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!)
5 NEW reasons to love Piñata Color: Golden Yellow, Pink, Coral, Blue-Violet, and Teal! Piñata Colors are fast-drying, super vibrant alcohol inks for non-porous surfaces like glass, metal, plastic, ceramic, YUPO®, leather, polymer clay and resin. Indelible and impervious to water, Piñata Colors clean up and re-wet with alcohol, allowing for unique effects and techniques not easily achieved with water-based inks.
WHY 5 NEW COLORS? Some colors are more challenging to mix from scratch than others. This is especially true of complex colors like teal and coral. Alcohol ink artists have been asking for these colors, and Jacquard is proud to announce their release.
NEW PIÑATA EXCITER: Jacquard is also proud to introduce the NEW Piñata Overtones Exciter Pack! This collection of 9 alcohol inks includes the 5 NEW colors + Blanco Blanco, Copper, Brass, & Pearl. The Piñata Overtones Exciter Pack makes a superb companion to the original Piñata Exciter Pack, offering a complex palette to compliment the more elementary colors in the original set.
Watch below as artist Annie Morcos (@AnniesArtStudio) creates a resin petri project featuring the new Piñata Colors!
It has been a rough start to the fall in the art materials industry. The Los Angeles area lost an institution with the closing of Swain’s HQ Art Supplies, which has been supporting artists and selling art supplies in Glendale for seventy years, and we are very sad to see them go.
The imminent closure of C2F, one of the few distributors of art materials was also announced. They were the primary source for a few of our favorite brands (such as M. Graham, Bee Paper, Pentalic, and Cheep!), but it looks like most of those will find new homes so we plan to continue stocking them as long as we’re able!
We live in interesting times for retailers and the art materials industry. Sometimes we feel like we’re mice scampering beneath the feet of giants with names like Amazon, Blick Art Materials, and Artist & Craftsman Supply, and it’s tough to lose friends and allies like C2F and Swain’s.
We, and our employees, thank all of you who have stuck with us, are just discovering, us, and hope to feed your artistic endeavors for years to come.
We recently visited Inner-City Arts‘ beautiful, award-winning campus in Downtown Los Angeles, and came away so inspired. We are even more committed to continue supporting them and invite you to join us in advocating for arts education for our communities.