From http://stainedpaper.me/blog

If you’re an artist (more likely a painter or illustrator, since that’s my scope), and you’ve always wanted to make something that’s your own, you might have encountered this multiple-choice question:

How Do I Make This Making-Art Thing Work?
a. Go all-out and support myself solely with my art?
b. Sign up on a secure day job while making art on the side?
c. Do freelance jobs while making art?
d. Marry a banker and spend the rest of my affluent life making art?*

Last option aside, it’s really fascinating to see how different artists pick a certain way of life and make it work to their advantage (and in some cases, realize that they’ve been working under a methodology that doesn’t suit them after all and decide to shift paths), even turning the bill-paying necessities into works of art themselves. So for this blog entry (and the next ones to come) I talked to some of these friends and got them to share some details you might be interested in learning.

But spoiler alert: don’t expect to see a conclusion on which choice is better by the end of this session. There is no standard equation for everyone, but there is more likely a framework for each person suited to his or her strengths (plus vices), and environment.

* – This was an advice to me by a professor back in college. Seriously.

Today’s featured artists are:
Chalk Zaldivar / Freelancer and instructor
Gab Lopez / Company-based graphic artist
Cam Aragon / Company-based artist turned freelancer
Katrina Pallon / Company-based artist and freelancer

Read more @ http://stainedpaper.me/blog

From http://stainedpaper.me/blog

If I could reset my learning path for oil painting, I would get cracking on primers first. I’ve probably seen more discussions on this than the actual paints — because there’s little that pretty, shiny, expensive paints can do to defend themselves from the elements and their canvas without the right support and protection.  At this point I believe that it’s wiser to invest a bit more in primers (and varnishes) than the paints and surface material.

When I used to buy a lot of makeup to experiment with, I would usually invest more on the primers and setting sprays than anything else, considering the humid and scorching Philippine setting. Except think of your face as the canvas and your gorgeous makeup as horrible acid that would corrode and rot your skin for years and years. (You’re welcome.)

Basically priming
• properly binds your painting to your canvas and other surfaces
• protects your diabolical, acidic oils from corroding the canvas
• helps your painting retain its colors for as long as possible

So I’m looking over materials related to priming a surface one by one to check out their pros and cons. The more modern techniques will be tackled first. My local sources for these materials are: Fully Booked Greenbelt 5, Deovir Arts, National Bookstore (selected branches), and theoilpaintstore.com.

Read more @ http://stainedpaper.me

From http://stainedpaper.me/blog

So I’m going to try tackling Artist VS Student Grade oils in this entry.

One thing I realized while wading through discussions and arguments on this subject: there is no clear-cut right or wrong answer. Each side has its own advantages and traps, so it all boils down to the artist’s situation and goals. Here are some notes to consider per camp:

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