• MOCA GA Working Artists' Participating in the GALA Art Auction

    MOCA GA (Museum of Contemporary Art of Georgia) GALA Art Auction is this Saturday and we are proud to share that BINDERS® Sponsored Working Artists have each donated a piece of their work to this great event.

    GALA Art Auction E.K. Huckaby, Annette Cone-Skelton, Scott Ingram, Howard Krinsky and Fahamu Pecou

    Art advocates, Usher Raymond IV and Grace Miguel will co-chair the event that will present more than 100 exceptional works of art by an invitation-only group of fine artists located right here in Georgia.

    Along with a paddle raise auction hosted by auctioneer Jim Landon, guests will also enjoy the ability to bid anonymously during the Silent Auction.

    The GALA Art Auction will be hosted in MOCA GA's main galleries on April 12th from 6:30 - 10pm.

    Schedule for MOCA GA GALA Art Auction

    Location: The Museum of Contemporary Art of Georgia at 75 Bennett Street, Suite A2, Atlanta GA 30309

    Admission: $150 per person, payable online or at the door.

    Schedule: The MOCA GALA is from 6:30-10pm, the Live Auction begins at 7:30pm

    Details: Comfortable cocktail attire, heavy hors d'oeuvres, full bar, and valet parking.

    Georgia Artist's Artwork

    MOCA GA GALA Art Auction



  • Cold Wax Techniques with Cindy Walton

    Q&A with Visiting Instructor Cindy Walton

    Cindy Walton Cold Wax Techniques Image Courtesy of the Artist

    1. This is your first class with BINDERS Art School. Can you tell us a little about yourself?

    I have been a practicing artist for over 15yrs.I have always made art and grew up in a family that encouraged the arts. My home state is Florida but I went to North Carolina to college and have resided in the Carolina's ever since. My husband Scott and I raised our two daughters in Asheville, NC. We have lived in Western Carolina over 25 yrs. 

    2. Tell us about your studio space at the Wedge Studios in Asheville. 

    My studio space is a shared space with three other artists. I am located in the historic River Arts District in Asheville. The studio is open to the public most of the time. If I need a little undisturbed time I’ll work early or late in the day. I keep business hours at the studio Thurs-Sat. 11-3.

    Cindy Walton Cold Wax Techniques Image Courtesy of the Artist

    3. How would you describe your practice?

    I try to work consistently each week. I have always felt making art is a growing process. To grow as an artist you must work on a consistent basis each week. I have always told my students allot a certain amount of time for art each week. That time could be 2 hours or 40 hours but be consistent.

    4. What are you working on currently?

    My latest series has developed over the last few months. The prominent color palette is red, blue green and gold. I tend to work intuitively while thinking how to develop space in each painting. I have found that I really enjoy writing in the paintings. I tend to write letters, prayers or just random marks. Our group of artists recently lost a dear friend and during that time I was writing a lot of prayers on her behalf. So what began as a compositional challenge evolved to a more emotion driven theme which I have titled the series "Prayers for Annie".

    Cindy Walton Cold Wax Techniques Image Courtesy of the Artist

    5. Can you explain the difference between cold wax and encaustics?

    Cold wax medium is a medium added to oil paint to extend the paint. Cold wax medium is a mixture of beeswax, varnish and solvent (turp.) This medium being wax will build up on the surface more quickly than oil paint and linseed oil or let's say Liquin etc used as mediums. The drying time is more like using oils than acrylics, watercolor or encaustic. I have met painters who paint representational subjects with brush and/or palette knife, mixed media artists and other artists across the board using this medium.

    Encaustic painting on the other hand is heat fused beeswax mixture. Most of the pigments are heated and applied to a surface. There is a good bit of toxic fumes emitted so good ventilation is necessary. The wax dries quickly which will allow the artist to build layers very quickly and work back into the surface.

    6. What do you hope students will learn in your Abstraction and Cold Wax Techniques workshop?

    One of my goals in workshops is to encourage exploration. With a new medium there is a lot of experimentation and having fun. I encourage each student to not come to the class with expectations of finished work but to allow themselves to explore and play.

    Cindy Walton Cold Wax Techn Image Courtesy of the Artist

    Abstraction and Cold Wax Techniques with Cindy Walton


    Please join us in exploring the diversity of cold-wax medium used with oil paint, pigment sticks and powdered pigments. Cold-wax medium is wonderful for oil painters to experiment with, using non-traditional tools to achieve texture and finishes similar to encaustic but without the caustic fumes and heat. This exciting medium is gaining widespread popularity, and opens doors for oil painters to explore new techniques and surface effects. Cindy says, “Cold-wax medium has totally changed the way I approach painting. It offers opportunities to develop layers of introspective and emotional interpretations.”

    Follow Cindy at her blog here.

    Written by Jacob Gunter

    For questions, more information, or registration please contact the BINDERS Education Office at 404237-6331 ext. 203 or email jacob@bindersart.com.

  • Jes Gordon - An Abstract Expressionist at Heart

    Q&A with Artist/Instructor Jes Gordon

    Can you tell us a little about yourself?

    I’m Jes Belkov Gordon and I’m a painter; an intuitive painter. I graduated from the Atlanta College of Art with a BFA in Painting in 1997. After school I went on the study with the IACC, (International Association of Color Consultants/Designers) where we focused on the human response to color. This study was mostly focused on the built environment and I’ve spent about 15 years consulting on color choices for all sorts of applications.

    Jes Gordon Image Courtesy of the Artist

    In recent years my devotion to liquid color (painting) as visual art instead of design has taken back over my professional life. I had continued to paint and teach art after college but I’d say that I have decided that my life needs to be about Art or bust! So, my family and I have made some choices to lower our expenses so neither my husband (a musician) or I have to make money doing things that don’t fall directly in line with our PASSIONS. Design is not my PASSION. I love painting. I love color. I love teaching. Now that this is what my life is all about, it makes for a really happy me!

    “I’m probably an abstract expressionist at heart. But I’m just a happier person… I don’t know if I’d be allowed in the club since I’m not in a tortured state of existence.”

    Tell us about your studio space.

    I recently moved my studio. I was happy at Sycamore Place in Decatur for about a year and a half. The winter began to really get to me, and the cold was not helping my materials or my state of mind. I really wanted a temperature controlled environment, so my search began.

    I am blessed to live at East Lake Commons (a co-housing community). I approached a neighbor and asked if they would be willing to rent me a portion of their basement. He already has a woodshop down there, so it seemed like a possible fit. I’m thrilled to say that they said yes! And now, my studio is literally 25 steps away from my front door!

    I love looking out over the woods and the pond and painting to my heart’s content. It is also a ton easier to be there for my 8 year old son. Since he spends most of his time playing outside with his friends, I can get studio time and hubby can get rehearsal time and son can get play time all at the same time. It’s a magical existence!

    How would you describe your creative process?

    Intuitive painting is a practice where you allow yourself to connect to your inner creative source. So that means that I walk up to a blank sheet and communicate with the materials to be guided. Sometimes I will ask the paper what it wants, or the brush what color it needs, or the palette what color needs to be mixed. It’s about finding the joy in the process of creation. Once color has been communicated I use a myriad of techniques to connect with inspiration to make quick decisions about shape and form and line and texture. I look at it like a playground.

    Jes Gordon An Abstract Expressionist at Heart Image Courtesy of the Artist

    In school we focused on a lot of prep before we paint. I have to say that took out all of the fun for me. I know a lot of artists really enjoy the process of studies and prep before each painting. For me that was like painting with my hands tied behind my back. I NEED to be free! I’m probably an abstract expressionist at heart. But I’m just a happier person… I don’t know if I’d be allowed in the club since I’m not in a tortured state of existence.

    What are you working on currently?

    I have a few series that I keep coming back to… one is about my thyroid. I had my thyroid removed when I was 17. About a year ago I discovered that the images that I kept painting looked like thyroids. I did a little research and saw that I really was intuitively painting a gland that I no longer possess… So I find myself painting thyroids and now I’m drawn to making them as well. Some sculpture may be in my near future.

    Jes Gordon An Abstract Expressionist at Heart Image Courtesy of the Artist

    I have these floaties that have recently appeared in my work and I’ve become addicted to them as well. I kinda look at them like my creative source spirits. And they just keep appearing. I’m wondering if the thyroids and the floaties will combine… We will just have to wait and see…

    Jes Gordon An Abstract Expressionist at Heart Image Courtesy of the Artist

    What do you hope students will learn in your Intuitive Painting courses?

    For me, I hope that the Intuitive Painting students begin to believe strongly in their own creativity. I want them to feel confident about their desire to create art, and that it is a valid practice that deserves their time and attention. I have a lot of students who come to me kinda crushed. I want to build them back up and help them feel like they are worthy.

    I think the best thing that I offer is a separation of skill and talent. We can take classes in skill and learn anything if we practice at it. Talent is untouchable. Talent is something we all have access to and no one can take away from us. When a teacher from a class is criticizing your work harshly, they are speaking to your skill. So we should never take that personally. I mean we wouldn’t get mad at or feel attacked by someone for explaining how to use a new computer program that we’ve never used before, would we? For some reason the line between talent and skill has gotten blurred and it is my desire to clarify the difference so my students can go on with their art education without feeling bullied, embarrassed or belittled. And whenever they need a pick-me-up, I hope to offer a safe place for expression.

    Jes Gordon An Abstract Expressionist at Heart Image Courtesy of the Artist

    And your Color Mixology?

    My color mixology students are introduced to color in a very practical way. We approach color from the perspective of scientists looking for new color discoveries. The mixology is just that… MIXING! We make a TON of colors and experiment with colors that we buy regularly to colors that seem brand new to us. The idea is that we use the color wheel as a theoretical tool to place over the materials that we are using in order to understand the complexity of how colors respond to one another.

    Jes Gordon Color Mixology Image Courtesy of the Artist

    Intuitive Painting One with Jessica Gordon

    1 Session | All Levels | Price: $90 | Max. 16

    ARTZ1539 | Saturday, January 17, 10:30am – 5:30pm


    Intuitive Painting Two with Jessica Gordon

    1 Session | All Levels | Price: $90 | Max.16

    ARTZ1540 | Saturday, August 16, 10am – 5pm


    Read about Jes' BINDERS Community Group here.

    Follow Jes on her blog Buckets of Color



    For questions, more information, or registration please contact the BINDERS Education Office at 404237-6331 ext. 203 or email jacob@bindersart.com.

    Written by Jacob Gunter

  • Loose and Coloful Plein Air with Mike Rooney

    Painting Outdoors / Plein Air

    Last year’s plein air workshop was quiet an experience for everyone involved, and proved that outdoor painting is more than just another day at the easel – but an adventure! Mike and his class spent the bulk of their time painting at The Goat Farm. The weather was beautiful bringing creative energies out of folks that didn't know existed. It comes with the territory, and at times works to an artist’s advantage. We’re excited to see what this year holds and where Mike takes us!

    Tell us a little about yourself and how you started painting.

    I was raised in Alexandria Virginia. My dad was a photographer for National Geographic Magazine and my mother was a watercolor painter so I’ve drawn or painted most of my life. It came pretty naturally.

    Plein Air with Mike Rooney Image Courtesy of the Artist

    You travel quite a bit; does this fuel your creative drive?

    I'm a bit of a gypsy and love to stay on the move. I get bored painting the same things for too long. Capturing the vibe of a place, its light, its rhythms and colors is my goal; then trying to put that into a two dimensional statement of how the place makes me react, that’s what I'm after. The travel is just as important as the painting!

    It sounds like traveling is your inspiration. What’s your favorite location to paint?

    I love Key West Florida. The tropical colors and vibe of the island re-charge my creative batteries. There is no shortage of light bouncing off water, sand, and boats – my favorite subject matter!

    Plein Air with Mike Rooney Image Courtesy of the Artist

    What are some of the challenges to painting outdoors that may not be obvious?

    The energy of being outside painting cannot be duplicated in any other way. But that brings its own set of challenges. Things that could stifle creativity (if allowed) before you even set up the easel are: finding a location near easy parking, such things as rest room choices once you’re set up, will people run you off (ie. call the cops on you for trespassing) cars and trucks blocking your view during the painting, pedestrians talking to you during the painting, feeling like you’re 'in the way'. All these things can be distracting to the outdoor painter but also add to the drama of getting something good out there.

    "The energy of being outside painting cannot be duplicated in any other way.”


    When Mike isn’t painting…

    Plein Air with Mike Rooney Image Courtesy of the Artist

    What can students expect from your plein air workshop?

    In my workshops I stress the foundational aspects of painting. In other words what any representational painter would need to know to make a good painting. Then I throw in practical time tested tips for painting in the plein air environment, like simplifying, narrowing scope to attain a good focal point, values mastery, and tips for getting good clean color. All things any painter of any style, or genre would need to make a great painting.

    “I bring common sense simplicity to the process and convey the idea that plein air can be enjoyable and not frustrating like most have encountered in the past.”
    Plein Air with Mike Rooney Image Courtesy of the Artist

    How is your plein air workshop experience different from the others out there?

    I bring common sense simplicity to the process and convey the idea that plein air can be enjoyable and not frustrating like most have encountered in the past.


    Loose and Colorful Plein Air with Mike Rooney

    3 Sessions | All Levels | Price: $275 | Max. 14

    ARTZ1509 | Friday – Sunday, May 29 – 31, Fri. & Sat. 9am – 4pm, Sun. 10am – 5pm

    Registration Deadline: Friday, May 1


    Plein Air with Mike Rooney Image Courtesy of the Artist

    Check out Mike’s blog here.



    For questions, more information, or registration please contact the BINDERS Education Office at 404237-6331 ext. 203 or email jacob@bindersart.com.

    Written by Jacob Gunter

  • Daniel Flores: Artist, Curator, Mentor, Instructor & More

    Q&A with the many hats of…

    Daniel Flores Image Courtesy of Artist

    Daniel Flores is a busy man. He can’t help it – he loves art! Daniel is a curator with Mano-A-Mano Art Shows, artist mentor with Art Is King, tattoo artist, arts instructor, and working artist who happens to get paid doing what he loves. Daniel mentors artists, offering professional development with a six month art entrepreneurship program.

    The Mano-A-Mano Art Show provides young artists with an opportunity to exhibit their work, gaining new experiences as they pursue their talents. Mano-A-Mano Art Show will celebrate its 6th year in 2014, going strong since 2008!

    In addition, Daniel orchestrates Art is King, an annual 3 day conference designed to educate and empower artist’s as they pursue their careers and build community by providing access to industry professionals and gallery representatives.

    How did you come to the realization that you wanted to be a full time artist?

    I’ve been drawing since I was 3 years old. Back then I didn't know you could get paid to draw! Art has been in my blood since I can remember and I made it my full time job over ten years ago. I’m still excited about art projects that challenge my artistic skills.

    How do you encourage those who wish to pursue their creative calling?

    I encourage projects that help other artists in their careers. It’s taken me a long time to build my name as an artist and I know very well the obstacles that artists must overcome to succeed. I want to minimize the pain in an artist’s career by increasing the art business knowledge available.

    Daniel Flores Image Courtesy of Artist

    What is the biggest obstacle you’ve seen over the years as you’ve pursued a career in the arts?

    The biggest challenge is pulling the art community together. Most artists are used to working alone, focused on their craft. We are all busy on our own particular projects and it’s difficult to switch our focus to others. However, we have built great connections between the forward thinkers in the arts.

    The mentoring we’re involved in, we’ve have been doing for the love of the arts. We don’t charge artists to share our knowledge. We don’t earn a salary and all costs come out of our pockets. Every now and then we are able to raise some money to help defray costs. Binders has been our biggest asset and we wish we could unify the art community with the same enthusiasm that Binders has shown Art Is King.

    Art is King

    Mano A Mano

    Black Book Conversations

    Daniel Flores is highly involved with BINDERS Art school, offering multiple classes and hosting two monthly professional development groups for artists. Take a look!

    Daniel Flores Photoshop Course at Binders

    Daniel Fores Illustrator and Logo design class

    Daniel Flores Social Media for Artists

    Kickstarter Campaigns for Artists

    Adobe Users Meet up in AtlantaThe Adobe User Group of Atlanta meets the 1st Monday of every month at Binders Art Supplies and is FREE! to attend. Visit http://www.meetup.com/Adobe-User-Group-of-Atlanta/ for more info.

    Black book Meet up at BindersThe Black Book Conversations meets the 3rd Monday of every month at Binders Art Supplies and is FREE! to attend. Visit www.tbbcatl.com for more info and registration. Email DTM – curator at dtm@tbbcatl.com for questions or more information.

    Written by Jacob Gunter

    For questions, more information, or registration please contact the BINDERS Education Office at 404237-6331 ext. 203 or email jacob@bindersart.com.

  • “Oil Painting without Drawing” Tonal Impressionism Explained:

    Q&A with Artist/Instructor Dominic Vignola

    Tell us a little about yourself.

    I was born in Chicago and have lived in the suburb of Oak Park for the last 20 years with my partner in crime (and former student), Charlene Engler, (a very accomplished artist in her own right). I spent a year in New York in the early 1980's taking art classes and doing much independent study, haunting the galleries and in museums copying works by Velazquez. I later spent seven months in Italy and Spain, painting landscapes and doing more copies of Velazquez in the Prado Museum which contains his greatest works. This gave me an education like none I could have received in a formal class.

    I am mostly self taught, but was lucky enough to have found two mentors from whom I learned about the tonal painting method. The first was Joseph Allworthy (1892-1991), a noted Chicago portrait painter. On a trip to Paris in 1928 he met Australian artist and teacher Max Meldrum. Meldrum spent years studying and copying the great masters such as Velazquez, Rembrandt, Constable and Chardin. He found that they all had certain things in common and eventually was able to recreate their results in his own work. He taught these lost methods of the masters for 35 years, both to Allworthy and Percy Leason, an Australian artist and teacher who moved to the U.S. in 1938. His youngest son, Max Leason has been my great mentor since 2005. I have been teaching the method, as I know it since 1982, both in Chicago and in workshops across the country.

    Tonal painting “does not rely on previous experience with drawing or painting nor presuppose any knowledge of things like anatomy, perspective, composition or color theory.”


    Oil Painting without Drawing Image Courtesy of the Artist

    The tonal method is intriguing. Tell us about it.

    The tonal method differs form what I call the linear approach (draw first, paint over later) and the colorist approach (emphasis on intense colors and de-emphasis on dark tonality) which are the two most common ways painting is taught today. It does not rely on previous experience with drawing or painting nor presuppose any knowledge of things like anatomy, perspective, composition or color theory. None of these are needed in order to paint tonally. New painters do as well as experienced ones.

    A mental shift occurs where students are then able to see the visual world not as “things” surrounded by imaginary lines, but as a reality made up of patches of light and dark tones in certain colors which, when painted, the subject will automatically and convincingly resemble the subject. I have seen this shift occur where students make astounding progress even within the span of three days.

    No other way of painting to my knowledge achieves through leaps of metal awareness, leading to an almost instant improvement in student’s work. This is especially important because 90% of painters cannot paint or study full time. Most have only 3-6 hours a week to paint or take instruction. That is why I have found that this method works especially well for this vast majority of painters who may have less than favorable results with other approaches, but who want to maximize their results versus time spent painting.

    Do you work out of a home studio? What does your practice look like?

    I paint mostly in a studio on the second floor of our garage. It is about 21 feet long which makes it possible to paint up to a 7 foot canvas, allowing for room to step back and view the work from a distance. When I have the chance, I will get together with some the best artists in Chicago and paint from the model. I also have painted cityscapes, with the plein air painters of Chicago, and on my own.

    Oil Painting without Drawing Image Courtesy of the Artist

    What do you hope students will take away your workshop?

    What I hope students take away from the workshop is that there is another way to paint, other than those they have tried and possibly not had success with. The tonal way of thinking and painting will yield quicker and better results for the part-time painter.  All they have to do is keep an open mind and let go of previous notions about painting that did not work for them in the past. For those who find tonal painting suites them, continued learning is available with the home study course I devised about 5 years ago. Our motto: “Change the way of thinking and you will change your way of painting forever.”

    “There is another way to paint, other than those they have tried and possibly not had success with. The tonal way of thinking and painting will yield quicker and better results for the part-time painter.”


    Oil Painting without Drawing Image Courtesy of the Artist

    Oil Painting without Drawing with Dominic Vignola

    This tonal painting method teaches students how to see, analyze, and place shapes in the correct value and color onto their canvas without the use of any preliminary drawing. You will stop seeing things and learn instead to concentrate on the tonal shapes that make up the subject. By not being tied down to initial lines, you have the freedom to work in a quicker, looser style or take it to a more finished level. Learn to master the three things that make up your subject: tone, shape, and color, allowing you to paint any subject: portrait, still life, or landscape equally well. Also, learn to mix any color accurately including flesh tones by using the revolutionary new Vignola tonal color chart and mixing guide. (Class Information)

    Written by Jacob Gunter

    For questions, more information, or registration please contact the BINDERS Education Office at 404237-6331 ext. 203 or email jacob@bindersart.com.

  • Proud Partners for MOCA GA Working Artist Project

    BINDERS will sponsor this year’s MOCA GA Working Artist Project fellows, Atlanta Artists, E.K. Huckaby, Scott Ingram and Fahamu Pecou, with a $1,000 supply account for each fellow.

    About MOCA GA's Working Artist Project (WAP)

    The Working Artist Project (WAP) is an awards program created by MOCA GA to support visual artists of merit residing in the metropolitan area of Atlanta.

    This initiative provides an unparalleled level of support for individual artists, expands the museum’s mission, and promotes metropolitan Atlanta as a city where artists live, work and thrive.

    Jurors select three visual artists to receive the award. These artists will be supported with an exhibition, promotion, a studio assistant, and a major stipend to create work over the course of the year. This program is supported by a major grant from The Charles Loridans Foundation.

    Meet the Artists

    E.K. Huckaby

    E.K. Huckaby lives and works in Brooks, Georgia.  He attended the Atlanta College of Art, graduating with a BFA in 1991. Huckaby has been the recipient of numerous awards and grants including the Jasper Dorsey Award at the Atlanta College of Art and an Individual Artists Grant from the Georgia Council for the Arts. His work has been featured in many group and solo exhibitions, including shows at the High Museum of Art, the Atlanta Contemporary Art Center, and MOCA GA. Huckaby is admired for his unusual techniques and use of media. His work is collected nationwide.

    MOCA GA Working Artist ProjectScott Ingram

    Scott Ingram is an Atlanta artist whose work comments on art and architecture in human environments. Based in an American aesthetic, his range of art works include paintings, drawings, sculpture and photography as well as functional objects. Growing up in the Midwest, he was heavily influenced by the great modern architects of Chicago. Working for the Des Moines Art Center, Ingram developed an in-depth understanding of contemporary art within the context of architecture.

    Ingram has been exhibiting for more than 18 years and has been included in exhibitions around the United States as well as Spain and Canada. Most recently he exhibited at Solomon Projects, and Emily Amy Gallery in Atlanta and Anna Kustera Gallery in New York, as well as Florida Atlantic University and Auburn University. His work is collected by numerous private and corporate collections, as well as the High Museum of Art. In December, Ingram debuted a new installation of cinder blocks floating in a swimming pool for the NADA art fair during Miami Basel. Ingram lives, works and produces his work in Atlanta, GA.

    MOCA GA Working Artist ProjectFahamu Pecou

    Fahamu Pecou lives and works in Decatur, Georgia.  His works comment on contemporary and hip-hop culture while simultaneously subverting it to include his ideas on fine art. Pecou’s paintings, performance art, and scholarly work addresses concerns around representations of black masculinity in popular culture and how these images impact both the reading and performance of black male masculinity and identity.

    Pecou’s work has been exhibited throughout the U.S. and abroad and is featured in several private and public collections which include the Nasher Museum of Art (Duke University), The High Museum of Art, and Clark Atlanta University Art Galleries in Atlanta, Ga. Additionally his work has been featured in several texts including; DEFINITION: The Art and Design of Hip Hop, an anthology chronicling the impact of hip-hop on visual culture, written by famed graffiti artist and designer Cey Adams, 5 Cities/41 Artists: Artadia O8/09 (Published by ARTADIA, 2011), NOPLACENESS: Art in a Post-Urban Landscape (Published by Possible Futures, 2011) and In the Eye of the Muses: Selections from the Clark Atlanta University Art Collection (Clark Atlanta University, 2012).

    Currently he is a Ph.D. student in Emory University’s Institute of Liberal Arts (ILA). Pecou maintains an active exhibition schedule as well as public lectures and speaking engagements at colleges and museums nationwide.

    MOCA GA Working Artist Project

  • Krink Markers: Handmade in the USA

    krink_usa_webTo tell the story of Krink you need to hear the story of Krink’s creator, Craig ‘KR’ Costello. KR grew up in Queens in the ‘80s surrounded by graffiti writers, skaters, and punks. Graffiti was a part of the attitude as much as it was the landscape. Everything was very DIY: emphasize your style, experiment with tools and methods.

    Krink on Paper Kami, Untitled 2012, Krink on paper. Kami is an artist living and working in Tokyo.

    In the early ‘90s KR moved to San Francisco. He used the streets of San Francisco as his very own research and development lab, experimenting with different tools and techniques to create big, drippy marker-tags. From these trials and errors, KR’s ink, or Krink, was created. In 1998 KR returned to NYC and brought Krink back with him. Before long, its signature style was covering the streets of NYC as well.

    KrinkFast-forward to today and Krink products continue to be handmade in the USA. Shipping daily from the headquarters in Brooklyn NYC to everywhere from California to Moscow to Tokyo, the product line has grown to offer a variety of unique inks and markers. It’s been 16 years and what started as a product created to fit the specific needs of graffiti writers has grown into a product line with new styles, new aesthetics, and new creative tools for a whole new generation.

    KR shares his inspiring views in this 3 minute video.
    On Creativity talks with KR about creativity, risk-taking, and throwing the first punch.

  • Portfolio Building at the Makeup Jam

    In late January, I had the opportunity to participate in a Makeup Jam at Binders Art Supplies and Frames.

    What is a Makeup Jam?

    I’m so glad you asked! A Makeup Jam is an event where makeup artists (both novice and seasoned), models, and photographers come together to focus on the best thing on earth…..MAKEUP!

    While playing in makeup seems to be the most important factor of this event (excuse my bias as a makeup artist), the event’s overall purpose is so much more!

    If you are a budding makeup artists participating in the Makeup Jam you get the awesome opportunity to work next to, assist, and gain hands on learning from seasoned makeup artists who have worked in the business for several years. While that may seem intimidating initially, it provides the budding makeup artist with helpful tips and tricks to ensure that their makeup application will be as flawless as possible.

    Makeup Jam Portfolio Building Mia Powers, Professional Makeup Artist, adds a little color to an everyday beauty look.

    What is also unique to this event is it offers the makeup artist with a model and photographer to work with.  This offers the makeup artist an opportunity to network with other professionals in the field.  You also gain experience creating work and walk away with stunning photos that aid in helping you build your portfolio and professional website! How awesome is that?

    This particular Makeup Jam provided me with such a rewarding experience; namely learning from some of the premiere makeup artists in Atlanta. For those who are more familiar with her YouTube name, MakeupbyRenRen attended the event and created a whimsical and fun look for St Patrick’s Day complete with lucky green eyebrows and shamrocks galore.

    Synthe, from SyntheOnline , (an accomplished airbrush makeup artist) was in attendance also and created an explosive Valentine’s Day look highlighting her airbrush bodypainting techniques, rhinestones and red glitter for the holiday.

    makeup Jam Valentines Day Synthe air brushing a Valentines' Day look.

    The techniques of brush and sponge bodypainting were taught and used by Carla Raleigh  to create a Mardi Gras themed makeup look.  All hats and headpieces for the specialty shots at the event were created by Mad Crazy Hatter designs.

    RenRen at Binders Makeup Jam RenRen adds a final touch to her Saint Patrick's day look.

    Other phenomenal makeup artists were on site too, Shalawn Willis the Beauty Architect and myself, and Jashley Alvarez.

    On site throughout the day were Ken Turner from Images by K Photography, Byron Arnold of Byron Arnold Photography, with Tony Arnold of Arnold Photography.  These gentlemen captured behind the scenes shots as well as professional well cropped images for professional networking purposes.

    Makeup Jam Photographers Photographers on site to help you build your makeup portfolio

    In short, if you are ever able to attend a Makeup Jam at Binders Performance Makeup, RUN TO YOUR NEAREST COMPUTER TO RESERVE YOUR SPOT! Such an experience could offer you an opportunity to develop your skills as an artist, expand your portfolio, and meet new people in the industry.

    Written by Mia Powers, Professional Makeup Artist

  • Neutralizing Color

    In art school we all learn about the color wheel.

    neutralizing colorWe learn that Red, Blue and Yellow are the primaries; Orange, Green and Purple are the secondaries and we learn about neutralizing color.

    Neutralizing color is the same across the board.  Across ALL of the mediums, including skin!

    If you are a beauty aficionado in any form you may be familiar with the concept of color correcting and neutralizing.  Much like what you learned in art school colors that are opposites on the color wheel neutralize each other: Red/Green, Yellow/Purple, Blue/Orange.

    What kind of imperfections are you seeing in your skin?

    Do you have a problem with Rosacea? Swollen red blemishes?  Correct those problems with a green concleaor.

    neutralizing colorAre you seeing bags underneath your eyes?  For years eye bags have been seen as a purple discoloration, to be corrected with yellow.  When I look at eye bags I tend to notice more blue than purple, so personally, I prefer to use a peach color to correct my eye bags.  For me this works great!  If you are having troubles color correcting those troubling eye bags try a little peach because remember yellow neutralizes purple and orange corrects blue.

    If yellow neutralized purple then of course the opposite holds true as well.

    If you are feeling a bit under the weather and your skin is looking sallow use a light purple/pink to perk your skin right up!

    Written by Carla Raleigh

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