One of the major advantages of acrylic paint is it's ability to be employed in a number of ways, opaquely right out of the tube, thinned to a transparent glaze with a medium or diluted with water to be used similarly to watercolors. It can even be thinned to the point that it can be used in an airbrush. This month in the Learning Center we'll show you how to use your acrylics to mimic the look of a watercolor paint. Diluted acrylics will have more permanence in mixed media applications than traditional watercolors and they can also be used as a wet medium on canvas (watercolor paint has a tendency to bead up on primed canvas).

It's a pretty simple process, the more water you add the lighter your color will be:

Here you can see we've made some nice puddles of acrylic color that can now be used to mimic watercolor techniques.

Here a sheet of watercolor paper has been dampened to employ a traditional wet on wet watercolor technique.

The damp paper will help keep the acrylic workable and you can continue to add wet on wet layers.

We allowed these layers to dry then worked in detail layers with a very thin but highly pigmented solution of acrylic and water. The final gives the look of a watercolor painting, but since it is acrylic based, the image is completely waterproof, meaning additional layers of wet or dry media can be added on top without affecting the original painting in any way.

Another great use for a watery acrylic mixture is a fast drying solution to toning a canvas or panel for painting. This ground (in our case, a blend of burnt sienna and ultramarine) will be ready to paint on in as little as ten minutes and it's safe and completely archival to apply oil paint over the acrylic ground.

So take advantage of the flexibility of acrylic paint, experiment with layers and building up watercolor-like washes or try it out to quickly tone a canvas or panel for your next oil painting.

Painter Harry Naar is a 1968 graduate of Philadelphia College of Art (now the University Of the Arts), earned an MFA from Indiana University in 1970 and then studied in Paris with french painter Jean Helion. Since 1980, Naar has been teaching at Rider University, where he is a Professor of Art and Director of the Rider University Art Gallery and permanent  art collection. In 2005, Naar received a printmaking fellowship from the Rutgers Center for Innovative Print and Paper (The Brodsky Center) and in 2009 Naar's work was selected for exhibition in at the American Academy of Arts and Letters Invitational Exhibition in New York City where he was awarded the Hassan,Speicher,Betts and Symons purchase award.

For over thirty-seven years, Naar has remained faithful to painting and drawing the landscape and the still-life based upon memory and direct observation. His paintings and drawings seem to be filled with spontaneous lines, dashes, squiggles and dots that, viewed up close, infuse the surface with poetic sensuality and tension. Writer and curator A.M. Weaver wrote,"Naar's work evokes an intimacy in which the viewer is drawn into the piece, as if enveloped." The painter Mel Leipzig wrote "No other still-life painter I know imbues his objects with such a strong sensuousness and human quality. Mr Naar's dynamic energy combined with his aesthetic intelligence makes these works so wonderfully visually exciting."

Naar's work has been exhibited in numerious one-person and group exhibitions such as: Corcoran Gallery of Art, The Canton Art Institute, The High Museum, University of Nebraska, Bradley University, The USSA Artist Union Gallery in Moscow, The New Jersey State Museum, Princeton University, Rutgers University, and The Bowery Gallery, NYC. His work is included in many private and public collections: Jane Voorhees Zimmerli Art Museum, Rutgers University, The Montclair Art Museum, The Noyes Museum of Art, The Newark Museum of Art, The Boco Raton Museum of Art, Western Carolina University, Kean University, Frances Lehman, Loeb Art Museum and Vassar College.

See more of Harry's work on his website.

See more of Harry's work on his website.

Acrylic polymers began life early in the 20th century as replacements for glass and for use in textiles, far before they were thought of for use in artistic endeavors. Acrylic dispersions were eventually used in house paints until exploration in the 50's and 60's led to the creation of artist grade acrylic paints. The synthetic resin binder emulsion of extremely fine particles was dispersed in water, then milled with pigments, as moisture evaporates from the applied paint only the acrylic resin and pigment remain. The unique properties of acrylic resin combined with many of the same pigments used in oil and watercolors created a medium that dried quickly, was easy to clean up and could be employed effectively on a variety of surfaces.

The binder used in acrylic polymers dries rapidly and forms a clear film that does not yellow, is flexible and very adhesive. The solution behaves much like oil paint and can be manipulated to create similar effects, but it can also be watered down and used in the same way as watercolors. The main differences are the brushing quality (oils are more viscous and are workable longer) and permanence (watercolors can be lifted away to a greater extent).

See acrylics employed as a water medium.

See the work of acrylic painter Harry Naar.

(Reference material: The Painter's Handbook - 1993 Mark David Gottsegan & The New Artist's Manual - 2005 Simon Jennings)

Cutting and spraying stencils is a fun way to create an image that can be reproduced over and over. It can be done as a layer in a mixed media artwork or can be created as a design element to decorate an object or wall. You can create a multi-layer photographic image or a simple one-color design or pattern.

Today we'll show you how to cut a multi-layer stencil and a simple one color stencil that can each have a wide variety of uses. Begin by finding the image you would like to create, it can be a photograph, original drawing, a graphic created using a computer design program or buy a stencil book; the opportunities are limitless.

We've chosen a lovely photograph of Utrecht paintbrushes from our upcoming 2010 Resource Guide for a four color stencil and we've done a hand-drawn graphic for a one color stencil.

One Color:
Create your drawing in pencil on a thick but easy to cut surface like bristol, we're using 11x14 Utrecht Bristol pads. When you are satisfied with your design, it is wise to use ink or a marker to note the lines you will need to cut, keeping in mind that when the final is cut out you need to make sure there are enough points of connection to ensure your stencil will stay together.

 

Cut out the areas where you want the color to appear when spraying. Once all the areas have been cut out, you're ready to paint!

Select your surface (we're working on Utrecht Canvas Board, that we've pre-painted) and affix your stencil using artist's or painter's tape, this will keep your stencil from moving around and effecting the quality of your image.

 

When spraying be sure to work outdoors or in a well ventilated area, preferably with some sort of spray booth or air purification system, and wear gloves and a face mask or respirator.

Shake your spray can well and test the spray on an area away from your final painting. We like to keep an extra piece of bristol to prevent overspray from getting on the surface. Remember the paint is airborn and particles will find their way to any uncovered area. Now hold the can six to ten inches away and spray moving side to side until the entire open area is filled.

Remove your stencil and allow to dry before adding another layer of paint, or working back over top of it.

Multi Layer Stencil:
For this multi-layer stencil we're using a photographic image that we'll be breaking down into 4 values. You want to have one or two mid-tone colors, a highlight layer and a shadow/detail layer. This can be done using a computer program, like Photoshop, but here in the Learning Center, we like to make a few black and white copies and decide on the color separations as we cut. This allows some freedom to make your own choices on the size of the highlights and shadows.

We did, however, take our image into Photoshop to add a set of registration marks to assure that we line all our layers up correctly for the final painting:

To further guarantee proper alignment, we've measured and drawn lines on our 11x14 Utrecht bristol board before spray mounting our 8.5x11 copies. (spray mounting the copies will make the bristol a bit tougher to cut through, but will make for a much sturdier stencil).

 

Start out by cutting the base color or mid tone stencil. This is usually a large flat area of color, and it's wise to set aside the area you have cut out for future use.

 

Now evaluate your image looking for the lightest areas and cut out your shapes (and registration marks). when you are done, flip your stencil over to be sure that your cuts have gone all the way through.

 

Repeat the same process for the darkest areas of the image, once again flipping your stencil over to make sure your cuts are all the way through.

 

When spraying be sure to work outdoors or in a well ventilated area, preferably with some sort of spray booth or air purification system, and wear gloves and a face mask or respirator.

Shake your spray can well and test the spray on an area away from your final painting. We like to keep an extra piece of bristol to prevent overspray from getting on the surface. Remember the paint is airborn and particles will find their way to any uncovered area. Now hold the can six to ten inches away and spray moving side to side until the entire open area is filled.

 

We're starting with a base color on Utrecht Canvas Board. Once that is dry (between 7 and 15 minutes depending on the thickness of the coat) align your mid tone layer stencil on the canvas board. Remember to spray your registration marks (we'll paint over these when we're done)

After that layer is dry, align the highlight layer using your registration marks and repeat the spraying process. (your image should begin to appear).

Repeat the same process for the shadow/detail stencil, remove the stencil and bask in the glory of the image you have created!

Now go back to your base color and spray over your registration marks.

 

We're going to go one step further and bring back that first large piece we cut out (image above). Use this piece to mask the image you made and add some additional color to your painting.

You can call it a finished image or continue to work into your painting, a spray painted surface will acceptadditional layers of spraypaint, acrylics or even oil paint. Experiment and have fun! (Here's the brush image in another color scheme!)

Albus Cavus is an interdisciplinary collective of artists, designers, architects, educators and visionaries with the common goal of advancing quality of life in our communities. The non-profit organization has been creating innovative public art since 2002, bringing participatory atmosphere into the urban environment.

Albus Cavus brings fresh air into dysfunctional spaces. Their comprehensive approach includes two-dimensional  and three-dimensional artwork that is functionally incorporated into the environment to offer the residents comfortable and motivating experience.

Their projects include temporary as well as permanent installations such as wildlife preserves and community gardens. Their activities have proven to visually improve the areas, increase the property value, mood in the neighborhood and even lower the crime rates.

The group's ventures vary in scale from one-on-one mentoring programs to monumental works of art. Each project represents a holistic approach to public space transformation with a strong emphasis on community development and the education of resident youth.

Utrecht Washington DC is proud to sponsor their next initiative Public Art Classrooms, taking participatory public art from the outside to the inside of DC classrooms. Albus Cavus wants to encourage hundreds of DC kids to become active and engaged residents. Together we are empowering young artists with the creative skills to improve their neighborhoods.

To learn more about Albus Cavus or to get involved, visit their website: albuscav.us

Below are just small sampling of the projects they have recently completed.

The facade of the Benning Park Recreation Center (left) in Southeast Washington DC and what is currently the largest mural in DC: “From Edgewood to the Edge of the World”(right) in Northeast Washington DC.

The Raritan River Art Walk (below) in central New Jersey is an example of community-driven revitalization of a public space. This one mile-long bike path was transformed from empty and abandoned property to a large outdoor gallery of art and a new destination for local families, students, joggers and bicyclists.

The collaborative mural “Seasons in the City” was created by four leading artists and young artists from Ward 1 on Sherman Avenue and Barry Place in Northwest Washington DC. In progress (top) and a detail image of the mural (bottom).

Art in public space has existed for centuries, both sanctioned and unsanctioned. Monuments, murals and statuaries are perhaps the oldest examples and have been used to brighten cities and celebrate important historical figures, but also help to bring art to the masses. These works are often commissioned by the government or corporation responsible for the public space or property where the work will exist. Large walls and spaces afford artists the opportunity to create works that would be too large to be displayed indoors in traditional gallery and museum settings.

A growing movement in the public art world is street art, or what some consider neo-graffiti. Sometimes sanctioned, but more often put up quickly and without permission, street art encompasses traditional aerosol works, stencil art, stickers, wheat pasting, LED lights, sculptural installation and even knitting. Street art often brings clever and subversive messages to the public; attempting to illicit a smile or poignant thought. Artists work to reclaim public space from the glut of advertising by repurposing or completely covering billboards, or other advertising spaces with images that can simply be appreciated as art.

As with most art genres, what is at first rebuked is eventually embraced. Previously thought by many to be simple vandalism, street art has found a place in galleries and museums throughout the world. Advertisers, once the target of graffiti artists, are now commissioning works by these same artists to sell products.

One of the great benefits of working directly in the streets, often on abandoned or dilapidated structures, is the opportunity for everyone to interact with works of art in their daily routine. This personal interaction differs from in the traditional gallery setting, where one can feel separated from the work by walls, glass or guards. In that same "art for everyone" vein, many organizations and artists are working with local communities to turn neighborhood eyesores and empty lots into spaces for beautiful murals, sculptural works and community gardens.

Read about Albus Cavus, an organization working to promote public art on both coasts (and abroad) by clicking here.

See a tutorial on cutting and spraying stencils here.

The Paper:
The best papers for this process are long fiber papers like cotton. We recommend Entrada Rag Bright, though lighter weights work too and are best for books and cards.

The Tool:
The only tools you need are your hands and a good straight edge of some kind. We recommend a simple ruler with a wood and metal edge as it allows for two different edges to pull against to fine tune the desired outcome.

The Tear:
Place the ruler at least 1" from the edge of the print and hold it firmly in place. With your free hand, grasp the paper and gently begin pulling the paper up and towards the ruler. The faster you tear, the less variation the tear will have, the slower and shorter the tears the more. A little practice and you discover what you like best. 

Fine art and advertising photographer Jody Dole gained commercial success in 1990 with his highly original worldwide advertising campaign for Smirnoff Vodka. Since that time he has become one of the photography world's rising stars, earning international recognition including Nikon's Legend of the Year and awards.

Jody was one of the first photographers in the country to use a high res digital camera to make still life images for advertising 15 years ago. However he's strongly rooted in the past, still creating beautiful tintypes and ambrotypes (see images below). Mr. Dole's studio in Chester Connecticut is half high tech digital, and half is a 19th Century collodion wetplate studio and darkroom, a very interesting juxtaposition that can be seen in his unique and stunning portfolio.

Visit Jody's website to see the images he creates with methods from the present & the past!

A great way to swap artwork or create homemade books and cards is through digital printing. Affordable, quality digital printers and a variety of fine papers that are safe to run through them have given us the opportunity to create reproductions of our artwork at a reasonable cost, at home. However, without evidence of the human touch, there is a misconception that it simply requires the push of a button to create and reproduce a masterpiece.

Introducing a small unreproducible or non-mechanized element to your print is a great way to remind the viewer of the artist behind the print. It will also harken back to the days when skilled artisans perfected the craft of creating fine one-of-a-kind prints. Adding a deckle edge to your digital print with a controlled tear is a simple and easy way to ensure that each print is unique and create value. It looks great float mounted and adds a nice element to books and cards as well.

*It's important to remember that adding anything to a print should be done carefully to add value to the print, not distract from the image.

Click here to learn the deckle edge process!

Featured Artist Bruce Waldman was kind enough to join us at the Robert Blackburn Printmaking Workshop and walk us through his process for creating a Monoprint or Monotype (see our glossary of terms for clarification). Pictured above are the creative tools necessary; a variety of brayers, palette knives, Gamblin etching inks, rags and textured surfaces. Bruce uses a large plexiglass sheet with white paper taped to the back (to help see your image as you are working).

This is a process that allows you to improvise, work quickly and experiment with techniques and styles. The inks will stay wet and printable for several hours, giving you the opportunity to work for some time on your image before pulling your final print.

Bruce begins, by laying in larger areas of color using a brayer (or roller), then drawing in some of his image using the edges of the roller. A very fine line can be created this way, but it will take some practice to learn how to control the line and get the results you want.

Bruce uses a wide variety of materials, including paper towels and socks, to create texture and pattern in his compositions. Basically anything that will hold and tranfser ink can be used to add a sense of movement or pattern to the plexiglass.

The image can also be created by extracting from the large inked areas using a rag or paper towel, pulling out the highlights and building the image in a new way. One of the great things about this process is the ability to wipe away areas that aren't successful and draw them in again.

A stiff bristled brush can be used to draw on the plexiglass as well. The etching inks are not nearly as workable as oil paints so the effect is more of a scumbling effect than a smooth application of paint. This too takes some practice to get used to but can have excellent results.

Here is the final image as it appears on the plexiglass. You can see the number of techniques employed throughout the process, large areas of ink, drawn line, extraction and brush work. Now it's time to go to print, Bruce is printing on Revere paper, and it should be soaked in a water bath for about 30 minutes before printing.

You don't want your paper to be sopping wet, just a nice light sheen. Lay your plexi on the printmaking blankets, lay your paper on top and cover with another blanket. The best results will come from using a printing press (pictured), many local studios or ateliers will allow you to use the space and equipment for a nominal fee, but a baren or even the back of a wooden spoon can be used to apply pressure to the back of your paper.

Here you can see Bruce checking the print quality. A monoprint (mono meaning "one") gives you only one pull, making each image unique. You can, however, pull a second "ghost" print of the remaining ink on the plate which can give you interesting results as well.

Here is the final result, a very interesting image created using an interesting technique. It's a process that relies heavily on experimentation and results will vary from print to print. As Bruce told the group, he has done this thousands of times and been satisfied with the results only hundreds of times. So don't get discouraged and continue to work until you are satisfied!  

You can see more of Bruce's prints in the Artist Profile section of the Learning Center.

Edition
An edition of a print includes all the impressions published at the same time or as part of the same publishing event. A number of art prints of a certain image, using the same plates, screens or blocks, all the same size and as close to identical as possible.

Artist's Proof
The first set of prints pulled for the artist's own use, are marked as A.P. and may or may not be numbered and are considered by many to be higher in value than the subsequent numbered edition prints. Sometimes marked E.A. (French, epreuve d' artiste) or PA (Italian, Prova d'Autore) instead of A.P.

Intaglio
An intaglio print is one whose image is printed from a recessed design incised or etched into the surface of a plate. In this type of print the ink lies below the surface of the plate and is transferred to the paper under pressure, most often with a press. The printed lines of an intaglio print stand in relief on the paper.

Engraving
Lines are incised into a copper plate with a burin. The curls of copper thrown up at the sides of the furrow are cleaned away with a scraper.

Etching
A metal plate is coated with a ground that is impervious to acid. The artist creates an image by drawing through the ground with an etching needle, thus exposing areas of metal. The whole plate is then immersed in acid until the exposed lines are sufficiently bitten, producing grooves in the metal that will hold the ink. The ground is then removed, and the plate is ready to be inked and printed.

Relief
A relief print is one whose image is printed from a design raised on the surface of a block. In this type of print the ink lies on the top of the block and is transferred to the paper under light pressure. Transferred often by small presses or by hand using a baren.

Monoprint
Ink or paint applied onto an already worked plate. Although a matrix is present, real editions are really impossible to carry out, but some element of the print is repeatable. Subsequent "ghost" prints can be pulled, with varying results.

Monotype
Ink or paint is applied to a smooth plate. Because there is no fixed matrix, only one strong impression can be printed. No element of the print is truly repeatable. Subsequent "ghost" prints can be pulled, with varying results.

Printmaking Tools:

Plate
A plate is a flat sheet of metal, usually copper, steel or zinc, used as a matrix for a print. Metal plates are used for intaglio prints and for some lithographs. Plexiglass plates can also be used to create monoprint and monotype prints.

Block
A block is a cutable surface used as a matrix for a print. Blocks can be made from mounted or unmounted linoleum, various woods or easy to cut rubbery materials.

Baren
A Japanese designed tool with a smooth flat bottom and woven handle used to apply pressure to the back of paper when creating block prints.

Brayer
Roller (often rubber) used to apply ink to plates and blocks. Available in a wide variety of sizes.

Lino Cutter
Tool or number of tools with assorted V-shaped gouges used for carving linoleum or wooden blocks for printmaking.

Ground
A varnish-like substance, impervious to acid used to prepare a plate in the engraving process.

Scriber
A metal hand tool sharpened to a point used to draw on a prepared plate to create an etching.

Burin
From the french for "cold chisel" a burin is a tool used in the engraving process. Sometimes called a graver, it has a rounded mushroom-shaped handle with a steel shaft and sharp chisel tip.  

Bruce recently ran a Utrecht-sponsored event at the Robert Blackburn Printmaking Workshop in New York City. His lecture was excellent and to see him work was facinating. Click here to see Bruce working step by step on a unique monotype.

Below are some examples of Bruce's work. Click here to visit his website. 

A great way to try out a variety of options before making a final decision is by using a clear layer of acetate or mylar to experiment. Today we'll be using Grafix Wet Media Dura-Lar to find the background color that will work best for us.

We started with a watercolor sketch, before we can move any further the question of the background color arises, this is where the Dura-Lar comes in. We'll use three sheets to try out a number of colors for the background.

Simply lay your sheet of Duralar over your dry watercolor and brush on the color you had in mind. If you're not satisfied, grab a new sheet and try the next color...

Still not satisfied? Grab another sheet and go at it again (see how much time and frustration we're saving?)

Here you can see that the original is unaffected by all of the testing we're doing. This is also a great way to get an idea of how additional layers of color will look over your existing artwork (not just the background).

Using this method allows you to take some time to study how each option will affect the colors you've already chosen for your watercolor and the overall look of your finished piece.

Have fun experimenting!

Clear films have a variety of applications for artistic purposes, from cutting stencils to direct printing or painting. Acetate and Mylar are produced in different ways and each have unique benefits:

Acetate film is really a specific type of plastic material called cellulose acetate. Because Acetate is made from wood-pulp, it has certain attributes that are sometimes desirable and sometimes something you want to avoid.... depending on your application.

Attributes of Acetate Film:

    * Glass-like clarity
    * Good dimensional stability
    * Easily die-cut
    * Printable with conventional screen and offset printing methods
    * Available in Clear and Matte
    * Available in wide range of thicknesses .001" - .020"

Mylar is often used to generically refer to polyester film or plastic sheet. However, it is a registered trademark owned by Dupont Tejjin Films for a specific family of plastic sheet products made from the resin Polyethylene Terephthalate (PET). The true generic term for this material is Polyester Film or Plastic Sheet.

Attributes of Mylar/Plastic Sheets:

    * Archival quality
    * Dimensional stability
    * Consistent color
    * Clarity
    * Non-yellowing
    * Non-tearing

Artistic Applications for Acetate & Mylar:

    * Layouts
    * Color Separations
    * Laser Copies
    * Screen Printing
    * Overhead Transparencies
    * Protective Covering

See how we used clear plastic film to try out a variety of watercolor backgrounds.

The paintings and drawings of Marshall Arisman have been widely exhibited, both internationally and nationally. His work may be seen in the permanent collections of the Brooklyn Museum, at the National Museum of American Art and the Smithsonian Institution, as well as in many private and corporate collections. His editorial illustration work has been seen in major publications all around the world.

Mr. Arisman's original graphic essay, "Heaven Departed," in which paintings and drawings describe the emotional and spiritual impact of nuclear war on society, was published in book form by Vision Publishers (Tokyo, 1988).

Chairman of the M.F.A. degree program at the School of Visual Arts in New York City, Marshall Arisman was the first American invited to exhibit his artwork in mainland China. His series, "Sacred Monkeys," appeared at the Guang Dong Museum of Art in April 1999.

We were thrilled  when a friend of the Learning Center, Kurt Hollomon, invited us along when he visited Mr. Arisman's studio on a recent trip to New York. Marshall was kind enough to welcome us in and spoke about his early years as an illustrator and how he found that by looking inward to his past life experiences the subject matter and point of view that would make his work most successful were there all along. Marshall also spoke with us about his current project, a series of oil paintings done on translucent layers and hung with space in between to allow interplay and shifts in the image as it is viewed from varying distances and angles. We look forward to the final results.

The Learning Center would like to thank Kurt for inviting us to tag along and Mr. Arisman for his hospitality. Below is a small selection of Marshall Arisman's vast body of work, you can see more by visiting his website here.

Click for a larger image.

Click here for more about bristol.
Click here for an interview with comic artist James Sturm.

Tell us what you think about this month's post! Email LearningCenter@utrecht.com.

This month's Learning Center features many references to bristol, so it may help to clarify... Bristol is a heavyweight paper used for technical drawing, illustration, and other two-dimensional art forms. It's particularly popular among comic artists and illustrators.

Unlike Illustration Board, the front and back of Bristol are identical which means that both sides can be drawn on. The surface texture can vary for different applications, including a smooth (plate) finish and a medium (vellum) finish. A vellum surface has a bit more tooth and artists working with rough pencil, chalks, or charcoal would use the rougher texture. Plate finishes are generally more suited to other types of media, such as technical pencils or inks.

We're happy to carry a full line of smooth and vellum bristol from Strathmore.

James Sturm is an internationally recognized cartoonist and the cofounder and Director of The Center for Cartoon Studies (http://www.cartoonstudies.org). His writings and illustrations have appeared in scores of national and regional publications including The Chronicle of Higher Education, The Onion, The New York Times and on the cover of the The New Yorker. He is also a co-founder of The Stranger, a Seattle arts and news weekly. His book, The Golem's Mighty Swing, was named the 2001 Comic of the Year by Time Magazine. His most recent books include Satchel Paige: Striking Out Jim Crow, James Sturm's America, and Adventures in Cartooning.
 
While in grad school in New York City James worked in the Utrecht store on 4th Avenue! James was good enough to answer a few questions for us and send along images that show off his process.

Tell us about your process of making comics...
My approach to making comics is probably closest to that of a novelist except I am doodling my drafts using words and pictures as opposed to just words. My early drafts are very loose and the drawings are little more than stick figures. Each subsequent drafts allows me to become more intimate with the material.
 
What are your essential tools?
To begin with paper and pencil. Early drafts are on just regular copy paper. The next draft is on drawing paper and the final pen and ink drawings are on bristol using various pen nibs including a hunts 102, speedball c-5 and c-6, a G-nib, and various Faber-Castell markers. An Ames lettering guide also comes in handy.

What stock (brand/finish/and size paper) do you use for your final inking art?
I've been using 2 ply Strathmore 500 series bristol with a vellum finish for awhile now. I buy the large sheets and cut them into six pieces. The paper takes ink extremely well, never any bleeding. The 2-ply is sturdy enough to stand up to the eraser and thin enough so I can transfer drawings onto it via a light box.

There are many ways to stay green in the art studio. One of the best ways is by finding a use for the scraps and leftovers that might otherwise be thrown out. This month we showed you how to cut a simple mat, but before you throw out that piece you cut out of the middle, here are a few ideas on ways you can re-use them. *Mat scraps will have a beveled edge that can be pretty sharp, it can be easily trimmed off for any of these uses.

1. Cut a small window to create a viewfinder for landscape painting.
2. Use the white (or colored) side to do quick color studies in oil or acrylic paint.
3. The colored side makes a great surface for oil or chalk pastel sketches.
4. Fortify an envelope when mailing prints or drawings.
5. Cut a large scrap into 2 inch wide L shapes to get ideas on cropping an image or for choosing mat colors when framing finished pieces.
6. Stretch watercolor paper over a scrap for a more sturdy painting surface.
7. Use small pieces for scrapbooking.
8. Mat an even smaller piece of art!

Other tips for keeping a green studio:

1. Use washable rags instead of paper towels.
2. Choose papers that are made from recycled materials.
3. Seek out materials that are made using sustainable practices.
4. Avoid toxic pigments & harsh chemical processes.
5. Responsibly dispose of any harmful products you do use (turpentine, mediums, etc).
6. Look at alternatives, like egg tempera, beeswax mediums and waterbased paints.
7. If you work with materials that produce vapors or dust make sure to use an air purifier to limit what gets released into the atmosphere.
8. Seek other people's leftovers! Material scraps from textile companies or misprinted materials from paper companies.

The more research you do and the more effort you put in will have a greater impact on the quality of life in your studio and environment at large. If you have any great green tips or practices, be sure to share them with us by leaving a comment or sending an email to learningcenter@utrecht.com. We'll add them to this list! Stay Green!

Once you master the basic steps, use your creativity to experiment with your own designs, such as those shown here.

First, a little about matboard...
Matboard is a multi-layered product made especially for framing artwork. The most commonly available matboard is made from processed wood pulp. It comes in a wide variety of surface colors and textures and the core is typically white or cream-colored. (Some matboard has a core that is black or a few other colors.) The surface is a thick covering of art paper that is fade and bleed resistant. Untreated wood pulp contains acid, which, over time, damages what it comes in contact with. To protect the work you’re matting, use buffered, acid-free matboard. Most matboard is available in 32" x 40" sheets and some come in even larger sizes.

Measure twice, cut once
To determine the mat opening size, you must allow at least ¼" (7mm) overlap on each edge of the chosen image so the edges don’t show or fall through the mat window. Use the following worksheet to help calculate the sizes of your opening, borders, and overall matboard.

With these measurements, set the parallel mat guide to your chosen border width. Insert the matboard, color side down, and mark all four sides.

Hook the bevel cutting head onto the rail, and align the silver start and stop indicator with the pencil line closest to you. Firmly push the blade into the mat.

While keeping steady downward pressure on the blade, slide the cutter forward until the indicator line reaches the top pencil line. Pull the blade out of the mat.

Repeat this step three times to complete the mat.

Now you’ll need to adhere your artwork to the mat. A simple but effective method is called the t-hinge. Using a framer’s acid free hinging tape, follow the following steps:
1. Lay your matboard face down on a clean surface and position the artwork face down over the window.
2. Cut and apply two small vertical tabs of tape along the top edge of the artwork, an inch or so from the corners.
About half the tape should adhere to the art and half to the mat.

3. Lift up the mat and ensure the image is displayed in the window as you wish it to be. Move the tape and image around, if necessary.
4. Cut and apply another tab of tape horizontally across the tape on the mat. One horizontal piece on each of the verticals, to form Ts.

That’s it!

Click here for ideas on recycling your matboard scraps and other tips on working in a "green" studio!