not only did nothing to reverse this trend but also fostered it by emphasising the philosophical and conceptual side of art over the practicalities of producing it.
The ABC television series Nightline devoted thirty minutes to the subject of the impermanence of contemporary art. On this program, Larry Rivers explained that the reason for this problem is that information about contemporary materials does not seem to be part of art education... “No one told me that tape eats paper and I used it for years”. Virtually all institutions, schools, and universities that offer art programs today provide no formal background in materials. The need for this kind of training has, however, become increasingly evident, as more and more money is invested in Artist's materials and in collecting art. Sotheby’s estimates that as much as four hundred billion dollars worth of art is held in private collections, twenty-five billion dollars of which is sold each year. In 1986, Sotheby's sold ‘Out of the Window’ by Jasper Johns for more than three and a half million dollars, setting a record for a work by a living artist.
The artist needs to realise that when they prepare their own paints, they have the potential for greater control and variety of effects that are not possible with commercially manufactured paints. Manufacturers have to prepare a product that will have a shelf life of at least 2 years. To achieve this, it is necessary for stabilisers to be used, thereby adding a higher percentage vehicle than would be needed if the paint were used immediately. The artists who prepare their own paints can make any combination of paints that suit their preference and customise them.
By mixing their own paints, artists are able to save a substantial amount on the cost of materials. When ready-made products are bought, savings often have to be sacrificed for convenience.
For the teacher in particular, there is yet another reason for having students make their own materials with which they work. This is the best way for them to know and understand the chemistry and nature of the materials, by actually using them.
Art is quite effectively related to literature and the social sciences but very seldom with physical sciences. This is unfortunate as most artists and students make fundamental errors in painting, which can be avoided if they are better informed regarding the chemistry and correct function of materials in painting. The knowledge that they gain can prepare them to be more enlightened consumers of ready-made products and can make it possible for them to improvise if certain materials are not available.
When exploring a variety of traditional media and by preparing their own materials in much the same way as artists working in pre-industrial times made them, students often realise a far greater appreciation of works produced by artists in earlier times.
When an artist prepares his/her own paints the creative control is far greater than that of just using normal artists grade store bought paints. This allows for more of the artists individuality to have its way from the very onset of the birth of the paint. It is a known fact that when an artist sympathises with his medium that somehow mysteriously the medium returns the favour. The example can be found especially in sculpture. The creative process starts at this stage, which has for many years been looked upon as a mundane exercise, but was one of the secrets of the great masters.
The paint technology and fine art does not seem to find common ground with many of today’s contemporary artists. Whilst lecturing about artist materials at a prominent South African University, I heard a lecturer say that one of his best students created an artwork that was one of the best he had ever seen (the lecturer that is), but he would not accept it for marking as it was in the process of falling off the canvas. Imagine creating the absolute best painting in your life and it falls apart in front of you. Posterity would not have the privilege of seeing the artwork in real life and what an absolute shame it would have been if the Masters of old had today's attitude. I once heard an artist remark that he never varnishes his paintings; he doesn’t see the need for it. Would you buy a car that was unpainted, and was just bare metal without even a primer on it? Of course you would not it would rust away within weeks!
It seems that many of today's artists no longer have the passion and heart like those of old. The artist of today seems to be doing very little research into materials and their processes; they seem to accept the concept of one size fits all. Would you go to a restaurant that gave you no choice of what you were going to eat, and each time the waiter brought you what he though you would like, without consulting you regarding your preference? I do not think so. The simplicity of and enjoyment in preparing your own materials cannot be over emphasised. Hopefully this book will assist you the artist to more fully appreciate your materials and in addition save a considerable sum of money on artist materials in the future.
Workshops are presented to artists on a monthly basis at the author’s studio in Wolverhampton
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