EASELS

LYRE EASEL. Folds flat for easy storage.   This easel is made from Beech and stands over 1.5 metres high and is 83cm wide. $120.85

H-FRAME HEAVY DUTY EASEL. This easel has an oiled finish and is made from Beech.  Castors provide ease of movement and the adjustable ratchet painting shelf means the easel adjust and locks solidly.  Our H-Frame folds flat for storage and can hold canvases up to 220cm in length. $198.00

LINEN AND CANVAS ROLLS

St Luke searches high and low to find high performing cotton and linen at economical prices.  With decades of combined experienced, all staff members use the products we sell so we know exactly how they work.  None of our cottons or linens repel paint, they are not weak and primer layers do not crack.

St Luke stretches custom canvases every day and we can quote you on any stretcher bar/cotton or linen combination.  

Please email us info@stlukeart.com or call (03) 9486 9992 for quotes or more information on our range.

12 ounce Loomstate Cotton 
20 metre Roll $653.40
Per Cut Metre $36.30

12 ounce Acrylic Primed Cotton 
20 metre Roll $653.40
Per Cut Metre $36.30

Fine Weave Triple Acrylic PrimedCotton 
10metre Roll $326.70
Per Cut Metre $36.30

Medium Weave Triple Acrylic Primed Linen
10 metre Roll $730.80
Per Cut Metre $81.20

Fine Weave Triple Acrylic Primed Linen
10 metre Roll $914.85
Per Cut Metre $101.60

Medium Weave Clear Primed Linen
10 metre Roll $522.90
Per Cut Metre $$58.10

Fine Weave portrait Linen Black Acrylic Prime
10 Metre Roll $914.85
Per Cut Metre $101.60

All rolls of Cotton and Linen can be delivered anywhere in Australia via Courier. Please call us for a quote on Delivery to your area.  Prices are correct as of 7/11/2012

Williamsburg Handmade Oil Colours

Available at St Luke.

Bella-Arti Gesso Panels

These Gesso panels are lightweight and rigid 8mm poplar plywood panels prepared with acrylic primer, polished to a highly smooth finish.  Suitable for many pictorial techniques including Oils, Acrylics, Gouache, Watercolour and Mixed Media.

10 x 15 cm   $4.50

18 x 13 cm   $5.35

20 x 25 cm   $9.95

  25 x 35 cm   $17.55

  20 x 40 cm   $13.70

  30 x 40 cm   $18.05

  40 x 50 cm   $27.70

Call St Luke (03) 9486 9992 to get a quote on delivery or we can put some aside for you.

Washi Tape

 Back in stock for you sticking pleasure, 

packs of sublime kamoi paper "washi" adhesive tape.

MT Tape does not leave residue when you peel it off.  Infinitley well designed with multiple artistic and utilitarian uses.  St Lukettes love MT Tape!

Pack of 20 7mm x 10metres $49.95

Pack of 10 15mm x 10m $39.95

GOLDEN IN STORE DEMONSTRATION May 19th at St Luke

St Lukettes have been exceedingly busy of late and we have to apologise for not sending the St Luke Newsletter out sooner.  

The news we do have is good and it's FREE!  All FREE we tell you!

St Luke has booked Golden Artist Educator, Merryn Trevethan for three in store demonstrations on Saturday 19th MAY.  

Each demonstration will run for approximately 45 minutes and there are three different Golden Acrylic Applications to choose from.  

Bookings are essential so please contact a St Lukette to reserve your place. All you are required to bring is a visual diary.

1:00 -1:45 Golden Gels and Grounds

Merryn will experiment with the diverse range of Golden gels and grounds to uncover 

how acrylic can be manipulated and utilised in a variety of methods.

The differences between all Golden Acrylic Paint ranges will be discussed and 

Merryn will uncover which formulation of Golden Acrylic Paint will be best for you.

2:10 - 2:45 Golden Open Acrylics

How slow drying is OPEN?  Attend this lecture to find out.  

Merryn will show how to get the best effects with Golden's slow drying range of Acrylics.  

Opens accompanying mediums will be utilised along with subtractive painting techniques.

3:00 - 3:45 Golden Digital Mixed Media - Golden Digital Printing Grounds

Don't let your printer gather dust in the corner...learn how Golden's specialised 

range of grounds can turn your printer into an art making machine.

-SATURDAY 19th MAY Starting at 1:00pm

-Email: info@stlukeart.com  to reserve your place

-Bring your visual Diary...

For more information about Merryn Trevethan or if you are interested in enrolling in a Golden Workshop please visit the link below:

http://www.merryntrevethan.com/page20.htm

Creating and Printing on Acrylic Skins

SALE ENDS Saturday

HURRY IN

The Golden Opportunity Sale ends this Saturday!

So that means you only have 3 little days to take advantage of...

40% off Discontinued Golden Acrylics

and a whopping

60% off Langridge Oil Sticks!

60% OFF Langridge Oil Sticks

60% OFF LANGRIDGE OIL STICKS

Series 1 was $16.10 now $6.45

Series 2 was $18.70 now $7.50

Series 3 was $19.95 now $8.00

Langridge Oil Sticks are being discontinued.

Langridge Artists' Quality Oil Sticks are a highly pigmented solid oil colour, designed for direct application on all traditional surfaces and are compatible with conventional oil paints.

In the manufacturing process, a percentage of the oil is replaced with wax to create a stick form that allows the artist to draw or paint directly onto a surface without brushes, mediums or solvents.

The following colours are available until sold out.

Series 1

Carbon Black,

Raw Umber,

Burnt Umber,

Burnt Sienna,

Caput Mortuum,

Mars Brown,

Red Oxide,

Mars Orange,

Yellow Oxide,

Nickel Titanate Yellow,

Neutral Grey Mid

Neutral Grey Dark

Series 2

Phthalo Blue,

Phthalo Green,

Chromium Oxide,

Brilliant Pink.

Series 3

Cadmium Yellow,

Cadmium Orange,

Quinacridone Magenta,

Dioxazine Purple,

Rich Gold,

Pale Gold,

Silver.

40% OFF Matte Fluid Acrylics 119ml & 473ml

Matte Fluid Colour Chart

The sheen of the Fluid acrylics can be altered with gels, mediums or varnishes. However, for those artists looking for a paint line with uniform matte finish, GOLDEN offers the Matte Acrylics. The Matte Fluid Acrylics are essentially the same as the regular Fluids, except matting agents are added to glossier colors.

GOLDEN MATTE FLUID 119ml

SERIES 1 was $26.05 now $15.65

SERIES 2 was $27.90 now $16.75

SERIES 3 was $30.30 now $18.20

SERIES 4 was $32.10 now $19.30

SERIES 5 was $37.10 now $22.30

SERIES 6 was $39.85 now $23.95

SERIES 7 was $44.15 now $26.50

GOLDEN MATTE FLUID 473ml

SERIES 1 was $67.75 now $40.65

SERIES 2 was $78.10 now $46.90

SERIES 3 was $84.00 now $50.40

SERIES 4 was $95.55 now $57.35

SERIES 5 was $105.15 now $63.10

SERIES 6 was $115.70 now $69.45

SERIES 7 was $128.60 now $77.20

On sale until March 10th. Matte Fluids are a discontinued size. Stock and sizes are limited so please get in quick before they are all gone.

40% OFF Golden Acrylic Glaze 119ml

Golden Acrylic Glaze Colours 119ml Available in:

Metallic Gold was $24.85 now $14.90

Yellow Ochre was $16.30 now $9.80

Burnt Sienna was $16.30 now $9.80

Golden Acrylic Glaze paint is a slower drying Acrylic designed for wet into wet and glazing techniques. Glaze Acrylic dries to a satin finish and is a high pigment load professional Acrylic paint that can be used with any other paint or medium in the Golden range.

This product is a discontinued size and will be on sale from

Saturday 18th Feb - 10th March or until sold out.

40% OFF Golden Regular Gel Matte 148ml

Regular Gel Matte 148ml was $13.75 now $8.25

This product is a discontinued size and will be on sale from

Saturday 18th Feb - 10th March or until sold out.

Use Golden Regular Gel Matte to extend Golden Acrylic or alter the optical reflection of dried acrylic paint. Regular Gel Matte can be used as a ground to draw on or to make image transfers.

40% OFF Golden Fluid Ultramarine Violet 236ml

Series 4 was $52.60 now $31.60

This product is a discontinued size and will be on sale from Saturday 18th Feb - 10th March or until sold out.

40% OFF Golden Heavy Body 473ml

SERIES 1 was $64.00 now $38.40

SERIES 2 was $78.85 now $47.35

SERIES 3 was $84.10 now $50.50

SERIES 4 was $93.10 now $55.90

SERIES 5 was $109.75 now $65.85

SERIES 6 was $126.70 now $76.05

SERIES 7 was $144.35 now $86.65

40% off discontinued sizes of Golden Heavy Body. Sale starts today, Saturday 18th February and finishes 10th March or until stock is sold through. Please be quick if you don't want to miss out.

Stretched Canvases

St Luke stocks a large range of cotton and linen and can stretch or re-stretch any size canvas you desire. Our attention to detail means our canvases look as good on the front as they do on the back. Above is Merryn stretching a casual 3 metre by 2 metre monster with a medium Italian Linen.

Our stretcher bars are a farmed Vic Ash that has been kiln dried. The profile width is 32mm and standard sizes range from 10" to 84". Our prices are very competitive so please don't hesitate to call us for a quote.

Choose from our hand picked collection of Cottons and Linens:

Fine Weave Cotton $36.30 per metre

12 ounce Cotton $36.30 per metre

Clear Primed Medium Weave Linen $59.10 per metre

Fine Weave Acrylic Primed Linen White/Black $101.65 per metre

Medium Weave Acrylic Primed Linen $81.20 per metre

Coarse Weave Acrylic Primed Linen $101.65 per metre

Fine Weave Portrait Oil Primed Linen $101.65 per metre

Loomstate Medium weave Belgian Linen 120" $120.00 per metre

For Artists, By Artists. A glance at the history of Langridge

With so much to know about materials, St Lukettes have to remind ourselves and our lovely customers that the beautiful products we are selling come into existence not far from where they are sold. Langridge Artist Colours began its life in 1992 on Langridge street in Collingwood. David Coles' passion for art materials compelled him to start making his own, and so Langridge was born.

With a commodity of information, a willingness to be transparent and a collection of recipes divined for their permanence and workability, each product Langridge makes comes into being with the utmost care. Fine artist grade materials travel from the four corners of the world to find their way into Langridge's house recipes. These carefully selected ingredients are then packaged into a clear bottle or jar with the synonymous black and white Langridge label.

St Luke is very lucky to be the home of Langridge and we stock the full range of products including hard to find raw materials and limited edition pigments. The following Langridge products are all made locally and available at St Luke:

Professional Oil Colours

Pigmented Inks

Oil Sticks

Paint Binders

Decorative Products

Oil Paint Mediums

Varnishes

Primers

Langridge has grown so much through customer dedication over the past 20 years that manufacturing now exists in a bespoke factory in Yarraville.

The best part about having art material manufacturers a stones throw away is that you can always get an answer to a tricky question, order extremely large quantities and feel assured that you are buying locally made products.

Langridge has been recognised for its hard work and dedication internationally and is now the distributor of the world's leading brand of Acrylics, Golden. The cult brand of handmade paint from New York; Williamsburg is also partnered with Langridge for their Australian distribution. When buying a Langridge product you are purchasing a product that was born from a dedication to helping, listening and enabling Artists to create. When you shop at St Luke, more than likely you are being served by a practising Artist and taking home a product that was made by one.

If you would like to know more, please follow the link to the Langridge website or bring you queries to a St Lukette.

We are always happy to share our knowledge and the history of our companies, because we are a little bit chuffed about it.

www.langridgecolours.com

SCHOOL'S BACK FOR SUMMER (Yay!)

Golden Artist Educators

St Lukette Merryn Trevethan will be running GOLDEN BITES workshops in Yarraville starting 15th February.

Terms are flexible and classes include all materials. Discover what Acrylic paints can really do.

Choose from all aspects od Acrylic Techniques.

Contact: info@merryntrevethan.com 0422515880

The amazing Georgia Mansur is running workshops all over the country this year, with a few choice spots internationally.

To check dates and locations please see her website for more details.

http://www.georgiamansur.com/workshops.html

BACK TO BASICS

Victorian College of the Arts are offering many classes for their Summer School program.

We recommend Technical Painting as part of the Universities Foundation Studio Art Program.

The beginning of the first term will be taught by St Lukette Kez Hughes.

This class promises a back to basics approach to making art, covering the breadth of artistic methods and mediums.

Teachers include Colleen Ahearn, Rob McHaffie, Sharon Goodwin and Ry Haskings among others.

Enrolment is for one year and each Lecturer will specialise in sharing thier own skills.

Call Ieuan Weinman at the VCA (03) 9035 9463 or email art-shortcourses@unimelb.edu.au

How to Varnish

IT’S EASY IF YOU KNOW HOW...

Varnish, let’s talk about it.

Are you worried about varnishing because you dont know enough about it? Recently we have had quite a few enquiries about varnishing, so we thought we would supply some tricks and tips to help you become a master varnisher.

The following is an edited version of what can be a complex and tricky process to embark upon. The St. Lukettes have written a distilled list of the essential peices of information to help you understand varnish and to help you varnish better.

Retouch Varnish = is a low resin content varnish that allows the oxygen to access the paint surface for hardening of the oil paint. It is the only varnish to be used before the painting has fully hardened (dried).

Generally it takes 3-6 months for oil paint to absorb enough oxygen to fully harden at which point a final picture varnish can be applied. Retouch Varnish is made from resin and no matting agent so it will not reduce gloss levels on your painting. Aerosol versions of this product require longer drying times to liquid based versions so to be in the safe side please wait until your painting is dry as it is not a true Retouch Varnish.

Final Picture Varnishes (Gloss, Satin and Matt) = Varnishes have two major functions;Firstly to create an even reflective finish of a specific gloss or mattness. Secondly the varnish is a sacrificial coat that will collect future dirt and grime. The dirty varnish can be easily removed at some future point without destroying any of the paint film underneath. All Langridge and GOLDEN solvent-based retouch and picture varnishes (except damar varnish) are based on synthetic resins dissolved in White Spirit. Do not use alternative solvents for dilution or clean-up.

Damar Varnish = A traditional varnish made from natural damar resin dissolved in Distilled Gum Turpentine. Clarified and double filtered, it dries to a gloss finish.

GOLDEN MSA Varnish (Gloss, Satin and Matte) = Synthetic resin based final picture varnish for use on or oil and acrylics paintings. Thin with Artists White Spirits prior to use.

GOLDEN Polymer Varnish = This is a unique fully-reversable, water-based varnish to be used on acrylic paints.

All GOLDEN varnishes include high levels of Ultra-violet stabiliser prevent fading of sensitive colour layers such as digital prints.

For examples of the different reflective finishes come in to see our varnish sample banner instore. To attain more information and MSDS’s please visit the Langridge website.

How To Apply

First you must read the label, then re-read the label. If you need to thin your varnish with White Spirit, Turpentine, water or shake the can for a minimum of 2 minutes then this is what you must do. Always test your varnish before applying it to your masterpiece that is required to be on the gallery wall tomorrow.

Situate yourself in an area away from dust, pet hair and dirt. If you are using a liquid varnish, pour it into a clean non-spill container made of glass or ceramics. With a clean brush dip the first centremetre of hair filament into the varnish and then immediately wipe the brush against the lid of the container disposing of any excessive amounts of varnish. Thinly apply the varnish over a small squared area of the canvas in a vertical and then horizontal motion.

Repeat this process until the entire surface has been covered. With this method you can be sure that the square application of varnish will overlap resulting in no missed areas. It always helps to varnish under natural lighting so that you can identify any dull areas where you may have missed applying the varnish. Always varnish an artwork lying down so that no dribbling occurs. Try to varnish as thinly as possible, more is not better and building up thin layers is always more desirable than pooling the varnish on.

Matte and Satin varnish contains a product called Matting Silica. Matting Silica is a fine particulate that knocks the gloss finish back. Matting Silica is quite heavy and tends to sit on the bottom of the can or bottle, if you do not thoroughly mix the separated out materials before applying the varnish the resultant layer of applied varnish could streak or turn white. If this has happened you must remove the varnish with the correct solvent and start again.

Underbound paint layers, i.e. areas of paint that do not have enough binder will cause varnish to sink in creating a varnish/no varnish streaking effect across your painting. If this is happening you may want to consider completing an isolation coat before you begin to varnish. Please come into St Luke and talk to a st lukette if this is an issue as it is always case sensitive and there are many factors that cause this problem. If you are using acrylics please follow the link below to see some information available on Golden’s youtube channel.

Golden You Tube Channel - Isolation Coat

To varnish properly you need a specialty varnishing brush. St Luke recommends a synthetic short handled brush with very fine hair filaments. A varnishing brush should always be used for varnishing alone and great care needs to be taken to clean it thoroughly, then form it back into shape and store it for the next occasion.

St Luke stocks the full range of Langridge and Golden Varnishes. Our store catalogue is now online and can be accessed here on our blogspot.

Black and White Pigments

Got any Blacker?

It's not all black and white, there are shades of grey too. Grey areas can happen if you are not sure you have the right black or white when you are making art. St Luke is in Collingwood so we know how to dress in black and white and how to paint with these tricky pigments.

BONE BLACK Pigment Black 9

Ivory black has a cool bluish undertone and was utilised in painting by Rembrandt. Ivory black is traditionally made by the charring of animal bones, getting it's title "Ivory" form the burning of waste ivory bones. Also known as Bone Black this pigment

LAMP BLACK Pigment Black 6

Lamp Black is one of the oldest pigments and has been in use since pre-historic times. Light and fluffy it is also confusingly known as Carbon Black although it does not have the same production method or properties as Pigment Black 7. it is produced from the soot of burning oils.

CARBON BLACK Pigment Black 7

Intense and Velvety, t

his pigment makes beautiful pigmented ink and is recommended for use with water

based binders (i.e. watercolour and acrylic) as it is a thirsty pigment and slow drying. Made from the carbonising of oils, woods or vegetable matter. Pigment black 7 is a form of Carbon Black that was invented in America by burning natural gas and came into use around 1884, this pigment is one of the blackest blacks.

Also known as Furnace Black.

MARS BLACK

Pigment Black 11

A high

performance black that is creamy, dense and opaque. Mars is one of the fastest drying of all the blacks. It has a warm brown undertone and is recommended as a superior oil painting black as it is least likely to sink into the substrate once painted out. Also known as Iron Oxide Black

TITANIUM WHITE Pigment White 6

Trying to hide? Titanium White is very opaque and gutsy.

When painting pure white, this colour is the best option. Its tinting strength is high

when mixed with other colours and can tend to bleach out your palette, choose zinc as

your mixing white. The warmest of all the whites, Titanium White is a necessary staple

for all artists, ideal as a pure white highlight.

ZINC WHITE Pigment White 4

First manufactured in 1781 by Chemist Bernard Courtois as an alternative to the lead

based Flake White. Zinc is a semi transparent pigment with a slightly cold, bluish tinge.

Also known as permanent white or Chinese white, Use this pigment to create clean tints

when mixed with other colours.

FLAKE WHITE Pigment White 1

Made from lead, Flake White is one of the earliest manufactured pigments and its popularity only wained when other white pigments were introduced in the early 1900's. Flake white imparts a beautiful warm reddish yellow undertone and is popular for portrait painting because of its hiding power and delicate glow. The painter Lucian Freud is known for using this pigment. Also known as Lead White or Cremnitz White.

Bibliography

Ralph Mayer, The Artist's Handbook of Materials and Techniques.