Painting on Location
La Primavera Children’s Parade
Much excitement since March. San Miguel de Allende, Mexico workshop sponsored by Flying Colors was a smooth, seamless, creative journey. Our own, private studio overlooking the city. We painted everyday, either in our spacious studio or in the Jardin next to the spectacularly sculptured cathedral.
Bob & a Few Friends
San Miguel de Allende Street Scene
We return for another workshop in San Miguel in March, 2015.
Jean, Bob, Nancy & Dena
Next I flew to Dena Wenmoh’s Ranch outside of Austin, Texas for a weeklong workshop at the Bunkhouse. Many familiar and returning painting friends. It felt like alumni week with 15 creative and loose painters. I was pleased to complete a few new large pieces myself!
Family Visit in Monterey
Once home again, we took a day off and drove north to Monterey to visit my daughter, her husband and our granddaughter Kylan. Then we packed for the Kentucky Watercolor Society workshop. Next I shoot over to Granbury, Texas for one of my favorite workshops – Larger & Looser.
Parlor Tricks Series - The Secret of the Multiplying Balls
Oh, I even squeezed in some studio time - new works for the Cambria gallery, The Vault. And finally, received notice I was juried into the Sausalito Art Festival. This is my 16th time. You’ve heard me speak with great love for this organization and their respectful treatment of artists. Larbor Day Weekend. See it online www.sausalitoartfestival.org. You’ve got to experience this art festival once in your life.
Opening Night & Bob with Mark Thomas
PS – After a week at Dena’s Bunkhouse, Kate met me in Austin to attend my opening reception of “The Magic Circus” at Mark Thomas Studio. What a night to remember! This is my third fundraiser art show benefitting Project Transitions. Mark and his talented crew hung the exhibit in his upscale hair salon, turning the shampoo bowls into iced champagne tubs. Need I say more? The boys know how to throw a bash! The evening raised much needed funds and more importantly awareness. Each and every person can make a big difference in every community.
More Fun News – The Artist’s Magazine, June issue
Bob in Studio
I received a special opportunity from the Artist’s Magazine. The June issue (available online and in newsstands now) features an article on my work and studio practices. The magazine sent me a few pages of questions to answer. Christine McHugh, the managing editor, turned the information into an impressive article titled “On the Move!” Chris writes “Footloose, inventive and dynamic, Robert Burridge experiments with acrylic and collage in evolving series.”
At least I didn’t come off as “too crazy” – but you be the judge. Anyway, I’m honored and really excited to be featured. Click here to purchase and download the digital magazine.
November 24 - December 4, 2013 and December 5-17, 2013
Paint Cuba with Bob Burridge
Visit the mystical island that has been off limits to most Americans as we delve into the religious and secular life of everyday Cubans. The experience is sponsored by the Center For Caribbean Religion & Culture and Vantage Travel. The trip includes 43 religious features, 3 UNESCO world heritage sites, sightseeing tours, and at least 30 hours of painting instruction with Bob. This is a country of historical contradictions quickly changing... you will not want to miss this stage of it’s development. Sponsored by Dillman's Creative Arts Foundation Contact (715) 588-3143 or firstname.lastname@example.org www.dillmans.com For more details click here.
October 7-11, 2013
Plein Air Painting with Bob in Hawaii!
5-day Workshop (Monday-Friday)
Art in the Mountains, Hawaii Contact Tracy Culbertson (503) 930-4572 email@example.com
PO Box 311, Mehama, OR 97384
Click here for a flyer!
January 25 - February 1, 2014
Loose Interpretative Painting on Location
Casa de Los Artistas
Boca de Tomatlan, 10 miles South of Puerto Vallarta
Contact Robert Masla, (413) 625-8383
Workshops in the Spotlight
May 26-31, 2013
Artist Retreat - Contemporary Abstract Figure Painting & Collage
5-day Workshop (Monday-Friday)
Dillman’s Bay Resort
Dillman's Creative Arts Foundation, Lac du Flambeau, WI
Contact (715) 588-3143 or firstname.lastname@example.org
Click here to check out my new Contemporary Figure Painting DVD
June 7-9, 2013
Wow Your Next Painting with Goof Proof Color Combos
3-day Workshop (Friday-Sunday)
Art Box Studio
1302 Monte Vista, Unit 9, Upland, CA 91786
Contact Sylvia Megerdichian (909) 981-4508 or email@example.com www.artboxworkshops.com
July 22-26, 2013
Loosen Up with Aquamedia Painting
5-Day Workshop (Monday-Friday)
Cloudcroft Art Workshops in New Mexico
Contact Linda Shiplett, (575) 687-2453
Registrar@CloudcroftArt.com or Lshiplett48@yahoo.com
PO Box 1202, Cloudcroft, NM 88317
September 16-20, 2013
Abstract Acrylic Painting & Collage
5-day Workshop (Monday-Friday)
Vancouver Island Art Workshops
Victoria, British Columbia, Canada
Contact Mary Stewart, 250-716-1440
Date Change Alert: The dates for this year’s Art of the Carolinas has changed! New dates are November 8-10. Workshops start on Thursday 11/7. For information, contact Sharon DiGiulio, 800-827-8478 x 146 or Sharon@jerrysartarama.com
My 2014 Workshop Schedule is now online!
And take note of the workshops in Cuba, Hawaii and Mexico. Hope to see you at one of these, as well as the others closer to you.
Click here for more of my International Workshops - for dates and destinations, materials list and packing tips!.
We Want to Hear From You!
Keep those Studio Tips and your questions coming! If we use yours in an ArtsyFartsy Newsletter, we will send you a Burridge Permission Mug.
Permission Mug and Wrist Band
We heard you already! Okay, I misrepresented myself in our last newsletter. In the how-to article, I demonstrated how to mount 19”x19” watercolor paper, deckled edge all around, onto a 20”x20” Cheap Joe’s Prime Really Good Cradled Painting Panel. The finished result looks really cool, contemporary and needs no frame, etc. (see article, March 2013 ArtsyFartsy Newsletter)
However, afterwards I got numerous emails with the question, “Where do I buy 19”x19” 300 lb watercolor paper that’s deckled on all 4 sides?” I apologize for the confusion. The answer: I hand tear and deckle my own 19”x19” paper from a 22”x30” sheet of Fabriano Cold Press watercolor paper.
So… Studio Tips to keep you Loose!
Tearing Watercolor Paper
Bob Prepping the Paper
When I work on watercolor paper, I prefer Fabriano papers. I also prefer the paper edges deckeled - rough and unfinished. It adds a handcrafted quality to the finished painting. Having said that, when the full sheet is trimmed with a knife or cut with scissors however, I lose one or two of the deckel edges. That’s a problem!
Solution: Tear the paper. The edges stay deckeled all around. The following is the approved, no nonsense way to tear paper. No special tools are required! (like those special “deckel edge metal rulers or serrated scissors)
Folding the Paper
For a standard size half sheet, fold the full sheet of watercolor paper in half. Press down on the crease with a roller, a hard tool or even the back of your brush handle. Make a hard crease.
Making a Crease
The secret to tearing paper is to fold the paper back the other way and press down on the crease again. The paper crease now becomes more flexible and easier to tear apart.
Making a Cone
Now for the actual tearing - Hold and fold the paper as though you were making a paper cone. Starting at the top of the crease, make a small tear. Tear the paper AWAY from itself - do not tear it by pulling the paper towards you (it will tear diagonally) - tear it away from yourself. This will result in a beautiful deckel edge! Continue folding and tearing until you reach the size you want. A half sheet tears down to two standard quarter sheets and so on.
Tearing the Paper
This technique works on both 140 lb and 300 lb paper, gessoed or non-gessoed. No need to wet the crease beforehand. More importantly, tear when the paper is completely dry and remember to tear the paper away from itself.
And… Tearing a Deckled Edge
I like 4 deckle edges when I float or mount watercolor paper.
Yes, you have to tear it - slightly cut the back side of the paper. Don't cut all the way through, just score it and tear it.
Score the Paper
Crease the Paper
Tear the Paper Away from the Front
Front Appears to be Deckled
Painter’s Keys – What are These For?
What Are These For?
These wooden wedges are called “keys.” They are used to stretch a canvas tighter. When you purchase a canvas, it comes with eight thin, wooden keys. The better canvases supply you with eight of these wooden wedges. The less expensive canvases may supply you with eight unusable pieces of plastic wedges – they are useless, so recycle.
Keys Wedged in the Corner
The classic, early canvas paintings consisted of oil on cotton, hemp or linen fabric, stretched tightly over a wooden frame. Eventually and over time the fabric would sag or loosen from the wooden frame. The technique to re-stretch or “tighten up” the canvas in those days (and still today) was to push out those four wooden, expandable stretcher bars by inserting and wedging in the wooden keys at each corner. Ask your local framer how to do it. Bottom line: Save those keys.
I have more tips for loosening up! Check out my Loosen Up Studio Workbook for more techniques to help you stay loose, relaxed and creative!
Click here for product information.
Ask Kate about Art Marketing
|ASK KATE! With every newsletter, Kate will post your questions and her responses on the subject of marketing, sales, and promotion. If your question is selected for the newsletter, you will receive a Burridge Permission Mug. If you have a burning question that you would like to have answered -- for your benefit and everyone else's -- email Kate at firstname.lastname@example.org
We have an Art Marketing Workshop Coming Up!
August 5-8, 2013
Abstract Acrylic Painting & Collage + 1-day Art Marketing 4-day Workshop (Monday-Thursday)
Cuyahoga Valley Art Center, Cuyahoga Falls, OH
Contact Linda Nye, Director, (330) 928-8092 email@example.com
Jim from California asks a two-part question…
After completing a series of several pieces and pulling the not-so-great ones for further study, when do you photograph or document the series or individual work you are going to promote?
Thanks for both your questions Jim! They are certainly related, as I consider photographing for documentation part of the inventory process.
When Bob thinks a painting is done, he will varnish it, sign it and then photograph it. It will be named at that time too (provided it doesn't already have a title. Sometimes he titles it early on in the painting process to stay focused.) We generally photograph a paper piece that will be mounted before mounting it. Sometimes we will take a photo of it mounted too.
And how do you establish a "system" for documentation. Breaking it down by year, month, etc. cross-referencing with title or what? This seems like a very important step and needs to be kept as simple as possible so that it gets done routinely.
When I put the new painting in inventory - I record the following:
1) Inventory number
3) Medium & substrate (acrylic on paper, mounted on canvas, etc)
5) Retail Price
Then, after the painting has been purchased, I record the following:
6) Sale price
7) Purchaser information
Inventory number - My numbering system is two-fold: The first two numbers are the year of creation, followed by a "-" - then the rest of the number is an on-going chronological list. I do not start the numbering system over each year. So right now, our next inventory number is 13-2634. We do not place the small paper paintings in this inventory - usually only 12x12 on canvas and larger.
Bento Art Inventory Software
My inventory software is Bento for Mac. Bento is not available for PC at this time, but there are versions for an iPad and iPhone!
Thanks again Jim - Hope this helps!
Art Marketing Books!
Books! There are many Art Marketing Books out there! I will share a few now and then that I find interesting...
All Marketers Are Liars: The Underground Classic That Explains How Marketing Really Works--and Why Authenticity Is the Best Marketing of All
by Seth Godin
Paperback: 240 pages
Publisher: Portfolio Trade; Reprint edition (April 24, 2012)
Product Dimensions: 6.9 x 5.1 x 0.7 inches
(buy at Amazon)
Permission Marketing: Turning Strangers into Friends and Friends into Customers
by Seth Godin
Hardcover: 256 pages
Publisher: Simon & Schuster; 1 edition (May 6, 1999)
Product Dimensions: 6.1 x 1 x 9.2 inches
(buy at Amazon)
Click HERE for details for Hot Art Marketing Workbook.
Click HERE for details for Hot Art Marketing DVD.
Kate Your Art Marketing Girl
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