Free Golden Arcylic Paints Lecture & Demonstration

San Diego and La Mesa art peeps join me Saturday, March 19th from 1- 3 PM at Art Stash for a FREE GOLDEN Acrylic Paint Lecture and Demonstration.

The Art Stash is located at 7859 El Cajun Blvd, La Mesa CA

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Free Golden Acrylics Lecture and Demonstration (2 HOURS)

The Golden free lecture and demonstration is a fun and fast-paced informative educational presentation on acrylic paints and all the related products from mediums to gels and pastes! The lecture covers information about the different types of acrylic paint formulations, pigments, and their related viscosities, as well as color theory and color reality, drying time, and health & safety. Learn how acrylics can be used as grounds for other media, such as watercolor and colored pencil or pastels and so much more. The lecture will also cover a technical review of acrylics and their varied application possibilities. Various acrylic products and techniques will be demonstrated to enrich your understanding of the medium, among these you will learn basic tips for how to extend paint to save money and how to mix paints with gels and pastes to create exciting textures. From traditional painting to contemporary and on to mixed media, acrylics are infinitely versatile. We will also review Golden’s newest products, including the QoR Watercolors, High Flow Acrylics and the OPEN Acrylics. We will also discuss Golden’s Williamsburg Handmade Oil paints. Discover the possibilities and become inspired with how these fabulous materials and fresh new insights can be added to your own creative process. All participants will receive a free information packet, hand-painted color charts and a bag of free Golden product samples to take home!

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Monoprinting at the beach and in the desert

Two printmaking workshops coming up…one in Laguna Beach on October 24th & 25th and the second workshop in Palm Desert on November 13th, 14th, and 15th.

Monoprinting is a unique method of working in multiple images, incorporating the immediacy of painting with printmaking methods by repeating and reworking personal imagery and symbols. Monoprinting is a fun and spontaneous way of expressing your inner muse and you can work from realistic to abstract, there are infinite possibilities.

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October 24th & 25th                    10AM – 4PM                                  $225

2-Day Monoprinting with Golden Working Artist Kevin Greeland

Monoprinting with Golden OPEN Acrylics and QoR Watercolors: In this fun fast passed two-day workshop we will spend our days printing; we will cover 3 primary methods. One is Monoprinting with Golden OPEN Acrylics on Gelatin Plates and the second is Monoprinting with QoR Watercolors on Dura-Lar Plates. And lastly creating Collographs plates with collage items plus with Golden’s various gels and pastes, how to ink them and finally printing and preserving them. This unique workshop will focus on innovative techniques to enable printing without a press. Come prepared to print because that’s what this class is all about. All levels welcome! Free literature packet and a free sample bag of Golden products! Class size limited to 14 students.

Laguna Outreach for Community Arts (LOCA) Contact: MikeTauber@sprintmail.com or LOCAarts@yahoo.com or call (949) 363-4700. Workshop held at 3251 Laguna Canyon Road, 2-blocks south of Dog Park. Free on site parking. Bring a lunch.

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November 13th, 14th and 15th           10AM – 4PM                               $350

3-Day Printmaking Extravaganza

with Golden Working Artist Kevin Greeland and Artist Printmaker Irene Ryan Maloney 

In this fun, fast paced three-day workshop we will spend our days creating beautiful prints, prints of all kinds on the press and off the press! We’ll start with Monoprinting using Golden OPEN Acrylics on Gelli Plates and next we’ll dive into QoR Watercolors on Dura-Lar Plates. On Saturday we’ll get underway with Collograph plates, we’ll explore creating with collage items plus with Golden’s various gels and pastes, how to ink the plates and finally printing and preserving them. In the afternoon our adventure continues when we explore the world of Intaglio Drypoint Etching. And lastly, Sunday will be a mind-blowing experience of what happens when you combine the various techniques and methods of printmaking with an Intaglio Drypoint Etching print and blending it with a QoR Watercolor Print or a Drypoint print with a Gelli Plate print and so much more!

This unique workshop will focus on innovative techniques to enable printing with and without a press. Come prepared to print because that’s what this class is all about. All levels welcome! Free literature and a free sample bag of Golden products! Class size limited to 14 students.

Venus Studios Art Supply, 41801 Corporate Way, Palm Desert, CA 92260

Register on-line at www.venusstudiosartsupply.com, email: VenusStudios11@aol.com or call (760) 340-5085.

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Monoprinting can take you from abstract to Warhol or more towards realism,

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from abstract landscapes to book covers,

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the possibilities are endless when exploring a theme.

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GOLDEN High Flow Acrylics & Spray Bottles

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Golden High Flow Acrylic paint that can go from brush to marker or from dip pen to airbrush and more. From fine lines to broad strokes, High Flow Acrylic has an ink-like consistency that lends itself to a wide range of techniques, including staining, leveling, calligraphy, and mixed media. Introduced as a replacement for GOLDEN Airbrush Colors in July of 2013, High Flow offers increased durability of dry paint and a larger palette of colors including Iridescent and Fluorescent colors, and more single-pigment colors that match the other GOLDEN color lines.

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Here’s a little hack for Golden’s High Flow Acrylics. I tried to document it in photographs for you. There are large verities of empty spray bottles on the market from small sizes to larger sizes with a multitude of purposes. The ones I used are 2 oz. travel sizes found at most dollar stores but also at larger department stores.

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You can fill the empty bottles with the High Flow for spraying and spritzing but I also discovered these 2 oz. travel size fit directly on the High Flow bottles themselves and are easy to clean up and can be switched from one bottle to the next.

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Dunk it in a tub of water and give it several pumps to clean the line.

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You can then switch to another color as the spray line is now clean.

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To find out more about Golden products contact me to schedule a class or workshop.

If you happen to be in San Diego, I’ll be giving a free lecture and demonstration on September 6, 2015 from 2 to 4 PM at The Studio Door.

To register follow the link: thestudiodoor.com

AIRBRUSH & SPRAYING

HFAs spray very well through airbrushes with minimal clogging. Some pigments are not well suited for use in airbrushes with small nozzles and fine tips, so refer to the reference chart. Due to pigment particle differences, some colors will spray better than others (see GOLDEN’s website.) If thinning is required, add small amounts of water into the paint. When a high degree of extending is required, use the GOLDEN Airbrush Transparent Extender.

Preval sprayers, pump sprayers or other spray equipment not designed for good atomization are likely to produce uneven, slower drying results. Mouth Atomizers are NOT recommended.

Spray Equipment: The thin viscosity allows for spraying straight out of the container without the need for mediums or modifiers. Smaller airbrushes can be sprayed at 25-50 p.s.i. Larger spray equipment should be sprayed in the lower end of the equipment’s recommendations to reduce overspray. HVLP Systems may be used with this paint line, although the nozzle sizes should be smaller, such as 1.4mm to avoid over atomization of spray, which can result in a rougher, chalky paint surface.

HAZARD IDENTIFICATION

*Always follow the recommended safety practices by the manufacture, for questions and further safety consult the GOLDEN website.

INHALATION HEALTH RISKS AND SYMPTOMS OF EXPOSURE: None expected under normal conditions of use.

Irritation of the nose, throat and lungs is associated with excessive exposure to ammonia, which may occur when large volumes of product are used in an area with limited ventilation.

GAC-400 Acrylic and GAC-900 Acrylic contain formaldehyde, which may irritate the respiratory system, or cause allergic reaction in sensitized individuals. See “Additional Hazards” for formaldehyde, below.

Overexposure to dusts and mists from sanding and spraying may be irritating to the respiratory tract. Chronic exposure to dusts and mists may cause pulmonary diseases.

EYE CONTACT HEALTH RISKS AND SYMPTOMS OF EXPOSURE: Contact may be slightly irritating to eyes. Absorbent Ground may cause moderate eye irritation.

SKIN CONTACT HEALTH RISKS AND SYMPTOMS OF EXPOSURE: Prolonged or repeated contact may be irritating to skin.

INGESTION HEALTH RISKS AND SYMPTOMS OF EXPOSURE: May cause irritation to gastrointestinal system.

A quick look at GOLDEN Crackle Paste

GOLDEN Crackle Paste is a thick, opaque cracking material, designed to develop deep fissure-like cracks as it cures. The size and extent of the crackle pattern is dependent on many factors, including the thickness of application, and the environmental conditions (temperature, relative humidity and air flow) during drying.

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Golden Crackle Paste has a consistency similar to cake icing, easily manipulated by a palette knife. Peaks will maintain their height and appearance. It is a harder film than the GOLDEN Light Molding Paste, yet still retains an absorbent surface. Films dry to an opaque, matte finish to which subsequent layers of acrylic paint and mediums can be applied. Crackle Paste can be easily tinted with GOLDEN Heavy Body, Matte, High Load and Fluid Acrylic Paints.

Sgraffito Pear created by drawing directly into the wet paste and then paint with thin washes of Fluid Acrylics

Sgraffito Pear created by drawing directly into the wet paste and then painting with thin washes of Fluid Acrylics.

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APPLICATION INFORMATION

While it’s possible to apply Crackle Paste onto a wide variety of surfaces, the extreme shrinking can warp flexible products like paper or canvas. Therefore, applications onto rigid supports such as wooden panels, sheetrock (decorative/faux finish applications) or hardboard are recommended. If an application on canvas is desired, pre-stretch the canvas before applying the Crackle Paste. This minimizes the warping of the canvas during drying. If paper is the desired substrate, it may be glued to a rigid support with an acrylic medium [such as Soft Gel (Gloss)] and allowed to dry to before applying the Crackle Paste. By securing the substrate or using a rigid support, the Crackle Paste has the greatest opportunity to develop the best possible pattern.

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Inflexible Support – Shows how canvas will warp if this product is applied.

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To learn more about GOLDEN Crackle Paste or sign up for a class with GOLDEN Working Artist Kevin Greeland visit The Studio Door in San Diego, CA or Venus Studios Art Supply in Palm Desert, CA.

 

Layering with Acrylics

May GOLDEN Acrylic Essentials Workshop

May 7th and 8th, 10 AM to 4PM

Learn the fundamentals of layering with acrylic paints and mediums in this hands-on workshop. Work with a variety of color applications using Golden’s Fluid Acrylics, High Flow Acrylics, and Open Acrylics — We’ll dabble with QoR Watercolors. Exploring through collage and painting with impasto effects, glazing, printmaking, water-media, and ink-like effects. Discover how gels and pastes can used to make multiple layers, creating interesting textures, learn image transfers, acrylic “skins”, and create surfaces that simulate encaustic waxes and much more. We’ll use Iridescent paints to create a metal like finish that we can then create a faux patina with Fluid paints. Students will make several paintings using acrylic products provided by Golden Paint with tools and materials provided by the instructor. All levels are welcome. Free literature packet and a free sample bag of Golden products!

Workshop fee is $250 and class size limited to 12 students.

Contact Venus Studio 760-340-5085 or email venusstudios11@aol.com

Register on-line at Venus Studios

Below are several examples of the projects we’ll be working on in class.

This painting has a little of everything in multiple layers, GOLDEN Heavy Body paint, Glass Bead Gel, Interference Violet, Self Leveling Gel, Heavy Gel (Matte) and Iridescent Stainless Steel.

This painting has a little of everything in multiple layers, GOLDEN Heavy Body paint, Glass Bead Gel, Interference Violet, Self Leveling Gel, Heavy Gel (Matte) and Iridescent Stainless Steel.

An encaustic appearance is achieved by using GOLDEN Soft Gel (Matte) in multiple layers along with a number of Fluid paints and Fluid Matte Medium and Interference paint.

An encaustic appearance is achieved by using GOLDEN Soft Gel (Matte) in multiple layers along with a number of Fluid paints and Fluid Matte Medium and Interference paint.

A gel transfer created with Soft Gel (Gloss) layered over GOLDEN Crackle Paste. Iridescent Bronze, Indian Yellow Hue and Turquoise Phthalo were used to paint over the Crackle Paste.

A gel transfer created with Soft Gel (Gloss) layered over GOLDEN Crackle Paste. Iridescent Bronze, Indian Yellow Hue and Turquoise Phthalo were used to paint over the Crackle Paste.

A bas-relief created with GOLDEN High Solid Gel, painted with a mix of Iridescent Copper and Iridescent Copper Light and a number of GOLDEN Fluid paints were used to create an aged patina.

A bas-relief created with GOLDEN High Solid Gel, painted with a mix of Iridescent Copper and Iridescent Copper Light and a number of GOLDEN Fluid paints were used to create an aged patina.

Another bas-relief created with GOLDEN Extra Heavy Gel and painted with Iridescent Bronze, a number of GOLDEN Fluid paints were used to create the aged patina.

Another bas-relief created with GOLDEN Extra Heavy Gel and painted with Iridescent Bronze, a number of GOLDEN Fluid paints were used to create the aged patina.

Monoprinting with OPEN Acrylics – Endless Exploration!

This information on Monoprinting is from an article I wrote which was just published in Just Paint: Issue #32.

A variety of OPEN Acrylics are used to create an abstract image on a Gelli™ Plate by painting directly onto the plate in a painterly fashion. High Flow Turquois (Phthalo) was used to create the circles and spheres in the final image. You can also register your plate and pull a ghost print. With each successive print pulled, more and more paint is removed from the plate. Any number of objects can be used to create patterns and various types of textures. There are also plenty of tutorial videos online, each showing its own unique twist.

A variety of OPEN Acrylics are used to create an abstract image on a Gelli™ Plate by painting directly onto the plate in a painterly fashion. High Flow Turquois (Phthalo) was used to create the circles and spheres in the final image. You can also register your plate and pull a ghost print. With each successive print pulled, more and more paint is removed from the plate. Any number of objects can be used to create patterns and various types of textures. There are also plenty of tutorial videos online, each showing its own unique twist.

Monoprinting with OPEN Acrylics ‐ Endless Exploration!
A foray into printmaking using OPEN Acrylics as the primary printing ink and because the possibilities don’t stop there, a few experiments with High Flow Acrylics and QoR© Watercolors as inks. This foray is by no means comprehensive, but rather a journey of possibilities and experimentation.
By Kevin Greenland
GOLDEN Certified Working Artist

Our adventure begins with OPEN Acrylics as our “ink.” OPEN Acrylics are a line of professional artist acrylics with a uniquely slow-drying formulation. The increased working time of these colors expands their range to include more traditional techniques once only possible with oils. While the formulation is water-based, these paints do not act like any acrylic you may have tried before. Unlike standard acrylics, OPEN Acrylics have the ability to keep moving; they won’t quickly lock up or drag. Best in thin applications, OPEN Acrylics are ideal for glazing, shading, wet blending and subtractive techniques. The “stay wet” quality of OPEN makes it a perfect paint for printing techniques; thin layers stay wet longer.

With a longer working time, OPEN Acrylics are a perfect water-based option for printmaking and more comparable to oils in this application. The ease of soap and water cleanup eliminates some of the health and environmental concerns sometimes associated with oil-based inks for printmaking. Available in 80 colors, OPEN Acrylics can be used with either synthetic or natural fiber brushes and provides many more options beyond printing, but since their introduction they have found a unique niche as a Monotype printing ink.

Monotyping is a type of printmaking made by drawing or painting on a smooth, non-absorbent surface. The image created is then transferred onto a sheet of paper by pressing the two together, sometimes with the aid of a printing press. There are a number of non-absorbent matrices used to make monotypes and they certainly can be used with OPEN Acrylics. These include glass and/or plastic supports, but our focus here is mostly on Monotypes using the Gelli™ Plate. The gel printing plate is made of a unique plastic that contains mineral oil. The gel plate will leach a small amount of harmless mineral oil when left sitting on an absorbent surface; the plate is also latex free. To learn more visit www.gelliarts.com.

The monotype process requires that Monotypes can also be created by inking an entire surface and then using brushes or rags to remove ink, creating a subtractive image (i.e. creating lights from a field of opaque color). GOLDEN OPEN Acrylics are ideal for this subtractive process as the paint can stay “wet” for quite some time and is therefore, easily manipulated on the plate surface, Gelli Plate or otherwise.

In the past the inks used were oilbased and in more recent times, came the development of water-based inks. With oil-based inks, the paper may be dry, in which case the image has more contrast, or the paper may be damp, in which case the image has roughly a 10 percent greater range of tones.

Detail of a monotype pulled from a Gelli Plate.

Detail of a monotype pulled from a Gelli Plate.

These remain rather true using OPEN Acrylics as well. Dry printing gives the greater contrast. Using an atomizer to dampen the paper before printing with water gives the image a slightly greater range of tones and can vary to a more dreamy quality depending on the amount of water on the surface of the paper. Also for further consideration, try experimenting using OPEN Thinner to dampen the surface of the paper, which has a tendency to “wisp” out the finer lines, giving a certain kind of airy, dreamy quality to the print. While water is a common medium for reducing the viscosity of a standard acrylic paint, water works very aggressively with OPEN paints. Using OPEN Thinner is a better choice when a more fluid viscosity for this painterly approach is desired.

Mentioned before, Monotyping produces a unique print, a “monotype”, because most of the ink is removed during the initial pressing. Although subsequent reprints are sometimes possible, they differ greatly from the first print and are generally considered inferior. A second print from the original plate is called a “ghost print” or “cognate”. Stencils, watercolors, brushes, and other tools are often used to embellish a monotype. Monotypes are often spontaneously executed and with no preliminary sketch.

A Chine-colle©, combining the element of collage with printmaking using GOLDEN Soft Gel and OPEN Acrylics.

A detail of a Chine-colle©, combining the element of collage with printmaking using GOLDEN Soft Gel and OPEN Acrylics.

Monoprinting is a form of printmaking that uses a matrix such as a woodblock, litho stone, or copper plate, but produces multiple impressions that are unique. Multiple unique impressions printed from a single matrix are sometimes known as a variable edition (i.e. ten prints pulled from a zinc plate). There are many techniques used in monoprinting, including collographs and handpainted additions, and a form of tracing by which thick ink (OPEN Acrylics) is laid down on a plate or table and rolled out. Paper is then placed on the ink and the back of the paper is drawn on, transferring the ink to the paper. Traditional printmaking techniques such as lithography, woodcut, and intaglio, can be used to make monoprints.

Inking copper and zinc plates with OPEN Acrylics requires a little practice to perfect the wiping technique. On the left side of the image the final print is mounted to a wood panel using Soft Gel and then several thin coats of "acrylic encaustic" were added.

Inking copper and zinc plates with OPEN Acrylics requires a little practice to perfect the wiping technique. On the left side of the image the final print is mounted to a wood panel using Soft Gel and then several thin coats of “acrylic encaustic” were added.

Monoprints can also be made by altering the type, color, and viscosity of the ink used to create different prints. Again, using OPEN Thinner in varying amounts with OPEN Acrylics can change the viscosity of the “inks”. In general, you will achieve a more ink-like substance if you permit the OPEN Acrylics to sit out for a full day in the studio before using them. I’ve found this stiffening process to be beneficial in achieving that desired ink-like consistency, but this is not necessary for Monotyping in the more painterly technique described in the previous paragraph.

Regarding inking the plates ‐ in some sense, not as much OPEN paint needs to be applied as with traditional inks. The old adage, “a little goes a long way,” applies here. In terms of wiping down the plates before printing, traditionally this is much like an intaglio wiping process, however you’ll need to adapt the wiping technique. Since OPEN Acrylics are water-based, they don’t react the same way to wiping as petroleum-based inks. The trick to printing here with a Monoprint style plate and OPEN paint is to combine intaglio-wiping methods with a more Monoprint approach. Traditional wiping is done with a tarlatan, a very absorbent cotton cloth, which is slightly too absorbent for OPEN, so it tends to wipe too much OPEN off the plate. Wrapping the tarlatan in a shell of tulle can solve this problem. The tulle is nylon netting and less absorbent than cotton tarlatan. Also the plastic nylon packaging for potatoes and onions works well as a shell, and then placing inside this nylon shell, a sheet of Brawny Dine- A-Cloth®. Try varying combinations to see what works best for you. Using these methods reduces the problem of wiping too much OPEN paint from the plate and this can also be used to your advantage by selectively drawing into the plate using cotton swabs and small daubers constructed from the Brawny Dine-A-Cloth.

As you can see, there is a tremendous amount of experimentation that can take place when creating both Monotypes and Monoprints. There are some water-based printmaking inks on the market today that use Gum Arabic as the base binder. With the introduction of GOLDEN QoR® Modern Watercolor using Aquazol® as a binder, I started to ponder the new potential of QoR as a printing ink. Think of the possibilities of working with OPEN alone on a Gelli Plate or in combination with QoR in any number of combinations of Monotype or Monoprint techniques. The possibilities for your journey into printmaking with GOLDEN’s contemporary materials are endless ‐ take the first step and twist off a cap to begin your adventure!

A Collograph print created from a textured bas-relief plate, constructed like a collage. The plate is "inked" with Open Acrylics and the image is transferred to paper with the aid of a hand baren.

A Collograph print created from a textured bas-relief plate, constructed like a collage. The plate is “inked” with Open Acrylics and the image is transferred to paper with the aid of a hand baren.

To find out more about Golden products visit their website: www.GoldenPaints.com

To find a listing of my classes & workshops visit my Working Artist page on Golden’s website: Kevin Greeland

Please join us at Venus Studios Art Supply in Palm Desert for some free art demos!

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