Here are a couple of views from the 'On Color' Workshop that Casey Klahn and I taught July 20-21 at the Madden Museum of Art, Denver. It was a great two days in an incredible environment. The Museum gave us great inspiration and counter point to the works produced that weekend. Thank you all for participating. Keep your breakthroughs coming!
Ken Elliott Fine Art works in oil, pastel, monotype and signed, limited edition giclees.
Showing posts with label materials. Show all posts
Showing posts with label materials. Show all posts
Thursday, July 25, 2013
Workshop photos: Ken Elliott and Casey Klahn at the Madden Museum of Art, Denver
Here are a couple of views from the 'On Color' Workshop that Casey Klahn and I taught July 20-21 at the Madden Museum of Art, Denver. It was a great two days in an incredible environment. The Museum gave us great inspiration and counter point to the works produced that weekend. Thank you all for participating. Keep your breakthroughs coming!
Labels:
acrylic,
art,
artists,
Casey Klahn,
color,
Colorado,
colorStrategies for Making Fine Art,
Denver,
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materials,
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oils,
pastel,
problem solving,
Workshop
Monday, February 18, 2013
Workshop: Via Picasso - Art Materials, don't let them get in the way.
There are a lot of ways to make art with endless materials not always found in the art store. It's healthy to see what other artists use for materials, but make sure that they are archival enough to stand the test of time. You may be making masterpieces, so don't shoot yourself in the foot!
Masterpieces Made With House Paint
New York Times
By Douglas Quenqua
By Douglas Quenqua
Published: February 18, 2013
Scientists using a high-energy X-ray instrument say they
have solved the long-running debate over what kind of paint Picasso used in his
masterpieces.
It was common house paint, said Volker Rose, a physicist at
the Argonne National Laboratory who led the study, published in Applied Physics
A: Materials Science & Processing.
“We were looking into pigments taken from Picasso’s white
paint, which from a material perspective is zinc oxide, and we were able to
study the impurities that are there,” Dr. Rose said.
The scientists also bought samples of decades-old house
paint on eBay. After comparing those samples with Picasso’s paint, they
determined that the two shared the same chemical makeup.
The instrument was a hard X-ray nanoprobe, developed by the
Department of Energy to give scientists a close-up view of the chemical
elements in physical materials. Its intended use is to improve the production
of high-performance materials and energies. Using the nanoprobe, the
researchers could view particles of paint that were just 30 nanometers wide. (A
typical sheet of paper is 100,000 nanometers thick.)
In his regular work, Dr. Volker uses the nanoprobe to study
zinc oxide, a key ingredient in batteries, energy-saving windows and
liquid-crystal displays for computers and television. Because zinc oxide exists
in white paint as well, it made a valuable clue for the physicist to learn
about Picasso’s paint.
Some art historians have long held that Picasso was among
the first major artists to switch from traditional artists’ paint to house
paint, which is more affordable and creates a glossy image without brush
strokes.
Sunday, August 19, 2012
Workshops: Denver and Houston late Fall, 2012
Workshop announcement
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| Late Sun pastel, 13 1/2 x 18 inches |
2-day workshops forming in Houston and Denver, late Fall 2012.
Possible dates are for any weekend in Oct and the 2nd or 3rd weekends on November.
Please inquire by email or 303-995-1611
Workshops for 2013 in Cape Cod, Atlanta and New York are forming. Please inquire.
Two-day workshop: $225. per person
Ken is available for group Workshops in your area or individually. Complete info
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| Total Arts Gallery exhibition, Taos NM 2012 |
Ken studied with Wolf Kahn for a month at the Santa Fe Art Institute Master Class program. He came away with enough information for a lifetime. For decades he has been associated with a number of wonderful and successful artists. As a former gallery dealer, he has a great deal of experience and knowledge about past and present artists and their reasons for success. Having grown up in the arts with framing, gallery management and as an artist, he has much to offer to the hobbyist and professional artist.
Pricing: (depending on the location, a minimum number of students will apply to cover travel expenses)
Two-day workshop: $225. per person
In his workshop:
Ken will discuss strategies for creating better artworks with a variety of common and creative tools. The workshop will focus the strategies for making better paintings, going to new places in your work and how to make fine art. Much attention will be given to improving your own artworks and career.
Ken will demonstrate painting using oil and pastel. He will discuss the idea of making strong starts and keeping the way open for more interesting and dramatic finishes.
In addition to making art works, Ken will talk about business and promotion, which are necessary to be a successful artist in the marketplace.
There will be serious discussions, laughs, and your questions. We will all come away with new tools to take your art to the next level.
Attendees are invited to bring whatever they wish to paint with and work on. Bring works to start, works in progress, and finished works to evaluate. There will be a lot of conversation about the mental aspects of making good art by design and experiment. The mental aspect is the quickest way to get the breakthroughs to the next big success in your art. Ken will bring some finished works to share with the group.
Thursday, July 19, 2012
Workshop video: making the perfect semi-gloss varnish for your oils
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| Being varnished: "Golden Moment Against the Reds" oil on canvas, 48 x 48 inches |
Here is a foolproof method to varnish your oil paintings with a semi-gloss finish. They will be ready for transport the next day and will be virtually odorless after drying.
Note that Ken is applying the varnish in his garage and they will dry there overnight and without the fumes in your home or studio. There are more formal ways to do the final varnish to oil paintings, but since my oils are recently created, they are not ready for a final varnish, so I'm using retouch varnish here. The end result is a perfect, semi-gloss finish that is ready to hang in 24 hours.
Thank you, Forrest Moses for showing me this valuable technique.
Labels:
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materials,
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semi-gloss,
varnish,
Workshop
Thursday, July 12, 2012
Video: Gerhard Richter painting
I just saw this documentary yesterday of Gerhard Richter, the very famous Cologne, Germany artist. It was a very good look at the man, his latest methods and the inside game at the very highest levels of the art world. I hope you get to see it. Click on the link to see a preview from the full-length documentary film.
What you are seeing here is a very large squeegee loaded with green paint being drawn across this large canvas, completely remaking its appearance.
Wednesday, July 11, 2012
Workshop video: Creating the oil Yellows Across the Lake, 40 x 40 inches

"Yellows Across the Lake"
oil on canvas, 40 x 40 inches
Available at the Total Arts Gallery, Taos, NM.
Credit: Hand-held iphone video by social networking expert Marianne Pestana and narration by the artist.
Sunday, June 3, 2012
Workshop: Matisse and a technique problem
Henri Matisse (French, 1869–1954) The Piano Lesson. 1916 Oil on canvas. 96 ½ x 83 ¾. Collection MOMA, NYC
Matisse had been under some pretty intense criticism with the critics of the day and it had been going on for years. This oil was done after his trip to Morocco and it continues Matisse's exploration into more geometrical shapes and a very new visual presentation. The palette is more reserved for Matisse but the large amounts of grey heighten all the colors, even the off-white tones at the upper right. Black is a color too and it is used for outlines, shadows and dark areas. This is a large work done in the studio and Matisse has made a number of painterly and intellectual decisions to produce a challenging and thoughtful work of art.
Here is a detail of the green vertical panel, left side. It appears that Matisse overpainted this area preferring the green shown here. This is a great color selection and it is one of the many components that make this work sing. Note that Matisse didn't get the black scroll work right on the first try, nor was he concerned about how evenly the black lines were put down. You can see where he corrected some of the line work but he allowed the earlier marks to show through. This approach, coupled with the irregular line work, made for a more complex visual effect. It's one of the subtle hallmarks of Matisse's work and it creates more visual sophistication and appeal. The rule is fat over lean: thinned paint under paint out of the tube or with medium added.
Also... don't paint thinned-out oil paint on top of thicker (fatter) paint. Even the master got a little too thin with the green overpainting and it cracked. Well, it does make another interesting surface effect but I'll bet it gave the museum restorers extra work.
I'll be teaching my oil and pastel workshop on the Strategies for Making Fine Art in Denver, Sat-Sun, July 21-22 Complete info
Saturday, June 2, 2012
Workshop: Art materials, don't let them get in the way
Paul Gauguin Washerwomen 1888 Museum of Modern Art, NY
For Gauguin, funds were tight and sometimes he used burlap rather than finer canvases. He did a very nice job of adapting to either canvas and made paintings of a lasting impact. The quality of the art materials didn't interfere with his vision. The point here is not that you should use inferior materials, just use what you can and get your vision out to the world by any means possible.
Detail showing the oil applied to the burlap
Jasper Johns Flag 1954 Encaustic, oil and collage on fabric mounted on plywood, 42 1/4 x 60 5/8 inches
Museum of Modern Art, NY
John's woke up one morning after dreaming about doing a large American flag. Note the 48 stars of 1954. He went out an bought the materials that day. It's not an extravagant surface to work from. Note that the canvas doesn't even cover the edges in some places and it is tacked rather than stapled to wrap it over the plywood. He got the work done and down the road, this work became the most expensive American artwork ever purchased at auction. It's now an icon of contemporary American painting.
detail showing the encaustic and newsprint underneath
I'll be commenting on some other works from my recent trip to NY. The Modern and MOMA now have new photo policies allowing photography as long as you don't use a flash. I've got some great photos and close up to share.
I'll be teaching my oil and pastel workshop on the Strategies for Making Fine Art in Denver, Sat-Sun, July 21-22 Complete info
Sunday, April 8, 2012
Etchings: Hand Coloring Easter day
It's just like doing the Easter eggs.
I'm taking some time to hand-color with gouache my new etchings.
Happy Easter!
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