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Creative Zone Blog

From Puzzle Pieces to a Masterpiece

What To Do After You’ve Finished A Puzzle

Puzzles are painstaking, meticulous and often impermanent but they do not have to be. If you have been puzzled in the past by what to do with your puzzle after it is finished, look no further!

Materials:
Puzzle
Tri-Art Polymer Medium
Liquid Glass Pouring Medium/Resin
Substrate: Tri-Art’s Alu Panel, Alu Cradle, Bamboo Panel (Note: Use same size as puzzle)
Palette Knife and Fine-haired Paint Brush

Tri-Art Finest Quality Polymer Medium & Liquid Glass Pouring Medium/ Resin.

Tri-Art Substrates: Bamboo Panel and Alu Panels.

STEP 1

After finishing your puzzle, use an acrylic medium to adhere the pieces together. For this, we recommend using an acrylic medium like our Polymer Medium. Brush it onto both sides of the puzzle. Each side will take about an hour to dry.

STEP 2

Find your substrate and adhere your puzzle to it. There are a multitude of surfaces you can use for this, we recommend using Tri-Art’s hard Bamboo Panel or Alu Panels or Alu Cradles. We used one of our 12×12” cradled Alu Panels because it had the same dimensions as the puzzle itself. You can adhere the puzzle to your surface by brushing the Polymer medium onto your substrate, then applying your puzzle on top of the surface. Wait approximately 1 hour for the puzzle to fuse to your substrate before proceeding to Step 3.

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Apply Polymer Medium to substrate surface.

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Spread evenly across entire surface with fine-haired brush.

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Lay puzzle on top of substrate, gently aligning sides.

STEP 3

As a final touch (and for additional adhesion and gloss finish), apply a coat of Liquid Glass Medium/Resin. This will give your puzzle a saturated, glass-like finish. Before pouring the Liquid Glass Medium, it is best to tape the sides of your substrate with masking tape as protection from dripping. Pour the Liquid Glass Medium directly onto your substrate and spread it across the surface area. You can do so through physically tilting your piece and allowing the Liquid Glass Medium to gradually spread across the full surface or you can use an acrylic tool like a palette knife. Pop any air bubbles before leaving it to set. If you see any imperfections in the pouring process, you can add small drops of Liquid Glass over top of the divots. These will self-level but you can also continue to use an acrylic tool to help smooth the surface. 

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Example demonstrates using a palette knife to spread the Liquid Glass Medium/ Resin

STEP 4

Allow the Liquid Glass Medium/Resin to cure at room temperature for at least 24 hours (drying time can vary for this depending on how thick the Liquid Glass has been applied and the humidity of the room). Ensure that your substrate is level to avoid pooling and sagging of the medium. (Optional: Cover with box to keep surface clean and free of dust and particulate being embedded.)

Now your masterpiece is ready to hang!

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Artist Interviews

Artist Interview: Janna Watson

Artists around the world trust Tri-Art products when creating their works of art. Today, we feature Janna Watson, a painter from Toronto, who uses our Finest Quality High Viscosity and Liquid Acrylics lines.

[Note: Some responses have been edited for clarity and flow]

Portrait of Janna Watson

Tri-Art (TA): Tell us a little about yourself.

Janna Watson (JW):  I am an abstract painter who lives and works in Toronto.  I graduated from OCAD in 2008 and soon after signed with Bau-Xi Gallery in Toronto & Vancouver.

 

My practise over the last 10 years has really been a process of self reflection.  I am always looking to develop and challenge my techniques, and to understand the relationship of colour, as well as its relationship to the world. My foundation comes from spontaneity, intuition and materiality, and how these basic fundamentals explore the psychology of colour.

 

There is a “becoming” about painting that I deeply relate to. The quality of pigments and texture is pivotal to my work and that is why I use Tri-Art paint. Certain brands of paint in the last 10 years have changed their quality and even diminished the saturation of pigment in some of my most used colours. But I have discovered from my own experimentation that Tri-Art’s quality has always remained the same. The materiality of paint is one of the key factors to my success.

 

I live with my cat White Cat, my dog Anouk, and my fiancée Pamela.  I own a rug design company, Studio Watson, that is dedicated to redefining interiors with hand-tufted floor pieces inspired by my favourite paintings. My greatest inspiration in life is colour.

Everything is Spicy, a painting by Janna Watson
Everything is Spicy, Janna Watson, 2020

TA: What inspires you as an artist?

JW: I am inspired by the relationships that colours have to each other.  Colour holds so much emotion and power.  Some colours vibrate beside each other. Some colours balance each other.  And some colours create tension.  What I love about colour is that there are no rules.  Nature gives us so many colours and it is so inspiring.  You think about nature colours as being earthy, but then you see a sunset with fluorescent pinks and purples and yellows and the way lighting affects everything.  It is constantly creating new moods and forever changing.  I love how colour has the power to manipulate emotions like that.  

 

 

TA: How has your creative process changed throughout your career?

JW: My creative process has changed because I understand my materials better.  I have painted most days for the last 12 years, so over time I have learned to understand my pigments and the materials that I work with.  

A Scratch of Juniper Berry, a painting by Janna Watson
A Scratch of Juniper Berry, Janna Watson, 2020

TA: What Tri-Art products and colours do you like working with the most?

JW: I love all Tri-Art colours but particularly appreciate the whites.  I love Warm White and Titanium White and use Liquid white in my big swoops.  I have tried many different brands of white liquid acrylic paint, but Tri-Art really works best for me. It flows smoothly, consistently, and it holds its pigment without being overpowering.  I have often found with other brands that their whites swallow up my pigment, but Tri-Art allows the pigment to stick so that each colour/layer can be “equal players”. I essentially identify paint and pigment as two separate entities, and I’ve learned to appreciate & manipulate their presence independently and coincidingly. 

 

For example, when I use Tri-Art’s Red and Paynes Grey, their tones disappear into a black tone because their tones are balanced. Similarly, when I add a properly pigmented Titanium White, the magic of the white pulls its pigment back to life.  It’s kind of like pulling thread through a weaving machine, so that you can see the individual threads as opposed to just a mess of wool.  Tri-Art’s Titanium White is a favourite of mine; high quality and is balanced properly. It lets colours pull through like threads as opposed to swallowing them up.  

Q's Machine, a painting by Janna Watson
Q's Machine, Janna Watson, 2020

TA: How do you start a painting?

JW: I choose my palette…  and I paint the shapes in my mind.  I don’t have a sketch pad but I will look at my canvas for a while and plan it out.


TA: Do you always like your pieces? What happens if you decide you don’t like one?

JW: I don’t always like my paintings.  If I don’t, I leave it and come back to it days later with “fresh eyes”. If I don’t know how to continue, I leave it and move on. 

 

TA: How do you decide when a painting is finished?

JW: The feeling that it is balanced comes to me.  I leave it out so that I can look at it while I’m in a different head space.  If there’s nothing else I “see” then it is done. 

Lil'Bit Wiggly, a painting by Janna Watson
Lil'Bit Wiggly, Janna Watson, 2020

TA: What memorable responses have you or others had to your work?

JW: Several times I’ve been told that I “paint like a man.” 

 

TA: If you could change one thing about the art industry, what would it be and why?

JW:  More women getting the recognition they deserve.  The industry is still highly run by white male artists.  

Thanks to Janna for sharing her thoughts about her art! You can find out more about her paintings and upcoming exhibitions at https://www.jannawatson.com/

Categories
Creative Zone Blog

Decorative Art Plates

Create your own boldly decorative, graphic plates for display using Tri-Art Paint Markers and Liquid Glass Pouring Colours. These designs are based on some retro fabric patterns. What is old is new in this case.

2 plates on wall

Materials:
Tri-Art Paint Markers
Liquid Glass Pouring Colours
Pencil and eraser
Optional: cut shapes to trace onto the plate

Plates. These must have a matte finish. These are Dollar store finds.

paint markes and prep materials

STEP 1

Create your pattern. This may be done by cutting our shapes and tracing with pencil onto the plate or drawing your shapes and patterns directly onto the plate. The matte finish should allow for using an eraser to correct errors or for making refinements.

pencil drawing of retro design

STEP 2

Use the Fine Paint Marker to paint the lines or to create patterns and designs within the shapes.

finished patterns on plate
adding colour with Liquid Glass

STEP 3

Allow the paint to dry. (10-20) minutes.
Erase any pencil lines that are not needed. Be sure the paint is dry before erasing. If not, the paint will rub off. Once dry add colour using Liquid Glass. This may be painted using a brush, poured on and tilted to direct or by  dipping the plate.

Adding Liquid Glass to finish shapes

OPTION: Leave the pencil marks and cover pattern with Liquid Glass Pouring Resin. This is shown in the plate on the right.

Three plates with hand painted design

OPTION:

Mix a custom colour. Put into a bowl or tray. Dip the edge of the plate into the paint. Tilt and rotate the plate to accentuate the dripping movement.

2 plates on wall

Display your graphic works!

Categories
Creative Zone Blog

Cracked Glaze Effect House

Cracked Glaze Effect on Tiny House

House painted and displaying cracked effects

MATERIALS:
Art Noise Permanent Acrylic Gouache paints
Tri-Art’s Crackle Ground Acrylic Medium

Tri-Art’s Liquid Iridescent Copper
Nylon brush (1/2 or 1”)
Wooden 3D puzzle house

INSTRUCTIONS
STEP 1
Prime and paint house surface with gesso or  Art Noise paint. This will be the colour revealed between the cracks once the Crackle Ground dries.

Allow to dry before adding Crackle Ground Medium.

STEP 2 
Apply Crackle Ground onto one side (surface) at a time. Surfaces must be horizontal or the medium will run off the surface. Apply a generous amount by pouring and then tilt the surface to spread or pour and spread with a brush. Using a small cup to pour gives more control. If using brush, very light pressured strokes must be used or the cracks will not happen. Let each side dry before adding the medium to other sides. 

STEP 3
Once dry the primed house colour will be revealed in the cracks. Paint may be applied over the white Crackle Ground. This should be done in light coats with either a brush or rag to avoid filling in the cracks with paint.

Applying paint in mutiple thin layers, glazing, dry brushing and blending techniques will accentuate the cracks and enhance the glazed effects. 

Categories
Creative Zone Blog

Sticks-or-Sculptural-Bouquet?

Sticks for Sculptural Display

Gold sticks in vase

Elevate the presence of sticks by painting and enhancing their sculptural form and  lines.

Featured Tri-Art Materials:                  F.Q. Burnt Umber Gesso
F.Q. Liquid Iridescent Gold Deep
F.Q. Liquid Naphthol Red
F.Q. = Finest Quality 

Other Materials:
Dried sticks or driftwood
Twine
Paint Brush

INSTRUCTIONS:
STEP 1
Prepare the sticks by clearing away debris and grit with a dry brush.
Paint the areas that will be covered with paint with Burnt Umber Gesso. This will seal and act as an absorbent ground to compliment the Iridescent Gold.

STEP 2
Once the Gesso is dry,  Iridescent Gold and accent colours. Use dry brush technique by lightly loading a dry brush with paint and lightly stroking the surface. Once paint is loaded onto the brush, rub excess off with a rag and then apply. This will pick up the lines and stick’s textured nuances created by time and age. Leave some of the Gesso showing through in order to keep some of the natural feel.

TIP:  Wrap and tie string to mark areas that may be painted with accent colours or remain bare.
DISPLAY: Place in a vase or on the wall.  Wrap string or nylon threat around a section and hang on the wall.

Categories
Notes from the Lab: Archive

Green and yellow pigment developments.

This is an archived post from late 2017.

We have developed our production for certain transparent pigments to obtain a cleaner, more transparent paint film. The pigments have the same strength and the mass tone and undertones will appear the same. The visible difference will be increased glossiness and a more transparent finish.

  • Transparent Yellow Oxide
  • Sap Green Light
  • Nickel Azo Yellow
  • Golden Yellow
  • Golden Orange
  • Green Gold
  • Golden Green

from the Finest Quality lines will all be modified to the new process.

Categories
Notes from the Lab: Archive

Aging additive mediums.

This is an archived post from June, 2016.

Retarders belong to Tri-Art’s collections of mediums classified as additives. Additives completely evaporate over time from the paint film and have no lasting effect on the final finish of the paints.

These products will naturally age and appear amber in tone. The aging or amber colouration will not affect the performance or alter the colour they are mixed with.

Categories
Notes from the Lab: Archive

Improved umber pigments.

This is an archived post from June, 2015.

Tri-Art recently improved upon our recipe for grinding our umber pigments. We are using the same PBr 7 pigments but are now able to develop the colour further. As a result Burnt Umber, Raw Umber, and all the mixed colours using these pigments will benefit from this development. This applies for all our acrylic colour lines.

The more efficient use of the pigment also results in:

  • Darker and richer umbers than previous batches.
  • More intense chroma.
  • Stronger tinting strength.
  • Higher staining.
  • Glossier finish.

The following colours will show a slight shift in their mass tone and undertone:

Burnt Sienna, Neutral Grey, and Viridian Hue.

Note*

There is the same ratio of solids to liquids with each line. The colours will maintain the performance and ability associated with their line.

Categories
Notes from the Lab: Archive

Improvements to our acrylic products.

This is an archived post from March, 2014.

Tri-Art has recently made significant improvements in the quality and performance of our entire range of acrylic products. After much testing and evaluation, we have been able to produce the best formulations for our product lines, achieving the same quality in terms of flexibility, adhesion, and resistance to yellowing with time.

We have been working towards these changes for some time, the implementation of which has resulted in the following improvements:

  • Glossier dry film.
  • Improved shelf life.
  • Enhanced colour staining power.
  • Increased transparency of dry resin (acrylic) resulting in higher chroma and pigment tone accuracy.
  • Improved rheology resulting in creamier wet film handling.
  • Augmented texture holding capabilities and brushstroke fidelity.

The dry film improvements have led to some physical changes in the appearance of the colours in their wet state. The wet to dry colour shift is most noticeable in our student lines.

Be assured that these colours, once dry, will have the same or greater chroma and pigment tone accuracy.