Milward Farrell and Gary's Art & Frame: SPRING GALLERY NIGHT 2015!

Thursday, April 30, 2015

SPRING GALLERY NIGHT 2015!

AMY DONALDSON PAINTING

COME JOINT US FOR SPRING GALLERY NIGHT THIS

FRIDAY MAY 1. 2015

REFRESHMENTS AND SMALL BITES FROM 6 - 9 PM

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Did you know?

Art Terms & Facts;

"Raku" was first used by the Japanese in the early 1500's exclusively for the tea ceremony that is practiced throughout Japan to this day. The work "raku" in early times signified "enjoyment of freedom." Today, with raku being made in great numbers at factories and not by individual craftsmen, the work raku has come to mean "low fired ware with lead based glaze." The pottery is more decorative than useful in the long term, as it is quite soft and fragile. It will only hold water for a very short period before the liquid will seep out through the cracks in the glazes and the porous clay. Raku fired pottery by Americans differs from that of the Japanese in that our raku is heated and buried in combustible material such as sawdust, leaves, newspapers, and even horse hair to give greater contrast and bright vibrant colors to the glazed surface. The Japanese firings are much more subdued and low in contrast.

"Monoprinting" is a form of printmaking that has images or lines that cannot exactly be reproduced. There are many techniques of monoprinting, including collage, hand-painted additions, and a form of tracing by which the ink is laid down on a table, paper is placed on top and is then drAwn on, transferring the ink onto the paper. Monoprints can also be made by altering the type, color, and pressure of the ink used to create different prints. Examples of standard printmaking techniques which can be used to make monoprints include lithography, woodcut, and etching. The difference between monoprinting and monotyping is that monoprinting has a matrix that can be reused, but not to produce an identical result. With monotyping there are no permanent marks on the matrix, and at most two impressions can be made. Monoprints are known as the most painterly method among the printmaking techniques and is often regarded as a non-editionable kind of print, basically a printed painting. No two prints are alike.

"Serigraphy" - creative Silkscreen printmaking, in which the artist designs, makes, and prints his or her own stencils. The artist creats the stensils on a fine mesh. Ink passes through these screens in a sequence to create the image.

A serigraph differs from most other graphic-arts proofs in that its color areas are paint films rather than printing-ink stains. It is, in addition a direct, extremely versitile technique that can simulate, in an unlimited range of colors, the impasto of oil colors, the transparent washes of watercolors, and the effects of gouache and pastel - which justifies the widely held opinion that serigraphy is as much a painter's as a printmakers medium. It has been said that a commercial silkscreen print is a sterile, literal translation of an artist's sketch, and therefore, a product rather than a creation, while a serigraph is a lively, free translation of the artis's concept and therefore, a meaningul work of art. In serigraphy, the artist is expected to execute the entire process without assistance, as in original prints.

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Thursday, April 30, 2015

SPRING GALLERY NIGHT 2015!

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