October Issue of Digital Paint Magazine

DIGITAL ART OCTOBER 2012

CREATION

W H AT ’S I N S I D E : DIGITAL PRINTS ON FABRIC KATHY ANNE WHITE

ART AND INTERVIEW

WITH MIKLOS FOLDI AND NAGI PETER

PAINT CREATION PROCESS WITH CLAUDIA SALQUERO

smoke images

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THE PUBLISHER’S CORNER

Hey Neighbor!

I am excited to bring this month’s issue of Digital Art Creation magazine to you. We have an AWESOME lineup of artists’ articles and information this month. On the cover is a Woody Walters illustration. We have a video of how Woody uses custom brushes to create his stunning illustrative art. We also have developed the opportunity to buy the exact brushes that Woody uses, very cool! Scott Naismith gives us the run down on the third and final video that will help you get a handle on color theory.

For those of you looking for something entirely different, you will want to look at the piece from Karen White. Karen has been involved in fabric arts for a while now and she shares some techniques on fabric printing, silk to be exact. An interview with Miklos Folfi and Peter Nagy, a fun painting technique with Claudia Saquero, Victor’s awesome cartoon and a few other odds and ends round out this issue. One other piece of important information specific to this issue....the iPad issue is FREE! It will cost you nothing, nada, niete. Simply go to the iPad download, the free app and this month’s free magazine. Sharing this month is highly encouraged!

As always if you know of someone we should be writing about, let us know. Also send us your art so we can put it in the readers gallery.

Live well, Love much and Laugh often

This magazine link is free to distribute. You may however not edit any part of this PDF, copy the content, or split the pages. This PDF must remain whole at all times, the content of which belongs to Digital Art Creation. All art and trademarks contained herein are the property of their respective owners..

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In This Issue 5 12

Woody’s Smoke Brushes

by Woody Walters

Old Masters Rembrandt

By Nadia Lim

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Unleased

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Gallery Wrapped Canvas Prints

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Cartoon

36 46 48

By Claudia Salguero

By Ralph Cooksey-Talbott

By Victor Lunn-Rockliffe

Interview with Miklos Foldi and Peter Nagi Marketing Buzz: A Nice Twist on Video Marketing Printing on Silk

Cover

Woody Walters

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WOODY’S SMOKE BRUSHES

By Woody Walters

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elcome everybody, this month issue of Photoshop I’m Woody Walters. I’d like to talk to you today about brushes. I got to admit up to six months ago, I really never had any custom brushes, but I got an idea to do an Abraham Lincoln and Martin Luther King image. I had these gentlemen posing as Abraham Lincoln and also Martin Luther King.

I saw it in splotches. I said, ‘Wow! What would happen if I made my own paint splotches that were characteristic of paint?’

It will mask out the areas of image and of the paint splutters in order to create this.I went on out and I got just some black paint and put it on white paper and some white ink as well and I took this photograph of it and I converted them into brushes. You can see here, I’m just going to show you real quick, let me make it a little bit smaller so you can see it, but this brush right here and you can see it right there, that lays up on that, but I just wanted to show you to see it, that’s D I G I TA L A R T C R E AT I O N

what the actual brush looks like.Then, I made a mask for, if you look at this, I created a new layer for it.

I can, boom, hit it with the paint swatch and now I create a mask by clicking on my mask icon. Now, we’ll go get another brush and let’s go grab this one, we got to really reduce the size, because this thing was huge, let’s go about right there, yes that’s perfect. Now, I’m just going to come in here and get a little splotch. Now you could see how I did that as far as every time I clicked with black and black is up on top, it’s going to make this appear and I had my flow rate at a 100%.You can see that right here with my

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flow rate. This completely is going to bring that back.

If you don’t know about masking, if you change it to white, it will bring the image back, so there’s the whole image again.

You got to be on your own separate layer, you got to be transfer the background then just clicked on the little icon here which is a mask icon. This will also work, which is so cool elements number ten, they offer you now layers in masking, so that’s really, really cool. I just want to show you few images here, that I’ve done using the same techniques.

Now, these are the splutter brushes. Really the first one that I started do after

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this, I started doing it with Seniors. I started using the smoke, and this one I also use the graphic brushes, the smoke brushes and the water brushes. You can see how, that just comes apart a man. This if I’m doing this images, just eaten this up and it was just so cool.

Here’s the dancer, again this is all just smoke. The whole key here is with this image is that you got to mask out as well as apply, so you got a negative and positive.This is probably going to take two times to really go over it so you understand it. Here’s the same dancing image now with the smoke brushes, the flare brushes and then also a little bit of the water brushes that are in here, that just create a really cool type of images with it. We will just keep playing it here. Here’s one that using the graphic brushes which are like squares and triangles and then strictly the smoke brushes that are coming in here that are fading this away. It’s really neat as far as you can do.

This is an element of one of the images that I was doing here and I’ll show you the real one if I can get over to it. There is the final image of it. It is really cool, because here she is dancing on this [unclear] floor and it melts up to him and it melts up to the baby right here and then the planet. I just want

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to show you really how all of these were done. Let me just close out a couple of this and we’ll get to that.

Clever this image right here, here is just a regular football player running image. He’s running in the studio backyard, so I

how he’s following the part here.Some of it were done with smoke brushes and some of it were done with graphic brushes, that’s why you get these little squares, it’s almost like particles.

Now, when I start to add my smoke brushes, boom,

photograph this.I want you to see this, because there are some techniques that go on here. I disable my masking. I want you to see my masking. I’m going to show you everything I did here, but I don’t have the time in this video to show you every little stroke that I did. The first one, I show you the image and then I’ll show you how I created it.

Here’s the masking that was done for that. I enable that and now you could see if I blow this up, you could see

and here are some of the same graphic brushes that I took away from and let me show you that. That I took away from the pants and now I’m making it fall outside of him.Now when I’m starting to bring this in to, boom, there’s one of the smoke trail and we’re just going to keep adding to this. Boom another part, the same blue that is in his Jersey here, boom coming into this. These are just all smoke brushes and this is kind of cool, but you see

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them come together here. It really produces the feeling of speed and action. I’m using the skin tone here so it would blend in to his leg.

We’re just going to keep playing with that, playing off with the helmet now.

Now, let’s go down, boom, now we’re playing more of that helmet now. I just keep playing with strokes.

Noticed how each stroke is on its own layer and that way I can control it individually. If I don’t like the way it looks, I can come over to this layer and I can resize it. I can do control T and I can bring that way over here, so it really looks like he’s spreading around. I can rotate it to get the angle that I wanted and reposition it. That’s because it’s on own layer and it be on it’s own layer, it enables me to control to the [unclear] degree.I got to this image right here and I was, ‘Wow! That’s pretty cool. I really like it.’ Let’s maybe take this a next step further, so I brought in another shot of him playing football.

He’s also the quarter back, so that is this. This is the same way. I took it right in backyard of the studio and just shot in direct sunlight.

I have my son over here holding the reflector and now I’m going enable its layers mask and that’s it’s layers mask.Again, this is all done with the graphic brushes and you could see

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This is going to be pretty strong, the next one I do.

Look at that blue, again, that swirl, your eye now, I’m controlling your eye. Your eyes is going this one big circle, we’re going to keep playing about that and boom.Then, I’m just going to add one of my smoke brushes and let you see how all of this was really done and so boom and then boom. Then, there’s the final image of this and really I love it. The client loved it. I mean, I also do multiple images for Senior’s illustration, their hobbies, Here is some more of the their passion, this type of top of the helmet. Boom! things. This I did on specs Here is some the blue. Now, last year with, everyone in you can see this diagonal my senior’s and I only do 40 line, that’s coming in here Senior. I think I did like 35 of really blending in, an action them on spec, everyone of shot and the feeling of them sold. It’s ramping up speed and power into the in a whole new image area football player and boom. where people with digital Coming in with a stern in camera just can’t do this black here, running in that. type of images.Really, the that, I have circles, I have squares, I have triangles coming in here and you can see where I’m taken it out. Wherever it’s black here it’s going to make it disappear here. With this one, now what we’re going to do is start adding smoke brushes to that and we’re going to come in here. This is the blue in there now.

You could see them starting to tie in, swivel of the smoke to blend in to the actual football player here. We’re just going to play off of this for a little bit. Boom!

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whole trick here is to be able to create images that other people can’t create so they’re going to come to you. We’re saying on that, I’m just going to turn this layer off. We’re going to come up here and we’re going to turn off all these button layers off except for the white. Now, let me get rid of all these different little smoke brushes except for the guy running, that one we want. Now, I’ll show you how I did it. I’m going to grab a brush, I mean, my brush tool. I come up here and I’m going right click on it. I’m just going to move my brush up.Again, I never had custom brushes.

Here is one of the graphic brushes. If you go here, if you go Woody Walter’s digital photo [unclear], you’re going to see all the different digital brushes that we have that we can offer to you. Check them out. I think you’ll really be able to use them. Here are some of the graphic brushes.

Here are some of the player brushes and I don’t have them all loaded. You’ll get the drip of it. Here are some of the water brushes type things. Here are some of the powder brushes and powder brushes are really, really cool.We’re just going to come up just some of the smoke areas here. Here are some of the lightning brushes. I just want to grab a smoke thing. I’m just

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going to bring this. Now, here are two things. If you’re in elements, I doubt you’re going to be able to have this little window here that’s in Photoshop and that’s okay. In this window I can take this wheel and spin it anyway that I want to, to make that come up of here.

There’s the angle that I want to get the speed. Now, what color do we want?

I’m going to come down over here and hold down my alt key and I’m going to click this blue right here.

You can see that my swatch turn blue now and I’m going to click on that. We’re going to make that just a little bit darker. Good, good!

Now, I’m at a 100% flow rate, so I’m just going to grab

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it and I’m going to create a new layer. Remember, if you put a paint swatch in there. Create a new layer that is critical, so now I got this.What I can do with this now, if you’re in elements and you don’t this little wheel, what you can do when you have it down on your layers, you’re going to get your paint brush. You’re going to have to do Control T on it and just spin it to the angle that you want it on, so it’s like cab in a wheel but without it. We’re right here with it now, if you have this on Photoshop and you might not have this in elements, I don’t know, I don’t know that program. come down to Transform If you have Photoshop, you and now we’re going to do can go to Edit, you can Warp. What’s so cool about Warp is now I can grab a part of it and I can then bend the smoke. Now, I can make it go basically, any which way that I want it go.

I can tighten it up if I want to. I can bring this end up and get a little bit more tighter, coming it off.Really, I have full control especially if you are in Photoshop.

I’m running a CS Five right now, so yes, you have full control over. Let’s grab another brush here. We’re just going to come in here and see a cool brush, let me just find here. Oh my Gosh, I have a lot of smoke brushes, don’t I? I like that, let’s look at that one. That’s cool. I’m going to come over here now. I’m going

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to grab this wheel. This time we’re going to bring a little bit of that red.We’re just going to come in here, we’re going to rotate that just a little bit more. Good!

We’re just going to come in like that, see I did a no, no. I didn’t do a new layer, so do a new layer. Now, we’re just going to come in here like this. Really, I don’t really mind that playing of his head. Boom! If we play of his head though, let sample the color from his actual helmet, it’s actually right there. We’re just going to bring that up and we’re going to go right there.Look at that, now we can make that smaller, not nearly as it sticks until we get there.

Let’s spin it a little bit. Good, good! We could even bring a little back more. Let’s bring it up back, good, good. Look at that. Now, let’s do edit, transform or

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warp, so now I’m just going to bring that down. Again, I don’t want to go too far, because- there, we’ll start bleeding into that. Basically, that’s how the whole image was done. If you like that,

V I D E O

P L A C E H O L D E R

I mean, it really works that great. Be sure to check that out. I really think it will add so much in to your photography, into your images.Next month, we’re going to cover a little more

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about this. I only have like ten minutes and I already run over that time. We will see you here next month. I am Woody Walters. Please check WoodyWalters@ digitalphotocandy.com I

think it will really help you out. Until next time, shoot from heart, check with passion. See you here next month. Have a great day.

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REMBRANDT

by Nadia Lim

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hat makes a great portrait painter?

How are good apples picked from the bad? The Dutch Painter, Rembrandt, is said to be the greatest Portrait Painter in the History of Art, even taking on the challenge of painting himself, a difficult undertaking as the painter must often have a certain understanding born from detachment from his subjects in order to see them with honesty, and not succumb to the façade they would often hide themselves in.

But like in many other sectors in Art, Rembrandt’s status is always arguable.

He could not escape, for instance, the many controversies that befell his career during the later parts of his life, despite his revered start as a Portrait Painter in his native Netherlands (formerly Dutch Republic).

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Rembrandt van Rijn, Nicolaes Ruts, 1631 Rembrandt Harmenszoon van Rijn was born on July 15, 1606 to a well-off family.

The father was a miller and the mother, the daughter of a baker. But more than his status in society, it seemed Rembrandt was born at the right time and place as the Dutch Republic

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then was undergoing a societal revolution, the Dutch Golden Age. Amsterdam, in particular, prospered commercially, and boasted this prosperity off to neighboring cities.

This emanated in their Art as well. Everybody wanted pictures of themselves, an

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or a few months after birth.

Only his fourth child born n 1642, Titus, would live until adulthood although consequently, Rembrandt’s wife, Saskia, died from giving birth to him.

Various financial troubles also plagued Rembrandt after the death of his wife. He lived a frivolous life although most of his collections – paintings, etches, sculptures, even properties – had to be sold upon reaching bankruptcy. By now though, his influence on other painters and even on high society, was wellestablished that they so often, just tolerated him.

The Amsterdam Painters Guild though did not. His economic conditions, they reasoned, was a sorry excuse to their profession and the Guild banned him from any transactions.

Titus, Rembrandt’s son, found a way to surpass this Rembrandt van Rijn 184, Self-Portrait challenge by becoming an art dealer himself as high as The Hague. art historian jokes, which and “hired” his father as Prince Frederik Hendrik brought about a certain employee. In turn, the became a loyal patron. It assurance in Rembrandt’s company was able to was only in 1631, when he place in the community. continue any transactions moved to Amsterdam, that As early as 20, Rembrandt to Rembrandt’s patrons. he started doing portraits was already considered a Rembrandt, for most of his professionally. Four years successful history painter time, was highly celebrated. after, he married the cousin His Old Testament and he even began of his art dealer, Saskia to accept students in paintings, adding a deep van Uylenburg. His would his studio. 1629 was a dimension of spirituality, not turn out to be a happy to a long overplayed productive year for him household however, despite subject was sought after as this was the start of his continuous relationship with their affluence, for three of and acclaimed. This his four children died weeks using a medium that rich patrons, even going D I G I TA L A R T C R E AT I O N

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Rembrandt The Artist in his studio was oftentimes difficult to manipulate: oil. Not all of his clients were happy though. One particularly painful experience was when Amsterdam’s City Hall commissioned him.

The Conspiracy of Claudius Civilis was not accepted.

Rembrandt was said to have hocked it into little pieces so that only a small portion of what it was remained today.

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The celebration of Rembrandt’s art, most especially his Portraits are founded not in his brushstrokes but that manages to bring in a certain dimension to

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his subject as no other Portraitist can, oftentimes to the surprise delight of the subjects themselves. His art is a study of the human psychology.

VIDEO PLACEHOLDER

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UNLEASHED 1 STEP: I resample the image to the size it was going to be printed 22 x 34� 150 dpi (minimum resolution for a digital print)

By Claudia Salguero

U

NLEASHED is an image created from a standard photograph taken late at night in downtown Ottawa. Long exposure and 1600 ISO. Because of the darkness and high ISO, the picture has noise but that is not a problem since every brush stroke in the digital canvas will make it disappear.

Image 2: Using the Real Bristle Brushes / Round Brush, I smeared the image from the Vanishing point with 50% opacity and 10% resat. These characteristics of the brush allowed me to add movement to the image.

Image 1: D I G I TA L A R T C R E AT I O N

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Image 4: Image 3: To freeze the bike and the bike rack I cloned those two objects in a number of layers starting with the rack, then the shadow and finishing with the bike, which is my main subject.Because the bike is an urban object I choose the Liquid Ink / Coarse Bristle Brush. I like the graffiti look this tool adds to the image.

I carefully cloned the bike with the soft cloner. I want it as it was in the original picture. Is cloned in a different layer so I can explore different possibilities like sharpness, saturation, color, etc.

I used different color to give texture, light and personality to the bike rack.

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Image 5: Using the same Coarse Brush I added lights and shadows to the bike and background. The use of different colors animates the bike and gives definition to the objects in the background. I also increased the saturation of the image Effects / Tonal control / Adjust colors / Saturation.

CLAUDIA SALGUERO PHOTO-FINE-ART CREATOR

Born in Colombia, Claudia is an awardwinning professional photographer, fine artist and also a Latin Jazz singer. In her artwork, Claudia blends photography, digital and traditional art into a magical Before printing and because I printed this mix. In 2007 Claudia was sponsored by image on textured canvas I sharpened Hewlett Packard Canada and recognized it by 5% giving the strokes and effects

by Corel as a Corel Painter Master. She created with Painter more realism and is one of only three Painter Masters in contrast. Once printed and stretched on Canada and the only one from Latin bars, I enhanced the image with thick America in this international group of strokes of acrylics. These hand made stroke talented professionals. not just give the image a 3D look but also Claudia is based in Ottawa, Canada. convert it into a one of a kind artwork She provides one-on-one coaching and increasing its artistic and commercial workshops on the use of Painter and is value of the piece. invited to make presentations about her technique in multiple conferences in D I G I TA L A R T C R E AT I O N

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www.claudiasalguero.com Canada and Latin America. by Michael Gennis Gallery in Ottawa and Ambiance Her commissioned portraits Gallery in the Montreal’s Art and dancers are printed district. on medium to big format Claudia’s next Painter 12 canvases and finished workshop: by hand with traditional art techniques. Her latest “YOU TOO CAN CREATE technique, used in her AMAZING ART FROM YOUR dynamic Downtown PHOTOGRAPHS” Aluminum series, includes printing on aluminum in big Ottawa, Canada Oct 20 and 21, 2012 formats.

Her images are exhibited internationally and can be found in private and corporate collections.

Claudia is currently member of LatinArte Montreal and is represented

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http://www. claudiasalguero.com/ workshops Contact: claudia@claudiasalguero. com

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GALLERY WRAPPED CANVAS PRINTS

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have been doing well with prints made on canvas materials. People seem to like them much better than framed photographs. The glassless canvas prints have a vastly superior viewing experience to traditionally framed and glazed prints.

Ralph Cooksey-Talbott 34670 Calcutta Dr Fremont, CA 94555 510-742-0548 Cooksey-Talbott Gallery www.cookseytalbottgallery. com

However… as a photographer used to paper, stretched canvas was all a great mystery when I started with it...I have gone through a distinct learning curve to be able to produce canvas prints in-house. Once all is said and done it is a very realizable goal and well worth the small

cooksey@ cookseytalbottgallery.com

investment in tools, time and practice.

Setting up the Master and Making the Print I have been using the LexJet Instant Dry Satin Canvas with their profile on my Photo Black - UltraChrome Epson 9600 and have been getting excellent results.Canvas images for stretching must have a certain amount of overwork. I make prints for ¾”shallow or 1 ¾” deep strainers. The shallow strainers are for framing and the deep strainers are for frameless presentation.Gallery

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on all sides. This allows ¼” of image and 1” of clear canvas to lap over the strainer on each side.

My print masters have marks that define the cropped image area.

Crop marks are invaluable for getting the print on the strainers with exact cropping. I also include a studio chop mark and show my copyright and edition type on the border of the image.I set my masters up for 180 DPI at the output print size and find this resolution to be quite acceptable. Canvas, because of the texture, supports much less detail than smooth papers.I have tried masters with higher resolution and don’t really see that much difference in the print. This is especially true when the comparison is made at the normal viewing distance for larger prints.

Inspecting and Spotting the Print

This 30x40 gallery wrap hangs in my front office. wrapped prints are stapled on the back so that the staples are not visible.

The print has overwork that covers the edges of the strainer bars plus a little extra. The image is extended, if necessary, using the clone brush to provide the desired amount D I G I TA L A R T C R E AT I O N

of overwork. This is a simple process in most cases.

For 1 ¾” deep strainers allow for 2” of image overwork and ½” of clear canvas on each edge. With shallow strainers the image is set up to be ½” oversize with 1” of clear canvas

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After a print is completed, let it dry for a short time and then inspect the print closely for flecking. This is quite rare but will occur more frequently if you do not inspect the print. It’s Murphy’s Law. If there is a fleck, retouch it using Marshall’s Color Retouching Dyes and a 00000 (5 ought) brush where half of the bristles have been removed.

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Use distilled water to reconstitute the dyes, which are dried from their liquid bottled form onto a plastic palette. Mix several colors into a dot of water until it is the right color. Test the color and brush on a piece of the same material as the print.

When the print has passed inspection, roll it up with a piece of white butcher paper completely covering the surface. Prints stored this way prior to spraying and stretching will be cleaner and more dust free.

Write the print name on the paper so that it can be identified without unrolling.

Coating the Print I spray all of my canvas prints prior to stretching with 3-5 coats of Glamour II Giclee varnish. I prepare a 1:1 solution of the varnish and distilled water and apply it with a Wagner Control Spray HVLP sprayer. This spray gun is an excellent, easyto-clean, low cost way to apply the varnish. I tried using rollers and the result was poor compared to the spray method, which greatly enhances the print’s appearance.

My spray booth is in an isolated area. I have masked off the end of a storage room with plastic drapes. The spray goes all over so the drapes are necessary. This is a messy, D I G I TA L A R T C R E AT I O N

smelly process. The spray surface is illuminated by a couple of four foot florescent fixtures. I generally spray a number of prints at once to get a decent production rate.

The spraying process takes hours even though only minutes are spent actually spraying.

Wear goggles and a respirator at all times when spraying. I strongly advise proper safety gear.

It is often all too easy to overlook these measures in your own workplace.The prints are hung vertically on the wall of the spray area with art tape on the corners. Use a draftsman’s brush on the surface of

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the print and inspect it closely to be sure that it is clean. The butcher paper interleave pays off here because the print is more dust free then a print not stored with an interleave. If there is surface dust it will be glued on by the spray in the next step.

Spray is applied using a back and forth motion about 18 inches away from the print. The object is to always maintain the same distance from the print with the gun and move at a constant rate. The spray strokes begin and end out of the print area. This is important because the point where direction is reversed will get a heavier

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spray buildup and drip.

Look for a light orange peel like texture of wet spray on the print; this will dry perfectly smooth. Do not overspray as this will cause dripping and ruin the print.

Allow 30-45 minutes for drying and return for successive coats. It is not necessary to clean the gun between sprayings, leave it there with the varnish in the reservoir for the duration of the spray session.The more coats of spray you apply the better the print looks when finished, so it is well worth the effort to spray the print a number of times. The spray prevents flaking and cracking of the emulsion when the print is folded during stretching.

Assembled stretcher/strainer showing the inset and the bead. A strainer, as pictured here, has an inset and bead with a blunt 45-degree cut on the end.

stretched a print on raw 1x2 you would see the inner Prints that are already edge of the 1x2 making a stretched can also be faint line where it touches sprayed with good results, the print on the back, however, spraying the print this is why the bead is prior to stressing it with the necessary.A wide variety of stretching process is best. pre-made stretcher bars are available from the major Strainers or Stretchers‌ online art suppliers. PreA stretcher bar has a milled milled strainer is available inset and bead with a for about $2.00 a foot mortise-and-tenon on the from the local framing ends. Some of the premium supply in 8’ lengths.Store stretchers have a wedge bought stretchers can be in the corner to allow reassembled as indicated tightening of the canvas. for their individual A strainer has an inset construction. This is a very and bead with a blunt 45 easy process that is good degree cut on the end. for the occasional canvas piece.For production of A well-formed strainer has many larger pieces, either a raised bead around the buying the pre-milled outer edge that supports strainer or milling it in-house the canvas. If you simply

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makes sense. I mill my own for about .20 a foot from round edged 1x2.

Making Your Own Strainers There are two common types of raw 1x2. One type has sharp corners and the other has mildly rounded corners. The rounded corner is critical; the sharp corner will cause the emulsion to become distressed when tension is applied.

Tools: Table Saw with Dado Blade or Table Top Router Miter Chop Saw Handheld Orbital or Tabletop Belt Sander Hot Glue Gun 4 Pony Clamps

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The bars are held together with four pony clamps. Open each corner to apply the hot glue.

Drill with 1/16 bit and 1/8 bit Materials: 1x2 Douglas Fir with rounded corners 4d finish nails Small Screw Eyes I will tend to mill several hundred feet of stock at once so that I have a pile of 8’ lengths of pre-formed

strainer on hand.

A table saw with a dado blade is used to rout out the inset. This can also be done with a tabletop router.

After cutting the inset, I sand the raw routed stock to smooth and lower the inner edges of the raised bead.

The milled stock is then cut with the miter chop saw to

be the correct lengths for the given image with 45 degree mitered corners.

The pieces of milled and mitered 1x2 are held together with 4 Pony clamps and the corners are liberally hot glued. After the glue has cooled slightly pull the excess off, often as a single piece.Corners are drilled with the 1/16 bit and nailed, 2 nails in the long

A generous dose of glue makes it easy to pull off the excess. The excess glue is pulled off, often as a single piece.

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Pre-drill the ends with the 1/16 in. bit and nail with 4d finish nails. Pre-drill the holes for the screw eyes 30 percent down from the top. dimension for smaller pieces or 3 nails crossed for larger works.

Larger rectangular pieces need cross braces to prevent the strainers from bowing inwards from the pull of the canvas. Strainers 30” or larger need a cross brace. This is especially true with deep strainers as they are more susceptible to bending.Use one brace for a 30-48” print and two for a 72” or larger print. Braces are cut from raw un-milled 1x2. A 30 x 40 requires a brace going in each direction as both strainers are 30” or over. If the braces cross they are notched using the Installing the screw eyes. table saw and dado. Braces are glued in place then drilled and nailed.

Screw eyes are set in 1/8” pre-drilled holes 30% down from the top in either side of the vertical bars. There is a tool that allows screw eyes to be driven with a drill that is really worth getting. The screw eyes hold the picture wire that supports the image on the wall. It is awkward to install the screw eyes once the canvas has been applied so this should be done when the strainers are assembled.

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Once the strainer is assembled go over the front carefully with the sander to insure the bead and corners are smooth where they will touch the canvas. This is an important step.

Stretching the Canvas Tools: Electric T50 staple gun 6mm T50 staples X-Acto knife with #11 blade Cork backed metal ruler Cutting surface Soft blanket Picture wire An electric staple gun with 6mm T50 staples and a pair of Fredrix Stretcher Pliers is used to stretch and affix the print on to the strainer bars.

Trim the print to have 1/2 to 3/4” white borders prior to stretching. Trimming is done with an X-Acto knife with #11 blade, a long cork backed metal ruler and a cutting surface.Picture: TrimDevilsGate-0606-306

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Prints are trimmed with an X-ACTO knife, using a metal ruler and a solid cutting surface.

Orient the assembled strainers, inset down, on the back of the print. Align them with the marks. Make The work area is then sure the top of the strainer covered with a soft cloth. I is at the top of the print. have a fleece blanket on The screw eyes are closer which I stretch prints. This to the top. Gently fold the is important as the canvas canvas up on each side to can be damaged easily check positioning.With the during stretching.The print print in position fold up one is gently marked on the side of the long dimension back with a soft lead pencil and place a single staple to indicate the crop marks. in the middle on the back Hold the print up to the of the bar. Go to the other light to transfer the crop side of the long dimension mark to the back. Light lines and pull the canvas in the are drawn from the crop middle with the pliers until marks with the print face it forms a distinct ridge down on the fleece blanket. down the middle. Place Be gentle! a staple to hold it taut.

If the print is to be signed on the front or back I do it at this point.

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Don’t go overboard with the tightness but there should be a noticeable ridge in the center of the canvas running from staple to staple.On the short dimension gently pull in the middle, until the ridge flattens out some, and place the first staple. Go to the opposite side and pull with the pliers until there is a cross-shaped ripple in the middle of the print and place the opposing staple.

Working on the long dimension pull gently on one side and put a few staples on either side of the center staple about 1 inch apart. Then go to the

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visible.

First, gently fold the corner excess going straight out from the corner. Smooth the fold to create a gentle crease.

Fold the resulting triangle towards the top or bottom of the picture and press it against the stretcher to gently bend it in that direction. Fold the end of the triangle over on the inside.

While pulling on the corner fold it across the back of the stretcher. Use a staple to hold it in place.

Pull until a ripple forms in the middle of the canvas. other side and pull with the pliers opposite the staples you put in the other side until the canvas is tight and smooth. Place staples opposite the staples you added to the other side.

Repeat this process on the short dimension of the canvas.

tympanic musical sound when you tap the middle of the print. In other words it will make a drum-like bungggggg when struck gently. If it goes thud with no musical ring then it is too loose.Pictures for Folding Corners - Diagonal Fold

Pull with your fingers if there is no opposing staple.

If there is an opposing staple then use the pliers to tension the canvas.

Folding the Corners

Repeat this tightening process, going back and forth until you come to within a few inches of the corners on all sides. Do not staple any closer than two inches from the corners yet...

If you have a nice amount of tension you will hear a D I G I TA L A R T C R E AT I O N

Fold the edge so that it has a 45 degree crease and press it against the back of the bar. Use a staple diagonally across the fold to hold it in place. One more staple completes the corner. Pull the canvas with the pliers and staple it in the two inch area between the corner and the part that is already stapled.

This process is repeated There are several different for all four corners, with corner folds. I have been the folds going onto the using the diagonal fold top and the bottom of the and, while it can catch dust piece. or snag, the corner appears smooth and perfect looking Straight Edge Fold from the side.

This fold is not a dust catcher but it does not Diagonal Fold make a perfectly smooth Corners are done so that corner. It’s a trade off‌ the excess folded canvas is on the top and the bottom First, pull the canvas taut across the corner and of the picture, as the sides then carefully find the fold are what are generally points without making the

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The canvas is folded diagonally out from the corner. Then, pull across the corner and gently firm up the creases.

Fold the tip under, pull taut, and staple.

Finished diagonal fold corner.

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Pull across the corner and fold under the bottom or top edge, then test-align the fold. folds. Hold it tight across the angle, grab the fold with the pliers, pull it taut and corner. staple it with one staple Gently make the folds. Even across the corner. though the print has been sprayed, be nice to it as this Use the pliers to finish the inch or so of unstapled makes it fragile. canvas leading up to the Fold the excess in the corner on each side. corner over at a 45 degree

When the canvas is fully stretched, the picture wire is affixed and any staples that stick up are pounded down with a little hammer.

Be careful not to mar the front when tapping in the few errant staples.

Make creases when it's all straight, and fold the corner under.

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Grab the folded corner, pull taut, and put a staple diagonally across the fold.

Ralph Cooksey-Talbott Thomas has been working as a photographer since 1972 when he moved to California from Michigan. During the 1970’s he studied under Ansel Adams in Yosemite. Ansel published one of his photographs in the portfolio section of his book “Polaroid Technique Manual.”

Ansel and Orah Moore, another of Ansel’s students, suggested that he shorten his name to Cooksey-Talbott, and that is the name he has worked under since. Cooksey also studied at the San Francisco Art Institute and the San Francisco Academy of Art. He has lectured in photography at the U.C. Berkeley Extension, Studio One in Oakland and at Santa Barbara City College.

Article and photographs are © 2007 Cooksey-Talbott Studio, All rights reserved.

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,*&+$ ,,+I Publication Date: November 30, 2012 | ISBN-10: 0944514456 | ISBN-13: 978-0944514450 | Edition: Volume 1 Painter Showcase, first time ever, a large page size art book featuring 300 Paintings by the Nation’s 40 Top Artists/Photographers.328 Pages! 11X11 inches Hardback. Dynamic 4-color Printing.

Release Date: October 31, 2012 Debut: NEW YORK PHOTO PLUS EXP0 (Tentative).

Cover Source Photograph: Ralph Melvin; Painting: Heather Michelle Chinn Cover Concept/Name Logo: Heather Michelle Chinn Graphic Design & Page Sequencing: Cecil Williams.

For many years, portrait photographers and artists have combined their abilities with amazing tools provided by Corel Painter and Wacom to create magnificent works of art. Now, on the 20th anniversary of Painter, PAINTER SHOWCASE, a handsome 328page hard-back, coffee table book, is available featuring 300 paintings by 40 of the nation’s top artist/photographers. The book is 11 by 11 inches, the largest collection of modern portrait paintings by artists/photographers ever assembled in one publication, according to Cecil Williams, artist, photographer and publisher. These collective works, mostly portraits, landscapes and still life were assembled from contributors by invitation only. The book is volume one; a limited edition publication, printed by a large publishing house and arrives safely in a custom shipping carton. Famed Corel Painter Master, Heather Chinn was project director for the book two years in the making.

Foreword by Jeremy Sutton, internationally recognized Corel Painter Master. Foreword/ Reflections included by Cher Threin-Pendarvis, author of the famous Painter WOW! How to do it books, and Karen Sperling, Corel Painter Master, Artist and author of Painting for Photographers.

PAINTER SHOWCASE fills a gap in art books featuring Painter images. No Painter art books were available anywhere with images large enough to see intimate details, brush strokes and high resolution. PAINTER SHOWCASE was published to serve as an inspirational reference for new artists/photographers and experienced working professionals. Secondly, contributors will benefit by having a published portfolio featuring some of their work to show potential clients.

The list of contributing artists featured in PAINTER SHOWCASE is impressive: Martin Addison, Mitchell Bell, Michael Campbell, Heather Michelle Chinn, Darrell Chitty, Jim Cunninghm, John Derry, Doug Fuchs, Tracye Gibson, Donal Jolley, John Jones, JuliAnne Jonker Dorothy Simpson Krause, Larry Lourcey, Cheri MacCallum, Jody McNary, Annell Metsker, Waheed Nasir, Tim O’Neill, Dennis Orlando, Cher Threinen-Pendarvis, Dianna Ralph, Richard Ramsey, Vicki Weathersby Smith, Karen Sperling, Lois Stanfield, Noel Steele, Richard Sturdevant, Jeremy Sutton, Beverly Toves, Paul Tumason, Mark Wainer, Nomi Wagner, Anne Westbury, Cecil Williams, Helen Yancy.

RELEASE DATE: November 30, 2012

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PAINTING IN PLEIN AIR THE ART OF CROPPING The cartoon was inspired by this quote: “You’re out in the field and the most perfect scene imaginable has been handed to you. In the excitement of this marvelous opportunity, you launch in with inspired sprezzatura. Surely, every brush stroke will be masterful... then the shadows move and the weather shifts, the tide comes in... but who’d have thought someone would cut the shrubbery?” (Michael Chesley Johnson)

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Victor Lunn-Rockliffe

Not everybody is a fan of plein air painting, including Edgar Degas who had some strong words about the practice: “If I were in the government I would have a brigade of policemen assigned to keeping an eye on people who paint landscapes outdoors. Oh, I wouldn’t want anyone killed.

I’d be satisfied with just a little buckshot to begin with.” (Edgar Degas)

http://cargocollective.com/victorlunnroc

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INTERVIEW WITH MIKLOS FOLDI AND PETER NAGI Introduction: Curriculum vitae of Miklós Földi

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have been interested in graphic and oil painting since I was very young.

In line with my secondary school studies (at Károly Koós Construction Lyceum) I got lessons from Sándor Szerdahelyi golden grad art teacher. He taught me how to use the way of veduta landscape. After that I started to learn myself and I tried so many ways of painting. In my first paintings, Rembrant and Degas’s effects were found and later both of them inspired me. I won more junior prize and these invigorated me to hit the target. The newest modernimpressionist tendency is representatived on my latest work, which consists of the subject of romantic, classic theme and furthermore, an energetic juvenile touch.

Thanks to these works, one of a gallery in Atlanta and London had searched me and asked me to work for them. I had worked there so many years.

During the years I have learned how to use the D I G I TA L A R T C R E AT I O N

digital painting, which I like very much because it gives me freedom to create new forms and new styles.

Now, I have been working with Péter Nagy (photographer/digital artist) and we aimed to

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create something new and special in the fields of painting. We would like to spread this branch of art. On one hand, I would like to use my experiences and thinkings in field of oil paintings and try new

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forms and styles, on the other hand, I would not like to disclaim from the opportunity the innovation and reconsideration of digital painting.

Our brand: „Miki et Petur” Our business is based in Hungary; and our main profile is photographic, within that the digital paintings.

Our cooperation has been founded with the goal of creating a new form of expression and an artistic cohesion trough using the elements of the traditional

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dream the pictures of many famous photographers through using our digital painting techniques.

Our works always have been met with a warm response from the side of the photographers. (Some of the artists, whom we It is very important for us to had the chance to work work together and having with: Paul Reitz, Lorenzo continuous communication Marcucci, Julian Laidig, with the artists, who are Mariano Vivanco, Rick Day, highly appraised by us.

Sam Scott Schiavo, Osman We’ve been encouraged Balkan) many times and we’ve For the future we would announced numbers of like to emphasis on the appreciation mostly from elaboration of our projects, the world of fashion. We our works. Moreover we had the opportunity to reand digital painting in the same time. The point of our method is that we make real oil brush marks, which will be digitized and these will be used in the computer interface on different ways.

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would like to present our works in different places and countries, which would give us the opportunity to have new acquaintance and improve ourself.

Interview Tell where you grew up and a bit about your childhood Miklós Földi: I grew up in a small village in Northern Hungary. I was an eventempered kid, however, i was a bit introverted. As a kid, I was interested in painting, I created my firts oil paintings on the attic of our house.

Péter Nagy: I was a mercurial, pretty hyperactive kid with a great deal of interests: I was interested in acting, I went to poetry contests, and I also experimented with photography with my father’s Canon AE1, besides, I also tried making montages and sculpting.

Pannonia in Veszprem.

Tell us a bit of your working history and jobs leading up to where you are today

Miklós Földi: As I mentioned already I started painting If you went to college where as a kid. I have never did you study and what did studied any arts at school you study? so all my technical or aesthetic knowledge comes Miklós Földi: I went to the from self- education. I don’t faculty of Architecture see myself as a mature at Szent Istvan University, artist, neither if it comes Budapest. Unfortunately, to digital- or oil painting. my studies had to be I’m always trying to find interrupted, but it’s a big dream of mine to graduate, my way and improve my skills. I have been working if I’ll have a chance. with digital painting for 12 Péter Nagy: I recently years now. In the first few finished my theology and years I was working for a theater- anthropology digital gallery in the US. In studies at the University of this period I learned a lot D I G I TA L A R T C R E AT I O N

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of new things and worked very hard. Thanks to this period I could become acquainted with the digital painting techniques and the potential they hold.

Péter Nagy: I have been taking part in the work of Földi Miklós for a year now both as a co-worker and as student/follower.

Direction of growth and goals where is the business going Péter Nagy: Recently, we have got a lot of inspiration from the world of fashion.

We have contacted a few great photographer who are inspirational for us, to ask permission for making

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a creative remake of their works . These experiments gave us a lot of energy for the futher work, as they always welcomed us wormly. We just Loved to work with the works of Rick Day, Sam Scott Schiavo and Lorenzo Marucci, besides, we have also received incentive and motivation

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from young photographers and models. So we do not exclude the possibility that one day, we may take the direction towards fashion industry- but of course this is just a possibility.

Inspiration...favorite artists?

Miklós Földi: Pino Daeni, Degas, Rembrant, Etienne

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Sándorfi, and of course loads of contemporary digital and traditional painters, there is just not enough space to list them.

Péter Nagy: Photographers who first came to my mind: Eikoh Hosoe, Diane Arbus, Adi Nes, Brassaï … From the list of Filmmakers:

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These days I really like to watch the works of Abbas Kiarostami and Benedek Fliegauf. And I also adore the illustrations of Moebius and László Réber.

A question I always ask successful business owners is if they went through and put together a business plan including a marketing plan. If so what is the importance of that to your business.

Földi Miklós: Honestly, we never considered ourselves as successful business owners, we did’nt really have a marketing plan, these things just started to became important. At

the last year, we did our best to show as much as we can from our skills or viewpoints and the digital

technologies we use. Now, our next challange is to introduce our 100% own works: Peter is responsible for the photograpgy, and I’m responsible for the digital paintings. By the way, we do that the everyone else does: try to be present at the social media, and get to know likeable artists, asking for new informations, ideas for marketing strategy.

Is it a working plan? Does it morph as the dynamics of business changes or was it just for start-up and currently sits on the shelf?

Péter Nagy: Totally flexible- we try to go with the flow and seize all the oppurtunities, show as much as we can from our knowledge.

We feel that there are many opportunitiesthe upcoming bigger opportunities that will help

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us to decide which way should we move on.

Who were some early mentors in your life Miklós Földi: When I was young, for a short period, Sándor Szerdahelyi. taught me the basics of oil painting.

Péter Nagy: Since I come from the world of the theaters, my mentors, idols came from this world too: One of them is Erzsébet Dózsa who is a wonderful drama teacher and actress; the other one is Zoltán László who is a mime artist.

look like? Is it always the contemporaries (n our case: photographers, digital same or does it differ artists) is also a must. Today, according to the image? it’s an advertising value.

Miklós Földi: It always depends on the actual How long have you been photo or model and using Corel Painter? the style I would like Miklós Földi: From the very to use. First, I learned beginning (12 ys). about oil painting, so I’m Péter Nagy: Since 2 ys. really connected to this knowledge. I use original Are there other software or oil paint brush marks on plugin applications that my digital images that are you use? traditionally prepared at

Current mentors Miklós Földi: I don’t have any.

Are you part of a formal mastermind group?

Földi Miklós: No. However, if I’d have an oppurtinity to be the part of a group like that, I would give a try… :) What are some of the biggest changes in the last few years specific to marketing?

Péter Nagy: Mostly, everyone would answer the same: social media pressence is essential nowadays. It is also became an expectation to show the creative part of the process (eg. tutorials, graphics), not just the finished artwork.

Innovative communication with the public and the

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Miklós Földi: In additional Painter, we also use Adobe softwares and a Wacom Intuos 2 tablet.

What does your workflow

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my easel. I digitize and use them in many ways.

You might think that my knowledge about oil paintings gave me limits,

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but it’s not, actually it’s the opposite. The two genres inspire each other- If I don’t know or don’t dare to try something when I create oil paintings, I try it in a digital interface. And I use my digital experiences when it comes to oil paintings.

Tell us about the message in your art. What would you like to express through your creations?

Miklós Földi: I may seem old-fashioned but portrait painting is very inspiring for me. For me, the human face- even if it’s young or

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old, ideal or characterish is always a good topic. If my work can mediate or intensify the story behind a face, or even if the viewer has a need to think about the model’s story, I’m satisfied.

immediate projects?

Miklós Földi: Never.

Where does your inspiration come from?

Péter Nagy: There is a very interesting contest by the Coral Painter. We would like to create something new for the competition. I would really love to do something entirely new; and as I Do you listen to music when mentioned- I’d like to focus you are painting? If so who. on our common portfolio.

Péter Nagy: When practicing, sometimes I do.

Sigur Rós, Lounge Lizards, Billie Holliday… Whoever inspires me.

What are your most

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Miklós Földi: The wide variety of side, recently I just adored the fashion model’s often ambiguous body. I also love to make paintings about older people; and

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my great love, Italy… If only I could spend a few years there, it would give a lot to my artistic values.

Have you had “process resistance” people that balk at an image being produced in part digitally, if so how have you overcame that Miklós Földi: Here in Hungary unfortunately it is quite difficult to find the audience and platforms for my genre. We received some negative commentsmostly because people do not understand the process of our work. A lot of people don’t think that digital arts are serious arts. These are not constructives, so we don’t really care about them- In contrast, foreign colleagues are always very encouraging and supporting about our works,

it means a lot to us.

What is your dream as an artist?

Miklós Földi: We would like to meet people and groups who see fantasy in the genre we represent.

We would like to introduce

ourselves with our own work but we also want to keep up the friendships and cooperations with other artists who we met over the past two years. We would like to work with the people we really respect and appreciate (photographers, galleries, digital artists). We would like to travel a lot. The greatest dream of us is to create and to score full marks for our endeavor.

Miki et Petur Official portfolio page: http:// www.mikipetur. com/ Miki et Petur – Facebook page: https://www. facebook.com/ mikipetur

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A NICE TWIST ON VIDEO MARKETING Tim O’Neill

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ran across a cool way to get some exposure for your studio. Master painter and good friend Darrell Chitty shared some things that he is doing in his studio to crank up visability. I personally think this is brilliant as it hits one of the free hot traffic areas of the internet and is visual.

One thing about being a business owner is that many people want to know the inside scoop about someone. Building a relationship is crucial and it starts at the top of the marketing funnel.

Darrell has put together a type of short video that is much like an informational ad but from a journalistic perspective. It might be something you would see at a Chamber of Commerce of Economic Development site when you are checking the demographics, sociographics and other information about a community.

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V I D E O

Here is a peek at the video Darrell did for his studio.

This is awesome! If you grab the traffic from your well developed pinterest, FB, Twitter and YouTube account you should see a new buzz of traffic. If you do

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not possess the in-house capabilities to produce one of these vids, you can call Darrell, as his studio will be working with other small business with this marketing concept.

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PRINTING ON SILK Kathy Anne White

cheesecloth skins, recycled plastics, fragile papers not normally printed, all types of metals including printers or over 9 years I plates, foils, copper, brass, have been working metal mesh and many with the process of surfaces that I construct digital printing alternative and then print. My favorite surfaces. When I started words concerning surfaces playing with this idea I to print are- “What if?”. So printed fabrics such as silk, let’s talk about how you get canvas and cotton that a surface ready to print. were already prepared With any regular photo for printing. Then while paper a precoat has been participating in a wide applied to create a base format printing class at a to print your image. Since local community college, matte or glossy paper is I researched methods of readily available we never preparing my own surfaces really think much about and bought my first bottle it. We load the paper in

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precoat. Then you match a printer profile to the surface coating and type of surface. Here’s the exciting part. Now you have complete control of the surface used and the precoat for the surface, so your results become infinite. You use a carrier sheet to get the surface through the printer. The surface is attached to the carrier sheet with either masking tape or double face scotch tape.

When you print alternative surfaces including surfaces you construct there is always a chance the

IMAGE 1

surface may be too thick of precoat from inkAID. for your printer. I am not the printer, pick the type Years later in 2009 the of paper (glossy or matte) cavalier about taking care Arizona commission on of my printers. I never print and hit print. Then as we the Arts awarded me an any thickness that could get into fine art papers artist project grant for my cause a problem. Every that are prepared to project “Digital Printing on time I create a surface I print, printer profiles are Uncommon Surfaces.”In the available for download make sure it goes through year of my grant I started a couple of metal bars that to use for the printing experimenting with way are separated by a penny process in order to obtain more than fabric and cut on either side. (image 1) a successful print on your and printed my first slew of chosen paper.Printing This is about the thickness beverage cans. Currently my 2 wide format printers alternative surfaces is the my alternative printing same except for the added will print with no problems. process includes surfaces If my surface is too thick step of you applying the such as gel medium skins, D I G I TA L A R T C R E AT I O N

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Some silks have to be heat set especially if you are I alter the surface so it printing with dye inks. (My will work. My printers are printers use pigment ink.) important to me and I want The draw back to me is the them to last a long time. prepared silk surface has As for the precoat I use little variation in surface inkAID precoats exclusively. texture and a final print www.inkAID1.com (image 2) There are 15 precoats in the inkAID line and 8 of those are iridescent. I keep a supply of most of the inkAID precoats in my studio. The ones I keep in gallon sizes are White Matte, Clear Matte, Semi Gloss Type 11 and also Translucent. I have a method for my madness with precoats, but we’ll leave that for another time. For the purpose of this article I will use White Matte and Clear Matte and give you some ideas on printing silk.One of my favorite alternative surfaces to print is silk. If you buy a prepared to print silk the outcome will be a beautiful print though you may need to play with contrast in IMAGE 3 your image before printing.

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that may as well have been printed on paper. If in contrast to a prepared silk surface I choose silk in yardage, now I have opened the door to textural and embossed silk, under dye then over printed silk,

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is clear and only has a bit of the white of the matte mixed in so will act differently depending on the surface it is on. For silk Cleat Matte allows the color of the silk to show through.

IMAGE 4 different thicknesses and much more. --Weight in silk is measured as momme or mm. The thinner the the silk the smaller the mm number. I prefer a thicker silk around 23mm, but also print plenty of thinner silk surfaces. This is a piece of 23mm Crepe silk (image 3) and if I use White Matte Precoat I will get a regular matte type image. This means the image will be clear and crisp just like on photo paper, but still will show some of the textures of the silk as seen in this detail. (image 4) When using Clear Matte Precoat you will obtain a softer print as the image will be influenced by the creamy color of the silk. (image 5) When using a white matte precoat you always get a bright matte image. With clear matte the coating

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IMAGE 5

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be the only thing they can print to get brilliant photo images on alternative surfaces. Me I love to experiment and use White Matte the least in my work.

When you dye or paint silk a good idea is to scan or photograph the painted silk. You can bring this image into Photoshop and make it the bottom layer.

Use the dyed piece as your file size and design the print over the silk. You can use blend modes to see the silk in the bottom layer just to get an idea of what the image will look like. It isn’t a fail safe method but gives you a look at where the image will fall on the silk. Make sure you don’t print with the bottom layer active and you change your blend modes before printing. For example this piece is lightweight silk around 16 mm and was IMAGE 6 Using dyes on the silk will again change your print.

White Matte on a dyed background will create a bold print with living color on the reverse side of the print. (images 6 and 6A) The flip side of this print is vividly dyed, but when you look at the print itself, you can see whites and clear color because the White Matte did the job it was designed for. Some artists leave my workshops and decide that White Matte will

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dyed peach. Since I already know I want to print with the peach showing through to the print, I set the image up so the whites of the silk are in certain places in the image. (image 7 and 7A) You can also see the image change the color of the silk as the colors mixed in printing.The next 2 images show a test of Clear Matte and White Matte. First you see the dyed piece of fabric without coatings. (image 8) I coated the left with Clear Matte and the right with White Matte and printed the surface. (image 8A) On the left side the image the color is different then. The right of the picture is a brighter clearer image and the bottom color of the silk does not

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show through. On the left the print is not as vivid and a bit darker. Comparison tests save time and materials. Do a small piece testing several precoats to see what affect they have on a colored piece of silk or any other surface for that matter. The best thing for you to do is get some of the products and try them.

Think about this as you test products. First you should use the same precoat on the different surfaces you want to test. Then you want to use the same image on each. If you don’t use the same image on the same ground you have nothing to compare. You can also watch some of the videos on my YouTube channel

IMAGE 9 about inkAID precoats and other parts of my process. (image 9 and 10)

These images are the same and both on dyed lighter weight silk. The first one has a lightly dyed background of peach. The second one is still on it’s carrier sheet.

The light yellow dye shows at the end of the print. Both prints are on a Clear Matte precoat.

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(image 11 and 11A) Magenta dye is the base for this silk print and has a Clear Matte precoat. The photo of the printed surface is a detail.

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(image 12) Print on camel dyed silk with a White Matte precoat. (image 13) Camel dyed silk with Clear Matte and White Matte precoat applied

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(image 14) Print on Camel dyed silk, notice on the right side was brush stroked White Matte precoat in some areas. This is similar to the dyed silk above.

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(image 15 and 15A)

The fiber work of artist Kathyanne White, has been This Corel painting was exhibited in solo and group printed on heavy weight exhibitions in museums and blue dyed silk. You can see galleries throughout the the White Matte precoat United States and abroad. around the border of the Her work is in the collection image. Some places on the of the Museum of Arts and silk were brushed with Clear Design, the American Folk Matte to let the blue show Art Museum, Phoenix Airport Museum and the Archives through the image. of American Art of the (image 16) Smithsonian Institution. She This print is on several dyed is the recipient of a 2009 Artists Project Grant from silks pieced together. The the Arizona Commission on overprint was designed to the Arts. After being chosen blend on top of the silk. for an Artist Residency in Clear Matte was used as Yosemite National Park, White the precoat. won the First Place Award in the Yosemite Museum Gallery Show, Yosemite Renaissance XXII,.

IMAGE 15A For more than 20 years White has conducted workshops sponsored by professional arts organizations. White’s current workshops focus on innovative strategies for expanding the digital print to uncommon surfaces.

She inspires students to create quality digital prints on alternative surfaces for their artwork. Through her KathyAnne Art and Digital Alternative Surfaces websites, White creates workshops and tutorials, so others are able to learn and expand their techniques. www.kathyanneart.com www. digitalalternativesurfaces. com “Imagining the possibilities with digital printing and beyond”

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V I D E O

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