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can anyone recommend an online vendor that will sell colored gildan hoodies or something similar with a good reputation, that isn't ebay, for silk-screening onto?
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Feb 2, 2009 22:19
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You can use it. Just to elaborate a bit, if they had some kind of image associated with their name and trademarked that, you shouldn't use that. But just a generic saint's name? No issue.
Beat. fucked around with this message at 21:24 on Mar 12, 2009 |
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Mar 12, 2009 21:09
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Elijya posted:but I don't see any place for discussing painting of any kind specifically, which is surprising. Is there a thread I've overlooked, or should I go ahead and start one? I kind of wondered this myself because I mess around with watercolors a lot, but making a thread just for painting in general would be such a gargantuan task maybe someone just doesn't want to do it? It seems weird given all the other basic megathreads there are.
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Mar 26, 2009 01:04
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Wooh posted:This is super noobish but how does one thumbnail link. Does SA do it for you or do you have to do it manually? if you use waffleimages for hosting, it gives you a thumbnail link automatically
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Mar 30, 2009 06:08
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Elijya posted:Just FYI, the masking tape worked horribly. It didn't peel the paint underneath, but when I removed it, paint had gotten under the tape everywhere, so my edges weren't sharp and straight at all. There's some tricks to it that make it easier, you just have to get used to it, so long as your surface is reasonably flat masking tape should work fine, I use it all the time.
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May 5, 2009 20:28
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it looks like ink, but he is doing some time lapse stuff so its hard to tell
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May 8, 2009 19:37
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I think the best thing to do is take a class, that is what got me over the initial "hump" of getting into drawing...one that I've used that is decent is Drawing: A Contemporary Approach by Claudia Betti and Teel Sale but really it was my first drawing course that really got me into it.
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Jun 6, 2009 19:38
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any kind of community college should have a beginning drawing class aimed at people with very little drawing experience, that would probably be a good place to start
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Jun 14, 2009 09:06
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depending on what your source is and what kind of printing you are doing, you could also use heavy solvents (acetone, xylene)... wear gloves and a respirator.
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Jul 14, 2009 22:06
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Prismacolor makes them too, "colorless blender," its basically just a marker with xylene in it. You can get them on dickblick, or my local art store carries them (I bought one there). But, I dont buy them any more just because they run out too fast if I'm in the mood to do transfers I'll just do the acetone thing because its so cheap and I have all the safety equipment already.
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Jul 16, 2009 00:36
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question about painting - what would you use to attach canvas to a board of MDF? some kind of simple glue like craft glue (sobo) or wood glue? or would I use something more sophisticated? any reason stapling would be a bad idea? Beat. fucked around with this message at 22:15 on Jul 20, 2009 |
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Jul 20, 2009 22:12
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what kind of art work do you make?
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Jul 25, 2009 07:46
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GonzoRonin posted:Kinda late but I'm seconding this. I love my Bamboo Fun, it's aptly named. You would expect to be signing some kind of release which allows him to sell images with you in it. Releases can be simple or complex but the wording is pretty straightforward once you see a few. As far as payment, it varies heavily from free to very expensive for real models, so you should be discussing it in advance. At the bottom rungs, typically nude models get paid more than clothed models. There is no real good way to say a price because we know nothing about what you look like, what the local market is for models and such, etc. But for a private photo shoot, nude, with little to no experience I would expect at least $50 for the first hour - I think typically the girls my friends get go for anywhere from $100-300 an hour depending. But that's very variable. Ha ha, it sounds like prostitution. The only real rule of thumb is you don't have to do anything you don't want to or aren't comfortable with, and don't be afraid to voice your discomfort about different positions or whatever. A lot of the better (more professional) models I know are very physically fit and do a lot of yoga and stuff so they can hold complex poses longer.
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Aug 14, 2009 02:18
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I dont really understand your question. You're talking about traditional ink work (are you talking about typesetting or block printing or what? ink drawing?) and photoshop. Can you elaborate?
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Sep 24, 2009 07:15
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I wonder if anyone here submits work to juried exhibitions in galleries. I am curious, a lot of galleries charge entry fees... is that normal and has it been worth it, in terms of exposure, for anyone who has done it? I am pretty leery of a 25-30 dollar entry fee for a lot of these things, even if many are at well known galleries, it seems shady to be charging people who don't generally make a lot of money anyway, on top of whatever % commission they get off a sale - which is like, 20-40% or sometimes more. I have no problem with them making a commission, I just dont like the whole entry fee thing. Any input appreciated.
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Oct 8, 2009 08:07
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Thanks. Especially for galleries or shows that aren't local, it's hard to know what is worth it unless the space is super famous. I like a lot of the stuff you wrote, it seems similar to what I was thinking.
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Oct 10, 2009 03:05
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Nione posted:I've got a few questions about woodcut printing. The best thing you can do is go to the art store, buy some pieces of linoleum (of different hardness) and some cutting tools, and a piece of wood, and some water based ink and oil based ink and a brayer and get a feel for it yourself. There's no telling what kind of look you want, or what results you will prefer. As far as the mediums go, you can cut a relief into just about anything you can cut. Some people use styrofoam or potatoes. For longer runs of prints people use wood or linoleum because it can hold up better. All these different things end up looking very different once printed. I'm not going to bother trying to articulate how, they just do. After you look at relief prints for awhile it becomes pretty clear which ones are lino cuts and which ones are wood cuts. As for wood a lot of people use pine, sometimes people use stuff like balsa, but with time and patience you could probably cut into drat near anything. Linoleum is not wood, by the way. It's a class of products that are manufactured from renewable materials but not very wood like... Aside from the visual differences in how the prints look, people use wood and linoluem because they stand up to multiple print jobs better than softer, less durable products. You can wash linoleum with solvents like mineral spirits, where you cant do that with styrofoam, that would be more or less one time use if printing with oils. The difference between water and oil based inks is really night and day. I have been using both but for different reasons. Oils, to me, look better in terms of a "fine art" sense. They are clean and vibrant, and when dried on good paper they look to me like something that is "saleable." But what's saleable to me, is not to everyone else. SO for doing serious stuff I prefer oil based inks. The problems of using oils are what you would expect: clean up takes longer, you have to use solvents, if you get some on your clothes or something you're basically hosed so you have to wear old art clothes. I use water based for doing test prints and things that I paste up on the street that just get torn down in a few days anyway usually. It's fast, easy to clean up, the ink dries quicker, and its a bit cheaper (I think the price of the ink is really a toss up actually since neither are very expensive if you buy in bulk.) It does not have the vibrancy or texture that I think makes doing poo poo like block printing worthwhile - if I'm going to spend 40 hours cutting a block to make a print to sell my end goal is to print it using ink. You can print multiple colors on the same block but if they're next to each other they will bleed and mix. I have no problems with this effect, some might. As far as paper, you just gotta buy and experiment. I don't know about cardstock, I have used it for block printing and its been fine but I dont know about dyed stuff, or what they're using for the metallic effects (aluminum?) and how those things will take the ink. Basically all your questions are things you would be better served by just buying some supplies, sitting down for a couple days, and working out on your own as nobody will be able to tell you your "preferences." However, for the wedding invites I would suggest using oil based ink (leave ample time for drying) because the water based inks will rub off of the paper if it's cheaper paper, and people will have flakes of ink coming off onto them whereas the oil, once its dry it's more or less fixed there. I don't think any commercial printer will print onto paper that already has stuff on it. You could call people locally but probably a better idea to get your message printed onto the stock first then do your prints on it afterwards. I've never done that.  Click here for the full 1000x669 image. this is just a piece of newsprint I used to soak up leftover ink after doing some prints  Click here for the full 725x1000 image. this is an example of 3 colors of ink on one layer print, 18 x 24 For water based ink the speedballs are fine. I have not used speedball oil inks because I thought they were expensive, so I just got them from graphic chemical. Graphic chemical is a good place for relief printing supplies in general. Beat. fucked around with this message at 17:32 on Oct 23, 2009 |
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Oct 23, 2009 17:28
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Resmarted posted:I enjoy stream of consciousness poetry/songwriting and personal writing. I also(at least according to others) am good at writing in general but I have always struggled with procrastination, lack of motivation and often perfectionism. What the hell does being common or realistic have to do with anything? If you want to do something, just do it.
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Oct 24, 2009 15:51
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And it's not just that they're not mutually exclusive. Where I sit the link between art, creativity, and everything in "harder" sciences is so strong that just implying it isn't there makes you look very short sighted.
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Oct 24, 2009 16:42
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If you want water based marker, poscas are good, there are a ton of different brands. Just go to the store and ask for water based markers... The issues you're probably having are from solvents, but I doubt its from using the markers alone, but if you've had other exposure to solvents from other art stuff it's pretty common to develop chemical sensitivity. Protective gear kids, protective gear. For sketch and black and white drawings on good paper I usually use india ink based markers like those pitt artist pens.
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Oct 27, 2009 21:03
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I do this a few times a week, eventually you just get comfortable doing it and better at doing it, so people dont notice or don't care. Good places to go are anywhere there's a lot of people hanging out - cafes, parks, libraries are good, etc. I usually just do a lot of 15-30s sketches until I find someone who's not moving a whole bunch then draw them as long as I can. I also have never had someone ask me about sketching them, but if someone had an issue I'd just give them the sketchbook page and tell them sorry. And if they were rude I'd probably also tell them they're a douche. But that's just me. Beat. fucked around with this message at 18:43 on Nov 4, 2009 |
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Nov 4, 2009 18:40
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The other thing is that if you're really wanting to do figure work and live in a big city, just look up figure drawing sessions. Outside of the drawing class I take I go to 3 separate sessions every week. They're 3-4 hours and usually about 10 bucks each. Not a bad deal to draw a model for a few hours. I know a guy who used to do 40 hours a week in front of a model when he was in art school and his work is, now, phenomenal. Kind of like a goth version of Alphonse Mucha. But he has been at it for like 10 years or so. Anyway it's a cheap way to rack up those drawing hours.
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Nov 5, 2009 01:18
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burexas.irom posted:This seems like an appropriate thread for this kind of question... I like the 2nd one, its great. I didn't get the first one until I saw the second one but I thought it was funny, anyway. The font doesn't sit too well with me.. Honestly I think people worry way too much about copyright law and don't really understand it. It's one thing to take someones idea and just rip it off and another thing entirely to parody something. But the bottom line is that copyright disputes are about money: recovering money because of damages. Do you really see yourself making a big pile of money on this? Do you think this really dilutes the brand equity that Hello Kitty has? I really doubt it.
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Nov 28, 2009 20:47
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It depends on what you're painting onto it. If you want a flat color any kind of spraypaint will do, or if you want to do one of those artsy fartsy skateboards you could use acrylics and cover it with a clear coat. As long as you dont go nuts with the paint or you sand down the really heavy brush marks you should be fine. You could use oil paints too if you got time to let them dry well. You could also do a stain, or a pattern of different stain colors and then cover it in varnish. Since we're talking about skateboards, I'll just say every time I see one painted artistically I want to barf. That's just me though - lots of people love that poo poo.
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Dec 2, 2009 08:21
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Back Stabber posted:I'm referring to the bottom here yeah so am I
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Dec 4, 2009 02:08
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State and local government websites. Where I live the City of Phoenix has a pretty big set of resources devoted to it. The state government, on the other hand, sucks a fat cock! http://www.phoenix.gov/arts/artprogr.html Basically what happens is that they put out calls to artists for various projects or exhibitions, large and small. They then have a committee which chairs the selection of the winner(s) which is made up of people who work for the city, people who work in the arts (I know university professors who do this) and sometimes other people like donors and such. For museums it's a bit trickier depending on if they're actually part of the government somehow (the art museum at a state university) or a non-profit (funded exclusively by donations and run by a board of directors) but generally the art will be donations or decisions will be made by the higher up leadership - senior curators and executive directors.
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Dec 5, 2009 01:18
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I don't know where you live but I'd find the nearest good graffiti shop and ask them if you want a local, or look online and hire a real writer. Some are more geared towards professional work than others but you can expect to drop some pretty serious loot on it.
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Dec 13, 2009 03:43
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What kind of paint are you using? I typically use golden heavy body acrylics and utrecht brand, and, even watered down they tend to be pretty heavy on pigment load. OF course opacity will depend on what pigment, etc, but even that said. I am using regular acrylic brushes that run 5-15 bucks each and hardware store brushes for really big poo poo. If you are painting a darker painting, or something like that, try mixing some black in with another coat of gesso, or doing light washes of watered down paint (think like doing an ink wash) in whatever your colors are first. Obviously lovely paints will not work well for the washing.
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Dec 17, 2009 07:18
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An audit isn't really something to worry about in terms of going to jail, an audit is just a gigantic, and sometimes expensive, pain in the rear end. Typically if you're cooperative an audit can be resolved fairly quickly but you never know how much you'll end up paying. In a lower income bracket (I'll assume you're in because of your post) its really not something to worry about a whole lot. I doubt the IRS would even bother, but you never know. It would help you most to take a "bookkeeping for small business" type class at a community college if you are really concerned about it. Understanding just a few basic things can really help you out in the long run. If you learn how money works for business, even a little bit, it puts you at a big advantage over a lot of artists who cant/wont/dont know for whatever reasons. I guarantee you that most famous contemporary artists know a lot of basics or hire out a professional to help them. Some things that can help you keep poo poo straight would be, setting up a separate bank account for your art related things (both income and expenses), keeping all your receipts, and having a good general idea of how much time you put into a particular project or piece. Maybe spend 1 hr a month to track all your incoming and outgoing cash on different projects, keep it in a binder. Almost all the people I know who make a portion of their income on creative work do something similar. Unless they work at a firm, then they just track hours on projects and the accountants figure the rest out.
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Jan 13, 2010 00:23
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I assumed that you don't make a lot of money on creative work because you're posting questions about it. There's really know way to know if you'll get audited. I don't know anyone who works for the IRS but I am willing to bet that when they decide to start an audit it's based on thresholds and metrics surrounding how much activity is hitting a person or firms tax ID or social security number. So if you do a lot of buying and selling online, or accept personal checks, all that is hitting your soc. at some point or another. If it makes you feel any better I don't know anyone who makes less than six figures who has ever been involved in an audit. I hear you on the LLC thing. One of the big beefs I have with the local government is what an outrageous pain in the rear end it is to file all the paperwork involved with being a local business for the small guys. It's really, really, tough to keep up with all that bullshit and do any kind of "real" work without administrative support. Edit, just to extend my rant a bit. On the whole, not needing a pro to do your taxes - I wonder if you have actually looked into what it takes to operate a small business just as a sole proprietorship, wherever you live. Technically speaking if you make sales within your state you're not only supposed to count it as income, but also supposed to be paying sales tax. That's completely separate from any kind of business name registration or license fees (typically state and county are separate). It can get very messy very quickly, comparing it to administrative work at a law firm is really apples and oranges. And what happens if you decide to pay the fed but not the state (or vice versa) but one of them catches on via discrepancies in some report or another? Yeah, its a huge pain in the rear end. Well, I am including this bit just for the benefit of anyone else reading who is considering this, as people probably are, it's that time of year. Beat. fucked around with this message at 01:46 on Jan 13, 2010 |
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Jan 13, 2010 01:36
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Not Memorable posted:I'm sure it varies by state to state and locality to locality but in my personal experience starting/running an LLC is so far from a pain in the rear end it's laughable. It's really not bad. Hit your library and pick up a few books on the subject. The issue is not simply the filing of the paperwork for registrations and such, what I have found to be a greater pain-in-the-rear end is that you have to file certain things monthly/quarterly or you are subject to penalties. Where I live it is an issue of both county and state paperwork - so with fed that's 3 separate things you gotta keep track of on a monthly / quarterly basis. Even if your income is 0 for that month/quarter As with many administrative things it's not complicated, it's just time consuming and a pain in the rear end.
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Jan 13, 2010 01:49
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Not Memorable posted:If you are making over a certain amount you are supposed to pay estimated income taxes quarterly either way, whether you incorporate or not. I work in video and nearly every freelancer I know that's not making major dough just eats the penalty at the end of the year, the financial freedom of having that money in your bank account earning interest and as a potential safety net is better than the pitiful penalty. where I live (AZ) if you don't do your state level paperwork regularly (monthly) you can get in pretty deep poo poo, so I think it probably depends on location a bit... I know one person who is a friend of mine who has gotten really screwed on sales tax - screwed in the sense that they didn't pay it for like 5 years then had to cough it up
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Jan 13, 2010 04:34
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have you tried local, university libraries or resources with access to music library databases (NAXOS Music Library) etc. ?
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Feb 17, 2010 23:00
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Well if youre in an area with any kind of decent sized colleges or unis you usually dont need to be a student if you actually go to the campus, just to look at databases and collections. It does require the footwork, though. If you are an alumnus of a decent school you can typically mail special collections and have them e-mail you PDFs of stuff, as well.
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Feb 18, 2010 00:25
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dick blick is allright, utrecht is allright, but you gotta know what you want
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Feb 18, 2010 06:27
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You shouldnt do anything over pastel unless you don't really care - but on top of the fact that most pastels take very long time to dry, on the order of years, and then many dont dry completely, the acrylics will not really have anything decent to bond to. But since youre not going to sell it, it doesn't matter anyway, so just do what you want.
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Mar 4, 2010 03:52
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anaaki posted:Actually, they're being auctioned off for charity. I mean real money
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Mar 5, 2010 06:15
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Off the top of my head the only one I know who even approaches that locally is a photographer http://www.leighmerrill.com/ leigh merrill, you might look at some of the things she does / creates. The base ideas she examines are actually quite different but she does use the house (especially the tract or suburb house) as a motif. If you want to take a historical perspective I'd consider things associated with arts & crafts movements like the pre raphalites. Depending, you might even consider the rococo interior work. Like many early 20th C. artists Frank Lloyd Wright often created interior furniture and accouterments to go with his homes. Another possible angle. Its funny, all this stuff is made of wood. When I think of ceramics I think of that ancient greek pottery used to illustrate stories, you could find info on that in ARTStor or a similar university research database. Also chinese ceramics like Yixing teaware that is functional but generally takes up different themes & motifs of auspicious or scholarly nature. I think one could go in a lot of directions from there - any contemporary ceramic artist will probably be familiar selling pieces for display in the home as well as for functional use. If you have the name of one artist you like you might try emailing them and asking. It kind of depends on what you mean by home/identity and what that boils down to - its too big a strike zone to get really specific. It makes me thing of domestic / middle class life which is why I make these suggestions. I think of identity as a fairly contemporary notion. You might also explore the idea of home, domesticity, and gender. Lots of artists do work regarding gender (this is something I explore here and there) and that's closely tied up with both those themes. Edit: Sorry I forgot since this is something awful I must mention glorious Nippon as the cradle of every good element of contemporary art and innovation, thus it should not be overlooked in your survey. Consider anime and its broad influence in the domestic sphere. ^_^ Beat. fucked around with this message at 23:31 on Apr 15, 2010 |
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Apr 15, 2010 21:55
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the immediate reasons that come to mind would be that things break down over time and emit gasses that need to escape, some organic materials will do better exposed to open air, and the air can act as a buffer for changes in heat you might also consider the breakdown of artwork as a chemical process that occurs over time, thus pressing a hot element against it, like a piece of glass, would increase that rate as all chemical processes speed up with heat increases (there's some formula for that) still, exposure to light over long periods of time will be the main source of image degradation consider a mylar encapsulation or mounting the piece in a matte and then floating it if thats your thing and it's really valueable/worth it - if its just cheap stuff with no high fiscal or sentimental value I wouldn't worry about it that much
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May 27, 2010 21:43
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with graphite it has more to do with how you apply it, you can get a bit more matte finish compared to the silvery shiny finish you get if you grind it into the paper but you have to do it more gently, and even then it won't look like coal - I usually stick with just regular compressed to avoid complications, graphite is just a pain in the rear end
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Jun 1, 2010 11:23
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