When the Berlin Wall came down in November 1989, all East Germans could claim 100DM, the equivalent of about $100 in US dollars today, from the government of West Germany, to be spent at their leisure. This Begrüßungsgeld or “welcome money,” was a long-standing practice that was now accessible to all.
“For me it was the first time I had seen graffiti tags, on every corner in every place,” he says, of driving with friends around Kreuzberg in West Berlin as a 23-year-old. “I was wondering, ‘How have they done this?’ And then I see it must be a pen, a marker, and so I said, ‘I want to have this marker.’” He found one in a Karstadt department store that cost 10 of his 100 DM. “That was a lot. My friends thought I was crazy.” He worked in construction following reunification, eventually becoming a freelance artist. Today his tag is recognized around the world. He has visited 32 different countries to make, exhibit and promote his work.
TIME Magazine quoting Jens Müller, aka Tasso.
After a long time only being available through grey market importers, Edding pens and markers are now finally available in the US & Canada, from the permanent markers to the drawing, coloring and decorating pens and markers. Which one is your favorite?
Since its founding, Gamblin Artists Colors has handcrafted
luscious oil colors and contemporary mediums true to the working
properties of traditional materials, yet safer and more permanent.
Gamblin’s dedication to today’s oil painters extends beyond offering the
finest possible materials – they believe in sharing their knowledge so
painters can choose those materials that best support their own artistic
Understanding Contemporary Oil Painting Materials, a 90 minute Lecture Demonstration will cover the following:
Color Theory – 2-dimensional vs 3-dimensional Color Space
Color Mixing – Navigating Color Space: Gamblin’s practical approach to color mixing
Artist’s Oil Colors – Gamblin’s approach to color making
Mineral vs Modern Pigments – How to create a personalized palette of colors
Indirect vs Direct Techniques – Historical application of opaque and transparent colors
FastMatte Alkyd Oil Colors – Benefits and uses of fast-drying, matte oil colors
1980 Oil Colors – True Color. Real Value.
Painting Mediums – Choosing the right medium, including working properties and drying rates
Building Permanent Paintings – Understanding Fat Over Lean
Supports, Sizing and Grounds – How they affect color and permanence
Studio Safety – Create without compromise in a safe studio
Gamblin Artist Colors will provide each attendee with a FREE sample bag including products and literature.
About the Presenter
Timothy Robert Smith is a Los Angeles based oil painter and muralist, using observational techniques to portray a multi-dimensional perspective of the universe. Since recently graduating from Laguna College of Art and Design with an MFA in studio art, he has had two exhibitions at Copro Gallery in Bergamot Station. He currently teaches at CSU Los Angeles, where he received his BFA degree. Timothy’s artwork can be viewed at www.timothyrobertsmith.com.
At Raw Materials Art Supplies, it is important to us to carry products from the companies who are out there doing good things for artists and art. The work that Gamblin Artists Colors does with their Gamblin Conservation Colors is a good example of that.
In the world of art conservation today, there are three important considerations regarding the materials used on artwork. First, the materials used for this work should be stable – meaning that the materials should not change over time. Second, the materials should be reversible and able to be removed without damaging the original artwork. And third, the binder of the material should visually saturate the pigment in a similar manner as linseed oil.
In the mid-90’s, Robert Gamblin collaborated with a group of conservators to improve upon these considerations. Gamblin Conservation Colors were born from this collaboration. They include 50 lightfast colors – made with pigments found in the Gamblin Artist’s Grade and 1980 oils and bound in a contemporary resin binder, which makes the restorations stable and reversible.
Conservation Colors are not sold to artists for a couple reasons. First, they lack the texture and mark-making possibilities of oils. Second, they demand a stronger solvent than artists have (or are willing to work around) in their studios.
Gamblin Conservation colors is truly a labor of love in support of conservators around the world. When you purchase Gamblin materials, you are also supporting the field of conservation and helping to protect our visual history. We are very grateful for your support.
Join us for a fun and interesting conversation with Kim Del Valle, Sales Representative for DANIEL SMITH Manufacturing. Have questions about our Primatek colors? Wonder where the color Serpentine comes from? How does the color Moonglow get its name or how does DANIEL SMITH tests pigments for lightfastness? What’s granulation? This is a great opportunity to learn more in a conversational and relaxed atmosphere.
The presentation will start off with the history of DANIEL SMITH
Manufacturing and the many aspects of developing DANIEL SMITH products.
You will see firsthand lab paint outs, minerals used to manufacture
colors in the PrimaTek line and more. The finale…the exciting
opportunity to sample a selection of our colors and put paint to
History of Daniel Smith
How we make our paint.
See actual lab paint outs and touch actual minerals used in our Prima-tek line.
Discuss the color chart and the great information it contains.
Put paint to paper..Allow artists the fun experience to sample many of our colors on a sheet watercolor paper