As all of our thoughts are on the COVID-19 pandemic, we wanted to share an update on how Raw Materials Art Supplies is responding. The safety and health of our loyal customers and dedicated associates is always of the utmost importance to us. We want to be hyper-responsible about containment and prevention, and fully recognize that any gathering place is an at-risk setting.
Given what we know today, we believe it’s our responsibility to do what we can to slow the spread of this virus and minimize the impact on our community. Effective Tuesday, March 17 we are temporarily closing the store to the general public. We are paying our staff and asking them to work from home for at least the next two weeks. The situation is complex and evolving rapidly, and as our situation changes, we’ll let you know.
Our online store remains open and we urge you to shop with us at rawmaterialsla.com. We will continue to fulfill online orders from our in-store stock, and vendors’ warehouses while they are still shipping orders. We offer same and next-day delivery in DTLA, ship nationwide, and you can Buy Online Pick-Up In-Store (BOPIS) and schedule a non-contact, curbside pickup.
Take care of each other, and we look forward to seeing you back in the store soon.
As the Novel Coronavirus Disease 2019 (COVID-19) continues to have an increased impact on our communities, we feel it important to share the steps we’re taking in our store to help keep you, our employees, and our communities safe and healthy.
Our hearts go out to all those who have been affected. The safety and well-being of our employees and customers is our top priority at Raw Materials Art Supplies, and this is a rapidly evolving situation that we’ll continue to monitor. Our store is cleaned and sanitized daily as part of our normal course of business. We’ve increased the frequency and extent of these cleanings, in addition to adding resources like hand sanitizer for employees and customers. Our employees have the information they need to stay healthy. We employ practices and make business decisions informed by guidance from the CDC, WHO, and local US government and public health agencies.
Based on the information and guidance we’ve received, our own preparedness, and current state of operations, we are confident our store continues to be safe and we remain open for business during regular hours to meet the needs of our customers. As always, our hope is to make it easy for you to shop when and how you’d like. In addition to our clean, spacious, and well-ventilated store, our team is ready to serve you online at www.rawmaterialsla.com. If we become aware of any condition that would make it unsafe, please rest assured that we’ll close the store until those conditions have been addressed and impacted associates will be compensated for their missed work hours.
Again, the health and safety of our customers and employees are our top priority and we’re committed to doing our part to help keep you safe. Thank you for being a loyal customer.
In this video, Cesar Santos shows how to use Nitram Liquid Charcoal to draw with liquid charcoal. Yeah, that sentence might not make any sense until you watch the video.
I received a new tube of Nitram’s Liquid Charcoal to try it out. I decided to share my attempt with you all. Here is a time lapse demonstrating the whole process from start to finish of how I draw with Nitram’s liquid charcoal.
Speedball is proud to be partnering with some of today’s most well-known and respected printmakers to innovate, design and inspire. The talented artists that make up the Speedball Print Posse collaborated with the team at Speedball to formulate inks and papers in the color or formulation that they felt was ideally-suited for their vision and works.
We have these available for pre-order. Orders will ship in late April or early May.
The Print Posse Acrylic Screen Printing Inks are professional-grade, offering unrivaled open time and richness of color. Formulated for printing on a range of surfaces from paper to wood and primed surfaces, each limited edition ink was hand-picked by and specially-formulated for each Print Posse artist to be reflective of their preferred palette and working properties.
Print Posse Relief Inks are made from a water-miscible, oil base, and feature the highest quality pigments and no fillers. Offering a consistent rollout and magnificent print quality, these inks feature the working properties that professional artists demand all while cleaning up easily with soap and water or traditional window cleaner.
Formulated for and rigorously tested by preeminent printmaker, Martin Mazorra, Cannonball Black Letterpress Ink is a water-miscible, oil-based ink that delivers optimum working time, excellent ink transfer and superior cleanup, requiring only soap and water or traditional window cleaner.
Hand-picked and personally-tested by Speedball Print Posse members, Tom Huck and Dylan Goldberger, this 100% rag paper is both internally- and externally-sized and offers a premium printing experience. Its subtle grain, combined with its smooth appearance, allows a variety of media to take to the paper, while still remaining a reliable surface for intricate detail. Featuring strong and highly absorbent fibers, this paper is ideal for dry or damp printing, allowing it to accept multiple layers of ink brilliantly.
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
Lucius Hudson, Inc. has been making fine art stretcher bars and wood panels for artists since 1966. Their dedication to detail and the quality of their products is legendary, and you may have heard of some of their clients. (Does Takashi Murakami ring a bell?)
These aren’t your every-day cradled wood panels: these are made using torsion box construction: a matrix of 4″ × 4″ inch boxes glued between two plywood sheets produces greater strength and stability over traditional cradled wood panel designs. For acid and moisture protection all panels are sealed with shellac. Each panel has a full cleat, allowing it to be hung from any side. Panels that are wrapped in canvas or linen are cut with notches in the corners so the fold doesn’t protrude.
Let’s talk a little more about that notch, because this is one of those design details that just demonstrates the commitment to quality that Lucius Hudson, Inc. has. When you stretch a canvas (either on stretcher bars or over a panel like these), you have probably noticed the bulges on the corner where the canvas has to be folded. (Or, worse, had a canvas eventually fall apart because someone had the bright idea to cut the overlapping fabric.) They’ve solved that problem by engineering the panel with small notches, so the fold naturally tucks in and no longer causes that unsightly bulge.
So dig deep into your wallet and prepare to pay highly-inflated prices for these highly-engineered surfaces, right? Wrong. Lucius Hudson really wants to get these into the hands of artists, so they’ve worked with us to offer special pricing on a curated selection of sizes and varieties. We have started with a couple of sizes of panels wrapped with PVA-sized linen, and we would love to hear from artists what other varieties they would like to see us have on hand.
(And they don’t just make wrapped wood panels, stay tuned for more exciting products in the future!)