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>>>SKIP THE READING: SHOP THE COLLECTION
we have to continue to support and promote black artists, minorities and women in business. in february we get a little extra love. if you thought other industries have issues, there’s a seemingly insurmountable hole in the fine art industry for inclusion and representation. i’ve been in this field for a long time since my first bachelor’s degree. call me crazy or passionate for staying with it this long. “pioneering ain’t easy” and i will continue doing this work.
if you have questions about me or my art, i’ve probably already written about it, posted online, but i just didn’t promote it excessively. i’ve often wondered if i was putting out the right info for my followers. the awkward balance of do what makes you happy versus do what they tell you if you want to survive. as mentioned above, i previously posted a statement on giving if you ever wondered what i was doing with all this artist revenue (sort of like a summary in an annual report).
as an artist, i sell art; the same concept as any retailer that you may subscribe to. this is who i am and this is what i have to offer.
>>>SHOP THE COLLECTION: Mini Masters (series of 50, all originals)
notes:
shine on. ~ love, t.
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if you're looking for a piece ready to hang, then artwork on stretched canvas is usually the way to go. contemporary art gallery walls have a lot of unframed stretched canvases, ready to hang. these pieces could be framed for a custom or traditional look that's seen in many art fairs. frames on canvas do not usually need the glazing (glass). it depends on your space and the conditions that the artwork will hang long term.
for canvases, i have mostly used back-stapled with the thicker edge, gallery/pro quality. i also like to support local and have some of them custom built. for current year 2023 i am working mostly on paper and some panels. flat panels need to be framed or some other non-traditional set-up (i.e. display easel if the piece remains safe, stable, and you have room space). the thicker, mounted/cradled panels can be wired to hang or also custom framed.
on the local emerging art scene i primarily collect original artworks on paper for many reasons. i always prefer to collect the one-of-a-kind original rather than a printed product. at the local level, the price difference from original to print (with original being more expensive) is usually a reasonable step. so it's worth it to me to pay the extra for the original. and again i go for the original on paper since i'm not looking to fill a wall space right away. the paper stores flat very well. most artists will sell the art with a clear protector over the art or see if they have another product they can swap out for you to keep the packaging. if not then i use my own archival sleeves to store the originals on paper, safe and out of the way, not cluttering my living space or storage. when i ship my own large original paintings i also cover the front of the artwork with glassine paper; as extra protection between the tight sandwich of all the packing materials.
i love working on paper, as it adds a unique element to my style of art. for my paper pieces that are finished with oil paint, the paper has been prepared for mixed media and oil. you would then custom frame a painting on paper based on your décor and aesthetic. MORE INFO ON MY BLOG: Custom Framing options for your Art Purchase
*note: some artists also work on unstretched canvas or loose canvas, i have an example HERE; but i rarely start work on unstretched canvas. although it's easier to ship internationally rolled in a tube and less expensive shipping costs. this may not be an option for certain artworks that are heavily textured and/or need a rigid support. check descriptions or reach out to the artist to be aware of what you're purchasing. i usually ship my canvas or paper, large or small items across the USA in a flat package, not rolled.
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]]>over the years i have continued to use my boards in many ways since i like to keep my research info organized, goals/inspiration fresh and updated. here are several boards i've compiled on Pinterest with additional information or examples of each topic. seemed like i could never find the one consolidated board for what i was looking for, or to share with students, until now:
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]]>Next time I will switch the Liquitex marker colors, mainly Parchment, to their acrylic and make a high flow paint. Seems like the Molotow markers hold more paint (or come with more), better flow. Both are refillable.
Why buy when you can mix and refill empty markers? Do what works for you. I buy a base range of colors for speed, and I still mix way more colors thereafter.
🤍 if you want to go crazy with incorporating street markers on your authorized-fine-art-projects... check out Street Smart or Art Primo. - test, practice, and understand how new products work for your process. if questions, stick to the manufacturer’s original instructions :)
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Updated from original post: August 2021
test results from under 1 minute, fast application, BLACK ink down and smudged with water. i know that is super-fast and ink dry time does change the results. the following is in order from least smudge to most smudge with wet media:
next, new test and results after 24 hours (who waits that long?! 😜 ...but patience is a virtue😇), BLACK ink down and smudged with water next day. not sure what happened chemically, but the results did change based on how long the ink set. after 24 hours, the order of least smudge to most smudge with new wet media was:
results can vary based on the type of paper and inks you're using. i usually do not let the initial black drawing pen dry too long (maybe 15 minutes or so, small format works). but i've found that letting the black pen ink sit overnight to continue working with wet media later, the pen ink sometimes bleeds even more. plus waiting overnight or longer takes away the spontaneity of resolving the piece in the moment. the joys of experimenting to see what works best for you! i usually create my ink drawings with permanent inks (technical drawing pens), acrylic inks, and sometimes india inks. i don't use traditional watercolor for final works; but i use it in my sketchbook and occasionally to get things flowing for an underpainting.
note: commissions may be earned from the links. thank You!
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]]>since i tend to over-clean all of my brushes, they quickly seem to dry out and lose shape. the bristles are super clean but start going wonky. i guess there is a balance to leave a little mess and clean only when needed. when i notice my good-and-clean brushes not working well, i back off of the straight solvent to clean (when oil painting). using the oil medium to clean my brushes seems to eliminate the need for an additional soap cleaning which further dries out the brush. here’s what i use:
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]]>begin with what you most love and must have in the space, then build out from there. it's similar to how i finish compositions for my artwork! keep it simple to start, even if you lean towards the fully stocked look with many decorative items on display. this process could start from a piece of furniture, a treasured keepsake, or an artwork. even if it's a large item, you can plan for future upgrades as needed by changing the main item's location if possible (your focal point), or changing the accent colors with a few small adjustments around the room. Shop Unique Originals on Canvas & Paper
below are several boards i've compiled on Pinterest to jump-start your interior design project. have fun!
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***update 2023: my current solution is to apply Gamvar Matte over the piece. this will not give a true flat matte finish; more of a satin/semi-gloss since my painting mediums are usually gloss finish. i apply a thin layer with a soft brush. i do not pour varnish over canvas. note that for re-varnishing, the painting would already have Gamvar Gloss or Satin, so i'm not mixing different brands.
for my last batch of new pieces that needed to be varnished, if the canvas surface was not already evenly glossy from the paint and mediums, i used Gamvar Matte for the entire varnish process to avoid any removal and re-varnishing. i'm not a fan of the cold wax varnish process. mixed media on stretched canvas can be tricky to varnish based on your process, materials used, how well you seal the surface, and at what point you fully prime (start) or seal the canvas (mid to end process). good luck! :)
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original post: March 2021
painted on a custom made 14" heavyweight cotton canvas, with at least 2 coats of quality gesso. mixed media technique with inks, marker, acrylic, and oil with fast dry painting mediums.
i decided to use this painting to see if i could get the surface up to a even finish. i think i varnished with Gamblin Gamvar Gloss maybe 1-3 months after i finished it. i realize that's a big span of time that could effect all of the below. the original painting was fully touch-dry but i did not wait 6 months to varnish the first time.
the canvas was very porous with gesso to start. the finish was more like satin, spotty up close. it hung in a gallery for 6 months. so now it’s been 15 months since i finished the original painting. although this experiment was enjoyable for me, it’s not something i want to do for every painting. in the future i'm going to revisit a better preparation of the canvas, or oiling out before varnish, and/or varnishing with a buffed cold wax. also oiling out is common for traditional oil painters too, not just specific to mixed media.
first i removed the varnish with Gamblin Gamsol and a soft cloth. i wasn't sure what brand of varnish i used, so i figured to start with as clean of slate as possible. since the surface was already spotty, there wasn't a clean indication of where the varnish was removed or not. but with each step in this process, the surface evened out more and more.
next i did the "oil out" process with 50/50 Galkyd Gel/Gamsol. perhaps the regular formula of Galkyd would have worked better, but i didn't have any at the time. i brushed on this mixture and the painting was really shiny. as it dried it was less shiny, but the overall surface quality improved. when i was rubbing off the excess mixture i noticed that some paint was coming off on my cloth, but it wasn't enough for me to be concerned about. it also could have been from the edges of the canvas. i just wiped the excess off more gently.
soon after (same day) i applied retouch varnish spray (don't ask, my idea). again the painting surface would improve bit by bit. After 24 hours of applying the retouch varnish, the surface was sticky. i used Gamsol and a soft cloth to rub over the surface, but i was not taking off a lot of product or paint. maybe i could have skipped this step, but it didn't cause any problems with the finish, just a longer dry time.
it took 3 more days but the painting surface was dry again. if at some point prior to this the surface would have stayed really shiny and even, i probably would have just re-varnished with a gloss or damar. but i decided to finish with a Gamblin Cold Wax application with a clean soft cloth. after the first thin layer i opted for a second coat of wax. I’m going to buff it the next day and see what happens.
after about 24 hours i buffed the cold wav with a foam buffing pad. actually 2 different foam textures and my rag, but all very smooth. it wasn't a dramatic transformation on the shine since i was going for satin as the max option for wax. i'm also going to finish with Tight'N'Up spray on the back side of the canvas. when i was buffing i used my hand to firm the back of the canvas while i buffed. it was already initially stretched really tight and made with a heavyweight cotton.
it was a lot of hand/arm work, and this was just a 14" canvas. overall a 5-day re-varnish process for this small-size. but if the end goal was to even the surface, yes i did that! still don't think i want to do it again. might have to double the price for extra labor; kind of joking.
ya'll keep painting, keep practicing! ~t.
(update: August 2021)
ps - before i posted this, i've also experimented with another oil-out method. no varnish was applied until the very end, as normal. this piece was 12x16" on a Fredrix Mixed Media Canvas Board (mixed media Oil Painting, the moth image on the main news feed). some of my dark areas dried matte. i did a oil-out with Gamsol and Gamblin's solvent free fluid. again, don't ask... i just try things if i can't find any good data telling me otherwise. i did a 50/50 mix and wow did it gloss up the piece! i wonder how this will work on a stretched canvas. anyway... the 50/50 was way too much solvent-free fluid and it was taking forever to dry. with a big soft brush, i started brushing off the excess that was just sitting on top of the artwork, and letting oxidation do the rest. i did this for a few days in a row. when it finally dried, i rubbed a soft cloth with some Gamsol across the surface to make sure it wasn't sticky. then i did a final varnish with Gamvar gloss.
***SEE 2023 update at the top of this page.
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]]>i rarely offer traditional prints of my paintings. the available prints are selling from my current inventory, usually small paper prints from exhibits, marketing, and street shows.
©TaLisa♛
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]]>Picture Frames: some locations for Blick Art Materials offer custom framing. also check with a local art gallery that makes frames for artworks on paper OR canvas.
When in doubt I always recommend a professional, archival, frame job. This is another great opportunity to support your local artisans. Option 1 would be my first choice - have them complete the frame from start to finish.
Option 2 - If the retailer also sells readymade frames in the store. Select and inquire about buying a new frame off the shelf. Then continue with a custom frame order. For example, an artwork on paper, they can cut the mat to fit the artwork and assemble the finished frame for you. Keep in mind that they are usually cautious or will not accept random frame components not purchased in-store because of quality concerns.
Option 3 - Doing it Yourself. For a semi-DIY, the company that I have used often to construct the frames at custom sizes is Art to Frames based in New York and they offer international shipping. Wait until the artwork is delivered so that you can get accurate measurements for the overall piece, plus dimensions of border for the mat (will probably be a unique size, custom to the artwork image). Or take it to the pros to handle for you.
Remember: Artwork Copyright Remains exclusively with The Artist. You can frame your purchase, but do not print.
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on www.TaLisa.art
Originals on Paper - archival gallery quality. the texture and paper surfaces may vary if you’re collecting other pieces across my body of work. i love working on paper, as it adds a unique element to my style of art. you would then custom frame a painting on paper based on your décor and aesthetic. there is usually a working border around the image that may have paint or marks; intended to be covered with a picture mat or leave as-is for a natural studio look. the border also sets the composition so that if framed the entire image is accounted for.
Installation - most of my paintings on canvas are standard construction, wired on the back, ready to hang as noted in the descriptions. to display them, based on the weight i have used a simple straight nail or picture hook made for drywall. i can also help find an art installation company or custom frame shop near you.
Occasionally I create works on Unstretched Canvas - these have been sold as-is and rolled to transport. the collector either wanted to hang the artwork similar to a tapestry, custom frame the cut canvas, or in other cases they had the artwork stretched around a wood frame (only if there is enough extra canvas around the image) for a traditional gallery canvas look.
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]]>Updated from original post: December 2021
well hello!
is that you? you're the one inquiring about being an artist? or what else brings you here? want to find out a little more about the wild world of artists and how we think? want to build your case to talk a loved one out of quitting their current full-time comfortable job to answer their artist call? or is it you? the emerging artist, the one that's not sure why or how, but you're interested in the fine art industry? oh wait, i said fine art, and maybe you're just into crafts. does it matter? maybe. depends on your product and where you're selling it.
this is my personal experience, read at your own risk.
it will take heart to make the life of your dreams. plus other skills such as perseverance, adaptability and confidence. but you cannot trade passion and courage for any of your expenses. bill collectors don't accept that as a promise to pay, therefore...
the NUMBER ONE question to address is: Are you in this for business or pleasure? pleasure defined as anything else that is not business, stay tuned here. once you sort that out a whole bunch of other details will be clear for you. since the title of this post has "Professional Artist" one might assume that we're talking business. but not necessarily. because like many things these days, people are using different definitions to fit their cause. for this post i'm using the Merriam-Webster definition of business, "the activity of making, buying, or selling goods or providing services in exchange for money." key words, in exchange for money. so if you're not sure how to answer this question, you're kind of playing around in mud, and while it may seem fun, it's not the most efficient path to take. imagine yourself trying to get from Point A to Point B, drudging along a mud path and the rest of the pack is smooth-stepping wearing white sneakers on the dry ground around you. yes there are obstacles and such, but that's coming up next. also, if you're in the hybrid-professional category (selling for pleasure but you don't need the money or sales history) then keep doing what you're doing, mixing and matching what works for you. but if you're lacking clarity and direction you may want to rethink the hybrid, commit to a decision, perhaps working towards a hybrid business model when you're at that point in your career. if you don't know if you're at that point yet, you're not.
NUMBER TWO question is" How well do you handle difficult situations? you should master this to a point where you have more days in control, and less to no days on the brink of a meltdown. this is not just a question for artists, its a life question; they ask it on job interviews too (or a variation of this). off the top of my head, difficulties can come as: life hardships, rejection, resistance (procrastination), lack of resources (time, space, materials, money, etc.). this list goes on and on; you name it... but i'm not claiming it :) anyway, i've found that how i overcame any one of these difficulties is actually very similar to how i can overcome all of them as they come. but since our experiences and mental processing methods are different, you have to commit to figure out what works for you. then keep working it! refine your inner self as much as you want to refine your artist skills, or other goals.
closing on NUMBER THREE: do something. take action. today. make a decision and see it through. ***however, be mindful of course/class/program addictions that mask your deeper root issue of self-confidence and courage (plus probably a few other things based on your experiences and resilience). no degree or certificate gained as a pacifier will fix you. a course completed as continued education from a position of strength is a different story. i have 3 college degrees and have taken a plethora of other courses so this is very real for me. i just rediscovered something i wrote as a kid, and it was clear that i was writing as an entrepreneur. perhaps i was just ahead of my time, but if i would have seen other models of local entrepreneurs and professional artists, i’m not certain that i would have went to college. i was not mentored from youth to be an artist or business owner; that’s just my story. may yours be beautiful and blessed as you work out the details.
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]]>“Game-Changing Artists and Original Artworks. Join Us September 22-25 in Santa Monica.” ~The Other Art Fair
| TALISA. booth# 108 |
Links to Featured Online Collections
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Click Here > Check out some of my fav Professional Art Supplies
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]]>April 2022 News
Mixed Media Oil on Paper, 22x15in
3 PAINTINGS IN THE COLLECTION
[original paintings by TaLisa.]
Street Floral vol.9 🔴SOLD
check out my website for more unique original works of art.
i never realized the differences within my own studio until i started to study this topic more. it's like how you never realized your personal photos were terrible until you had professional photos taken or you upgraded your camera. and then of course with a side-by-side photo comparison it looks so obvious. but have no fear, i wouldn't worry about trying to match the lighting of your home to the gallery or space where you purchased the artwork. plus you may have purchased the art online, from just a photograph and an item description. i consider the lighting effect as a total package. meaning everything in the space can effect how the art will look on the wall.
in most cases a high noon outdoor photo works beautifully. but sometimes after comparing with indoors, i opt for the hybrid indoor photo for the best representation of the artwork.
since white is most reflective for visible light, a painting with a lot of light colors will respond more to changes in the lighting conditions. a dark painting absorbs the light. with a multi-colored painting the lighting changes are generally but not always more subtle.
often for online images, you’re seeing a lower quality image, optimized for web pages. what are “normal well-balanced lightning conditions” that i mentioned above? meaning that my studio has a mix of natural light from windows, plus i use cool and warm bulbs as needed to balance the light in my work space. it also depends on the time of day as to what lighting set-up i’ll use. sometimes weather and deadlines prohibit getting an outdoor photo so i have to be prepared for indoor photos too. therefore when i don’t have any special lights on, the painting still looks good; not heavily reliant on special lighting to communicate the same color story as when i painted it.
i primarily sell my artwork online, so i will share an experience specific to color and buying art. a repeat collector sent me the name of the piece she wanted to buy from my website. i confirmed availability with a screenshot just to make sure we were on the same page. then i looked at the actual painting in my studio and noticed that the photo colors on my computer were more orange, whereas the actual painting was more pink (towards coral). why was this something to note? because i knew the collector's color preferences and home décor since she has purchased art from me before. also knowing that device colors and settings may vary by user; the collector may have had a slightly different view. but i sent the collector new photo right from the studio (a small web-size image, nothing too fancy) plus an outdoor photo to confirm that she was still ok with her selection, and she was.
that's a lot of text to simply say, no matter what the cyber-lighting situation looks like, the energy and mood of the painting remained the same. as the creating artist, when i photograph my art for the web, i aim for accuracy with studio or natural lighting.
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]]>i just created a new page. you can now buy me a coffee!☕️💕 (linked inside and connects to my own site)
]]>Do all the good you want, Right Now. i empower others to live their best life; with no strings attached, no selfie on the street corner, no social credit needed. that could be a dilemma as a businesswoman in these times of being seen (meaning if it wasn't posted on social media it doesn't count). i understand that people like to know what their money is going towards, what charitable cause a business supports or the company's stance on many social concerns and communities. the subject matter for my art could lead to many different programs related to women's rights, black history, or some element of nature and conservation. there are numerous organizations, making an impact in each of those segments on a local, national, global scale. and there is the flip side of that too, with others doing who knows what in the name of (... insert your cause here).
there are endless ideas that i have on how i can give away money. supporting local seems to be my thing, but not a rule. i'd rather skip the memberships and applications and help others within my reach. it's kind of like the pay-it-forward model, but without putting any expectation on the recipient to keep it going. maybe they would spread the love anyway, but that's none of my business. if there is a Want or Need, and i can meet it, that should be enough. i've been on the hopeful-recipient-end and have submitted for many opportunities that were a want (for my career) or other submissions that seemed like a dire need. interesting word-choice, with submission defined as "the action or fact of accepting or yielding to a superior force or to the will or authority of another person" via google search dictionary (wow... just put that together as i typed this). anyway, i said some submissions seemed like dire need because somehow i made it through! but even with a well-intending for-profit (business) or nonprofit, the application process (although necessary for admin and accounting), they often left me feeling weak and hopeless. i will quantify by saying that i have hundreds of applications out there. i have decided that there is a better way, to do all the good things, at least for me, as a solopreneur. i can control my controllables. and the rest... i make the best of each day, to be kind and respectful, to give a few clicks and shares on instagram, leave a tip bigger than the meal... to just keep sharing the light!
so the exchange for my artwork, what about that, what else are you getting? it's exactly that. it's the exchange for the artwork that i have made from my hands. perhaps you know a little about me, my background, credentials, and my passions. or maybe the artwork sparked a reminder of something meaningful for you or a loved one. you see the art, what does it represent for you? for visual impairments, i can assist to describe it audibly. maybe it's an emotional response but not necessarily. you could be starting or adding to your own art collection or buying a gift for someone else. once you collect my work for your own reasons (win), you empower me to continue the work (win), inside the studio and out (win).
i have an entire collection of small format pieces that are great for unique gifts and décor to fit a specific theme in your space. for example, looking for a small abstract, a sweet bee, a vibrant floral, or a centerpiece image of strength/beauty/diversity) to create your own salon-style or gallery wall. plus, all of the larger originals on canvas and paper. you can check out what i've just finished HERE. go ahead, do it...
♥️ ~t.
"...sometimes it is necessary
to reteach a thing its loveliness,
to put a hand on its brow
of the flower
and retell it in words and in touch
it is lovely
until it flowers again from within..."
~ partial quote from “Saint Francis and the Sow” by Galway Kinnell
~ photos: TaLisa Lopez-Garcia
]]>for mixed media, i wanted to see which one would quickly seal the layer (charcoal, pastels, chalk, very dusty). the amount of product that sprays out of the cap and how close you spray to the surface will also vary the results. this was for an abstract underpainting. 🚫don’t blast a fixative or clear spray on delicate drawings if you’re unsure how it will work. this test was not to re-work a drawing. bonus tip: practice on a scrap piece, especially before you try something new on artwork you are selling or exhibiting!
RESULTS: the winner was Blick Matte Fixative. they all eventually worked about the same, after more layers and dry time. reminder that this was for mixed media stability and not to re-work a drawing.
(test group: Rust-Oleum 2X Matte Clear, Blick Matte Fixative, Krylon Workable Matte Fixative, and Montana Semi-Gloss Varnish Spray) commissions may be earned from the links. thank You!
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]]>
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]]>the Principles of Design: learning about balance, emphasis, proportion, movement & rhythm, pattern & repetition, variety & contrast, and unity. examples of the Principles of design are organized here! they are guidelines to manipulate the Elements of art.
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TaLisa's stripe design for Arizona (31st State) and artist statement: https://www.herflag.com/artists-gallery/talisa-lopez-garcia
📌Maryland was not one of the 36 states that ratified the 19th Amendment. I'm still proud to represent my family and the unknown warriors in women's history.
Exhibit page at the National Museum of Women in the Arts
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