This morning our regular customer, Joe, came in to look at some watercolor paper and we got to chatting about the artists that Joe admires. We shared one of them in common - Mary Blair, the late, amazing Disney artist (think "It's a Small World").
This young man has ambition and pride in his work, it's just refreshing to see in someone this young. He has dreams of becoming a writer, illustrator, and eventually start his own animation company!
Anyway, he allowed me to share some of the art he's most proud of. I don't want to share his last name as he's a minor, but I bet we'll see more of him in the future. Thanks for letting me share, Joe!
Isn't it incredible what you discover about strangers when you start talking to them? They cease to be strangers and you start to see the unique things about them that never cease to amaze.
At ARTspot, the customers who come in and stay and chat are infinitely fascinating - and Eliza Wyatt is no exception.
This beautiful willowy soul came into the shop last week to buy a fountain pen and ink, and I commented on her cool corset. This led to a long discussion about clothes, lifestyle and interests.
Turns out, Eliza is a writer and illustrator. And her books are available online - for FREE! I asked if she wouldn't mind if I posted her link so that everyone could benefit from her hard work.
The Forever Series: An epic fantasy series of love and immortality.
Have a free book.
No, you don't need to sign up for anything. I don't want to know your email address. No account, no DRM, no expiration date. Take it. Go on. In fact if you like it, email it to your friends with our blessings. Just don't print or sell it.
We do this because as readers ourselves, it's important to us that people discover fiction that they can be enthusiastic about. The book we're offering is the first of a series of fantasy novellas (books about a hundred pages long) for readers age 16+. There's no trick ending, no cliffhanger. You can find the next books in the series in our shop-- each ebook is a dollar. We also sell printed books, if you'd like a solid copy. - See more at: http://theforeverseries.com/#sthash.Pf1YJDqg.dpuf
By Mike O'Day
| ARTspot ARTist
Nothing is worse than opening up a bag of clay, grabbing a hunk, and being completely clueless about what you’re going to do with it. I constantly had this problem every Wednesday night when I first started at Sculptors Workshop, until I discovered the solution to this conundrum. Bring my sketchbook! Although the sketches were originally made for paintings or linocuts, I found that any of my drawings could be the inspiration of a sculpture.
My sketchbook is a valuable little tool that I occasionally refer to when I’m stuck. Anything from a good song lyric to a crow flying overhead can send me scrambling to record a fleeting image before it escapes. A lot of my scribbling can be awful, or just plain odd (what was I thinking???), but I’m not trying to impress anyone, and they basically are just inspirational notes.
Sometimes it can be quite difficult to transform a quick gestural sketch that I love into a sculpture. I gradually realized that the best method for me is sculpting solid (as opposed to slabs or coil building), and then hollowing the piece out. Other times the sketch can be a reference point, and the sculpture can head in a strange new direction.
Working out the problems of a big complex sculpture on paper is a great way to avoid headaches. The “Ship of Fools” sketch page shows how the idea evolved, the details, and even how the sculpture will be cut into pieces and hollowed out. But as you can see from the finished piece, I added the head of a mysterious being, and I decided to change the position of the guy with the telescope on top of the world. Sketchbooks-don’t leave home without ‘em!
From Mike O'Day Blog originally published April 6th, 2013
See Mikes work at his website: http://odayart.com/wordpress/about/
There is something that happens to me every time I attend one of my show's receptions that I've come to expect and am trying to work though.
In the interest of finding others who might feel this way and will just feel better knowing that they're not alone, I am putting it all out there.
The months leading up to a show, I work hard at creating a new body of work, something that I feel good about putting out there, that is cohesive, and that makes me feel something (whether it's nostalgia, calmness or self-satisfaction). This is always fun, exciting and envigorating.
To prep for a show's reception, I create advertising - print media (which can be expensive to produce), facebook events and posts (free!), and email newsletters.
The day of the event is usually full of errands: getting wine and snacks (when necessary, and it usually is), making sure I have a stock of business cards and any bonus items ready (for this recent show I made calendars of my work to give to anyone who bought a piece).
Prepping myself for a reception is another thing that takes way longer than it used to. Most of the time is spent trying to figure out what to wear that fits in with the "brand" of who I want to be as an artist, and then because I have taken so long to do this, I am running behind, feeling less than attractive as I run out the door with the wrong shoes, no deoderant or some other fashion faux-pas.
Last night, as we were running out the door, my 8-year-old (whose Dad was meeting us at the gallery to get him) came up to me with a guilty expression, saying "Mama, I'm sorry but something may have happened to your umbrellas." He and a friend were using them as swords and ruined them both. "No time, kid! Get in the stinking car and while I appreciate you coming clean, we'll talk about this later."
At the reception, I hang around awkwardly, not sure where to stand or what to do with my hands as I smile at everyone and say hi. Hoping upon hope that I don't look too desperate or awkward. When I see a friend I run over to them gratefully, happy to have a moment where I don't look so painfully insecure.
By the end of the night, my feet are killing me because I put on heels (see "wrong shoes" above) and I'm hobbling to the car as fast as I can without toppling over. I get home and decompress by turning on TV and trying not to self-hate too much (OMG I can't believe I said that to so-and-so, and I should have talked to that one person more and People were just being nice about my art because I was standing right there and I am sad that so-and-so didn't come...). That monkey brain is the enemy!
Knowing that this happens every time, I try to remind myself that: A lot of my friends DID come, and that the reception was well-attended, and the gallery owner was so nice to me and was very complimentary! I also remind myself that I'm lucky to be a part of a gallery at all and that I'm fortunate to be able to create my art and do what I love. It also helps to know that the next day I'll feel much better and that this is just a result, most likely, of all the build up of prepping for the night.
Maybe next time I won't be as depressed afterwards. If it does, I'll have my cry, go to bed, wake up and start prepping for the next one :)
by Angela Bandurka
Barbara De Pirro (
came in to give a presentation about the amazing Golden acrylic products last weekend and we were packed to the rafters with an engaged audience! Barbara's presentation was so informative, creative, and generous that we felt that we needed to share some of it with all of you.
We hope to bring her back again soon for another presentation - even if you don't paint with acrylic paints, you might find some of these products come in handy for your woodworking, textile design, graphic arts and a plethora of other applications.
Some of the products that were most intriguing are:
GAC Specialty Polymers
("Golden Artist Colors", or "GACK!")
- GAC 100: This seals your surface, so if you like to paint on wood and want to retain the look of the wood in your piece, paint this clear polymer first and let it dry. Then you're ready to go and you won't have to worry about the sap or oils from the wood interfering with your painting! This product is also good for painting on other surfaces that need to be sealed - fabrics that you stretch on canvas, for example. Dries stiff and clear.
- GAC 200: Great to add to your paint for outdoor murals or to prime hard surfaces like glass and metals!
- GAC 400: Will dramatically stiffen fabrics for cool sculptural effects!
- GAC 700: Great for glazing
- GAC 800: Perfect for imitating encaustic techniques, you can pour thick applications of this one without worrying about it forming valleys and cracks (those annoyances are called "crazing") - can be tinted with yellow for a beeswax look. Air bubbles? Just spritz a little rubbing alcohol on it to get rid of 'em!
- GAC 900: This is fantastic for painting on fabric while keeping the fabric's softness and flexibility! Heat set it in the dryer when you're done and you're "golden"! (sorry, couldn't resist)
"Nectary" by Barbara De Pirro,
(detail), 2011, crocheted fiber, encapsulated and painted using acrylic
you can apply up to 50% gel to paint and still retain your colour! That's due to the high pigment load in Golden paints - you couldn't do that with student grade paints.
- Soft Gel is great for collage glue. Feels soft and buttery.
- Regular Gel is the same viscosity as Heavy Body paints - like toothpaste.
- Heavy Gel and Extra Heavy Gels are stiffer than regular gel and are great for creating thick, sculptural effects.
- Clear Tar Gel: Great for marbelling effects and dripping lines on your project. Be sure to apply in thin layers to avoid "crazing" (see GAC 800 description for definition :)
- Self-Leveling Clear Gel: levels flat when poured, also must be applied in thin layers!
These are opaque (covers what is under them), and you can mix in some paint but you'll get a tint of the colour since the pastes have a white opaqueness to them.
- Molding Paste: dries smooth, good for imprinting on!
- Light Molding Paste: dries with a slight tooth, flexible and highly absorbent.
- Hard Molding Paste: dries smooth and hard - great for sanding and carving
- Coarse Molding Paste: bright white and toothy
- Fiber Paste: When dry, looks like handmade paper (toothy)!
- Crackle Paste: Do not rush its dry time, or it won't crack :)
"Glow" by Angela Bandurka,
2013, Golden acrylics painted on canvas prepped with a layer of light molding paste first, then gesso tinted with napthol red light.
- Absorbent Ground: great for watercolor techniques with watercolor or acrylic washes. Also slightly toothy and porous.
- Acrylic Ground for Pastels: awesome tooth, great for drawing wit all media including pastel and pencils. Translucent!! So it can be applied in thin layers over other drawings/washes :) Be sure to spray each layer with a blast of varnish before painting on another layer of ground!
There was so much more information than this in the presentation that I couldn't possibly put it all up for you - but please refer to Golden's website for more details about their products at www.goldenpaints.com, including a great newsletter and detailed descriptions of how to achieve certain effects! They are also one of the few companies that have excellent customer service and welcome calls to their technical support line: 1-800-959-6543.
And you're always welcome to call ARTspot to ask any of our knowledgable staff what medium/gel/paste might work best for your project! If we don't know, we'll find out!
ARTspot has a small selection of amazing origami papers and the other day I decided to buy some and play around with making cranes. While online searching out instructions, I stumbled across the most amazing story about a little girl who endeavoured to fold 1,000 of them in order to get well from cancer.
Sadako Sasaki was only two when the bomb was dropped on Hiroshima. She lived two kilometers from ground zero when the blast blew out her windows. Several years after the atomic bomb, an increase in leukemia was observed especially among children. By the early 1950s it was clear that the leukemia was caused by radiation exposure. Sadako was one of these young victims.
She had heard that if you fold 1,000 paper cranes you would have a wish granted, and she used whatever materials she could find - candy wrappers, scrap paper. Before she died she almost reached 1,000.
Sadako's story was highlighted at the opening ceremony of the Goodwill Games 1990 in Seattle wherein Seattle schoolchildren, working from the 644 cranes sent by Japanese schoolchildren, completed the unfinished 356 cranes for Sadako, and sent them aloft into the skies in honor of Sadako and world peace.
This month at ARTspot we had dedicated a window in her honour. The antique typewriter holds a brief story of her life, and the paper cranes we folded with her legacy in mind. If you'd like to fold some paper cranes, come on by - we have a free instructional handout for you!
|Detail from current work, collaging in symbols of home for me: waffles, music and cross-stitch.|
|From my "Save A Painting" Acrylic Class at ARTspot Feb 2, 2013. Tracy Felix|
|Angela Bandurka instructing Fume Free Oil Painting last Sunday in the ARTspot Studio.|
|Mini manikin men sporting paper umbrellas. ARTspot window display February 2013.|
|We have been building our book selection. This month we have new titles about color mixing and DARING COLOR!! ARTspot window display February 2013.|
|ARTspot also a gallery showing contemporary art. Think of us when looking for gorgeous, exceptional paintings, sculpture and jewelry by the local artists we represent. Painting shown, by Stephanie Reilly, is part of our current show.|
- Modeling Paste
- Art created by people I love, my grandmother, other distant relatives, my mom, my son, friends...
- Pieces that I've purchased because they spoke to me. I buy art for emotional reasons, not decorative ones.
- Some of my art has been passed down to me by ancestors – going back even farther than my grandparents.
Claude Monet, 1873
|Impression, Sunrise - in black and white|
It can really help you when you feel like something is just not working in your painting to revisit your values.
Here are some of mine: (these rules can be broken, but they are usually true and very helpful):
- VALUE: Darks approach, Lights recede. Things that are closer to you are darker - so your shadows in the trees that are right beside you are going to be much darker than the shadow in the trees 100 feet away.
- PROPORTION: Objects get larger as they get closer to you and smaller as they move farther away. That's why the road gets narrower and narrower as it goes off into the distance until it becomes a spec.
- SATURATION: Colors are brighter and have more yellow in them than colors that are in far away objects. Think of distant mountain ranges. They might be full of green trees, but they still look blue and pale. Distant objects are usually greyer and blue/purple-ish. That's because of the atmosphere, which usually drops the color yellow first in the spectrum, followed by others one by one.
- DETAIL: Objects that are closer are gonna have more detail - but as an artist you can determine where you want the eye to go first and be more detailed in that area. So you can fudge this one a little (think of how a camera lens can do this for you - now do it for yourself in your work!)
I've taught numerous types of children's art classes, as well as adult art classes (plus I am a mom as well). If there's one thing I've noticed in the classrooms and dining rooms of young people, it's that they love to create and their parents want to help them but don't know how.
Well here are some pieces of advice I've picked up along the years to share with you :)
- Use positive language! For example, if your child asks you how to draw a house, you might say something like this "I'm not sure, why don't we try putting a triangle on top of a rectangle and then go from there?"
- Let your child take the lead on creative projects. You can help them in a playful way, but try not to lead them at all. This will shut them down.
- Use a playful, soothing and encouraging tone. Creative time should be a safe environment to foster creativity. Playing gentle, fun, playful music can be helpful.
- Don't stress out about the mess! Set up expectations with your kids: "Why don't we create and be messy for one hour and then let's clean up together!"
- Make a variety of creative tools available. Paint, pencils, paper, cardboard, items from the recycling bin, glue, tape, etc!
- Encourage them to enjoy the process. That's where the magic happens. They'll take your lead on this!
- Send your child to art classes! Classes are usually provided through community centers and local art supply stores - at ARTspot we have many classes for younglings on our website: www.artspotedmonds.com
- Never ever project your insecurities onto your child. It's ok to feel like you're out of your comfort zone, just don't express it to your kids in a negative way. Kids look up to their parents. If you say something like "Art stresses me out" then your child will think that they should feel that way, too.
- Do not tell your child that they are doing anything wrong, even if the house they're drawing looks like a mushroom. Art is subjective and there is no wrong way to do it. Think about Picasso and his work!
- Do not give your child unsolicited help for something they're doing: if they seem frustrated or you see how they could improve their art in some way, find a POSITIVE way to express it, making sure you say something good about their work before helping: "Hey! That's a great use of the colour blue! What would happen if you added another colour somewhere in there? Try it if you want!" - and then leave them to do it themselves.
The key is letting them create, succeed and fail, feel secure in the knowledge that this is their personal time to be free to express themselves. The benefits are many!
Art not only helps our kids, it can help US, too - so get in there and get messy with your kids. You can always clean it up later!
WHY SHOULD YOU CARE?
SEE THE FOLLOWING LINKS:
What are the Benefits of Art Education for Children?
Read all about it at http://www.livestrong.com/article/164517-what-are-the-benefits-of-art-education-for-children/?utm_source=popslideshow&utm_medium=a1
- Hand-eye Coordination
- Self Expression
- Risk Taking
Long Term Benefits of Art Classes
The whole deal can be explored at http://www.livelongerpost.com/researchers-discover-the-long-term-health-benefits-of-art-class-programs/
Researchers have recently discovered the health benefits of art class programs particularly in helping children and teens with emotional and behavioral problems. It has also improved behaviors and helped promote positive thinking.
From the Arts Council of England: http://www.nasaa-arts.org/Learning-Services/Past-Meetings/B-Health-MedLitReview.pdf
- The use of literature, creative writing and poetry in mental health services produces significant benefits for both the patient and the care provider.
- It enables patients to regain control over their own inner world, increasing their mental wellbeing. It helps the nursing and medical staff to understand the cultural, social, ethnic and economic factors influencing the behaviour of patients
- Theatre, drama and visual arts all provide patients with powerful ways of expressing themselves and understanding their own world. This promotes empathy between patients and staff
- Music, singing and dancing all help mental health patients to recall events from their lives. These artforms help them to express themselves and, on a physical level, to increase their range of movement
- inducing positive physiological and psychological changes in clinical outcomes
- reducing drug consumption
- shortening length of stay in hospital
- increasing job satisfaction
- promoting better doctor-patient relationships
- improving mental healthcare
- developing health practitioners’ empathy across gender and cultural diversity
Aging and Health Benefits of Art:
AARP Link: "Lively Arts"
"We know intuitively that art and creativity can dramatically improve older people's quality of life and health" - Gay Hanna, Ph.D., Executive Director, Society for the Arts in Healthcare (SAH). "Creative activities like painting, writing, pottery, drama, singing, and storytelling raise self-esteem, increase enthusiasm for life, and result in fewer doctor visits," says Gene D. Cohen, M.D., Ph.D., of George Washington University's Center on Aging, Health, and Humanities at the George Washington University Medical Center.
More information on this is also available at this link http://www.agingwellmag.com/news/ex_082809_03.shtml
Have you ever seen that show from the 80s? Cheers. The show was centered around a pub where everybody knows each other, one the main characters is Norm - whose name is yelled out whenever he comes in.
That sense of community is something I feel whenever I'm at ARTspot. Tracy and Denise have really created a welcoming, safe and creative spot here. Locals come in all the time just to hang out and see what's new, check out our artist's contributions and chat with the employees (all of whom are artist). And as a part-time employee, I am encouraged to focus on relationships. It's like I'm not even working!
Well, last week we got our own "Norm" - and his name really is Norm, Norm Dalke.
Norm and I got to chatting. The subject of life's passion came up - for me, it's being an artist and creating art; for him, it was being a pilot and flying.
Most interesting to me was how similar our experiences in such different fields were. He told me about how as a small child he saw small aircraft flying above his home, and from about age 5 he would dream of flying nightly. Once he became a pilot as a young adult, the dreams didn't happen as regularly because he was LIVING his dream! And if he was ever cranky at home, his wife (and mother of their five children) would demand that he leave the house and get into the air immediately. For me, the bug to be an artist began as a toddler, hiding crayons in my diaper and creating murals on the wall behind the crib (I even have photographic evidence - see below, which my mom snapped before spanking me :). The dreams, as well, are the same - I dream of painting and creating regularly, and the dreams are pretty vivid. When I'm not creating they're more frequent.
At 86, Norm says he still gets up in a plane or glider as much as he can, though he no longer pilots the crafts. His dreams don't haunt him anymore, either - maybe because now that he's retired he can have peace knowing that he fulfilled his passion and can now just enjoy it on his own terms.
Today I promised my students taking my Fume-Free Oil painting class this list of terms, links, and books. Seeing as many of you might find this helpful, I thought I'd post it online. Happy Painting, everyone!
What you’re painting on. Flexible supports include stretched canvas, Rigid supports include wood panels with no sense of humor.
: a slow-drying paint that consists of pigments suspended in a drying oil (usually linseed oil). The viscosity level of the paint can be adjusted using solvents such as turpentine or odorless mineral spirits or oil-based mediums. The drying times vary depending on the thickness of the oil paint. Oils do not evaporate the way that water does, it dries through oxidation (basically oxygen and oil work together to change their chemical makeup and become dry).
Water Soluble Oil Paint, or Water Miscible Oil Paint:
This oil paint’s binder (a modified linseed oil) has been engineered to be thinned and cleaned up with water instead of turpentines or spirits. It is painted with the same techniques as traditional oil-based paint.
A hoity-toity way to say “painting outdoors.”
Fancy schmancy way of saying that the piece was completed in one sitting, y’all! No underpainting needed.
This is just what is sounds like - you can archive it for future generations. I mean, hello? We’re not famous until we’re dead, right? Might as well hedge your bets.
Natural hair is more suitable for blending because the hairs hold together when wet, natural hairs are better suited for oil painting. and watercolor painting Synthetic bristles are better for acrylic painting because the paint is not sucked up into the hairs the way natural hair tends to do. This is not at all a technical description... I just find this to be true.
- Ferrule: refers to the metal end of the brush that covers the base of the hairs that make up the brush bristles.
- Filbert: Thick, flat ferrule and oval-shaped medium to long hairs. With its soft rounded edges, the filbert is suitable for blending and figurative work.
- Round: Round ferrule, round or pointed tip. Useful for detail, wash, fills, and thin to thick lines. A pointed round is used for fine detail. A detailer is a pointed round with very short hair.
- Oval Wash Brush: The oval wash has rounded hairs, flat ferrules, and produces a soft edge, with no point. A wash brush is useful for laying in large areas of water or color, for wetting the surface, and for absorbing excess media. I prefer this brush for blending my oils (rather than a fan brush).
- Flat: Flat ferrule, square-ended, with medium to long hairs. Provides lots of color capacity and easy maneuverability. Use for bold, sweeping strokes, or on edge for fine lines. Use heavier filling for heavier paint.
- Bright: Flat ferrule, short-length hairs, usually set in a long handle. Width and length of brush head is about equal. Useful for short, controlled strokes, and with thick or heavy color.
- Fan: Flat ferrule, spread hairs. Natural hair is more suitable for soft blending, and synthetic works well for textural effects. Useful for smoothing and blending, special effects and textures.
It’s what makes those bits of colored pigment (made from dirt, bug blood, plants, and what-not) stick together and be applied to your support!
A term used to apply to paint with a high oil content.
It’s broken the law and has disappeared over the Mexican border. In all seriousness, it’s pigments or dye colors that fade when exposed to light (you know who you are, Alizarin Crimson.)
A very thin, transparent colored paint applied over a previously painted surface to alter the appearance and color of the surface.
The coating material that you’re putting on your support to make it ready for painting (like gesso or glue with a brush or roller or spray)
- Gesso: This is a chalky ground that you apply to your support for painting on. It’s usually white, but you can get colored support as well. Typically when you purchase Gesso in the stores, it is acrylic gesso and is best for acrylic paintings though you can use it for oil paintings, but conservationists recommend you purchase oil based gesso made with a mixture of chalk, white pigment and glue.
- Primer: Coating material applied to a support to make it ready for painting, usually this term is used for gesso.
- Rabbit Skin Glue: In traditional oil painting as practiced by the Renaissance painter, skin glue was used to coat the canvas. This is necessary because the linseed oil that forms the base of most oil paint contains an acid that will over time destroy the canvas fibers. It was originally used as a ingredient in gesso. Warning: conservationists suggest that rabbit skin glue is the major cause of cracking in oil paintings and prefer PVA Size.
- PVA Size: A modern, chemically produced alternative to Rabbit Skin Glue, this product gives you a longer working time and is less likely to crack.
A style of painting characterized by thick, juicy color application. Yum!!
A term used to apply to paint that’s been “watered” down with water or solvents.
The surface used to mix your colors on. Also refers to the range of colors used by an artist.
Particles of color. Common pigment types include mineral salts such as white oxides:
, now most often replaced by less toxic
, and the red to yellow
pigments. Another class consists of
pigments are also now available. Natural pigments have the advantage of being well understood through centuries of use but synthetics have greatly increased the spectrum available, and many are tested well for their lightfastness.
Underpainting, or Layering In:
A monochrome painting layer used as a base for composition.
The relative darkness or lightness of a hue (color). Black is a low value, white is a high value.
a clear film that covers your painting (whether painted on with a brush or sprayed on) to protect it when it is dry.
You can search videos on how to create just about anything! Super fun to play around with.
This is such a helpful website, with free downloads of e-books about everything you can imagine, portraiture to oil painting to drawing and all the rest (you just have to sign up for their emails every time you download something, but they won’t double up on what they send you, don’t worry :)
Check this out daily for info about all kinds of artists, historical and contemporary. Every day another artist’s work is profiled.
For preview videos of online and video workshops. You can purchase workshops or just watch the previews for helpful tips, too!
If you live in the north end of the Seattle area, you gotta join this group! Awesome monthly meetings with demos and networking sessions, plus email strings make this large group of artists available to you as a resource!
Ok, so this isn’t really a helpful link, but my URL wanted in and I’m weak against its shamelessness.
Alla Prima: A Contemporary Guide to Traditional Direct Painting
by Al Gury
Painting Beautiful Skin Tones with Color & Light
, by Chris Saper
Design & Composition Secrets of Professional Artists: 16 Successful Painters Show How They Create Prize-Winning Work
, Editor: International Artist
:::::WHERE DO I GET OFF TELLING YOU THIS?:::::
I get my facts from a multitude of resources - the above-mentioned books, Wikipedia.com, Artist Daily, DanielSmith.com, the awesome support of my favorite local artists and my own experience :)
We were contacted by Kyle O'Brien a while ago. He and his brother have a new company in Pennsylvania creating absolutely beautifully made white maple wood palettes. The design is by their father, who had been oil painting for over 40 years, was frustrated with the heavy or awkward to hold, causing pain in the hand, thumb, and wrist. Others lacked functionality or were not made well. The answer for him involved a trip to the lumber yard, a jig saw, sand paper, and many free afternoons. With that, the design for a new artist palette was created. The idea of New Wave grew for years as he invented new palette shapes around his three point design, for his own use. With our combined efforts a simple idea became reality as new shapes were created and old shapes were refined around his original three point design, with emphasis on comfort, quality and functionality. New Wave's origins are the same as so many time honored artist supplies: designed by artists filling a personal need for their artistic process. New Wave designed Artist Palettes, handcrafted with hard white maple by the Amish in Lancaster County, Pennsylvania. Come in and see, as ARTspot was chosen by the O'Brien family to carry these lovely palettes in Washington state.
So... come check out some of the combos you can pick up for VERY reasonable prices chock full of fun for the art lover in your life.
Photos: Angela Bandurka
You can blame the irreverent text on Angela as well!
Photo: Scott Burnett
Glass sculpture: Tyler Kimball
Ceramic sculpture: Mike O'Day