Which type of pallet should I use for painting, if I want to be nice to the environment?
the_no...@hotmail.com
better than buying those pads of wax paper. I figured that washing a
reusable pallet, would obviously produce less garbage than throwing out
a sheet of wax paper everytime I finished painting. But then, as I was
washing my pallet, I realized that maybe washing paint down the drain
isn't any better. I mainly use acrylic, and I was wondering if anyone
knew what the most environmentally friendly way of painting is. If you
have any ideas, give a shout.
Peter H.M. Brooks
You'd have to do quite a complex analysis of the pollution caused by
plastics factories, the energy consumed by grinding machines and the
problems caused by the sources of 'natural' pigments used in
watercolours and the side-effects of growing linseed, to begin to get an
answer to your question.
--
A society should be judged not by how it treats its outstanding
citizens but by how it treats its criminals. -- Fydor Dostoevsky
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Andrew Werby
<the_no...@hotmail.com> wrote in message
news:1118355840.4...@f14g2000cwb.googlegroups.com...
will keep your paint from drying out for a considerable amount of time. This
would be better for the environment (and your supplies budget) than washing
your paint down the drain. I'd say that basically trying to avoid wasting
things yourself will get you further than analyzing the practices of the
various industries that make wax, paper, paint, etc.]
Andrew Werby
www.unitedartworks.com
Paul Mesken
>I mainly use acrylic, and I was wondering if anyone
>knew what the most environmentally friendly way of painting is. If you
>have any ideas, give a shout.
I believe the synthetic organics are the most environmentally friendly
paints. Cadmiums, Lead, Vermillion, etc. are not (although only the
Cadmiums are still used in quantity in acrylic paints).
Gune E. Byrd
the_no...@hotmail.com says...
>
>At first I thought that getting a regular plastic pallet would be
>better than buying those pads of wax paper.
I long ago found the best surface to be ordinary
glass, for ease of cleanup. I back mine with a
sheet of white paper to make seeing the colors
easier. I do NOT hold my palette, so that may
be a consideration. Mine doubles as the top for
my taboret.
As for washing paints down the drain - DON'T!
Not unless you like playing plumber when the
drain inevitably plugs up. As for worrying about
the environment, that would be senseless when
paint is used for "decorating" everything from
children's toys to billboards and everything else
imaginable. SAFETY within your studio space is
a more important concern - good ventilation, not
"eating" your paints, eye protection, etc.
Peter H.M. Brooks
>
> I long ago found the best surface to be ordinary
> glass, for ease of cleanup. I back mine with a
> sheet of white paper to make seeing the colors
> easier. I do NOT hold my palette, so that may
> be a consideration. Mine doubles as the top for
> my taboret.
>
--
De gustibus non disputandum est. - Auctor Ignotus
NightMist
<pe...@new.co.za> wrote:
>Gune E. Byrd wrote:
>>
>> I long ago found the best surface to be ordinary
>> glass, for ease of cleanup. I back mine with a
>> sheet of white paper to make seeing the colors
>> easier. I do NOT hold my palette, so that may
>> be a consideration. Mine doubles as the top for
>> my taboret.
>>
>You have a glass topped drum??
A glass topped tambour and a goatskin topped taboret, now there is a
possible basis for a still life.
Barbara
--
"To repeat what others have said, requires education; to challenge
it, requires brains." -Mary Pettibone Poole
Gune E. Byrd
>A glass topped tambour and a goatskin topped taboret, now there is a
>possible basis for a still life.
>
>Barbara
Haha...you're into performance art then?
When I was in undergrad studies, my sculpture teacher,
who favored performance art in her own pieces, suggested
that one of my large plywood projects would be more
evocative if I'd provided dancers to dance around it.
Billy Bones
doubt the best kind of pallet but have you tried grey as opposed to
white paper behind the pallet? A more neutral colour allows you to see
the colours as they are, white tends to make them seem slightly darker
(despite the pallet looking brighter overall!) Try it out. Of course
this may not be true of water colour, I don't know, but definitely with
either oils or acrylics. A small patch of white may be useful for
testing washes over a light undercolour, similarly a small patch of
black is sometimes helpful depending.
NightMist
Byrd) wrote:
>In article <42ab64dc...@news.madbbs.com>, night...@gmail.com says...
>
>
>>A glass topped tambour and a goatskin topped taboret, now there is a
>>possible basis for a still life.
>Haha...you're into performance art then?
Dear goddess no!
>
>When I was in undergrad studies, my sculpture teacher,
>who favored performance art in her own pieces, suggested
>that one of my large plywood projects would be more
>evocative if I'd provided dancers to dance around it.
>
I am a painter, I would be talking about making a still life painting
with those unusual objects as a basis.
The delightful thing about painting is the stuff you portray does not
need to actually exist for you to paint it. You just need to be good
at visualization and have some understanding of the technical end of
things so that they all fit together the way you want them to.
Gune E. Byrd
>I am a painter
I like to think of myself as an artist who
paints, for the most part.
>I would be talking about making a still life painting
>with those unusual objects as a basis.
Ummm...would that make it surrealistic in
that the characteristics would be swapped?
>The delightful thing about painting is the stuff you portray does not
>need to actually exist for you to paint it. You just need to be good
>at visualization
By visualization, I presume you mean you need to
have studied your "objects" enough to know their
nature well enough to "visualize" them without
their material presence. I believe one of the
greatest benefits of becoming an artist, at any
age, is the world of "seeing anew" it opens - seeing
things as never before, if you really get interested.
OTOH, one of the OTHER great discoveries, IMO,
is finding you can create stuff that on one has
ever seen before. I find that the most challenging
aspect, and one I'm least adept at when it comes
to pulling it off visually.
NightMist
Byrd) wrote:
>In article <42acb2b2...@news.madbbs.com>, night...@gmail.com says...
>>I would be talking about making a still life painting
>>with those unusual objects as a basis.
>
>Ummm...would that make it surrealistic in
>that the characteristics would be swapped?
>
I have totally sworn off catagorizing.
One persons surreality is another persons reality.
Besides, when was the last time you ever heard a gaggle of artists
agree on what style what was? Unless of course there were a couple of
centuries of consensus on the particular image to draw from. Even
then there will be somebody who will try to subcatagorize unto
infinity.
Gune E. Byrd
>Besides, when was the last time you ever heard a gaggle of artists
>agree on what style what was?
You've undoubtedly heard the expression, used in
reference to getting artists "organized" to do
anything, "Getting artists to agree is like herding cats."
Or some variation.
I subscribe to several of the leading art
magazines - Art in America, ArtNews, etc.
and leave it to the critics and reviewers
in those publications to categorize and
criticize. So in this instance, I guess I'm
giving in to the "herd instinct." Shame on me!
Shouldn't I be one of the "cats?"