Watercolor painting is versatile and fairly easy to begin learning. The materials can be varied, but for beginners, there are just a few basics that should be sufficient.

Brushes:  Sable brushes are the highest quality, but blends of sable or squirrel hair and synthetic will also be fine for starting. Synthetics are lower quality, so if this is your only option, select the highest quality brush you can. You will need a round brush, usually #8, and a flat wash brush, at least ½”. An oval wash or mop brush, usually size 3, is useful for getting large amounts of water and/or paint onto the paper quickly.

Paint:  A few higher-quality paints will be more useful than a lot of low-cost colors. Paints are available in student and professional grades and come in tubes or pans. Pans are less expensive, but dry out faster, while tube paints are ideal for covering large areas, and are useful if you paint often. Some artists recommend you start with a warm and cool version of each primary color, which allows for mixing the other colors you need. There are many other color suggestions, but this depends on the individual.

Paper:  Watercolor paper comes in rough, hot-press, and cold-press. Rough paper is textured, hot-press is smooth and slick, and cold-press is in-between and slightly textured, and usually best for beginners. Paper comes in sheets or blocks, and sheets must be stretched to minimize rippling and warping.

Other Materials:  Most pan watercolors come with a palette. For tube paints you can use any palette, but a covered one will keep your paints from drying out. You may also benefit from a drawing pencil, kneaded eraser, and a few odds and ends such as a spray bottle, sponge, paper towels, and whatever else makes your painting experience the most rewarding.

As you work, you will quickly discover which paints, papers, brushes, and other materials work best for you. The best thing to do for beginning artists is to dive right in, and enjoy the learning process!

Differences in Digital Presses

If you hear the term "digital press," what does it mean?  There are companies who manufacture copiers and call them digital presses, and there are digital press companies who make claims about resolution and quality that just don't match the delivered product.

What is all the difference?

1. Process - true digital presses typically involve a different process than copiers.  While there are many high-quality copiers out there, typically, they cannot match the resolution, color quality, or color-matching throughout the process of printing.  True digital presses are usually bigger, because they endeavor to keep the paper flat and away from heat to avoid cracking a folded, printed piece.  Heat is a major factor in the digital printing process, and you can tell the difference in the curl or lack thereof of the printed piece.  True color-matching is a very important piece of a commercial print, and good digital presses will produce a very consistent color match throughout the print.
2. Resolution - Not all digital presses are made equal.  The resolution is a major factor in making a print that comes very close to offset quality.  When examining a print, do you see little square bumps around the images in the finished piece?  Does it look hazy?  This is the result of resolution that is sub-par to the commercial printing environment.  True 1200X1200 DPI (dots-per-inch) resolution or greater completely eliminates this fuzzy edge.  While many companies claim to have this resolution, most derive that resolution through a 600X600 DPI that has been digitally "enchanced" to a greater resolution.  What this means is that the computer makes an educated "guess" at what comes next.  Result = the edge gets fuzzy and pixelated.  True 1200X1200 resolution is very clear and sharp, looking much more like offset.
3. Alignment - the adjustment from the front of the print to the back.  Many companies do not pay attention to this "skew" in the images.  If the alignment is off, the finished, full-bleed prints will look slightly off or askew.  Think of holding the image straight up and down, but having the print on the paper look "a little off"... not straight with the edges of the paper.  This is the result of poor alignment in the machinery that produced the print.  A good digital press will keep the alignment to .5 mm or less front-to-back.  This produces a print that is even with the edge of the paper.
4. Production speed - the page-per-minute of a digital press is critical to getting your printed piece back in time.  A good digital press will have a fairly rapid rate of production that will not slow based on the amount of printed material running through the machine.  60 ppm 4/0 or 30 ppm 4/4 is a good starter speed for digital presses.  The machine should also cool the paper during the process as the rollers tend to heat up during production.  This curls the paper and makes the finished piece brittle.
5. Stability - a digital press should have a great deal of stability in production.  Copiers tend to break very frequently, especially with higher runs.  A true digital press is made for the commercial printing environment, and they are typically very stable in comparison to copy machines.

What if you could have tear-resistant, waterproof construction plans in the job trailer?  Think about all the conditions that you encounter everyday on the construction job site.  How cool would it be to have the same redline drawings from job beginning to job end?

Ogden Blue offers printing on Tyvek, the same 3M material used to wrap buildings.  This highly durable material is perfect for those drawings that get dragged around from plumbing to HVAC to electrical.  Don't worry about it anymore, and get Tyvek plans.

We have technology that puts a waterproof, durable "surface" print on Tyvek.  This new technology is perfect for CAD in both color and black & white.  Our large construction customers who have used these unique plans are coming back for more.  Why?  Because in all the rugged environments of a construction site, the old style plans on 20# bond will deteriorate over time as the general or sub-contractors make changes to the documents, note discrepancies, and perform field engineering.  Change documents are sometimes slow in coming, and torn, ripped paper is not going to communicate these changes well.   

While it would be cost-prohibitive to print all the sets of drawings on Tyvek, what we are finding is that two sets in the job trailer provide a great control set for the entire site.  While the material is waterproof, it can still be written on and maintains permanent inks in the face of water... or coffee spills, whichever one comes first.  The plans can also be wash gently with soap and water to clear up areas that may have gotten muddy or dragged through a not-quite-completed plumbing area.  Watch our video on this site under Commercial Services | Tyvek.  This will show the amazing durabililty of Tyvek in comparison to typical 20# bond prints.

We can do Tyvek prints up to 36" wide and any length.  Since you can also have it printed in color, the use of 3D CAD on Tyvek can make your plans clear, concise, and minimize job mistakes, rework, and increase customer satisfaction.  By making your blueprints as clear as possible, we hope to save you time, money, and hassle now and into the future.  Of course, we always have the 20# bond prints at great prices as well.  Let us know what we can do to help! 

When it comes to buying art supplies, we’re luckier than the Old Masters because we can buy everything ready-made, ready to use and we have far more choice. What hasn’t changed is the importance of being particular about the art materials you use, opting for quality rather than quantity. Tubes of paint you know are full of pigment, not just a little stretched with filler. Paper that doesn’t yellow or have spotty sizing. A brush whose hairs stay firmly in place and shape. By using top-quality art materials, you make the most of your artistic skill and creativity.

Even if you are already using top-notch materials, it’s worth periodically checking to see what’s new. It's not every day that you will discover a product such as Winsor & Newton’s Artists' Acrylic which introduced a totally reformulated acrylic, but innovations and improvements happen all the time.  For instance, Winsor & Newton now has three versions of traditional lead-based white for oil painters. 

The right brush for the painting

Hog-hair, sable-hair, squirrel-hair, synthetic fibers, mixed fibers... filbert, flat, round, mop, fan, rigger... long handle or short. There are so many variations to something as fundamental to painting as a brush. Everyone has their favorite, the one that’s just right for your painting style. But familiarity puts you into a comfort zone; you know what you can do with the brush and if you’re not careful, the brush dictates how you’re painting.
Try a different shape of brush and see what it does to your mark-making in the paint.

Try a different type of hair and see how it works with the paint. A rigger brush for delicate lines longer than you’d think possible, or a mop for wonderfully watery washes. And if your memories of synthetic-hair brushes date from when they first came onto the market, give them another go as you’re in for a pleasant surprise.

If you look after a top-quality brush well, it may even outlast you, whereas a poorly made brush will frustrate you by leaving hairs in the paint and soon end up unused in a jar on the shelf. What you’re after is a brush that will hold the paint within the hairs and let the paper gently pull it from the brush rather than it all slide off the instant you touch the surface. As well as a brush that is balanced in your hand, not top- or bottom-heavy. The ferrule won’t rust or loosen. The varnish doesn’t flake off the handle. Hairs don’t fall out or instantly splay in all directions.   

When you look at the Rolls Royce of sable brushes, such as a Winsor & Newton Series 7 brush, you’ll notice it has an exceptionally fine point. That’s because it’s made from different length hairs, carefully arranged to have longer ones around the fatter belly of the brush and tapering to a point. Put a little pressure on the brush to paint a thicker line, lift up and the hairs spring back to the point, enabling you to paint fine detail without swapping to another brush.

If you do have to replace a quality brush, the new one will respond like the old. With poorly made brushes that wear out rapidly, you have to keep buying a new one and learn its idiosyncrasies all over again. You’re spending time mastering a tool – again – rather than developing a painting.
Next time you looking at brushes, don’t think of it as simply “this brush costs X and that one Y” but analyze what you’re getting for the price. The quality and selection of the hairs, the construction, how many miles you’re going to get out of it, what it might add to your painting technique and style.

Student paints and artist’s quality paints

There are many different types of oil paint and at the bottom end of the market, those of a poorer quality have so little pigment that they can be difficult to paint with. Above this you get cheap student paint, and above this you get the student or hobbyist lines produced by the reputable brands. These student paints can even be better than what some manufacturer’s sell as affordable artist’s quality.

Buying a reputable brand means you can know the colours aren’t going to fade or produce peculiar colour mixes, that there’s a decent amount of pigment in the tube and it’s been properly formulated.  

Winsor & Newton’s affordable brands -- Galeria (acrylics), Cotman (water colours), and Winton (oils) -- all offer an array of colours that will have anyone painting contently. But WINSOR & NEWTON’s artist’s ranges give access to far more; to the full range of pigments, traditional and modern, the full extent of the strength and subtlety of colour available to artists today. Learn with student paints, and then step it up a notch and move up to artist’s quality paint.   

For an in-depth look at how to judge what you’re getting in a tube of paint, read The quality of your oil colour by Emma Pearce, former technical expert for Winsor & Newton. It’s about oil paints, but the key information applies across all mediums.

Quality in the foundation

The best paints in the world aren’t any good if what you apply it to isn’t going to last or yellows. With canvas, some of the problems encountered are easy to spot. Stretchers that aren’t put together square or so thin they’ve warped. Canvas not stretched tightly enough or pulled skew so the grain is distorted. Canvas with a coarse weave that will overwhelm fine detail. Unsightly folds at corners. 

Other issues are less easy to spot, such as uneven priming. I’ve even encountered a canvas where acrylic paint simply wouldn’t stick in one spot. I had to sand it down and prime it again.

If you’re using oil paint, look for canvas that is double or triple primed or buy unprimed canvas and apply several layers of gesso yourself. Several layers of gesso helps stiffen the fibers in a canvas, reducing movement and flexibility, thus protecting the paint. Gesso also protects the canvas from the oil in the paint. Acrylics are more flexible, so it’s less of a concern unless you’re using thick layers of paint or texture paste.

Paper needs to be acid free or it will deteriorate and yellow over time. Few of us are going to check a paper declaring itself to be acid free is indeed so, relying on the integrity of the manufacturer. Similarly, you can't see the sizing in a paper, but once you put brush to paper you experience it. A quality paper will have the same level of internal and surface sizing, so you can rely on it responding consistently. Poorly sized paper can lead to paint spreading unexpectedly. One small spot on a sheet of paper is all it takes to ruin a watercolour painting.

Once you've found a paper you enjoy using, why might you change it? There's the new-on-the-market aspect, the greener-credentials papers, and the stuck-in-a-rut factor. If you only ever use what you know, what might you be missing out on, what paintings might you not create by changing the materials you’re using?

A heavier weight paper isn’t simply a thicker version of a thinner one with the sole benefit that you don't have to stretch it before painting on it. Try it and you'll feel it responds differently, it’s more resilient. With graphite, for instance, a thicker paper will more readily take additional layers. You can leave the paper for a bit to 'relax', then apply more on top. If you’re lifting colour off to fix a mistake in a watercolour, there’s less risk of disturbing the surface of the paper.  


Don’t forget mediums

If you’ve never used anything but oil and turps for oil paints or water for acrylics and watercolours, then you’ve been missing out. How about adding a bit of texture medium to watercolour? Or a sparkle to colours with iridescent medium? Deliberately making the pigment dry uneven with granulation medium? Slow the drying time?

With oil paint, there are mediums for speeding up the drying time, for making it easier to blend without brush marks, for adding body (impasto). With acrylic paint the range is even larger, including mediums to facilitate glazing, make the paint more matt or gloss, or slow the drying time, as well as all sorts of texture mediums for extra body and surface textures such as glass beads.

Getting an easel

Few things feel more like a commitment to creating art in the long term than getting an easel. If you’ve been in an art class with battered tripod easels that wobble however you stand them, struggled to adjust wing nuts or tighten them so your painting doesn’t slide down as you’re working, then you probably won’t need persuading to buy a sturdy, h-frame one with a ratchet so it’s easy to adjust. If it seems an expense you can’t really justify, divide the cost over the years you’ll use it, probably the rest of your life...

Check the largest size canvas it’ll take and whether your ceiling is high enough for the easel at its maximum extension if you like painting standing up. Check the mechanism for adjusting is easy to use and, if it’s on castors, that these are easy to lock. If an easel wobbles or is a pain to adjust, you won’t use it and may as well chop it up for firewood. If an easel is sturdy enough to withstand vigorous brushwork and simple to adjust, the joy of using it will be reflected in your art. Once you get over the horror the first time you get paint on your lovely new easel, that is.

I recommend taking a look at Winsor & Newton’s Shannon and Welland studio easels.
 

Don’t get stuck in an artistic rut

It’s easy to find excuses for sticking with what you know, for not trying art materials other than what you’re now using or using better quality paint. Take the initiative and discover for yourself how much more you can achieve with top-of-the-range art materials and experiment with new products. You won’t be the first to discover that it is true you can use less good quality paint to achieve more than you can with loads of inferior paint.

Marion Boddy-Evans is an artist and writer who now lives on the Isle of Skye. She paints mostly with acrylics, but regularly gives herself a creative boost by using other mediums too. Marion also writes About.com:Painting.

http://www.winsornewton.com/resource-centre/product-articles/choosing-quality-art-materials

The Internet is a powerful tool for business. It displays your products to the world 24/7 without huge costs to the organization. I have met many business owners who will put a web site on the Internet and not do any follow-up with that site. Web traffic is like any other traffic to your business. It needs to be tended, fostered, advertised, and promoted in various ways.

One of the fastest ways to drive web traffic is through social media networking and direct mail.  But how does a business do this properly?  The first evaluation should be based on what you are trying to accomplish.  If you have a national or international product that involves shipping and delivery to various locations, you would use a form of "direct mail" or directed traffic via Ad-words on Google or advertising through social media and promoting your product through distributors web sites or other types of targeted advertising.  Most local businesses, however, rely on a very small demographic area for their "bread and butter" business.  A restaurant, a club, a retail store, or other highly localized business that relies on "foot traffic" would be better served by using both ground-based and Internet advertising.

Many companies do not have the resources to do a full web presence (which can cost upwards of $10,000) to develop, nor do they really need a "fully-functioning" web site with shopping carts, databsases, etc.  What they really need is a nice informational site that can be promoted through social media (which is free, although you do have to tend it) like Facebook, Twitter, You Tube, etc. and through ground-based advertising which is targeted to specific areas of the city or town in which the business resides.

For businesses in Ogden and Salt Lake, Ogden Blue offers unique direct mail services that can help boost awareness for your business.  There are several options available, and some are very low-cost for the amount of people reached.  Direct Mail pieces should have a clean design that is used to point people to your web site where people can more fully get acquainted with your services and offerings.  In spite of what you might think, there are some very low-cost, new options where expensive mailing lists and first-class or even standard postage is not required.

This year, the Postal Service introduced a new product called Every Door Direct Mail (EDDM).  This delivery service is available at half the price of Standard Mail, and your mail can be tailored along delivery routes to hit the main target area or demographic that you wish to reach.  Look at the rates below:

With these rates, Direct Mail becomes a low-cost way to directly target and mail to a specific demographic area.  

Ogden Blue just did a mailer to 3,500 people about our services.  This mail piece directed people to our web site where we are running a contest.  Total cost of postage was $507.  For our customers who are printing and mailing, that same reach would have been around $900 total cost (Ogden Blue charges an additional $.02 per piece to deliver the mailer to the individual Post Offices).  That is a lot of people exposed to your product directly in your targeted area for very little comparable cost.

The nice thing about direct mail is that you are not competing with other offerings, as you would be in other print media.  Your piece is seen directly by the person without distracting messages surrounding it.  When this is coupled with a direct or targeted message telling customers to visit your web site, it can be a powerful tool in raising the awareness that your business exists and the types of offerings you have.  

 Think about how this could impact the number of people who know about your business in an area.  Typically, restaurants, retail, and other local services only pull customers from a 5 - 10 mile radius.  If this matches the description of your business then Direct Mail might be an option for you, especially if you are newly starting up your services and need a jump start on getting customers through the door.

WHy the new web site?

For anyone who saw the old web site, I think you will understand why we really wanted to update this site!  When I came to the company two and a half years ago, there were a lot of pressing issues that needed to be taken care of, and the web site just seemed to drop by the wayside.  We really concentrated on becoming a top-notch printing firm during that period of time, and we have done an outstanding job on offering unique services, stellar customer service, and a fast, easy printing experience.  The web site is more about customer service to me.  Is there a way that we can help you get stuff done faster, easier, with less hassle?  I hope that is what the new web site will be all about.

This site now gives us the ability to change the information here ourselves.  We get to blog and converse with you through it.  It links to our social media, so we can let you know about all the great services and specials you can find at Ogden Blue.  In other words, it helps us continue the conversation with you, and helps us deliver a higher level of service than we could before. 

New Features

We have a lot of new features and a new look.  Our new look, which some of you have seen, reflects a bit better the new Ogden Blue.  We have had blueprinting services for a long time, but a lot of people didn't know that we also do color printing which is reflected in the new logos.  We have some amazing digital presses that give incredible quality... right here in Ogden so you can keep your business local.  Our six color bars reflect the six ways that we can serve you, and each one represents an area in which we can help you express yourself as you want in print, art, and design.

So... we have added a File Upload area, where you can send your print files to us.  You can also contact us directly or learn about the different kinds of services we offer.  We have an Art Knowledge base coming soon, where you can learn a little about the different types of products and how they are used.  You can join a newsletter that can help you track when art classes are, what specials we are offering, and hear about great new products that we are bringing on-line or into the store.  There will be specials that you can only view on-line, and we will have contests that will run.  For instance, right now, you can win an iPad by just printing with us or by joining our newsletter forum!

 We are happy that you decided to check out our new web site, and I hope you find it enjoyable, informative, and easy-to-use.  I also hope it saves you time, helps you learn, and helps you save.