4th of July Weekend Store Hours
Sales Floor Changes
Princeton Catalyst Brushes and Tools have returned to the store. We have been listening to your requests. These tools and brushes are as durable as you can get.
Catalyst™ Polytip™ Bristle
Catalyst™ Polytip Bristle brushes are another Princeton breakthrough that advances the science of synthetic hair. This new series is super stiff yet still extremely responsive. Unlike natural hog bristle, Catalyst™ has real integrity in water. Natural bristle can be rendered useless when it is water-soaked. The true advance in Catalyst™ is the Polytip feature. For the first time, the tip of each individual hair has been split to replicate the natural flags on the finest natural bristle. By giving each individual hair 2 to 3 distinct tips, Catalyst™ is able to hold a higher volume of paint while providing a smoother application. Designed for use with medium to heavy-bodied acrylics and oil paints, Catalyst™ pushes even heavy gel media with assurance. Catalyst™ Polytip Bristle brushes truly are tools that move paint.
Catalyst™ by Princeton • Tools that move paint
Not quite a brush. Not quite a palette knife. Catalyst™ tools are crafted from flexible silicone to allow artists a new form of expression. Available in two unique styles: Catalyst™ Wedges are ergonomically designed to fit in your hand allowing a direct interaction with your work. Catalyst™ Blades are mounted on artist brush handles offering a blend of tradition and innovation.
Designed for use with heavy-bodied paints, Catalyst™ is at home with oils, acrylics, and water-miscible oils. Because they are heat-resistant, they excel with encaustics. Artists are using them with plaster, clay, and even frosting. Made of FDA-approved silicone, Catalyst™ Blades and Wedges are great for food crafting.
Clean-up is a breeze with Catalyst™ Blades and Wedges. The silicone is easy to wipe clean and is solvent resistant. Clean up in most cases can be done with mild soap and water. Dried paint can be peeled off the silicone surface. Catalyst™ Blades can be separated from their wood handles for cleaning and easily replaced when dry.
- Works well with all mediums
- Ergonomically designed to fit in your hand
- Solvent-resistant, heat-resistant, and easy to clean
The Catalyst Wedges are definitely something that I recommend all artists to try, regardless of medium or style. They are the best tool invented for artists since the painting knife! I use painting knives quite a lot in my work but have found Princeton’s Wedges to be a favorite. Their silicone construction makes them more responsive to pressure than metal knives. They are designed ergonomically to fit the hand, and they feel good to hold — very secure. And you can use any side of the wedge you want; in contrast, a painting knife has only one edge.
I can use the sharp edge to either cut through layers of paint or scrape back passages with ease. I use them to drag color across the surface of the canvas to create bold blocks of color, especially where I don’t want the hair texture of a brush to show. It’s a great tool for tree trunks! For me, Catalyst Wedges provide another tool for mark-making, which is a big signature of my work. I work in watercolor sometimes when developing a study for one of my paintings, and I use them to scrape back through the watercolor to provide texture and drama. My favorite shapes are number 1 and number 6.
Promotions going on in the store until the 30th of July!
- All M. Graham Paints are 25% off their MSRP
- All pre-stretched Fredrix Canvas are 25% off their MSRP
- All Daniel Smith Watercolors, sticks and grounds are 25% off their MSRP
- Deluxe Lobo Easels are 30% off their MSRP
- Lyra Aqua Brush Duo Markers are 25% off their MSRP
- Clearanced Tombow double tipped markers are 50% off their MSRP while supplies last
- Clearanced Princeton Catalyst Brushes are 50% off their MSRP while supplies last
- Clearanced Enkaustikos Hot Sticks are 50% off their MSRP while supplies last
or Make your own sale with the coupon below
Soon to be available to retailers:
Studio Knives artists can’t keep their hands off of.
When we paint, we work with our heads, hearts, and hands. Everything comes together and comes out through our brushes and knives. We believe tools matter and that every artist deserves the right tool for the job.
We know we’ve got it right when a tool makes our hearts beat just a little bit faster and keeps us painting just a little bit longer. Our Studio Knives are thoughtfully designed and sustainably built to spark joy, express your artistic intention, and support a lifetime of painting. These are palette knives you won’t want to put down.
NAMTA – updated – updated again
Recently, the International Art Material convention had occurred. I was unable to attend due to my focus on my health as well as they required full vaccination, masks and ID at the convention in Florida. Yes, in Florida……..
When this convention occurred, many changes were announced nationwide:
Nupastels in individual colors are being discontinued in the near future* many of the on floor nupastels have sold out. May want to check our stock
Verithin pencils in individual colors are being discontinued* many of the on floor verithins have sold out. May want to check our stock
Colerase pencils in individual colors are being discontinued* many of the on floor colerase have sold out. May want to check our stock
Prismacolor Fineline markers in individual sizes are being discontinued* premier alcohol-based markers have been added to this discontinuation of product.
*this means the open stock on the sales floor will be slowly losing colors, All colors being unable to be reordered
Tombow watercolor markers will be replaced with Lyra W/C markers on our sales floor due to a comparable product that is lesser cost and better reorder times. The new display of Lyra markers are on the sales floor now at 25% off the MSRP. The remaining Tombow markers have been moved to clearance and are 50% off their regular price, selling fast
Canson XL Oil/Acrylic Paper Pads will be on the sales floor soon (within a week) These pads are on the sales floor now
Canson XL sanded mixed media paper pads will be on the sales floor soon (about a month) These pads are on the sales floor now
Daniel Smith will be releasing new colors in their watercolor line, but at the time of the convention they had not released these as of yet. No update
Tara Fredrix canvases has been purchased to be distributed by a different vendor, so I expect some shortages in some sizes as they redistribute, already happening, well stocked before this so you may want to see what is available.
Catalyst brushes and silicone brushes are returning to the sales floor (these had been removed during my fight for my life)
Ceramic Glazes will continue to be difficult to receive due to raw material shortages. We have speedball glazes in stock at this time that arrived after our last order was received.
Golden Acrylic Waterbased varnishes have no estimated time of arrival due to raw material shortages NO Change
Moleskine sketchbooks are becoming more and more difficult to receive from China (yes, they were using China for most of their production but telling us it was Italy) so Canson will be offering a comparable sketchbook for your needs. Still Waiting on this
Talen’s Colorline Liquid Watercolor has increased their line of colors so the sales floor display is being updated They have arrived and are on the sales floor!
As we are informed of any other changes these will be posted in this newsletter. We will be clearancing many displays soon as to make room for the new and improved items in the store. These items will be announced here as well. Large acrylic brushes are being received shortly for the sales floor
New Art Books are on the sales floor now!
Children’s Art Camp
Always fun to see raw creative energy. July’s Kids Camp dates have been released. To sign up your child for this event, you can find the schedule here.
Interview with Natalia Fabia
For the May edition of our artist interview series, we had the opportunity to chat with oil painter Natalia Fabia. Her work has been featured in numerous galleries and art fairs around the country including the Jonathan Levine Gallery in New York, Zhou B Art Center in Chicago, M Modern in Palm Springs, Sirona Gallery in Florida, The LA Art Show, and the Palm Beach International Art Fair. Natalia spoke to us about her origins as an oil painter, her need to create, and how teaching has helped her grow as an artist. Check out the interview below!
- Where are you from and where do you currently reside?
I am from Los Angeles but live in Orange County now. Originally I am from Poland, that’s where my parents are from and Polish is my first language.
- What drew you to working with oil paints, and how did it feel when you did it for the first time?
I first started painting in oils at School. Being an illustration major, I actually painted a lot with acrylic in college as well. Everyone said my acrylic paintings look like oil. Sometimes acrylic can look plastic-y which I didn’t like. But I think the deciding factor to choose to use oil paint was that there is nothing that has the look or effect and it is so traditional. There is history there. We are using these pigments and mediums in the same way the old masters did. I loved their texture and buttery quality, I love that they don’t dry quickly. First time using them was tough – they were slippery and messy. NOW I am in LOVE!
3. As a professional artist, what does your day-to-day look like?
My day to day is typically waking up super early, meditating, working out, getting my daughter ready for school and then heading to the studio. I try to paint as long as I can. But I’ve always also recently made it a point to come home for dinner. And spend time with my family. In the past, I always put painting first and just painted every second that I could. I still do that when I have a deadline!
4. What has kept you engaged and committed to your craft over the years?
The need to create! Early on I was just crazy – too impulsive and excited. I was a workaholic however that’s also what probably helped me get to where I am. I was never super organized before, I had the time whenever I wanted. Now I really find that time management is key! I will never be super organized but even being a bit more is extremely helpful!
5. How have you grown as an artist in the past five years and what are the major contributing factors to your growth?
A major contributing factor to my growth in the last five years has been teaching consistently. I have learned so much by doing that. It’s helping me experiment and find my true self more. Painting at the studio every day and having a child, who is now 10 years old have also contributed to my growth! I am now taking care of her plus running my studio, which is actually easier than when she was younger. She can do so much on her own and I don’t have to watch her every two seconds. She and her friends come over all the time and paint so that has been really fun to watch. I am pregnant now so we will see what change that brings to my work too!
6. What materials do you most commonly use?
I primarily paint in oils. My favorites are Sennelier oils. I love their creamy quality. They have high quality pigments and their range of colors is amazing! I love a range of sable to bristle brushes. I typically use long handle brushes. I paint on multiple surfaces. I prefer sturdy panels over canvases that give you a pushback. I love high-quality fine linen.
Oh! and my absolute favorite mediums are Sennelier’s Green for oil thinner, medium and gel! They are non-toxic and lifesavers! I have all of my students use them.
7. Do you have any advice for up-and-coming oil painters? Are there any tips or techniques you can offer?
Paint paint paint! As much as you can. Take many classes and learn from different painters. Research, try to get to know as many artists’ work as you can. Art history through time. Pay attention to what you like AND want you don’t. What you dislike is just as important as what you like. It helps you find yourself and your style. Also, take care of your mind and body! Meditate, do yoga, stretch and take breaks. Painting can be tough on your back, shoulder, and wrists. Don’t ignore that! It will help your endurance and you’ll paint more!
8. What are your website and social media links?
What is Paint?
written by Keith Kendall – Owner of the Art Store
Paint is the tool that allows the artist to express emotions, trick the eye, and get you to believe what you see is real or as . Controlled dirt and dyes mixed with a binder and the world is seen through an artist’s eyes.
Color can be viewed very differently by everybody. The way we were made by in our genes can easily change how we perceive a hue, value or saturation. A color can have a past trigger to an emotional time as well as some of us can read the tiniest warm or cool temperature of the color. Many times, what the artist was trying to show us is viewed in a very personal way by another.
I’ll try to explain the differences between oil based and water-based paints in this writing. Informing you could bring more emotion into your work, or it could take the magic from the artist. It will be your decision in your journey in artistry.
Colors from around the world aka pigments or simply dirt and synthetic dyes.
Dirt you say?! well realistically its controlled dirt, many colors come from the earth around the world. The classic mineral-based paints are then refined and may even be heated or left in a controlled raw form or even forced to oxidize. Sometimes this being done in increments to adjust the warmth and coolness of the colors. As the present industrial revolution happened, manufacturers in other product processes starting using pigments that were advantageous to their processes. Many of them having not been tested for archival longevity, they may have attracted artists but the pigments faded. Nothing more embarrassing than having your finished art fade out all its reds. Hence the reason for permanent alizarin crimson vs alizarin crimson. A totally different pigment is used to guarantee a better longevity of the artist’s magistry.
So with all the colors in the world and the custom ratios that can be created, how does an artist stay sane with these variables? Number one, artist have learned to not trust the lack of regulation on the paints but they do on the pigments. Each color has to be registered (PO43) but the name its selling by does not (Anthroquinone Orange). Why you may find the burnt sienna in some brands are more transparent than others. Some of these pigments are volatile or fugitive aka they will still fade over time and cause visual changes. The process of pigment identification was organized by Society of Dyers and Colourists as well as American Association of Textile Chemists and Colorists. This system is what is now printed on the tubes of paint and dry pigment. If you look at the back of the paint you will find a long chemical name of the pigment as well as a shorthand registered number code for us artists in a hurry. An abbreviated system such as the one above following the international reference. Learn these pigments and you will understand paint colors more.
Finely ground minerals or synthetic dyes are the main color additives to paint. If a mineral, the pigment is ground to a certain micron size, absorbency and reflective properties. That way it stays insoluble to the liquid solvent being used but gives you the best hue and saturation. Insoluble minerals will rise to the top of the binder (gum arabic, oil or polymer). However, what if you need a soluble pigment? Thats when the dye-based paints come to the party. These dyes will thin and be sedimentary due to the solubility of the pigment.
Once a paint manufacturer has found a suitable pigment, the process of making paint begins. The pigment must be “put together” with some s01i of binder or else it is just a powder without any adhesion. It is ground, squished and beaten into submission during the paint making process. Some pigments submit more easily than others, and some are better suited for specific painting mediums.
Now that the pigments have been chosen, you still need to make this pigment bind to the substrates (properly treated paper, primed canvas on panel or canvas for example). When it comes to archival binders, many have been used over the centuries. If oil, walnut, safflower or linseed oil is used as the binder. If acrylic, a polymer is used. If watercolor, gum arabic is used. If encaustics, damar resin and beeswax is used. Your choice is determined by what technique each artist uses to express themselves.
Binder and pigment decision made. Its time to mix these together.
Large mixers are used in the first phase of the paint mixing, that folds the binder and pigment together creating a thick paste. This paste is then milled with rollers to assure the proper saturation of the pigment. Depending on the color, this process may be done many times.
The chosen ratios of pigments used for the manufacturer’s paint to be named later has to be carefully managed. A professional paint will use far more pigment and binder comparted to additives. These additives are what creates your student grade paints. The technicians try their best in controlling the qualities of their paints by creating batch code tracking and comparing production samples.
If you are a practicing artist, you may run into the pigment from this brand is close but has certain changes. Ratios are seen from brand to brand in how the paint is perceived visually by the quality control manager. Each pigment has its unique properties so this is experimented with for the best quality of the paint. Sometimes additives such as whiting (marble dust) is added to a paint to give it more body. The binder can actually change the appearance of the paint as its being worked with as well as when it dries, cools or outgasses. These variances can easily change the final finish of the paint so rewetting is commonly practiced.
A large amount of paint is known as a masstone, no thinning has been done with mediums or solvents. Undertone is the thinned version of the paint. Only then will the pigment really show itself and all its properties. What most artists will refer to as the color is blooming.
Each pigment has its own tint and shade. The tint is when a white is added to the paint. There are many whites available for transparent and opaque effects and knowing what each one does is
Modern vs Classic Color Palettes
Artist palettes have evolved over the years. For the artists who started their journey of discovery early on, you were limited by a mineral and plant based palette for the most part. Synthetic colors have become your modern palette being made from dyes.
Alizarin Crimson, Cadmium, Ultramarine, Cobalt are just a few of the classic palette which was a less vibrant palette but with the least amount of fading over time. Cobalt, Cadmium and Ultramarine all being mined from the ground. The original alizarin crimson being created by the madder root was found to be fugitive. The artists rejoiced soon after the 1970s as Synthetic pigments were released with high lighfast ratings: Phthalocyanine, Quinacridone, Perylene, Perinone, Diarylide, Arylide (Hansa) and Napthol. Making the vibrant artwork you see today has taken a lot of research. One of which is permanent Alizarin Crimson aka Anthroquinone Red. A great upgrade for your palette.
Synthetic pigments are generally transparent, or semi-transparent. Masstones may look very dark as well as their undertones tend to be very strong. White and these synthetic pigments tend to work will together depending on transparency creating a deciding factor of titanium, zinc or lead as your choices. Frequently synthetic colors will be renamed as a classic color but end with “hue”. The “hue” distinction many times was also used to communicate that the past paint color was toxic and should not be used so this alternative is being offered.
Mineral Based Colors
Mined, collected and refined these colors have to come from the earth. The previously listed mineral-based classic colors also include the very earthy colors of ochre and umbers. Most of the time, the mineral based colors are opaque but can range to transparent due to the pigment itself is finely ground and allows light to travel through it. The oxides are a damaging or rusting of the base synthetic or mineral.
~Defining Paint will be continued in our next newsletter~
The State of the Art Store
The store itself is doing well due to the hard work of the staff and that the community wants the store to survive. Of course, as of all things now a days a small business is very dependent on the health and expertise of the staff.
If you haven’t met Thomas, I believe you will like his European knowledge of the art materials and techniques. A craftsman himself, he loves woodworking. Paints and is experimenting with ceramics. Come in and meet this journeyman that his French upbringing has molded into an extraordinary soul. You also may need his skills with a project yourself. His art studio is always experimenting.
As for the owner’s health, as he’s been communicating, the therapy is working to remove the pathogen without killing the host. His back and neck have become far more limber as the infection is removed. Continued strength and memory recall is slowly returning. As well as the inflammatory response of his whole body has diminished. As always, he is very open about helping others who may be in similar symptoms as to possibly assist in understand ing the suppressed information of curing oneself and the stages of this illness.
A warning to all artists. As of July 1st, art material stores online and in-store retailers have been warned that all materials will be going up in price as much as 25%. This has been due to the diminishing value of the dollar as well as the shipping containers have gone up in price between 6 to 8x the costs from 2019. The store will start the price increases after the first week of July. This takes time to do so many of the present prices are a great price. As for your gallery prices, I would take the time to request a higher price on your sales as to offset the loss in material costs – Keith Kendall, Owner
New on the sales floor!
SILVER JUMBO ACRYLIC COMPACT BRUSHES
Silverbrush’s stiff White Taklon Silver Jumbo™ brushes are the perfect tool for large-scale acrylic murals and acrylic easel painters. They come in a variety of shapes and sizes with perfectly balanced wooden handles and fine nickel-plated brass ferrules for durability and longevity.
Personally, I fell in love with these brushes when I saw they chose to brad nail the ferrules to discourage any slippage. – Keith Kendall, Art Store Owner
Expanded on the Sales Floor!
All colors from this line have been received!
The 30 ml Ecoline bottle is stable and so stands firmly on your work table. The spacious opening allows you to work straight from the bottle using a brush or dip pen. The 30 ml Ecoline bottle is fitted with a handy pipette for efficient dosing during mixing. Ecoline is also available in 490 ml, 990 ml and a brush pen.
July Classes and Workshops
We’ve had some requests for more kid’s camps in July. There has been even MORE requests for an adult camp. Why not! You deserve to play! See below.
For July, the following camp schedule has been added for the kids:
Kids Art Camp has availability on the 11th, 12th and 13th of July for session one, 25th, 26th & 27th for the second session
Adult Art Camp has availability on the 18th, 19th and 20th of July
This is an art camp that will be for 15 and older participants that are in need of some art therapy with exploration of the art materials. Many materials will be available. Multiple instructors will be teaching.
Registration is possible by contacting us at the store or registering online at Events for July 2022 | The Art Store (prescottartstore.com)
All art materials are included in the cost of the camp for the workshops above.
For July, the following class schedule has also been offered:
Oil, Acrylic, W/S oil painting on Thursdays
Sculpture/Ceramics on Saturdays