February 2008 Issue 48
From the President
Welcome to a HAPPY NEW YEAR of DECOUPAGE. I trust you all enoyed the holiday season with family and friends and are now enthused to make the very best of whatever 2008 holds for you (hopefully that includes plenty of time relaxing with our favourite hobby of decoupage).
Whilst it is disappointing that new membership to the Guild is far less than those of our number who are moving on to other things, I consider the continuation of the group with the remaining friendly faces is well worthwhile. However the decreasing numbers require the full commitment of all for success in our ventures, and to be realistic this should be kept in mind when planning. Following is a brief outline of activities for 2008. May I suggest that you carefully consider how you may fit into these plans and request your comment on ways that may enhance outcomes.
FEBRUARY 3RD MEETING:- As requested, Ornella Michellini has been invited to join us - we hope she is able to come. In any event, we will continue along the theme of Backgrounds. Since one of the aims of the Guild is that of sharing we will make this one such opportunity. Would each member please bring along an example of a background or a finish (either on a completed piece or on a sample board), and in turn we will explain how this effect was achieved. Brief demos might also be a good idea - bring with you the necessities if you are willing to participate in this way. Please bring along something which you can work on, as well.
MARCH 14TH-16TH - Live-in-Weekend CROWS NEST:- Have you booked your cabin for this great weekend ? (Ph 4698 1269). We look forward to another relaxed weekend of socialising (partners included), enjoying good food and of course a little work. It has been suggested we concentrate on applying images to canvas with the aim of completing some pieces for entering into this new section at the Ekka. Sharing of ideas on backgrounds and design for new pieces has also proved worthwhile. Please feel free to add your idea to the weekend itineray.
AUGUST - 2008 EKKA:- (NB pieces need to be completed by mid June for collection). The new categories give considerable scope for a variety of works.
As well as tradional work, use of precut images, under glass and work on canvas have been added. We need to be starting NOW ! As yet we have not heard if demonstrations are to be included in the Fine Arts section.
SEPTEMBER EXHIBITIONS AT CHERMSIDE LIBRARY:- The meeting rooms have been booked from Friday pm 26th to Sunday 28th as well as one glass cabinet for the month of September where we can mount a small display and publicise the Exhibition. We need to be thinking of sections for the displays. Here are some suggestions for your comment:-
- Victoriana, (ii) Floral, (iii) Australiana (including Outback), (iv) Natural History (birds or animals), (v) Landscape, (vi) Miniatures, (vii) Work on Canvas, (viii) Using Precuts (Stickers), (ix) Jewellery (this could be included in minuatures). Have you other ideas ?
We will have pieces back from the Ekka by then, but more will be needed. Pieces do not have to be new. Past members may like to contribute. Have you contact with any such folk? This is going to be a greast deal of work. One such project per year is probably sufficient for a group of our number.
Brisbane City Council has once more been generous and contributed $135 to the coffers in the way of a Senior Citizens grant; and Faith Hopkins, Councillor for Marchant Ward, has offered her website to us to publicise any events .
Until we get together on February 3rd - Happy snipping ! Remember friends and past members are welcome at the meetings.Barbara Chapple (President)
February 3rd Meeting at Chermside Library, 9.30 for 10am start. More on Backgrounds. Please bring along an example of Background or Finish to show.
March 14,15, & 16th Live In Workshop at Crows Nest. For those who have not yet booked a cabin, the phone number is 07 4698 1269.
July 20th Chermside Library Meeting
September 7th Chermside Library Meeting
September 26th Set up Exhibition in Chermside Library
September 27th & 28th Exhibition in Chermside Library
November 9th Chermside Library Meeting
by Allan Press
The theory of colour all started with Sir Isaac Newton, the first scientist to analyse light. He found that by passing a beam of light through a triangular prism, seven individually coloured rays of light emerged from the other side. Placing a second prism in the path of these seven rays had the effect of mixing the colours again, and what emerged from this second prism was, once more, a single ray of light.
We know that the three primary colours are red, yellow and blue. When mixed together, red and yellow make orange, red and blue make purple and yellow and blue make green. But there is another set of primary colours: red, blue and green. If you mix green and red light you get yellow; red and blue make magenta; green and blue make cyan.
The red, yellow and blue primaries are those appertaining to pigment (paint), and the green, red and blue primaries are those appertaining to light. The pigment primaries are called subtractive. Therefore subtractive colour is obtained by mixing paints, and the additive colour by mixing together coloured light. If the three additive primaries are mixed together the ultimate effect is white (light). For the rest of these notes, when referring to primary colours, we mean the subtractive primaries of red, yellow and blue.
The definition of a true primary colour is one that cannot be mixed from any combination of any two or more colours. It contains no trace of any other colour and appears visibily pure. A secondary colour is formed by mixing together a secondary with a primary one, or mixing together two secondary colours.
Other words you may hear are chromatic and achromatic. The latter consists of black, white and greys. All other sources of colour, such as red, blue, green, yellow, etc., are known as chromatic colours. Other common words words used when speaking of colour are hue, value and chroma. Hue is the quality that distinguishes one colour family from another: for example, red from blue, green from yellow and so on. Value is the quality that distinguishes between the lightness and the darkness of a colour, such as light blue and dark blue. Chroma also refers to quality, but that which determines the strength or purity of a colour, such as bright, pure yellow or a dull, greyed yellow. Tints are chomatic colours to which a quantity of white has been added. If we take a pure colour such as red and add some white to it, however small this quantity may be, it will make the colour lighter in tone, and it becomes a tint. Adding black to a pure colour forms a shade. Pink cannot be a shade of red because it is achieved by adding white to red. Pastel colours are achieved by adding equal quantities of black and white to a pure colour, making greyer, softer colours.
Temperature and colour have a strong relationship, and it is common to refer to certain colours as being warm and to others as being cool. The colour circle, in the natural order of colour, can be simply divided into two distinct halves by drawing a line from yellow to purple. Those hues to the left of this line – yellow, orange, red and purple – are known as warm colours, and those to the right - yellow, green, blue and lilac – are known as cool colours.
The six most common basic colour schemes - used in all sorts of industries are – monochromatic, complementary, analogous, split complementary, triadic and tetradic.
The most successful of the analogous schemes are based upon two or three adjacent colours on the wheel. These tend to work nicely together because they are similar to each other in hue and contain some of the same pure colours. A split complementary scheme is based on one hue, plus the two hues on either side of the first hue's complementary hue. This provides a less contrasting combination than complementary, while adding the variety of a further colour.
As it's name suggests, a triadic scheme also involves three hues, but in this instance they are spaced equidistantly around the wheel. As with triadic, the tetradic scheme is based on four hues that are equidistantly spaced around the wheel.
Hints & Tips
When mixing specific colours, it is always a good idea to mix extra, in case you need to “touch up” later. To save the paint,use a 35mm film canister. Just place a piece of masking tape on the side, with some of the paint on it, for reference. Be sure the canister is clean before using.
Placing your mixing dish, with the paint you want saved on it, into a plastic Zip bag, will help to keep the paint moist for days.
Some people find that plastic egg containers are handy for mixing paint.
Liquitex Acrylic Paints, Gesso, Gloss Medium & Varnish, Micro-mesh
Single sided sanding pads, Velour sheets & blocks, wet & dry sheets.
Unbleached sea sponges, brushes, scissors, glue, rollers, books, scumble medium, varnish, gold leaf & size, crackling varnish, assorted woodware. Tack cloth, dust masks, abrasive restorer.
FOR ALL YOUR DECOUPAGE NEEDS CONTACT
ACTIVE ABRASIVES PTY LTD
Phone: 07 3396 4457
Fax: 07 3396 9330
Things That Puzzle Me
(Nothing to do with Decoupage)
Why is it that people say they slept like a baby when babies wake up every two
Why do we press harder on the remote control when we know that the batteries are flat?
Why does someone believe you when you say there are four billion stars, but check when you say the paint is wet?
Who's idea was it to put the “S” in the word “lisp”?
We know the speed of light, what is the speed of darkness?
Why is there a light in the fridge, but not in the freezer?