Archive for the '* DS Printmaking Inks' Category

November 12th, 2009 categories: category, * "How To" Slide Show, * Art Projects, * Cardmaking, * DS ExtraFine Watercolors, * DS Printmaking Inks, * DS Watercolor Triads, * Video Slide Shows
Easy Block Print Cardmaking Project - Painting in the Poinsettia leaves with DANIEL SMITH Sap Green Watercolor

Easy Block Print Cardmaking Project - Painting in the Poinsettia leaves with DANIEL SMITH Sap Green Watercolor

Want a high impact and easy Printmaking Project, that you can make great cards with?  Well, here you are….

 
Easy Printmaking! Making Cards with Safety Kut blocks, DANIEL SMITH Water Soluble Ink, DANIEL SMITH Watercolors and Strathmore Cards!  This project was inspired by Molly Hashimotos Block Printing demo during our Printmaking Event Weekend in October.
***
 
This is what you will need:
  
  1. Safety Kut blocks 4×6 – 369 020 001
  3. Speedball Linoleum Cutter Set 1  – 530 060 002 
  4. Speedball 4″ soft Brayer – 530 060 018   
  5. Strathmore Watercolor Cards (10 qty with envelopes) 5×6-7/8 -  220 230 011

    DANIEL SMITH Watercolors – for this we used “Holly Berries” Triad ( Perylene Red , Sap Green , Iridescent Gold ) plus Hansa Yellow Medium 

  6. Watercolor brushes
  7. Plate or palette to roll out ink
  8. Soft leaded pencil – or Saral Graphite Transfer Paper
  9. Sharpie fine point pen
  10. Sturdy spoon
 
Watch the slide show video to see the basic “How To” and follow the instructions below to create our own design. 
YouTube Preview Image

 

I sketched out a simple poinsettia design, and some other ideas would be a wreath, ornament, star, evergreen tree, Christmas Tree, Christmas Stockings, Wrapped box gift, or ???   This project is not limited to Christmas, think of how beautiful hearts would be for Valentine’s Day, Easter Eggs, Tulips or Bunnies and of course fun spooky Halloween pumpkins and more would be.

 

Design & Transfer:

  1. Draw out your design – keep it to simple shapes.
  2. Outline design with Sharpie Pen – this helps refine your simple shapes and gives you a thicker line to gauge around for the ink to stick to on the outline your design in the ink.
  3. Rub back side of paper with your design with a soft leaded pencil (or you can use Saral Graphite Transfer Paper to place on top of Safety Kut block and beneath the paper with your design).
  4. Place design pencil side down (or transfer paper down between block & design) on top of Safety Kut block.
  5. Take the capped Sharpie pen and press hard on your design tracing the design you made with your Sharpie pen to transfer the graphite from pencil (or Saral Paper) ( or Saral Paper) onto Safety Kut block as you trace out your design.
  6. Lift a corner and make sure your design is transferring onto the Safety Kut.
  7. Finish rubbing spoon over the Sharpie design to complete the transfer of your design.
 
Gauging and cutting your design:
  1. Insert the smallest tip of the Speedball Lino Cutter into the handle, and begin “pushing” the tip onto your Safety Kut block to gauge out your design.
  2. You will want to outline the basic shapes by gauging OUTSIDE or INSIDE the thick outlines – remember where you don’t gauge away the block the ink will stick and print.  You want to preserve that thick line.
  3. Tip for choosing the direction to gauge, follow the general outline, or as I did with the petals and leaves of the poinsettia, gauge in the direction of the PATTERN of the leaf, or if (for instance) water, you would gauge the motion of the water flowing downstream and around rocks.  Remember to keep turning your Safety Kut block around so that you are gauging AWAY from you so you don’t gauge yourself!
  4. For larger areas to gauge, switch your tip on the Speedball lino cutter to a larger tip.  Again, when gauging, think of how you want the lines of the gauge to show, for the poinsettia background, I gauged AWAY from my design all the way around the poinsettia shape.  Keep turning the Safety Kut block so that you are also gauging AWAY from yourself. 
  5. Keep gauging away until you see the design appear. 
  6. TIP – Don’t gauge away too much, you want to see the lines from your gauge marks.  You can always gauge away more if after you do a test print you decide too, but you CAN’T undo too much gauging.
 
Printing:
  1. Squeeze out some of the DANIEL SMITH Water Soluble Ink onto a glass palette or use white stoneware plate.
  2. Using your 4″ Soft Speedball Brayer, roll over the ink to coat your brayer.
  3. Roll inked brayer over your gauged design on the Safety Kut block and ink well.
  4. Make a Test Print onto any plain white paper:  Lay paper down, carefully place inked block ink side down onto paper and press down hard.  Then keeping them together, CAREFULLY pick up them both up and turn over so that the paper is now on top, don’t let them slip or your image will be blurry. Take your sturdy spoon, and rounded side down on to paper, press down and rub the paper to burnish the ink onto the paper to get a good print.  You may want to carefully lift one corner to check and see how well the ink is printing onto the paper.
  5. When you are satisfied that you have burnished in the ink, carefully pull the paper away from the inked block and reveal your Test Print!
  6. You may want to do several test prints until you feel comfortable with inking the block, and printing the paper.
  7. Now do the same with your Strathmore Watercolor Card.  You may find that you will need to ink your block more (tip rolling fast takes up ink, rolling slow lays down more ink) since Watercolor paper has different absorbency and have to press harder and longer with your spoon since the Watercolor Paper is thicker too.
  8. Keep printing til you are done!
  9. The prints will need to dry at least 24 hours (depending on the humidity) before hand painting with Watercolor.
  10. You can do some small touch ups with your Sharpie pen to fill in small areas that the ink missed.
 
Hand Painting with Watercolor:
  1. Decide on which DANIEL SMITH Watercolors you will be using and squeeze them out on your palette, just a little bit of paint.
  2. Begin painting in the areas you want with the colors you have chosen.  It’s kind of like coloring when you were a kid, keep within the lines!  :  )
  3. Use the watercolor full strength, or dilute to the color strength you desire and paint.
  4. You can individualize the cards by subtly changing the color strength, in the technique in the way you paint the watercolor, or by choosing different colors for the cards.
  5. Allow to dry and you are finished!
 
Have fun with this Blockprint Cardmaking Project and to find for more ideas for Handmade for the Holidays Art Projects please click on the link.
 
Every Day,  Express Yourself  with  ART….
 
~Deborah Burns
 
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Written by Deborah Burns | Discussion: No Comments »
August 11th, 2009 categories: category, * Artist Interviews, * Catalog Artists, * DS Printmaking Inks, * Printmaking
Kristina Hagman at her dining room table, on the wall, four of her woodblock Prints: "Thirty-Six Views of Mount Rainier"

Kristina Hagman at her dining room table, on the wall, four of her woodblock Prints: "Thirty-Six Views of Mount Rainier"

Last week I visited Kristina Hagman at her studio in Seattle to talk with her about her new work.  Kristinas’ Woodblock Print “Night” is on the cover of the new DANIEL SMITH 2009-2010 Reference Catalog.   This Woodblock Print is just one from her series “Thirty-Six Views of Mount Rainier”, inspired by Hokusai and his series Thirty-Six Views of Mount Fuji.  Kristina also wrote an article for DANIEL SMITH about how she was inspired by Mt Rainier and Hokusai to make this series that you can read here

 
When you enter Kristina’s Craftsman home you see about 7 framed prints of her series of 36 views of Mount Rainier on the pale yellow walls of her home.  Two on either side of the fireplace, two on the wall opposite above shelves, four on the wall near the dinning room table, another on the same wall on the other side of the door to the kitchen.
 
Kristina invited me to sit at her dining room table to show me some of Hokusai prints in a book on Hokusai she pulled from a nearby shelf filled with art books.  One of the prints Kristina talked about was “The Great Wave of Kanagawa” (his most recognizable work) with the tiny Mount Fuji seen in the distance.  When you look carefully you can see that the mountains’ shape is also roughly repeated in the shape of a smaller wave. 
 
With this series, “Thirty-Six Views of Mount Rainier” , Kristina is not trying to find corresponding views of Mount Rainier to Hokusai Thirty-Six Views of Mount Fuji in her series, but rather the spirit of Mount Rainier and how everyone in it’s vicinity sees it juxtaposed in their day-to-day activities and lives.  Mount Rainier is so huge, and stands so alone in it’s surroundings that it becomes a personal reference point to everyone in Seattle and south Puget Sound, just as Mount Fuji does for everyone in Tokyo and central Japan.
 
Then we went downstairs to The Studio!
 
Print & woodblocks from Kristina Hagman's "View from Georgetown"

Print & woodblocks from Kristina Hagman's "View from Georgetown"

In The Studio, Kristina first showed me the four woodblocks she used for the print “View from Georgetown“.  We talked about the peculiar cloud formation that occurs over Mt Rainier, called lenticular clouds that look kind of like UFO’s.  Kristina has carved one of the lenticular clouds into the woodblock which is appropriate for a view from Georgetown, which is a quirky little Artist community just about 2 miles southeast from the DANIEL SMITH Seattle Store.  Kristina told me that she began working with DANIEL SMITH Printmaking Inks in 1983 when she was in New Mexico studying printmaking, funny how she now has one of her prints 26 years later on the cover of a DANIEL SMITH Catalog! 

 
Kristina Hagman with Progressive Prints of "Dawn"

Kristina Hagman with Progressive Prints of "Dawn"

Kristina showed me a set of Progressive Prints of her print “Dawn” which is basically the print deconstructed.  Each paper is of just one of the woodblock prints with it’s particular ink color.  If you *click* on the link to see the print, you will see subtle “waves” in the water of Lake Washington, those “waves” are actually the wood-grain of that particular woodblock.  That was an artistic decision to choose a woodblock that had wood-grain that resembles waves, and to incorporate that wood-graining into the print.  It takes careful printmaking to bring out the wood-grain.  You can see some wood-grain in the sky of “Night” which is on the cover of the DANIEL SMITH 2009-2010 Reference Catalog, they echo the general shapes of the night clouds.

 
Kristina Hagman working at her lectern carving on her new untitled woodblock of Beacon Hill transformers and power lines with Mt Rainier in the background

Kristina Hagman working at her lectern carving on her new untitled woodblock of Beacon Hill transformers and power lines with Mt Rainier in the background

Next Kristina showed me her wood cutting tools nestled in a nifty segmented box, a cigar box/tray that someone gave her.  I asked Kristina where she actually worked when carving the woodblocks and it turns out to be a lectern that she picked up at a thrift store.  It’s the perfect height for Kristina to stand at to carve.  Kristina picked up one of her woodcutting tools and began to carve the woodblock laying on the lectern to show me how she works.  That woodblock is an interesting one with Mt Rainier in the background of the Giant Transformers and Power Lines that run along the spine of Beacon Hill.  Below those power lines is a Park/Trail called Chief Sealth Trail.  It’s interesting to know that Seattle City Light has purchased, for their Arts Collection, some of Kristina’s prints from this series, since those power lines in this new print belong to Seattle City Light.

 
It was fascinating to meet Kristina Hagman, to see her studio, talk about her current body of work, and see some of her work in progress.  Kristina is now working on woodblock print number 25 of the 36, with the goal to finish by this spring for a show at Seattle University to inaugurate their new Gallery Space.  Kristina will do a lecture on her series, Thirty-Six Views of Mount Rainier there too, that will be a very interesting lecture!
 
Thank you Kristina!
 
Every Day,  Express Yourself  with  ART….
 
~Deborah Burns
 
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Written by Deborah Burns | Discussion: No Comments »
July 20th, 2009 categories: category, * DANIEL SMITH Manufacturing, * DS Printmaking Inks, * Dan Smith, * Printmaking FREE Demos, * Seattle FREE Demos, * Special Weekend Events
Bill Ritchie Special Interactive Printmaking Demo with DVD of his 1977 interview with Dan Smith and Pulling Prints off his Halfwood Press at the Seattle DANIEL SMITH Store

Bill Ritchie Special Interactive Printmaking Demo with DVD of his 1977 interview with Dan Smith and Pulling Prints off his Halfwood Press at the Seattle DANIEL SMITH Store

Last Saturdays’ Special demo at the DANIEL SMITH Seattle Store with Multimedia Artist Bill Ritchie:  was such a interesting experience on many levels. 

 
My initial interest was to watch Bills’ 1977 video interview with Dan Smith (OUR Dan Smith!) with Dan talking about making etching and litho inks and why, while he worked on making a batch of etching ink.  Bill’s UW (University of Washington) video students were making this documentary as an assignment.  It is so interesting to see how Dan wanted to make the best printmaking inks available to artists such as himself, because he could not find the high quality inks he wanted to work with.  It was fascinating to watch “Making Etching Ink: Featuring D.G. Smith – Artist and Entrepreneur”!  You can watch a 2 1/2 minuet trailer at that link.
 
Bill Ritchie inking up his copper plate for the Interactive Printmaking Demo

Bill Ritchie inking up his copper plate for the Interactive Printmaking Demo

Bill told us that Dan Smith made the small batches of etching and litho inks and gave them to some UW printmaking students (Dan taught litho at UW in 1976) to test out in their work.  In the video when talking about one of the reasons why he began making inks, Dan says, “I’m into making perfect materials“.  A couple of other phrases really caught my attention; “One of my most favorite pigments is Lamp Black” and Dan goes on to explain why (incredibly rich color) as well as some background info on Lamp Black.  Later Dan makes a really poignant comment that I know many Artists also feel, “I don’t know how to make Art a bigger part of the world.“  I hope you have an opportunity to watch the video (now DVD) someday, it’s very interesting to watch what was originally a student assignment interview of someone who eventually turned his passion for making the BEST Art Materials for Artists into the Art business we know as DANIEL SMITH: Artists’ Materials.  And today that passion still continues to make the highest quality Artists Inks and Paints in the world!

 
Surprise! Listening to the music box feature on Bill Ritchie's Mini Halfwood Press

Surprise! Listening to the music box feature on Bill Ritchie's Mini Halfwood Press

Bills’ demo set up added another level of interest because his handcrafted “Halfwood Presses” were amazing sculptures on their own.  The photos on line do not do them justice, they are exquisitely detailed, and while working presses, they look as if they should be on display.  Bill brought his personal Mini Halfwood Press as a display which has a couple of unique and charming features.  The first was a clock embedded in the fine woodwork, and the second….well it has a music box mechanism in it and Bill surprised and charmed several DS store staff when it began playing!

 
Bill Ritchie pulling his 3rd Commemorative Print of his Dan Smith 1977 video interview

Bill Ritchie pulling his 3rd Commemorative Print of his Dan Smith 1977 video interview

For the part of the demo where Bill was pulling intaglio prints, inked in DANIEL SMITH etching ink, off the copper plate, he used a brand new, never-been-used press (#49) to test it before sending off to it’s new owner in Australia.  So not only was Bill debuting press #49, he was also pulling prints off a plate he made to commemorate his DVD of Dan Smith that he had not printed from before….pure performance!  Bill believes printmaking is a performance art and this demo was absolutely a performance.  I hope you get a chance to see his Interactive Printmaking FREE Demo this Sunday at the Bellevue DANIEL SMITH Store:

 
Bill Ritchie DVD of 1977 video interview of Dan Smith and Commemorative Intaglio Print July 18, 2009

Bill Ritchie DVD of 1977 video interview of Dan Smith and Commemorative Intaglio Print July 18, 2009

Sun July 26th from 12 to 2 pm Special Time!
INTERACTIVE PRINTMAKING: Daniel Smith Etching Ink DVD
Bill Ritchie Pulling Prints!
emeralda.com

 
Thank you Bill!
[ And Thank You for the wonderful print, I will treasure it! ]
 
Every Day,  Express Yourself  with  ART….
 
~Deborah Burns
 
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Written by Deborah Burns | Discussion: 1 Comment »
July 15th, 2009 categories: category, * Bellevue FREE Demos, * DS Printmaking Inks, * Printmaking FREE Demos, * Seattle FREE Demos, * Special Weekend Events
Bill Ritchie Interactive Printmaking Demo featuring his 1977 interview of Dan Smith on DVD

Bill Ritchie Interactive Printmaking Demo featuring his 1977 interview of Dan Smith on DVD

This Saturday we are having a Special FREE Demo at the DANIEL SMITH Seattle Store and again on July 26th at the Bellevue Store with Artist Bill Ritchie. 

 
Bill Ritchie is a Multimedia Artist whose work includes working in Printmaking and Video.  In 1977 a few of his video art students, as part of an assignment, filmed Bill talking with Daniel Smith.  This “Basement Documentary” filmed by Bills’ students, shows Dan Smith talking about why he, as an Printmaking Artist, began making fine art printmaking inks which eventually grew into becoming the International Company DANIEL SMITH: Artists’ Marterials.   Bills’ video shows Dan talking about the struggle to balance making his art and starting his business, while showing Dan making a batch of etching ink, and a few years later at work as an Artist pulling prints. 
 
For this Special demo, Bill will be playing his video, “Making Etching Ink: Featuring D.G. Smith – Artist and Entrepreneur” (you can see a video trailer of the DVD on that link) during the demo while he pulls etching prints off the plate he made just for this occasion.  Bill has not pulled a print off this new plate yet, so everyone present at the start of the demo will get to see the first proof.  As Bill described it to me, it will be a bit of a “performance piece” as he will be pulling the prints off his “Halfwood Etching Press“
 
Seattle: Sat July 18th from 11 am to 1 pm Special Time!
Bellevue: Sun July 26th from 12 to 2 pm Special Time!  
INTERACTIVE PRINTMAKING: Daniel Smith Etching Ink DVD
Bill Ritchie Pulling Prints!
emeralda.com
 
Every Day,  Express Yourself  with  ART….
 
~Deborah Burns
 
Follow DANIEL SMITH on Twitter
Become a DS Fan on Facebook

Written by Deborah Burns | Discussion: No Comments »
February 21st, 2009 categories: category, * DS Printmaking Inks, * Monotype, * Printmaking, * Printmaking FREE Demos, * Seattle DS Store, * Seattle FREE Demos
Lisa Snow Lady demonstrating her monotype techniques at the Seattle DANIEL SMITH Store

Lisa Snow Lady demonstrating her monotype techniques at the Seattle DANIEL SMITH Store

It was hard being inside on the beautiful, spring-like day we had today to attend the FREE Weekend Demo at the Seattle DANIEL SMITH Store, fortunately seeing Lisa Snow Lady’s floral monoprints and demo more than made up for it. 

 
First of all, the story behind Lisa’s name is that her maiden name is Snow, and her husbands last name is Lady.  Lisa trained as a painter and has for the last 15 years been working on monotypes as well.  She finds that the process, for her, is similar to painting.   
 
During the hour long demo, Lisa created a monoprint of two pears showing us some of the basic techniques, as well as some fun ways to get some creative visual effects. 
 
Lisa Snow Lady at DANIEL SMITH

Lisa Snow Lady at DANIEL SMITH

Lisa works from a drawing on paper of her subject, then lays the plexiglass plate over the drawing so that she can see the drawing through the plexiglass.  Then Lisa mixes her inks on a glass palette with a brayer.  Once she has mixed the desired color, she begins to apply that color with the brayer, onto the areas on the glass to cover the desired areas of the drawing she can see through the plexiglass.  Lisa keeps mixing ink colors and applying them to cover areas of the plexiglass.  Lisa may at that time “draw” into the flat applications of paint with q-tips, or other objects to remove some of the ink she just applied.  The printmaking paper then is placed on the inked plexiglass and run through the press.  The paper with an image is removed and the plexiglass plate is cleaned. 

 
These steps are repeated over and over with creative modifications such as: laying decorative papers down on the ink, “painting” the ink onto the plexiglass getting more painterly effects and more.  The possibilities are infinite!
 
While Lisa uses a printing press at her studio, and for the demo she used one of the Seattle Stores’ display presses, you can use a brayer on thinner paper or even wet the paper so that ink can go on thicker.  It won’t have quite the same effect, but you will get different effects to work with.
The demo was a basic “how to” for doing painterly monoprints on to paper using these supplies:
 
Materials:
* Miracle Gel Reducer (or Flash Oil)
* Good rag printmaking paper – Rives BFK
* Thin colored/textured papers such as ”Mango Paper”, “Lama Li” or “Thai Unru”
* Acrylic Matte Medium (for printmaking effects)
* Silk Span or Silk Tissue (for printmaking effects)
* 2 blotters – one for registration  (Lisa likes to use old phone books for blotting paper)
 
Tools:
* Plexiglass plate (to apply ink onto to print onto paper when running through press)
* File for beveling edges of plate
* Hard bristle brushes (for “painting” ink onto to plexiglass plate for effects)
* Glass palette for mixing ink and rolling out ink with brayers
* Q-tips
* Palette knife (for mixing ink and scratching designs into applied ink on plexiglass plate)
* Foam Brushes
* Straight edge for tearing (tearing decorative papers to apply to design)
* Colored pencils
* Masking tape
 
Clean up:
* Rags/paper towels
* Vegetable oil or Turpinoid Natural for cleaning brushes/rollers
* Simple Green or Soy Solve for cleaning surface
I came to this FREE demo not knowing much about the monoprint process, and left fascinated by the kinds of effects that Lisa is able to produce onto a piece of printmaking paper!
Thank you Lisa!
 
 
Every Day,  Express Yourself with Art….
 
~Deborah Burns

Written by Deborah Burns | Discussion: No Comments »
May 30th, 2008 categories: category, * DANIEL SMITH Manufacturing, * DS ExtraFine Watercolors, * DS Original Oils, * DS PrimaTek Watercolors, * DS Printmaking Inks, * DS Ultimate Acrylics, * Seattle DS Store
Dave showing members of the Northwest Watercolor Society (NWWS) where on the map Purpurite Genuine comes from

Dave showing members of the Northwest Watercolor Society (NWWS) where on the map Purpurite Genuine comes from

Last Wednesday, 13 board members of the Northwest Watercolor Society visited the Seattle DANIEL SMITH Store to tour the on-site manufacturing facilities where the DANIEL SMITH Extra Fine Watercolors are made. The same manufacturing facilities are also where the DANIEL SMITH Original Oil Paint , DANIEL SMITH Ultimate Acrylic Paint , and DANIEL SMITH Printmaking Inks are made.

 

The tour was in four parts:

Since this was a VIP tour, it began with KT, Manager of the Bellevue DANIEL SMITH Store introducing John Cogley, owner of DANIEL SMITH, to the NWWS board-members. The group met at the front of the store where the video of “How Paint is Made – The DANIEL SMITH Way!” plays in the foyer of the Seattle Store. John talked to the NWWS group about what was happening on the video by explaining some of the processes, sharing stories and answering questions. It was really interesting to find out a few new things I had not previously learned before since John is very involved in the entire process beginning with being active in finding new minerals for DANIEL SMITH PrimaTek Paints .
 
David Pruneda, who works in the Seattle Store, took over for the next part of the tour by leading the group through the store to the room where the weekend FREE demos are held, it’s also used as a Gallery. The group took seats to listen to David talk about the minerals used for making DANIEL SMITH PrimaTek Colors by showing and passing around some of the corresponding minerals such as Azurite Genuine . There were “rocks”, and jars of powered minerals and examples of PrimaTek watercolors painted out on watercolor paper. There was also a map on display showing where some of the minerals come from…literally all over the world!
 
The next part of the tour was conducted by Ron Harmon, the long time DANIEL SMITH Chemist, who took us back into the manufacturing room. There Ron showed us the the 5 large to huge mixers that the pigments are mixed with the various liquids. Watercolor with Gum Arabic and water, Acrylic with acrylic emulsion, Oil with either safflower or linseed oil, and Lithographic ink with litho varnish. Next, are the various three roll mills that “take the pigment particles and tear them down” to transform the mixes into DANIEL SMITH paints and inks. While we were there, one of the mills was being used to refine DANIEL SMITH Quinacridone Gold Watercolor , so it was extra cool for the NWWS group to see. Lastly Ron lead the group over to see the two filling machines, one for watercolors and the other for acrylics, where the tubes of paint are filled. The inks are actually too thick for the fillers and the cans are hand filled beside the mills. Here is a trivia question for you…how are the labels applied to the tubes? Answer: by hand! Bonus answer: by Ron’s daughter’s hand!
 

Next, David lead the group back to the demo room to answer more questions…there is always so much to learn!

At the end of the tour, most of the group were amazed that while they “knew” that DANIEL SMITH manufactures its’ name brand paints and inks, they had not realized that the DANIEL SMITH Watercolors , Acrylics and Oil Paints and the Printmaking inks are actually made in the same building as the Seattle DANIEL SMITH Store.
 
Next time you are visiting the Seattle DANIEL SMITH Store to pick up more art supplies, just remember that a couple of walls over on the south side, is where the magic of COLOR for your paintings is made!
 
The tours are now resuming after a long hiatus, and DANIEL SMITH Manufacturing Tours are available by appointment for groups of up to 20.
 

Boardmembers of the Northwest Watercolor Society, thank you for coming, we were happy to see you, and show you how our DANIEL SMITH Extra Fine Watercolors are made! 

********************

Originally published May 30, 2008

http://danielsmithart.blogspot.com/2008/05/northwest-watercolor-societys-tour-to.html

Updated August 10, 2009:

Here is the link for the DANIEL SMITH Video: “The Art of Making Paint”

YouTube Preview Image

Every Day,  Express Yourself  with  ART….
 
~Deborah Burns
 
Follow DANIEL SMITH on Twitter
Become a DANIEL SMITH Fan on Facebook

Written by Deborah Burns | Discussion: No Comments »

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