What do you love to paint the most? You’ll never know until you explore a wide variety of subject matter. This online workshop presents a sampler of popular watercolor subjects: landscapes, still life, and portraits. Kelly Eddington will show you how watercolor’s unique properties can do the heavy lifting in each painting. Watch watercolor create a serene blue sky, a soft shadow defining a cheekbone, and reflected light on a shiny surface—all in seconds. Watercolor is challenging and can take decades to master, but this medium’s special quirks are so seductive you might find yourself under its spell for the rest of your life.
Tag: Los Angeles
Painting with Gamblin Radiant Colors
Vibrant. Subtle. Harmonious.
Gamblin Radiants work together as a system of accent colors, enabling artists to easily and predictably punch-up the color and intensity in their paintings. When used in mixtures, the Radiants allow painters to warm-up or cool-down colors without darkening them. Radiants can also neutralize colors into more nuanced mixtures.
Gamblin Radiant Colors are composed of eight intense tints – mixtures of pure color and white, at Value 7 on the Munsell System. In this page, we share how the Radiant Colors came to be and we showcase how painters utilize Radiant Colors in their work.
Development: a Radiant collaboration
Gamblin Radiant Colors were developed out of Robert Gamblin’s friendship with painter Wolf Kahn. Wolf’s landscapes are spoken in the language of pure color – the natural world is expressed through a vibrant palette and bold shapes. Wolf is just as fluent in working with soft pastels as he is in oil paint. As pastels are a “dry” medium, one would have sticks of pure pigment (Ultramarine Blue, for example) plus several tints of that pigment at different values. Wolf took the same approach to his oil color palette – incorporating pure colors from the tube alongside lighter tints. Robert worked with Wolf in developing the eight intense tints that became known as Radiants.
Modern Tints
Each of the Radiant Colors are tints of modern organic pigments. The one exception is Radiant Blue, which is a tint of Ultramarine. Modern organic pigments retain their intensity in tints in mixtures, which is the reason the Radiant Colors maintain such a high chroma at their light values. It’s also worth noting that these modern organic pigments are transparent in nature, yet the Radiant Colors are all opaque, due to the addition of titanium white in their formulas.
Radiant White: the brightest of whites
Gamblin Radiant White is pure titanium dioxide bound in safflower oil. Radiant White is the brightest white oil color Gamblin makes. Safflower is paler than linseed oil which means that Radiant White is not only brighter, but it is more neutral in temperature compared to linseed oil-bound whites. With its high load of titanium dioxide, Radiant White reflects back 97% of the light that falls on it.
Without modification, Radiant White is Gamblin’s most brushable white – meaning it has the least amount of resistance under the brush or painting knife. Radiant White is also slower drying than other whites, making it useful for painters who wish to work wet into wet or otherwise desire more open time.
Techniques for painting with Radiant Colors
Lori Putnam
Colored whites
Radiant Turquoise, Radiant Violet, and Radiant Blue have become my first “go-to” colors for lightening values when cooler colors are needed. Rather than heading straight for my Titanium White, these colors serve me better because all three are cool, very light, and intense and they help with neutralizing colors. For example, if I am trying to neutralize Napthol Red and do not want a dark, warmer color (as I would get if mixed with its complement, Green), I add Radiant Turquoise. The result is a rich, cooler, mid-value color.
Napthol Red mixed with Radiant Turquoise:
Similarly, I can get a more natural violet by mixing Radiant Blue with my Napthol.
Napthol Red mixed with Radiant Blue:
Mixing with Radiant Turquoise vs. Titanium White:
By lightening Quinacridone Violet with Radiant Turquoise instead of Titanium White, I will get more nuanced color mixing. The mixture of Quinacridone Violet and Radiant Turquoise passes through the blue section of the color wheel, yielding beautifully subtle mid-value blues. When Quinacridone Violet is mixed with straight white, the corresponding tints remain in violet hue family.
Here I use mixtures of Quinacridone Violet and Radiant Turquoise in this painting of snow on a sunny day:
Warm and cool Radiant mixtures
Try this: mix Cadmium Orange with Radiant Turquoise in one pile and with Radiant Violet in another. These two greys will be the same value, but one will appear cooler and the other warmer. When placed next to one another in the distant landscape, the beauty of a late afternoon mountain comes to life.
Anna Rose Bain
More than Radiant
When I started experimenting with Gamblin’s line of Radiant colors, I expected they would end up in the “occasional use” drawer. To my surprise, I found myself employing them in nearly every painting—especially figurative works—with Radiant Green and Radiant Turquoise claiming permanent spots on my palette. Some of the others (like Radiant Red and Violet) join the party almost as often. Whenever I teach or give a portrait demo, the first thing people ask me about are “those bright colors” on my palette and how to use them.
I find Radiant Green and Radiant Turquoise particularly useful in adjusting the hue and/or temperature within a painting, while maintaining light values. Others in the Radiant line, such as Radiant Violet and Radiant Red, are almost impossible to substitute. The Radiant Violet is very cold in color temperature. I’ve seen nothing else like it on the market. Depending on the nature of the light source, Radiant Violet and/or Radiant Red are often the perfect choice for painting the brightest highlights on a model without having to default to titanium white.
In this passage of a recent alla prima portrait (below), you can see a subtle light blue along the temple area and around the eye socket. In those areas where there is a plane change, gradually turning away from the light, the color becomes cooler, but not necessarily darker. This was a perfect opportunity to use Radiant Turquoise.
In addition to creating luscious skin tones, the Radiant line is great for nailing local color. The little boy in this portrait (below) was wearing a white and sea-green shirt, and sat outdoors on an overcast day (so cool light). Instead of mixing white with Phthalo or some other darker color, I was able to use Radiant Green almost straight out of the tube for that shirt. Additionally, you can see passages in his face and throughout the painting (leaves, stone steps, etc.) where I mixed the green and turquoise in, creating an overall harmony for the piece.
In this portrait of Colquitt (below), I used Radiant Violet all over the background (in front of a light transparent wash of ivory black), and for the bold highlight in the middle of his forehead.
Radiant colors are invaluable for cooling down a color mixture without getting a darker value and for obtaining bright highlight or local colors without having to use a ton of white. Whether or not you are painting from life, the Radiant colors are wonderful shortcuts for all of your “high key” needs.
Featured artists and contributors:
The Mind of Watercolor w/Steve Mitchell
Watercolor can be one of the simplest mediums to use, but it does seem to have a mind of its own at times, giving it the reputation of being fussy and unforgiving to work with. In this four part workshop Steve Mitchell gets into the mind of watercolor and see what makes it tick. Success with watercolor depends greatly on discovering and anticipating how it reacts in real painting situations.
Art Jobs: Marketing & Social Media Manager @ The Broad
The Broad is seeking a creative, driven and experienced Marketing and Social Media Manager (MSMM) to develop and execute innovative marketing and social media strategies designed to achieve core objectives including: meeting and exceeding general admission attendance, exhibition and public programming attendance and revenue goals; increasing awareness of The Broad; and effectively engaging and communicating with The Broad’s large and diverse audience. The MSMM will report to the Director of Marketing and Communications (DMC) to support The Broad’s marketing and communications efforts, including social media (paid and organic), traditional advertising, digital marketing (including management and support of The Broad’s website and ticketing platform), email marketing, sponsorships and other marketing initiatives. This is a high-profile role at The Broad that requires the ability to successfully manage multiple priorities in a fast-paced environment, exceptional attention to detail, and an “outside the box” approach to establishing an exciting and enduring brand identity for the museum as a welcoming, inclusive and premier cultural destination on local, national and global levels.
Responsibilities
Social Media and Content Creation
- Lead the development and implementation of innovative social media strategies that build on awareness of The Broad and ultimately, drive ticket sales and free general advance reservations
- Monitor daily execution of social media content (i.e. scheduling posts, liking photos, tweeting, sharing, increasing social outreach, etc.)
- Write all social media copy, consistently delivering on-brand voice posts that are 100% error-free across all social platforms
- Create impactful and compelling social media content and video content that engages and educates The Broad’s audience, working closely with key internal and external stakeholders
- Manage social media KPIs and produce monthly recaps, optimizing performance of specific tactics against plan goals
- Monitor for brand mentions across all social media channels. Identify and engage with posts that provide an opportunity to positively impact brand reputation and work with Visitor Services to respond to questions in a timely manner
- Manage photography and videography for the museum, including hiring and supervising photographers, videographers, producers and editors
- Stay up-to-date on new social media tools and best practices, identifying ways for The Broad to be at the forefront of social media trends
- Continue to grow and manage the museum’s relationships with social media influencers
Marketing and Advertising
- Assist with the development of and implementation of integrated marketing and communications plans designed to refine and strengthen the museum’s brand identity, drive attendance and revenue, and maximize awareness of and audience for the museum, its exhibitions and its public programs
- Assist with the planning of and implementation of digital marketing campaigns including paid social media, display advertising and SEO/SEM
- Work with external digital agency to manage, execute and monitor digital campaigns, providing strategic guidance to drive results and ensure goals are met or exceeded
- Develop creative concepts and write copy for marketing and advertising collateral such as The Broad’s general information brochure and other museum print collateral, OOH advertising, print advertising, radio ads, paid social media ads, display advertising, email newsletters, etc.
- Ensure that The Broad’s brand identity and voice are consistent across all channels
- Set and oversee project timelines for the design and production of advertising and marketing materials, ensuring projects remain on track to meet deadlines
- Manage day-to-day communications and operations with internal stakeholders, external agencies and vendors regarding project timelines, files, specs, production issues, etc.
- Manage and update all onsite signage and marketing/collateral
- Provide exceptional attention to detail as the final marketing eye on all marketing and advertising creatives and assets: ensure copy is 100% correct, images are clear, etc.
- Stay up-to-date on art world and museum industry news, trends and influencers
- Maintain image, video and digital asset archives, utilizing The Broad’s DAM to tag, organize and manage assets
Email Marketing
- Develop and manage The Broad’s email marketing calendar
- Write, design, test and schedule emails, collaborating with Curatorial, Audience Engagement, Visitor Services, Retail, IT and design agency to develop and produce email newsletters
- Manage visitor email communications such as pre-visit emails
- Develop and manage transactional/triggered email campaigns (such as a welcome series, re-engagement campaign, etc.)
- Optimize email performance via A/B and split tests
- Analyze email performance data to better understand The Broad’s audience, improve email marketing KPIs and make actionable recommendations that will optimize email performance
- Manage email marketing KPIs and produce monthly recaps
Requirements
Apply by July 8, 2019. Click here to see the listing and full requirements.
Good luck!
Celebrate World Watercolor Month: Sketching & Journaling w/Gay Kraeger
Capturing your world through art in a journal is a low-tech, highly rewarding experience, but you don’t need us to tell you that. In her friendly and conversational video workshop, Gay Kraeger guides you through learning watercolor one step at a time: the basics, quick sketches, page design, lettering, and watercolor techniques needed to create illustrations of your life in the form of an art journal.
These are Drying Times
Check out this video where Richard and Darin of R&F Handmade Paints talk about things that affect the drying rates of R&F Pigment Sticks. Probably one of the most frequently asked questions we get about Pigment Sticks is, how long they take to dry compared to oil paint out of a tube. Don’t forget that R&F Pigment Sticks are ON SALE at 15% OFF during our MOVING SALE.
OPEN Slow-Drying Acrylics Landscape Set
Just in time for summer, Golden Artist Colors’ OPEN Slow-Drying Acrylics Landscape Set is ON SALE at 30% OFF! Designed for the traditional painter looking for an alternative to oil paints, plein air painters, and/or acrylic painters whose palettes need to remain wet far longer than other acrylics. Blend, soften and shade with traditional painting techniques, reduce skinning on the palette during long painting sessions, both in studio and outdoors. The Golden OPEN Slow Drying Acrylics Landscape Set includes seven (7) 22ml tubes: cadmium yellow primrose, yellow ochre, alizarin crimson hue, cadmium red light, ultramarine blue, manganese blue hue, and sap green hue. Also includes one 59ml tube of titanium white and one 30ml bottle of OPEN Thinner.
We Now Offer Same-Day Delivery in DTLA
Hey DTLA, we get it. You dream it, you work hard, you grind ‘til you own it. We know you can’t always leave your studio/office when you run out of something bc you’re mid-flow, so we now offer same day delivery!
Whether you need a tube or a gallon of Titanium White paint, a sheet of watercolor paper or a case of foam board – no matter the temperature this summer, if it’s in stock at the store, stay cool and get what you need delivered to your door. Check out our delivery area and rates.
What if you’re in Los Angeles, but not in our DTLA delivery area? We can still ship to you! Orders of in-stock items placed before noon generally ship the same day, and would arrive the next day in most areas of Los Angeles.
R&F Pigment Stick Video Tutorial w/ Charles Forsberg
Charles Forsberg demonstrates how Pigment Sticks by R&F Handmade Paints are both a drawing and painting medium like no one else. He frequently returns to drawing, forcefully striking marks into the heavily manipulated buttery paint, then tearing it apart, alternating in a push-pull sequence of drawing and smearing, scraping back, revealing previous drawing marks, and piling what he has scraped up into thick sculptural mounds.
Painting becomes an amazing and unceasing gestural exercise over many hours, as Forsberg turns the formless ooze he started with into a powerful structure of shapes and sharply accented marks. www.charlesforsberg.com/
As part of our MOVING SALE, R&F Pigment Sticks are ON SALE at 15% OFF, including all R&F Pigment Stick Sets. The 6-color sets come packaged in a 6½” × 7½” cradled Ampersand Gessobord with six (6) 38ml pigment sticks. The 12-color set coms in a 8″ × 12″ Ampersand Gessobord with twelve (12) 38ml pigment sticks.
Moving Sale!
We’re having a MOVING SALE! All in-stock paper pads, rolls, and sheets from Bee Paper, Bienfang, Borden & Riley, Canson, and Strathmore are ON SALE at 30% OFF!!!
That’s right, we said it – ALL IN-STOCK PAPER PADS, ROLLS, AND SHEETS from your favorite paper brands are ON SALE. Bristol Pads, Mi-Teintes, Tracing Paper, Foundation Sketch Rolls, XL Mix Media Pads, Montval Watercolor Pads, Toned Mix Media Pads, Canvas Pads, Charcoal Paper Pads, Visual Journals, Gray Scale Pads, Manga Paper, Marker Paper, Field Sketch Watercolor, Printmaking Paper – it’s all ON SALE! We really don’t want to move this stuff to our new location.