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  • How to frame art on paper and canvas – Veronica Winters Painting

    How to frame art on paper and canvas – Veronica Winters Painting


    *Written in 2018, Updated

    Dove of Love, 24×36 in, mixed media on canvas | The painting features the flower of life geometric symbol.

    How to frame art on paper & canvas on a budget

    In this article I’d like to share the basics of framing art on paper and how you can do it yourself inexpensively. Professional framing is your best option because it takes quite a skill to frame art on paper well. It also involves some understanding of color and color temperature to pick the right frame and mat that add beauty to the artwork and not subtract from it. Professional framing is expensive, and if you have to mount an entire solo show you know how draining that is financially, especially if you just begin showing your drawings in a non-commercial space. If you are not an artist, but you have just purchased an original drawing and want to frame it yourself, you’ll find your answers in this article below.

    When I began drawing, I knew nothing about framing and I found it frustrating to frame a lot of art for a show. Even framing one piece seemed too difficult because I didn’t know what to look for in frames, why they differed in pricing, and what was best for my budget. And while I learned the ropes that I’m sharing in the article below, I find that every art collector has his/her taste and unique style, and while the frame must match the art, not the house, the interior design still plays a role in the collector’s mind.  That’s the reason why I prefer selling art without the frame. However, a good frame dresses up a painting big time. It gives the art a finished appearance, enriching the artwork visually. So the ideal situation is to frame the art with a beautiful wood frame that complements the original painting in style and color.

    Takashi Murakami at Miami Art Context, photo: V.Winters

    Watch on YouTube:

    https://www.youtube.com/watch?v=Gq0MuTvFAj4

    How to frame art on paper

    There are two types of framing choices you have to frame art on paper or canvas.

    Art on paper must have a mat, plexiglass, backing and frame. Art on canvas/ panel/ wood needs a frame only.

    How to frame art on paper | This artwork has a golden metal sectional frame, white mat, plexiglass and backing that show budget framing of art on paper. However, this drawing would look much richer if it had a wide wood frame instead of the metal one you see here. Also, it would benefit from having a double mat. The inner mat could catch one of the colors in the drawing like purple or blue while the outside mat may remain off-white.

    Framing supplies

    Every drawing/print/photo should have:

    • Acid-free mat
    • Acid-free white backing (mounting board)
    • Non-glare glass or acrylic plexi-glass (plexi-glass comes in different formats)
    • Wood or metal frame
    • acid-free tape to attach the drawing to the backing (in the corners) + tape the mat and backing together

    Mats: white vs. color

    The majority of framed work on paper that includes photography has a white mat and a simple frame around it. If you go to a museum, you’ll see plenty of examples there. While you can pick a frame to your taste, playing with the styles and colors, the color of the mat should be reserved. And if you are not sure about the color, stick to a white or off-white mat.

    A common mistake is to frame drawings with a black mat. While it may work for a specific, very dark artwork, most of the time it doesn't. When I'm not sure about the mat's color, I take my drawing to Michael's and start placing various, pre-cut mats over the drawing to see what color works best for my artwork.
    how to frame art prints

    If you are not sure about color and it’s your first time framing art, always pick an off-white mat as opposed to a color one because it won’t overpower your drawing or print. If you still want to play with color, consider framing art with a double mat. White or off-white never subtracts from your drawing, while color mats may overpower your artwork visually. I often see drawings framed with black mats, and most of them kill art. You end up looking at the mat, not the artwork. White mats come in different shades of white, and you need to pay attention to their color temperature.

    Either warm white or cool white is fine as long as you match this color temperature with the color temperature of white in your drawing.

    how to frame drawings_veronica winters
    These are custom-framed colored pencil drawings. The one in the center has a metal sectional frame, while the other two drawings have custom-cut real wood frames and custom-cut double mats. Notice that while the color of each mat picks up on the colors found within each drawing, the mats are not too dark or too ‘heavy’ in hue.

    A Single or a double mat?

    This colored pencil drawing has a double mat. Gold is the inner color and light grey is the outer color. This light grey mat mimics the colors seen in the glass. Gold metal frame and regular plexiglass complete budget framing. This drawing would look much better if it’s framed with a wide, real wood golden frame having the same mat.

    If you want to do a double mat,  have a color mat as your inner layer and the off-white mat as the outer layer. So you have a quarter inch color stripe around the artwork but the overall color remains neutral or off-white. The hue of your color mat should pick up on one of the colors present in the drawing. This is where professional framers are good at. They have the talent to pick the right colors for your inner and outer mats and match that with a beautiful frame of the right hue and style.

    Prints can be framed with frames without a mat to have a contemporary feel.

    Tip:

    Technically, any mat creates a barrier between your art and glass. Beware that photographs stick to glass eventually if they don't have that space between the glass and the photograph. If you decide to stick a picture into a ready-made frame without the mat, add corners that would maintain necessary space between the photo and glass.

    Standard vs. custom cut mat

    how to frame art on paper
    Here you can see that the distances between the frame and the image are not the same. On the left, the image has an equal width/distance maintained around the image. On the right you see a picture that has a varied width of the mat around the picture. It’s done to fit a non-standard mat opening into a standard-size frame.  *The image was taken at the Ringling museum in Sarasota.

    Standard mat has a 3-inch width on all sides of the drawing. It gives your drawing necessary space between the mat and the frame. This 3″ distance can be altered, however. A lot of times expensive artworks have mats with a much wider width that add richness to the art. Sometimes you see framed photographs that have mats with varied widths (right image) that allow for placing prints and photography into standard frames (minimizing costs of custom framing).

    Backing & Tape

    All materials must be acid-free, which include backing (mounting board/foam board/foam backing) and a double-sided tape. If it’s not the case, your drawing will yellow over time. The tape holds it all together but it also yellows the surfaces if it’s not acid-free.

    Beware that the ready-made frames you find in craft stores and Walmart don’t sell frames with necessary acid-free backings. Therefore, they are not suitable for professional framing and your original art or print will yellow over time. It yellows a lot faster than you think!!

    How to frame art on paper
    Consider how your artwork would look as a group. Consistency in mat color and framing helps unify displays of art on paper.

    Mat Cutters

    Logan 650 Framers Edge elite mat cutter model for professional framers

    You are lucky if your drawing is completed on standard-size paper and you can buy all the supplies at any craft store to do the assembly. But what if your drawing has different proportions and is far from standard mat openings? Most of the time you have no choice but to go to a framer, so he can cut the right mat for you. However, if you do a lot of drawing and plan on selling your work, it’s a good investment to buy a professional mat cutter and learn how to cut mats yourself.
    Mat cutters give the greatest flexibility possible in mat cutting. You can cut mats to any size. You can also cut it to fit the overall dimensions to a standard frame, making a nonstandard opening. Logan mat cutters are not cheap, but they save you lots of money in the long run. You can buy large sheets of museum board in any color and cut them to size. It takes practice to learn how to measure and to cut mats, especially the mat openings, which have a beveled edge as opposed to a regular cut. Correct measuring and cutting of mat boards is a skill that demands practice and patience.

    The quality of a mat is determined not only by its thickness, but also by the cleanness of the beveled corners. If a blade is not new or cutting is sloppy, the inner corner edges look uneven. I think it’s best to learn the basics of mat cutting at a framer’s shop, or perhaps to find a detailed video of the process shown online. I used to cut mats myself using the Logan mat cutter, and I found this process quite frustrating at times because you’ve got to be perfect every time doing it. After doing it myself for several years, I prefer going to a framer or buying pre-cut mats online.

    Glass or acrylic plexi-glass?

    how to frame art on paper
    Omnipresent Mind, drawing size is 19×25 inches. It’s framed with non-glare, UV plexiglass and white wood frame for contemporary appearance.

    You can frame drawings with regular glass but consider the overall size of your piece. Glass is very heavy. It can shatter cutting into art. It’s also very reflective! So it depends where you are going to hang your artwork to minimize the reflections.

    Plexiglass is light and durable. Many galleries require framing with plexiglass as opposed to glass to minimize possible damage during the transportation to a show. However, regular plexiglass scratches and becomes useless once even a tiny scratch is there. The cost of plexi often exceeds the price tag of glass. Another thing to consider is reflections. 

    Pick a non-glare glass vs. regular glass. So you can enjoy looking at art from any corner of the room. Or consider framing art with a non-glare UV-protective plexiglass. Tru Vue Optium Plexiglass is the best museum-quality conservation plexiglass available today at almost any framing store online, but beware that it's really expensive and can easily cost you more than the frame itself.
    how to frame art on paper
    Mushroom heart, drawing on paper, 10×16 drawing size. It’s framed with a non-glare, UV plexiglass, double mat and black wood frame
    veronica winters colored pencil, how to frame art
    This is a colored pencil drawing on a 1-inch, wood panel. It’s framed with a canvas depth wood frame (rabbit width is 1 inch to accommodate the wood’s depth), UV, non-glare plexiglass. The result is that it looks like a painting, not a colored pencil drawing.
    art miami 2017

    Metal or wood frames? Consider the lifespan of your display

    There are three types of frames. Plastic, metal and wood. The choice is largely determined by your budget, but I strongly suggest not to give in to buying plastic frames or some craft-store frames that may look decent at first glance. Such frames don’t hold up well: they scratch, break and fall apart too quickly. They also don’t provide adequate support for big art in a hot and humid climate, bending and losing its original shape quickly.  The frame’s surface may look like wood but it’s paper wrapped around the plywood. It comes off and scratches easily. The hanging wire and hardware are not there to support artwork larger than 11×14″. I always regret buying plastic frames because one scratch prompts eventual replacement.

    Clio Newton, b.1989, Sarah, charcoal on paper 81x59in | Sometimes you can see contemporary drawings framed as posters because they don’t have the mat or space between the art and the frame. It works here because of the figure’s scale giving the impression of her walking off of the wall. It also mimics framing of art on canvas. The frame is made of either metal or wood. It can look very similar in white hue.

    Metal Sectional Frames

    Metal sectional frames at AmericanFrame.com

    Metal sectional frames are a great alternative to plastic frames if you work on a budget. They last for years and don’t scratch that easily and don’t fall apart. Sectional frames come in a variety of colors and styles, assemble easily and hold up their shape for a very long time. The only drawback is that most frames have a small width and therefore provide economy framing, unlike the real wood frames. At the same time, metal sectional frames can be great for some contemporary art and photography. Many have canvas depth to frame canvas art as well.

    In my experience, if the artwork is larger than 16x20" acrylic plexi-glass or glass may not hold up well within the metal sectional frame if the backing is not thick enough. Plexiglass tends to pop out of the frame in large drawings and large glass sheets are also too heavy for these frames.
    The back of an assembled metal sectional frame.

    Wood frames

    Real wood frames
    Tanja Gant, Bacchus @ Sirona fine art, Art Palm Beach | This colored pencil drawing has a simple off-white mat and a wood frame.

    Real wood frames come in a variety of styles. They are the most beautiful, durable and stylish. Wood frames have varied width and finish and the professional framer can really make it or break it picking the right frame for your piece. Usually the wider the frame, the richer your artwork would look in it. However, the style of the frame is more important than its width because it needs to complement your drawing. Well framed art always looks amazingly beautiful.
    I buy real wood sectional frames that are cut to my dimensions and then assemble them into finished frames. It’s not difficult, but requires some patience and care to do it right. I buy all the supplies in varied sizes at American Frame (frame samples of which you see in the images above). Frame destination is another company located in Texas that cuts custom frames.
    If the frame is standard size (8×10″, 16×20″, 18×24″ etc), you can buy these frames at any craft store. However, the variety and quality of ready-made frames is not great in comparison to those found online.

    Shadow boxes and canvas floater frames

    how to frame art on paper_how to frame photography_shadow box and float frame

    Sometimes canvas floater frames or shadow boxes may work better than traditional framing. Glass suspends the artwork in the middle and creates open space between the art and the frame.

    9×12″ colored pencil drawing on 3 layers of acetate-like film. This drawing looks interesting in a white shadow box frame because the colored pencil drawing has the room to breathe.
    Peter Anton @ Art Miami 2017 | This simple shadowbox holds the pieces as one artwork.
    I framed this colored pencil drawing using a real wood frame without the mat. It also has a UV, non-glare plexi and acid free backing. It depends on your personal preference if you like to have a mat around the art or not, that usually adds to the art presentation.

    Framing companies where you can customize any frame, mat, online:

    American frame: https://www.americanframe.com/

    Top quality, great customer service, limited free samples of plexi and frames.

    Custom picture frames: https://www.custompictureframes.com/

    Very good quality, great customer service

    Frame destination: https://www.framedestination.com/

    Sell acid-free backing and other framing supplies both in bulk and in custom order.

    Reusable art bags for shipping art: https://artcadis.com/

    Reusable art bags for shipping art: https://www.framedestination.com/photo-storage/gallery-pouch.html

    Other packaging supplies in great variety and low price: https://www.uline.com/

    The best museum-quality plexiglass: https://tru-vue.com/solution/optium-museum-acrylic/

    Everything framing: https://www.clearbags.com/

    divine power oil painting in interior-veronica winters

    Check out visionary art for sale

    how to frame art on canvas
    Keeper, 36×48″ oil on canvas | Real wood black canvas-depth frame picks up on the color of the art.

    Here is a basic guide on how to frame art on canvas. Framing of oil/acrylic paintings is much easier because there are fewer moving parts involved. You’ve got to pick the right frame and assemble it, if it’s not a ready-made frame. Art on canvas, panel or wood doesn’t need glass for display. Oil and acrylic paintings look best without it. Also, remember that these paintings would need canvas-depth frames unless it’s a panel. Usually panels are thin, unless they are cradled.

    jeff robb_lenticular photo_context rt miami 2017
    Jeff Robb, lenticular photo at CONTEXT Miami 2017 | Here the photo has canvas depth and requires a canvas-depth frame.

    Types of frames for paintings

    how to frame art on canvas
    Tenderness, oil on canvas, 24×36″, framed with custom-cut gold wood frame

    Once again you have three choices: plastic, metal, and real wood frames. Go for the solid wood picture frames because they last the longest, look beautiful, and you frame it once. Metal sectional frames are a good choice for beginner artists, some contemporary paintings, especially abstract art.
    The style of the frame should add to your painting. Some paintings look beautiful in golden baroque frames, others in minimalist black frames. Canvas float frames give an interesting effect to some contemporary pieces (see below).


    I find a very big difference in quality of wood sold at different framing stores online. If you see rather a cheap wood frames it means that they use soft, cheap wood that scratches and bumps corners very easily! I ended up re-framing such wood frames. It's better to frame art with metal sectional frames in such a case. Poplar wood and pine wood are very soft. Oak is very heavy and solid wood. Always ask a customer service rep what wood they use for framing!
    lowe art museum_miami univ_workshop of andrea del sarto_madonna and child infant st john
    Lowe art museum, Miami university, artists in workshop of Andrea del Sarto, “Madonna and child infant with St. John | Classical gold/blue frame highlights the colors and theme of the painting.
    Art by Mary Jane Ansell @ Miami Art Context 2017 | White frame gives a lot of space around the painting and extends it beautifully.

    Most people consider their interior space and style, picking frames. While it should harmonize with the rest of the space, always consider how a framed piece looks on its own. Pick the frame for the painting, not your sofa. If the artwork has some warm, golden tones, pick a golden frame. If the piece has silvery, blue-grey tones, a silver frame would be good.

    art palm beach 2018
    Isabelle Scheltjens @ Miami Art Context 2017 | The color of the frame picks up on black hues in the artwork.

    If the painting is standard size, you can find a ready-made frame in a craft store or online, but remember that canvases are between 3/4 and 1″ deep, and not every generic frame would work for framing of stretched canvas.

    Federico Uribe art-Adelson Galleries, Art Context Miami 2023

    Canvas-depth frame

    Mike Dargas @ Art Miami 2017 | The side of this unframed painting shows the canvas depth you must consider when you pick the frame.

    Image: American Frame

    american frame wood frame_canvas depth frames

    In this image taken from the AmericanFrame, you can see that the frames have three dimensions: H, height, W, width, and R, rabbet. Rabbet should be at least 1″ if you have a painting on canvas. Some canvases require even wider rabbet height.

    Canvas floater frames

    brad kunkle at art miami 2017
    Brad Kunkle @ Miami Art Context 2017

    Canvas floater frames “suspend” your painting inside the frame without the edge touching it. Most picture frames cover the edge of the artwork. Personal aesthetic plays a big part in picking the frame. In this image, you see a white floater frame that extends the whiteness of the canvas. The entire canvas floats within the frame.

    White float frame | King Woman show_| Art by van Roos

    White floater frame gives minimal appearance to the art that allows for a complete focus on the painting, not the frame. | Art by van Roos at King Woman art show in New York, 2017

    Miss Bugs, Algorithm sunny day, Context Art Miami, 2024 | White canvas floater frame

    In this screenshot taken from AmericanFrame you can see the difference in frame styles. Canvas floater frame has a deep opening to nest the canvas painting inside. These are the bars in the back to which the painting attaches. The frames to the right cover the edge of the painting where canvas slides into a channel. Most wood, plastic, and metal frames cover the painting’s edge by 1/4″ or less.

    veronica winters colored pencil drawing
    White wood canvas float frame completes the look of this beautiful colored pencil drawing

    Standard vs. non-standard frames

    how to frame art on canvas
    Venetian boy, 8×10″ oil on panel | Here this real wood silver frame is ornate. It complements the painting’s style.

    Standard frames are 8×10, 9×12, 11×14, 16×20, 18×24, 24×36 and so on. If your painting is done on non-standard stretcher bars that don’t correspond to standard sizes, you have to order wood frames online to be cut to your specifications, and then assemble them at home if these are very large frames. If artwork is not very large, the shop does it. An electric screwdriver comes in handy, and you also need some hanging wire and hardware, which you can buy in a kit online or even at Walmart. AmericanFrame includes the kit with the purchase of custom-cut frames.

    In this screenshot from the American Frame website, you can see how much the frame costs depending on its length. The great thing about this service is that you can order any frame cut to your specifications. You can also order samples and corner samples.

    Still life with the corals and Venetian mask, oil on canvas, 24×36″, framed with custom-cut sectional real wood frame

    Tip

    Sometimes you can order samples of available frames and put them next to your artwork to see if the style of the frame works well with the painting. A lot of times it's difficult to say how a specific frame would look like unless you have a sample in your hands. Usually the wider the frame, the richer it looks. Although some abstract paintings would look the best framed with thin frames.

    You can also buy standard frames at any craft or art supplies store.

    veronica winters painting_how to frame art on canvas and panel

    This is a standard 5×7″ frame.

    Framed oil paintings at art museums

    Turin painting_how to frame art
    Paul Delaroche-the execution of lady jane grey-national gallery London
    Paul Delaroche, the execution of Lady Jane Grey at the National Art Gallery, London
    Milan art_Magdalene_how to frame art
    ringling museum artpainting
    Turin painting 2_how to frame art

    These are examples of framed masterpieces I took pictures of. All of them have gold frames but the style of each frame varies. The color of the frame picks up on prominent hues seen within each painting. If these paintings had silver/grey elements, they would benefit from a silver frame. Also, the complexity of the frame matches the exuberant details seen in the painting. For example, the second image of Magdalene has simplified shapes and color that’s supported by a plain gold frame. The exuberant golden jacket of the king seen in the last image matches the more elaborate frame.

    You can see a super elaborate round frame of Raphael’s painting. You can see a lot more framed art from Florence here: https://veronicasart.com/the-15-best-art-museums-in-the-world-you-must-visit/

    In this short video you can see how I assemble a custom-cut real wood frame using the provided hardware.

    https://www.youtube.com/watch?v=pg8_lsYq43A

     

    Consider wall space & art display unity

    contemporary art portrait painting veronica winters
    Midnight Dream, 38″ oil on canvas, Veronica Winters

    If you plan on having a show, exhibiting a large number of works, consider framing art with similar frames to have display unity. In my experience, I framed art at different times with varied frames and my paintings don’t always look consistent as a group. It makes it harder to present as a coherent body of work in a solo show. I have to get creative arranging art pieces to have a sense of unity.

    If you have a single piece of art, consider the size of your wall space and the artwork’s size. I often see small art displayed on a large wall where one picture gets lost and just looks too timid or “eaten” by a large wall space. If you have a large wall and small art, consider grouping small pieces on a wall to create a gallery. Below you’ll find several examples of art displays.

    Here are some of the commissioned wall art pieces at the homes of my clients.
    how to frame art on canvas
    These are various drawings and paintings that are arranged in a wall display. Some of them could be re-framed for better visual experience.

    Framed pictures display @ Beverly hills hotel, Los Angeles

    To Frame or not to frame?

    Some art doesn’t require framing. When canvas’s edge is wide and clean, it might not need a frame, especially if it’s a sculptural piece. It gives a contemporary, minimalistic appearance you might like more. 

    Glass sculpture @ Heller gallery, Art Miami 2017
    Galerie Bhak, Old man @ Art Miami 2017
    javier bellomo coria_face_art miami 2017
    Javier Bellomo, Coria face @ Art Miami 2017
    contemporary indian art santa fe
    Indian art in Santa Fe

    As you can see framing can be fun but takes time to figure out. Next time you are at an art show or a museum, pay attention to framing, take notes, and frame your pieces in accordance with your knowledge and taste. Good luck!

    If you’d like to get more inspiration how to organize and display wall art at home, here is a great article “How to design the best gallery at home”.

    russell young_marylin_art miami 2017
    Russell Young, Marylin @ Art Miami 2017

    Complete video series:

    Video #1 Part 1 – Learn what makes a painting great

    Video #1 Part 2 – Learn what makes a painting great 2: composition, color, emotion

    Video #2 Contemporary Art History

    Video #3 How to take care of your art collection – coming soon!

    Video #4 How to frame art – you are here!

    Video # 5 Why you don’t need an interior designer to buy and display art in your home – coming soon!


    Shop contemporary art here:

    https://veronicasart.com/shop/




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  • 3 Surprising Reasons How Art Improves Creativity & Well-Being – Veronica Winters Painting


    3 Surprising Reasons How Art Improves Creativity & Well-Being


    Discover the hidden power of art and how it can enhance your emotional well-being. Join me as I explore the often overlooked connection between art and emotion, and why it deserves more attention in our public education system.

    Don’t miss out on the opportunity to enrich your life through the world of art – subscribe now!

    To watch on Youtube: https://youtu.be/Zh0KvUedMpQ

    https://www.youtube.com/watch?v=Zh0KvUedMpQ

    Subscribe & rate this podcast on Spotify and Apple | Show your support for the podcast: here | Host: Veronica Winters, MFA | veronicasart.com



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  • Making A Plane – Lost Art Press

    Making A Plane – Lost Art Press


    4–1. Wall rack of shop-made planes.

    This is an excerpt from “Making and Mastering Wood Planes by David Fink.


    Chapter 1 contains information on resawing the plane blank into the two cheeks and the midsection. It also shows how to determine which would become the front, back, top, and bottom of the blank, and how to mark these parts out with a cabinetmaker’s triangle.

    Following are the remaining techniques for making hand planes. Also included is a list of the tools needed for these procedures.

    Tools and Supplies Needed
    • Six-inch combination square
    • Protractor
    • Pencil
    • Block plane
    • Practice stock: straight-grained hardwood, about 18 inches long, 3/4 inch thick, and 3 inches wide
    • Dowels (5/16 x 2 inches) 
    • Brad-point drill bit (5/16 inch)
    • Drill press or power hand drill
    • Dovetail saw or razor saw
    • Chisel (1/2 inch)
    • Clamping cauls: two pieces of 3/4-inch particleboard or plywood about 12 inches long and 3 inches wide
    • Router with a 1/2-inch guide bushing and 3/8-inch bit

    Optional Tools and Materials
    • Double sticky tape—thin type for carpet
    • Plug cutter (5/16 inch) 
    • Sanding drum (3-inch diameter)

    Preparing the Glue Surfaces
    The plane blank has been resawn into the two cheeks and the midsection, and the front, back, top, and bottom have been marked. The next step is to smooth and flatten the adjacent surfaces of the cheeks and the midsection that eventually will be glued back together. With experience, hand tools quickly do the job: a plane can be used to smooth the surfaces or a scraper can be used to remove defects like raised lines left by a chips in the planer knives. Avoid hand-sanding because the outer margins tend to get rounded, which only accentuates the glue lines. Another option is to leave the surfaces as they are off the machine; the glue lines may be apparent once the plane is assembled, but it should hold together securely.

    Laying Out and Sawing the Front and Back Blocks

    Determine the position of the throat opening on the midsection and lay out the angles that when sawn will create the front and back blocks. A strong word of caution: The layout and cuts occur on the midsection; be sure to separate it from the cheeks before proceeding. The plane blank is ruined if the cheeks are sawn mistakenly.

    The throat opening will be slightly more than halfway along the bottom of the mid-section, closer to the front end than the back. (If you feel stranded without precise measurements, a throat opening located five-ninths of the total length will do. To determine this, multiply the length of the blank times five, divide this number by nine, and measure that result from the back end of the blank.)The exact location is not critical, but why should the throat plate be in this area? One of the most demanding planing tasks is preparing boards for edge-joining. It requires precise control of the plane. The planing stroke begins at a stand still and ends with the plane in motion. With the throat opening forward of center, less of the sole of the plane is resting on the board when the blade begins its cut, but the plane is easy to control because it is motionless. Because of the throat opening placement, when the blade finishes its cut more of the sole will be in contact with the board, which helps you balance the plane while it is in motion.

    4–2. A plane blank with front-and-back-block layout on the midsection.

    From the point of the throat opening, lay out a 45-degree line angled back toward the rear of the plane. This defines the back block and the ramp that the plane iron will eventually rest upon. From the point of the throat opening, move forward about 1/16 inch and draw a line angling to the front of the plane at 62 degrees. The center block is now divided into three sections: the back block, the triangular center section, which becomes scrap, and the front block, forming both the front of the throat opening and the front portion of the plane (4–2).

    4–3. Finger clearance between the cross-pin and front block must be wide enough to conveniently extract jammed shavings.

    The front block is angled at 62 degrees for several reasons. It’s about the steepest slope that gives sufficient clearance for shavings to exit between the front block and the cross-pin while allowing enough space for most people’s fingers to remove an occasional jammed shaving (4–3). If it were much steeper, the space between the cross-pin and front block would be so tight that if shavings collected and jammed there, removal would be an irritating task requiring a pencil point or needle-nose pliers.

    4–4. An enlarged view of the throat opening. It widens as the bottom wears. The steeper the angle at the tip of the front block, the slower the process.

    The angle can be made lower, but that may interfere with the shaping of shorter planes. Also, as the bottom of the plane wears, the throat opening widens; the lower the angle of the front block, the faster the widening occurs. One of our goals and one of the advantages of making your own plane is that the plane can have a very narrow throat opening (4–4); it pays to maintain this narrow opening as long as possible. Alternatively, the front block can be cut with a curve, keeping the angle steep at the throat opening and sweeping away in the vicinity of the cross-pin (4–5). This is a good solution. Still, I prefer a straight cut for the first plane because you can practice truing that cut before advancing to the critical job of truing the ramp of the back block, using the same techniques.

    4–5. The curved front block increases finger clearance between it and the cross-pin.

    Prepare the band saw for making the cuts along the angled lines by precisely squaring the blade to the table. The band saw may not seem the natural choice for this task over the table saw, but in actuality neither machine will make the cuts accurately enough. Making these angled cuts on short, thick stock feels dangerous with a table saw, and requires some setup time. I prefer to use the more benign band saw, carefully making the cuts freehand, and cleaning up the sawn surface to perfection with a block plane. Saw to the waste side of the lines—within the triangular area. Make the 45-degree cut first and don’t be concerned if the saw kerf nicks a bit of the 62-degree line (4–6). Save the triangular scrap.

    4–6. The sawn-out front and back blocks.

    Now clean up the cuts to produce smooth, square, and straight surfaces on both the front and back blocks. Use the block plane to do this. In experienced hands the task is completed in one or two minutes for each block. A complete novice may require half an hour for the first block and five or ten minutes for the second. This is time very well spent, for in the process you will have touched on almost all the skills needed for just about every other type of planing task. It is a challenging way to start off—trial by fire, if you will—but persevere and there will be great rewards.

    4–7. Bottom view of a block plane. Set the cutting edge precisely parallel to the bottom
    of the plane.

    Cleaning Up the Cuts – Adjusting the Block Plane
    The block plane must be tuned up and effectively sharpened for the work to proceed smoothly (see Chapters 2 and 3). Set the blade for a very fine cut with the blade protruding evenly across its width. Back off the blade until it does not protrude through the bottom. View the cutting edge from the back of the plane with the plane turned upside down. As you slowly bring the blade forward, see if the cutting edge is skewed in relation to the bottom of the plane; it should appear parallel (4–7). To make adjustments, pivot the blade, bringing one corner up and the other down, using the plane’s lateral adjuster. For some inexpensive block planes that lack adjusting mechanisms, the blade is brought forward and adjusted laterally by gently tapping the back of it with a two- to three-ounce hammer, and it is backed up by tapping the back edge of the plane itself (see Making an Adjusting Hammer on pages 102 and 103). The plane must be properly tensioned for this to work well (see Chapter 2). You will probably find it more precise to adjust the plane with a hammer even if it has a mechanical lateral adjuster. 

    4–8. The thumb is used to feel for the protruding cutting edge.

    When the blade is nearly protruding, let your sense of touch guide the adjustments. Gently caress both sides of the throat opening with the pad of the thumb while bringing the blade forward (4–8). Both corners of the blade should simultaneously become barely discernible. If not, make lateral adjustments until the same amount of slight drag is felt on the thumb at both corners. If the throat opening is very fine, you will be very close to the final setting. If the throat is wide, the blade will most likely need to come out a bit further yet. That is because the pad of the thumb dips into the larger opening and can feel the blade before it actually extends beyond the bottom of the plane.

    Final Adjustments
    Begin a stroke on the practice stock. If the blade thunks against the wood and you feel yourself tensing to shove it through, stop: the blade is out too far. Though it is difficult to suppress the urge, there is no need to continue; the only likely result is damage to the planed surface, be it a serious dig or planing it out of true. Back the blade up and try again.

    Ideally, the first stroke should either produce no shavings or take the smallest bit, requiring little if any effort to slide the plane across the wood. The shaving should be so thin that it falls apart and is almost dusty. This is because the jointed surface of the wood is not smooth, but slightly scalloped by the action of the jointer cutters; the blade hits the high points of each scallop and misses the low. Always adjust the depth of cut in this fashion, progressing from no shaving to a very thin shaving to the final setting. In this way, you will eliminate accidental digs and the frustrations of dealing with them.

    To produce a shaving of equal thickness across its width requires setting the lateral adjustment of the blade exactly. The blade edge must be perfectly parallel to the bottom of the plane. This is crucial; if not done properly, it is very difficult to adequately true or polish a surface. When the blade takes a deeper bite from one side of a surface, either each subsequent pass dips it lower and lower or that corner of the blade may leave a prominent dig.

    4–9. Planing with the left edge of the blade.

    To check the lateral blade setting, take two shavings, first utilizing only the left side of the blade, and then only the right. The plane is held flat on the practice stock but offset to the left, and then the right, rather than planing right down the middle of the stock (4–9 and 4–10). Compare the thickness of the two shavings and be sensitive to the amount of resistance you feel; it takes more effort to produce a thicker shaving. You may find that one side takes a small bite and the other side produces nothing. Adjust the blade in the direction of the lesser cut and try again, until the resistance feels identical when planing with either corner of the blade. It may also be necessary to readjust the depth of cut.

    4–10. Planing with the right edge of the blade.

    The shavings are of the proper thickness when they lose their “woodiness” or stiffness; instead they feel fluffy and soft when bunched together, like a cotton ball (4–11). Practice your stroke (see below) until continuous shavings can be consistently made from one end of the practice stock to the other. If the board gets out of true from the initial efforts, true it with the jointer; otherwise, it’s difficult to produce a continuous, thin shaving.

    4–11. “Cottony” shavings on the left; “woody” shavings on the right.

    With only a little experience, peeking at the throat opening and stroking your thumb across it will reveal almost all that is needed to know to set the blade properly. Practice stock becomes unnecessary. It takes just a few minor adjustments as you begin planing to set the blade; this is done without a second thought and with no time lost.



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  • What is the color white in life & art history? – Veronica Winters Painting

    What is the color white in life & art history? – Veronica Winters Painting


    Canova-Napoleons sister-closeup of feet-Borghese gallery -blog

    What is the color white? Is it the titanium white in oil painting? Or is it the color of your skin, feather, cream, silk, snow, kitty, pearls, chess, lace, car, flowers, crystals, swans, wall paint, clouds and the moon? Or is it the white of a happy smile, hope, or the light of your soul? Is it the blinding sunlight, the whiteness of an angel’s wings or purity and innocence of a child?
    It seems that white represents no color. Yet, it means so much to us. The bride’s wedding gown. The white glow of the sublime. The ethereal beauty of a white Greco-Roman marble sculpture. White light. White face. White lilies. White room. White staircase. White dove. White snow. It’s either a clean start or cold emptiness. We see unity in the symbolism of white across many cultures but not all. White can mean either a wedding or a funeral.

    Turin

    Video on YouTube: https://youtu.be/mMMiPF6OpQY

    https://www.youtube.com/watch?v=mMMiPF6OpQY

    Technically, white isn’t a specific “color” like red or blue. When all the wavelengths of visible light are present and reflected by an object, we perceive it as white. In simpler terms, white is “all colors of the rainbow combined.”

    Ai-generated female face in neutral white hue.

    What is the color white technically?

    The color spectrum & white

    Rainbow. What is the color white? | photo: Veronica Winters
    color spectrum
    Color spectrum | Images https://www.freepik.com/ and https://pixabay.com/

    All the colors we see exist on the visible light spectrum, a range of wavelengths our eyes can perceive. Each color corresponds to a specific wavelength of light. White is an achromatic color, which means it lacks a “hue.” White light is “all colors combined.” We perceive black when an object absorbs all wavelengths of light instead of reflecting them. An opposite to white, black is the absence of reflected light.

    What is the color white? | photo: Veronica Winters

    What is the color white in oil & acrylic painting?

    Closeup of a white gown and metal from the Accolade, Edmund Blair Leighton (1852–1922), oil on canvas, 1901, height: 182.3 cm (71.7 in); width: 108 cm (42.5 in), private collection

    While prehistoric art got created with a white chalk made of the mineral calcite, white oil paint has a different composition and history. In oil painting, the ideal opaque white is neither warm nor cool. For generations artists painted with lead white until the 19th century when everything changed. Companies began to mass-produce art supplies including watercolor and oil paint. No more hand-grinding of pigments!

    White comes from substances like titanium dioxide, lead carbonate, calcite or zinc oxide. Zinc white has zinc pigments. Flake white is a softer, warmer white that used to have lead in it. Flake white is found in early Chinese painting. Kremnitz white, Venetian white, French white, and Dutch white were also based on lead carbonate and lead hydroxide. Flemish white is based on lead sulfate. Cool color, the Titanium white is the strongest and most opaque white used by most contemporary artists today. A vast majority of the manufactured white pigments don’t have toxic lead in them. However, such paint is a lot more brittle and susceptible to the environmental changes, especially if it’s mixed with the safflower oil and not the linseed oil.

    Symphony in White, No. 2: The Little White Girl 1864, James Abbott McNeill Whistler, 1834-1903, oil on canvas, Bequeathed by Arthur Studd 1919, © Photo: Tate http://www.tate.org.uk/art/work/N03418 CC-BY-NC-ND 3.0 (Unported).
    In this painting the artist painted his mistress wearing an airy white dress – Jo Hiffernan with whom he lived for a decade. “The Little White Girl” is one of three Whistler paintings known as “Symphonies in White.” Out of three paintings, I think this one is the most successful because the woman looks real and the white gown is also beautifully painted.
    Joyce H. Townsend, Senior Conservation Scientist, Tate, London, and honorary professor in the School of Culture and Creative Arts, University of Glasgow wrote about her experience of seeing the shades of white when old, lemon-yellow varnish got removed in 2021. This varnish removal revealed a range of beautiful, soft whites Whistler painted in the dress that included crimson red lake, red ochre, yellow ochre, blue ultramarine, and bone black, painted over a thinner layer of dark gray, according to the conservation scientist. As you can see, this range of whites got painted to capture the surrounding colors of the model cast from the pink flowers, blue vase and fireplace.
    Detail of “The Little White Girl” showing how Whistler painted Hiffernan’s skin over the dress’s white fabric. © Tate, London | image taken from https://www.nga.gov/blog/how-whistler-painted-white-in-full-color.html
    James McNeill Whistler -symphony in white, no1 the_white girl-Smithsonian-blog what is color white
    James McNeill Whistler, Symphony in white, no.1, 1861-1863, 1872, the White Girl at the Smithsonian. 213 x 107.9 cm (83 7/8 x 42 1/2 in.), oil on canvas.
    All three paintings were influenced by the Japanese art as the country opened itself in the 19th century. Just like the Impressionists, Whistler took the unusual elements of the Japanese woodblock printing to stylize his art. Artists borrowed cropping, the point of view, flatness of space and emphasis on patterns of color.
    James McNeill Whistler -symphony in white, no1 the_white girl-Smithsonian-closeup-blog what is color white
    James McNeill Whistler, Symphony in white, no.1, 1861-1863, 1872, the White Girl at the Smithsonian. 213 x 107.9 cm (83 7/8 x 42 1/2 in.), oil on canvas.

    A modern invention, acrylic white is a chemical-based paint that’s made of pigment suspended in an acrylic polymer emulsion. It’s also made of plasticizers, silicone oils, defoamers, stabilizers, or metal soaps. Unlike oils, it’s water-based and dries super quickly. Used in house painting, acrylic paint dries to be water-resistant. Some artists love painting with acrylics while others don’t. Unique properties of each paint fit different creative personalities.

    statue torso of river-the palatine museum-rome-blog
    “Torso of river” statue fragment at the Palatine museum in Rome | Photo: Veronica Winters
    Canova-Napoleons sister-closeup of feet-Borghese gallery -blog
    Canova, Napoleon’s sister, closeup of fabric in marble, Borghese gallery, Rome, Italy

    What are the shades of white?

    Duomo di Bergamo cathedral rose window wall
    Duomo di Bergamo cathedral rose window wall. Near Milan, Italy. | look at all these shades of white! I absolutely love the use of color marble here. Also there are several different patterns and textures that describe the ornamentation of this cathedral. Beautiful!

    While most people don’t think of white having shades, artists and creatives perceive a wide range of subtle variations of white while creating their art. Normally, we don’t see the difference between the shades of white unless we choose a wall paint in a hardware store or look at the neatly stacked rows of clothes in a shop.

    Shades of white seen in the Alhambra Palace in Granada, Spain

    White should be neutral, but it’s often either warm or cool. Warm whites have a hint of yellow to create a sense of warmth and coziness. Ivory, eggshell, cream, antique white, vanilla, and beige are the shades of warm white.

    Bernini, Apollo and Daphne-details 1625
    Bernini, Apollo and Daphne, closeup of fabric and hand, 1625, Rome, Italy. This white marble has a warm tone because of warm light.
    The dodge’s palace in Venice, Italy. Here the white marble has a warm cast on the left side and a bluish color on the right.
    Neutral color of the white snow in Russia.

    Cool whites have a bluish-grey undertone giving a sense of timeless airy feel. Alabaster, pearl, white smoke and snow come to mind describing cool whites. But not all snow scenes are created equal. Some snow scenes have warm, yellowish color and bluish shadows seen under the sun.

    Shades of white could also lean towards a specific color like pink, peach or green. Seashell white is a soft, pinkish-white reminiscent of the delicate hues of seashells.

    The crystal white tiara could literally be any color of the light projected onto it. Here it ranges from a purplish white to warm white.

    One of my favorite artists is John Singer Sargent. I love his use of bold brushstrokes, color and richness of paint he achieved in his large-scale canvases.

    John Singer_Sargent_Lady_Agnew Scottish National Gallery
    John Singer Sargent, Lady Agnew of Lochnaw (1864-1932), 1892, 127.00 x 101.00 cm, oil on canvas, National Galleries of Scotland.https://www.nationalgalleries.org/art-and-artists/5396/0?overlay=download
    I’ve seen this painting hanging at the entrance to the art museum in Edinburgh, Scotland. The artist painted ultra wealthy individuals and often participated in the arrangement and choice of gowns on his models. According to the museum’s notes, living a lavish lifestyle, Gertrude had to sell several paintings including this one to the National Gallery of Scotland in 1925!

    Regardless, I love how fluid and beautiful the white fabric is here. Look at all these shades of white!

    John Singer Sargent, Lady Agnew of Lochnaw (1864-1932), a closeup of the painting revealing beautiful shades of white shifting from warm to neutral to cool white.
    Sir Frederic Leighton, Portrait of a Roman Lady (La Nanna), Oil on canvas
    Dimensions: 31 1/2 x 20 1/2 inches (80 x 52.1 cm), 1859, Philadelphia Museum of Art
    While her face appears artificial lacking life and character I love how the artist painted all these different white garments! They range from neutral white in her robe to a warm white of silk cover to a pinkish white skirt. Also, a single string of white pearls matches the warmth of the silk. The background has some white elements that are greyed down and subdued to bring the figure forward.
    Sir Frederic Leighton, Portrait of a Roman Lady (La Nanna), Oil on canvas
    Dimensions: 31 1/2 x 20 1/2 inches (80 x 52.1 cm), 1859, Philadelphia Museum of Art

    The Symbolism of White across Art History

    Paul Delaroche-the execution closeup of hands
    Paul Delaroche, The execution of Lady Jane Grey, 1833, National Gallery, London, a closeup of hands and white gown. Photo: Veronica Winters | Here the white fabric is warm while the “grey” shadows are neutral and warm somewhat as well.
    Canova, Napoleon's sister, closeup of fabric in marble, Borghese gallery, Rome, Italy
    Antonio Canova, Napoleon’s sister, Venus Victrix, 1805-08, closeup of fabric in marble, Borghese gallery, Rome, Italy | The light is warm hitting the marble casting bluish-grey shadows.

    The symbolism of the color white is quite astonishing if we think about it. There are universal associations with this color as well as the nuanced meanings of white depending on culture or context. One color. Two opposite associations.

    Positive associations with the color white

    In Christianity, white represents purity, innocence, and divinity.

    Think of the white angels, white robes of monks and heavenly figures, a white dove or the white lilies of the Virgin Mary.

    paintings of angels
    The Ghent Altarpiece. Adoration of the Mystic Lamb: The Archangel Gabriel, 1432. Here, Gabriel brings the white lilies to Mary in the annunciation. These flowers mean purity and virginity. The archangel wears a white robe with beautiful pearls decorating the fabric.
    Dressed in a beautiful white gown, the heavenly figure of Mary soars on a white cloud. This is one of the most beautiful religious sculptures I’ve seen in the European churches.
    angel painting thyer
    Abbott Handerson Thayer, Angel, 1887, oil on canvas, Smithsonian American Art
    caravaggio angel violin
    Michelangelo Caravaggio, a closeup of a painting “Rest on the Flight into Egypt”, 1597. We see an angel playing music wrapped in swirling white fabric.

    While the white clothing is ceremonial of passing into another world or Heaven, the ethereal glow of white light represents heaven and the divine, spiritual purity, enlightenment and truth.

    Scottish national gallery
    John Duncan, 1866-1945, Scottish, St.Bride, 1913 detail | Scottish National Gallery | White clothing is ceremonial of passing into another world or Heaven. It’s the color of the ascension into the Heavens.
    This is the official emblem of the pope with a dove or the Holy Spirit depicted in the center of it. I think I saw it in the Vatican, Italy. I love how Italian artists used colored marbles and stone to decorate the churches, placing the material on the floor and walls.
    A closeup of the Pope’s emblem showing the Holy Spirit

    White dove or the Holy Spirit is a symbol of peace, forgiveness, hope, and love. In art, it forms the Trinity and flies in rays of sunlight with an olive branch in its beak.

    Mexico City, Mexico
    Portrait of Pope, Leo X and his cousins, cardinals Giulio de’ Medici & Luigi de’ Rossi. Closeup detail of the white garment of the pope. Raphael, c. 1518-1520, oil on wood, 154 cm × 119 cm (61 in × 47 in), Uffizi, Florence.

    White can symbolize hope, innocence, and royalty in ceremonies.

    A white wedding gown means innocence and pure perfection especially of a young bride. White is the color of light and white pearls communicate similar symbolism.

    Vladimir Makovsky, to the marriage (farewell), 1894; Russian Federation, oil on canvas, Samara Regional Museum of Fine Arts, Samara, Russia, Dimensions: 115 x 99 cm. | Here, although the bride wears a white gown and is about to get married, she is devastated by the normally joyful event. The artist commented on the common practice of parents giving their daughter to marry at a young age to fix the family’s financial situation.
    Fedotov, Matchmaking of a major, 1848 | This famous Russian painting carries similar symbolism where a young bride doesn’t want to marry an old man for money.

    James McNeill Whistler (1834–1903), Symphony in Flesh Colour and Pink: Portrait of Mrs Frances Leyland, Image source: Frick Collection, NY., Henry Clay Frick Bequest, 1916.1.133

    Accolade, Edmund Blair Leighton (1852–1922), oil on canvas, 1901, height: 182.3 cm (71.7 in); width: 108 cm (42.5 in), private collection
    Closeup of a white gown and jewelry pieces from the Accolade, Edmund Blair Leighton (1852–1922), oil on canvas, 1901, height: 182.3 cm (71.7 in); width: 108 cm (42.5 in), private collection | White is the color of light, divinity, nobility and purity of the heart. White pearls also symbolize purity, wisdom, and sincerity. And let’s just say that these beautiful pearls make a great visual statement in paintings like this one!

    White can represent royalty.

    Jean-Auguste-Dominique Ingres, Napoleon on his Imperial Throne, 259 cm × 162 cm (102 in × 64 in), oil on canvas, 1806, Musée de l’Armée, Paris. | You’d be surprised, but this artwork wasn’t popular at the Paris Salon when he exhibited this monumental painting. It received vitriolic criticism mainly because Napoleon looked too artificial and Gothic. However, if you know other paintings by Ingres, this is the most elaborate one! Just like another French artist – Poussin, Ingres often received poor reception for his art at the Salon. Moreover, in the middle of his career he got so fed up with the criticism and poor receptions of his work that he began to exhibit his art in his studio and private apartments. A student of famous neoclassical painter David, Ingres took a different road in his vision of art than the contemporaries and critics didn’t get.
    In this painting you can certainly admire a perfect balance of color, lines, objects, textures, and symbols captured in one painting. The artist’s composition is a reversed triangle. Both composition and realistic textures are reminiscent of Jan van Eyck’s painting.

    French artist, Ingres puts a lot of symbolism into this painting depicting Napoleon as a ruler blessed by God. Napoleon looks like a religious icon. The artist bestows a Roman-like golden laurel crown onto his head and paints a circular-shaped throne behind him to suggest the divine power of the ruler. White ermine fur encircles Napoleon’s neck – the symbol of royalty. The emblem of bees seen throughout the Vatican can be noticed on this lush, red cloak. The golden bees represent immortality and resurrection, while the Eagle represents military might. You can read about the life and work of the artist in a concise book titled “Ingres” by Karin H. Grimme.

    The sword represents the military power of French kings.
    The painting detail shows Charlemagne’s golden scepter – the symbol of the executive power.
    Jean-Auguste-Dominique Ingres, Napoleon on his Imperial Throne, 1806, detail of the hand of justice
    Jean-Auguste-Dominique Ingres, Napoleon on his Imperial Throne, 1806, detail of the Hand of Justice ( in white).
    Anthony van Dyck Henrietta Maria of France. meaning of white in art
    Anthony van Dyck, Henrietta Maria of France.
    Marie-Antoinette, oil on canvas, 92.7 × 73.1 cm (36 1/2 × 28 3/4 in.), after 1783, unknown artist, at the Smithsonian National Gallery
    Jacques-Louis_David_madame recamier
    Jacques-Louis David, madame Recamier, 1800, the Louvre
    Sargent, Mrs. Joshua Montgomery Sears, a closeup of white gown at The museum of fine arts, Houston, 1899, Canvas or panel: 58 1/8 × 38 1/8 in. 
    Sargent, Mrs. Joshua Montgomery Sears, The museum of fine arts, Houston, 1899, Canvas or panel: 58 1/8 × 38 1/8 in. 
    John White Alexander -American -repose-1895
    John White Alexander, Repose, oil painting, 1895, American, the Met, New York | Similar to Sargent and Chase, Alexander loved to capture wealthy women in gowns at rest. This beautiful white dress stretches from left to right forming a diagonal, which is one of the ways to create a dynamic composition.

    White is Heaven.

    The Cathedral of Salerno inside
    The Cathedral of Salerno inside. Italy.
    The Cathedral of Salerno inside, Italy. The Cathedral of Salerno was built between 1080 and 1085 on the ruins of a Roman temple.
    Ivan the Great Bell Tower at the Kremlin, image by Veronica Winters. | We can enjoy seeing the white stone cathedrals bathing in the warm sunlight. The Kremlin was built between the 14th and 17th centuries. The first white-stone walls and towers were built in 1367-68. The existing walls and towers were built by Italian masters from 1485 to 1495.
    Wat Rong Khun - the White Temple
    Wat Rong Khun – the White Temple in Thailand. Photos c Veronica Winters | This looks like heaven on earth. Famous contemporary Thai artist, Ajarn Chalermchai wanted to build a temple that’s different from other wats. Normally, Thai temples are golden and the artist wanted to emphasize the Buddha’s purity who achieved Nirvana. Ajarn considered gold having a negative connotation about human behavior like lust. He put myriads of small mirrors into the white sculptures that beautifully reflect the light of the temple. These mirrors are the symbol of Buddha’s wisdom that shines throughout the universe according to the artist. He amassed a team of artists to build this beautiful site that represents heaven on earth. Wat Rong Khun is expanding as new elements are added to the wat. The admission is free for people to enjoy the garden feeling peace and joy. Isn’t it wonderful?
    The Alhambra was built between 1238 and 1358, mainly during the reigns of Ibn al-Aḥmar and his successors. Located in Granada, Spain, the Alhambra is one of the world’s finest examples of Islamic architecture that served as inspiration for many artists including Escher. This elaborate geometric design shows heavenly colors of white and blue. Image by Veronica Winters

    White in mythology:

    White crane, a closeup of a Japanese temple decoration. Photo: V.Winters | In Japanese culture, the white crane, or tsuru, is a national treasure and symbol of good fortune, longevity, and peace. It is also associated with loyalty, wisdom, fidelity, and beauty. The crane is depicted in art, literature, and mythology, and is said to live for 1,000 years. It is also associated with the Shinto god of happiness, and it is said that the god will come to a person who folds 1,000 cranes. Recently, the crane has become a symbol of peace, hope, and healing.
    cranes fabric-Japan
    Look at these beautiful patterns of gold, blue and white! We can see the white dragon in the center of the decoration. Two white cranes create symmetry in this elaborate decoration seen in Japan.

    In Japanese culture, dragons are guardians of the Buddhist temples and their meaning varies depending on their color. The white dragon, or Hakuryuu, is a water god that controls rainfall and water. White dragons are also associated with great wealth and blessings in marriage.

    The white dragon decoration, Japan.

    White as a force in duality of nature:

    Yin and Yang is a core concept in the Chinese philosophy that describes two opposing yet interconnected and complementary forces that are believed to underlie all of reality. They represent intertwined aspects of a whole in a dynamic balance within the universe. Famous symbol of yin and yang is the taijitu, a circle divided into two halves, each containing a swirl of the opposite color. The swirl within each half represents the seed of the other force, signifying their interdependence. In art, it often means balance, where white can’t exist without black, just like the sun doesn’t exist without the moon.

    Among Neolithic jades of ancient China are bracelets (huan), penannular rings (chüeh), half-rings (huang), a flat disc with a hole in the centre (pi) and a ring or short tube squared on the outside (tsung). In later historic times these shapes acquired a ritual or ceremonial function, the pi and tsung, for example, symbolizing respectively heaven and earth.

    (From the book: the arts of China, 3d edition, Michael Sullivan)

    White often represents all the light in the world, opposing the black of the darkness.

    Vasnezov Sirin and Alkonost. The song of happiness and sadness
    Viktor Vasnezov, Sirin and Alkonost. The song of happiness and sadness, 1896, The Tretyakov Gallery, Moscow

    In this oil painting, “Sirin and Alkonost,” also referred to as “The Birds of Joy and Sorrow,” depicts two beautiful, half-bird, half-woman creatures from Slavic mythology. Sirin, on the right, is typically associated with joy and enchantment, while Alkonost, on the left, brings sorrow and mourning. Their contrasting melodies intertwine, creating a complex and evocative harmony that reflects the duality of human experience. The painting itself is a masterpiece of the Russian Romanticism expressed in symbolism that invites contemplation of life’s emotional range.

    A close up of hands and lace in oil painting, Metz, France. Photo: Veronica Winters
    Holbein-the ambassadors closeup
    Holbein, The Ambassadors, an oil painting’s closeup of fur. London

    The calming power of white:

    The calming effect of white is obvious in snowy landscapes, white clouds or cashmere sweater that bring us feelings of peace. Tranquil nature relaxes our mind. Soft, white fabric evokes serenity. And white swans and snowflakes seem magical floating in water.

    Snowy Gorge-
Utagawa Hiroshige -Japanese-
Edo period 1615–1868-Met
    Snowy Gorge, Utagawa Hiroshige, Japanese, Edo period (1615–1868), the Met

    White can carry a special meaning in objects we often see. For instance, symbolic of new life, a white egg represents birth. Moreover, we can read the Chinese ancient legend about the origins of the world.

    “Once upon a time, the universe was an enormous egg. One day the egg split open; its upper half became the sky, its lower half the earth, and from it emerged P’an Ku, primordial man. Every day he grew ten feet taller, the sky ten feet higher, the earth ten feet thicker. After eighteen thousand years P’an Ku died. His head split and became the sun and moon, while his blood filled the rivers and seas. His hair became the forests and meadows, his perspiration the rain, his breath the wind, his voice the thunder-and his fleas – our ancestors.” This legend expresses a Chinese philosophy, that man is not the culminating achievement of the creation, but a relatively insignificant part in the scheme of things; an afterthought. By comparison with the beauty and splendor of the world itself, the mountains and valleys, the clouds and water- falls, the trees and flowers, which are the visible manifestations of the workings of the Tao, he counts for very little.

    (From the book: the arts of China, 3d edition, Michael Sullivan)

    http://www.metmuseum.org/art/collection/search/68969 Rank Badge with Leopard, Wave and Sun Motifs
    Period: Qing dynasty (1644–1911), late 18th century, China, silk, metallic thread, 10 3/4 x 11 1/4 in. (27.31 x 28.57 cm), Textiles-Embroidered, Credit Line: Bequest of William Christian Paul, 1929
    Caspar_David_Friedrich_-the polar sea
    Caspar David Friedrich, the polar sea or the sea of ice,1823–1824, oil on canvas, 96.7 cm × 126.9 cm (38 in × 49.9 in). This is one of my favorite Romanticism artists who painted the power of Nature to show its spiritual dominance over men.

    White hue can also be a symbol of cleanliness. Healthcare facilities have white rooms, corridors, and doctors’ coats.

    Contemporary architecture loves the color white. Both interior and exterior spaces have white paint and decorum seen across Florida’s new construction to amplify the light in the region.

    White can also represent neutrality or fairness, negotiation or surrender – the white flag of surrender.

    John Trumbull, The Surrender of Lord Cornwallis at Yorktown, oil on canvas, 1826,21 × 30 5/8 × 3/4 in. image from the Yale University Art Gallery. It can also be seen in a 12′ x 18′ size at the US Capitol Rotunda. This painting illustrates the surrender of the British army at Yorktown, Virginia, in 1781, which ended the last major campaign of the Revolutionary War. https://www.aoc.gov/explore-capitol-campus/buildings-grounds/capitol-building/rotunda
    Jacques-Louis_David death of marat
    Jacques-Louis David, the death of Marat, 1793–1793, in the collection of the Royal Museums of Fine Arts of Belgium.
    This neoclassical painting has a very careful, classical design both in color and lines. Marat was a revolutionary in France and a friend of the artist. David was also a radical thinker and revolutionary who was once an official court painter to Napoleon but ended up in prosecution and escape from France to Belgium closer to the end of his life.
    Marat’s skin condition made him take long baths to soothe the pain where he got assassinated. This painting represents the ideals of neoclassical art and politics- simplicity, heroism, idealization, classicism, neutrality and stoicism. Color white helps communicate these virtues.

    In modern art, white can symbolize a fresh start, an open canvas, or a space for interpretation. White is neutral, blank canvas. Artists like Robert Rauschenberg and Agnes Martin explored this potential in their monochromatic white paintings. Rauschenberg first painted his white canvases in 1951 in six variations, one to seven panels. Martin spent her 40-year career exploring the perception of stillness.

    Georgia O’Keeffe (1887–1986), the white skull, Chicago Art Institute. O’Keeffe often painted the bleached white bones and skulls of the animals in New Mexico. She associated the skulls with strength of an American spirit.

    White means innocence.

    William Sergeant Kendall, art interlude, 1907, oil on canvas, American Art Museum at the Smithsonian
    William Sergeant Kendall, art interlude, 1907, oil on canvas, American Art Museum at the Smithsonian Institution, Washington D.C.
    Rembrandt van Rijn, Lucretia, oil on canvas,(47 1/4 x 39 3/4 in.), 1664, closeup of fabric and pearls. National Gallery of Art, the Smithsonian, Washington, DC. Rembrandt depicts the suicide of Lucretia happening in Rome in the 6th century BC. She signifies virtue, loyalty and honor wearing white and pearls. You can read the full story here: https://www.nga.gov/collection/art-object-page.83.html
    Psyche Abandoned by Pietro Tenerani, Pitti palace, Rome, Italy. Image by Veronica Winters
    Paul Delaroche-the execution of lady jane grey-national gallery London
    Paul Delaroche, the execution of Lady Jane Grey, National Gallery London. The only person dressed in white – Jane Grey symbolizes innocence.
    Paul Delaroche, the execution of Lady Jane Grey, National Gallery London, Photo by Veronica Winters
    Sir Joshua Reynolds The Ladies Waldegrave 1780_detail_scottish national gallery
    Sir Joshua Reynolds The Ladies Waldegrave 1780, closeup, Scottish National Gallery. The dresses in Joshua Reynolds’ “The Ladies Waldegrave” are a striking feature of the painting. All three sisters are clad in garments of a singular color: white. The material is most likely muslin, a popular choice for fashionable gowns in the late 18th century. White evokes purity, innocence, and a sense of classical elegance and timeless quality Reynolds appreciated in ancient art.
    Canova, Cupid and Psyche, marble sculpture, 1793, louvre-veronica winters art blog
    Canova, Cupid and Psyche, marble sculpture, 1793, Louvre. Photo: Veronica Winters
    The Dance Class-Degas-met
    Edgar Degas, The Dance Class, oil painting, 1874, the Met, NY | Degas created a series of paintings devoted to the theme of dance. He captured white ballerinas in rehearsals sketching in pastels and painting in oil.
    Gerome, Pygmalion and Galatea
    Gerome, Pygmalion and Galatea,1890, oil on canvas, 35 x 27 in. (88.9 x 68.6 cm), the Met. “Between 1890 and 1892, Gérôme made both painted and sculpted variations on the theme of Pygmalion and Galatea, the tale recounted in Ovid’s Metamorphoses. All depict the moment when the sculpture of Galatea was brought to life by the goddess Venus, in fulfillment of Pygmalion’s wish for a wife as beautiful as the sculpture he created. This is one of three known versions in oil that are closely related to a polychrome marble sculpture, also fashioned by Gérôme (Hearst Castle, San Simeon, Calif.). In each of the paintings, the sculpture appears at a different angle, as though it were being viewed in the round.” The Met
    Francesco Hayez Suzanna at her Bath
    Francesco Hayez Suzanna at her Bath, National Art Gallery of Scotland. A classical painting in many ways, the white fabric forms a circle around the nude communicating innocence of youth.

    White as the representation of timelessness & memory

    The marble sculpture at the CA’ d’ ORO Palace in Venice, Italy.
    Michelangelo’s tomb, detail, Italy
    I love how lifelike this sculpture looks. It shows a pope blessing the crowd and wearing his crown. The light hit it so beautifully. It’s in St. Peter’s Basilica in Vatican City, Rome, Italy.

    Negative white

    Depending on our view of the world, specific events or cultural differences we can see the color white as cold, empty and artificially sterile. This kind of emotionless, stark white can trigger feelings of isolation, and emptiness. Moreover, white can be associated with mourning and death in some countries.

    White ghosts scare us, representing the supernatural and death.

    William Blake, The Ghost of Samuel Appearing to Saul, c. 1800, pen &ink, watercolor, National Gallery of Art, the Smithsonian, Washington DC

    White can also represent death. White shroud symbolizes death, mourning, and loss.

    Vernet, Horace. angel of death, 1789-1863_hermitage
    Vernet, Horace. Angel of death, 1789-1863, the Hermitage
    Hieronymus Bosch, Death and the Miser, c. 1485/1490, oil on panel (other panels lost), 93 × 31 cm (36 5/8 × 12 3/16 in.), National Gallery of Art, Washington DC
    Hieronymus Bosch Death and the Miser, c. 1485/1490, oil on panel (other panels lost), 93 × 31 cm (36 5/8 × 12 3/16 in.), National Gallery of Art, Washington DC.
    “In this panel Bosch shows us the last moments in the life of a miser, just before his eternal fate is decided. A little monster peeping out from under the bed–curtains tempts the miser with a bag of gold, while an angel kneeling at the right encourages him to acknowledge the crucifix in the window. Death, holding an arrow, enters at the left.
    Oppositions of good and evil occur throughout the painting. A lantern containing the fire of Hell, carried by the demon atop the bed canopy, balances the cross which emits a single ray of divine light. The figure in the middle ground, perhaps representing the miser earlier in his life, is shown as hypocritical; with one hand he puts coins into the strongbox where they are collected by a rat–faced demon, and with the other he fingers a rosary, attempting to serve God and Mammon at the same time. A demon emerging from underneath the chest holds up a paper sealed with red wax — perhaps a letter of indulgence or a document that refers to the miser’s mercenary activities.
    This type of deathbed scene derives from an early printed book, the Ars Moriendi or “Art of Dying,” which enjoyed great popularity in the second half of the fifteenth century. The panel may have been the left wing of an altarpiece; the other panels — now missing — would have clarified the meaning of some aspects of the scene, such as the discarded and broken armor and weapons in the foreground.” Taken from the gallery’s page https://www.nga.gov/collection/art-object-page.41645.html

    Empty white rooms can feel lonely and even scary.

    Blindfolded figures often represent ignorance, inability to see, and vulnerability, but the blindfolded Lady Justice has a different meaning. The blindfold represents that justice is unbiased and should not be influenced by a person’s appearance or other factors.

    Justice, from the Cardinal Virtues, Nicolaes de Bruyn Netherlandish, Publisher Frederick de Wit Dutch
    1648–56, the Met, New York. http://www.metmuseum.org/art/collection/search/423841

    Whitewashing is a term denoting the covering up of unpleasant truth, describing censorship.

    art museum, Metz, France

    As you can see the color white carries several meanings and rich symbolism in art history and our life. What do you think of white?

    PS If you see a mistake in this article, please know it’s not intentional. Reach out with the suggested correction to nika@veronicasart.com

    The Color White in Contemporary Art

    Ann-Marie Kornachuk, oil painting, copyright of the artist
    G Mortenson, Homework, copyright of the artist
    lorenzo quinn hands sculpture in Venice
    Lorenzo Quinn, Hands, sculpture, Venice. Photo by Veronica Winters, 2017
    Lorenzo Quinn hands sculpture in venice italy
    Lorenzo Quinn, Hands, sculpture, Venice, Italy. Photo by Veronica Winters, 2017
    the infinity of human soul-24x36-veronica winters-oil paintings for sale
    Jorge Jiménez Deredia, capullo, marble sculpture-contessa gallery-art wynwood 2023
    filippo tincolini-spacesman seat-marble, art contexxt miami
    Filippo Tincolini, Spacesman seat, Marble, exhibited in Miami Art Context 2023
    Michael Buthe-white painting-tate modern-london-1969
    Michael Buthe, white painting at Tate Modern, 1969, London. I snapped a picture of this painting in 2019. A carefully constructed composition with white stretcher bars, Buthe blurs the line between the canvas and its support, emphasizing the artwork’s physical construction.
    Freedom-psychedelic art-Veronica Winters artist
    Freedom, 22x30inches, colored pencil drawing by Veronica Winters

    SHOP



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  • Gallery Tour—We Live in Painting: The Nature of Color in Mesoamerican Art

    Gallery Tour—We Live in Painting: The Nature of Color in Mesoamerican Art



    Gallery Tour—We Live in Painting: The Nature of Color in Mesoamerican Art

    jascencio

    Mon, 04/28/2025 – 15:05

    Join a LACMA for a gallery tour of We Live in Painting: The Nature of Color in Mesoamerican Art.

    Mesoamerican artists held a cosmic responsibility: as they adorned the surfaces of buildings, clay vessels, textiles, bark-paper pages, and sculptures with color, they (quite literally) made the world. The power of color emerged from the materiality of its pigments, the skilled hands that crafted it, and the communities whose knowledge imbued it with meaning. Color mapped the very order of the cosmos, of time and space. By engineering and deploying color, artists wielded the power of cosmic creation in their hands. We Live in Painting: The Nature of Color in Mesoamerican Art explores the science, art, and cosmology of color in Mesoamerica. Histories of colonialism and industrialization in the “color-averse” West have minimized the deep significance of color in the Indigenous Americas. This exhibition follows two interconnected lines of inquiry—technical and material analyses, and Indigenous conceptions of art and image—to reach the full richness of color at the core of Mesoamerican worldviews.

    Please be aware that these tours are volunteer-led and subject to cancellation. Ask a member of our team on the day for details.

    Short Title
    Gallery Tour—We Live in Painting

    Event type

    Location (Building)
    Resnick Pavilion

    Primary image
    Alfonso Nava Larios, Cosmic Tree (Guamuchil), 2023, Nahua, Watercolor on amate paper, 23 1/2 × 15 1/2 in. (59.69 × 39.37 cm), © Alfonso Nava Larios, photo © Museum Associates/LACMA, by Javier Hinojosa

    Date
    Sat, 05/31/2025 – 15:00
    -Sat, 05/31/2025 – 16:00
    Mobile tile settings
    Image tile format
    Exhibition Format

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    On-sale time
    Wed, 09/11/2024 – 15:55

    Event audience

    Credit line – Left column

    All education and outreach programs at LACMA are underwritten by the LACMA Education Fund and are supported in part by the Judy and Bernard Briskin Family Foundation, The Rosalinde and Arthur Gilbert Foundation, the William Randolph Hearst Endowment Fund for Arts Education, Alfred E. Mann Charities, The Ralph M. Parsons Foundation, Gloria Ricci Lothrop, the Flora L. Thornton Foundation, U.S. Bank, and The Yabuki Family Foundation.

    Credit line – Right column

    Image Credit: Alfonso Nava Larios, Cosmic Tree (Guamuchil), 2023, Nahua, Watercolor on amate paper, © Alfonso Nava Larios, photo © Museum Associates/LACMA, by Javier Hinojosa

    Ticket price

    Free with museum admission

    Event Tier
    Tier 3

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