The Original Art Register

The Original Art Register Hooray! At last there is somewhere on the world wide web that provides a vital long-overdue service and resource for current visual artists and photographers. [Clue…check out what is different about this image and the title.] ‘COLOURS OF LONDON’ by Colin Ruffell [ OAR100293 ] The Fine Art Trade Guild here in the UK have just launched a new benefit for Guild members, and non-members, and a whole new dimension in their service to the fine art industry. The service is the provision of a central register of images with details of the copyright holder, and a date, plus other information. The Original Art Register [OAR] will enable any artist, or any art gallery, or an


DOOR TO DOOR selling art in the 1960’s DOOR TO DOOR was my way of selling art in the 1960’s. It was an unusual method for artists to make a living. It even got a mention in the Daily Mail. Here is the cutting. The paper contacted me and sent a photographer up to Bedford to take the photo. Goodness knows how the press heard about this. I guess someone must have thought it interesting enough to be worth a few column inches. I set this operation up with my old mates Richard Akerman, John Hooley, and Colin See-Paynton. We created a workshop and studio in the centre of Bedford, and set out every weekend to sell our artwork door to door. The way that we did it was as follows. Paint and frame pict

Australia and Ten Pound Poms.

AUSTRALIA Ten Pound Poms. My Mum, my step-dad, my two brothers and my sister went to Australia over half a century ago for just ten UK pounds. Immigrants from the UK to Australia under this scheme became known as Ten Pound Poms. They were subsidized by the Australian government who encouraged British settlers. I don’t know why English were called Poms. Ten pounds is obvious. But I didn’t go because I had already left home, just got married, and was at college in England training to become an artist. My family came back on visits over the following years so we kept in contact. Much later, after college, and after my one year teaching career, and after I had made my living as an artist full-


HOGS, HAKES and FILBERTS are kinds of brushes that artists use. Hogs are made using hog bristle, hakes are softer and flatter, while in filberts the bristles are the shape of hazel-nuts. Simple. So they are not actual pigs, fish, or nuts. And they do different things. Hog-hair brushes are stiff and great for scrubbing and stencil work, while hakes are floppy and great for washes and broad flat strokes, while filberts are versatile because they are bulky with a small pointed top. I make a dreadful joke when asked how I do certain things in my paintings. I say, “It is easy, just hold the brush at the wooden end and dip it into the paint, then splosh it on the canvas or paper.” The joke doesn’

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