The 10 Most popular posts in the first million visits (Part 1)

One of the assets of this blog - which started 20 years ago - is there is a very considerable archive of past posts - some of which have been very popular indeed. 

I've just come across a post which highlights what were the 10 most popular posts in 2011 - after the first five years of Making A Mark. 

During this period I did regular "big projects" on specific topics - and these are reflected in the most popular posts

Below are the top five posts - with the links to each blog post embedded in its title.

Tomorrow I'll list the next 5 posts in the top 10

I've extracted a short piece of text and an image from each one - so you can get an insight as to what the post is about.

CAUTION: Given the age of the posts some of the links embedded in the post will no longer work as websites have died and been wound up.

1. 10 Tips for How to Sketch People

Drawing and sketching people is an invaluable way of developing a wide range of artistic skills.

I've been drawing people for very many years - family, friends, people in cafes and restaurants, life class models - and other artists. People often tell me how much they like the sketches I make of people I come across on my travels with a sketchbook - which I find a bit odd as most rarely have faces!

Cheers Boston!
(sketching fellow travellers at Logan Airport, Boston, USA September 2006)
8" x 10", pen and sepia ink and coloured pencils
copyright Katherine Tyrrell

2. Van Gogh: Drawing media and techniques

Drawing Media:

• Pencil: He employed pencil for preliminary drawings and then combined it with ink. He often worked with a carpenter's pencil. He liked to press hard and often worked on wet paper.
• Pen and ink: Van Gogh had a remarkable gift for pen drawing and graphic technique.
• Most of Van Gogh's pen and ink and brush drawings (such as the one above) are executed first in pencil first. He then inks/bruhes over the pencil marks once he is happy with them.
• some of his pen and ink drawings are drawn without any preliminary use of pencil
• During his visit to Arles in 1888, Van Gogh discovered the reed pen (made from local hollow-barreled grass, sharpened with a penknife). It changed his drawing style. He created some extraordinary drawings of the Provençal landscape, including a series of drawings of and from Montmajour (east of Arles) , in reed pen and aniline ink on laid paper. The ink has now faded to a dull brown.
• The Van Gogh Museum is conducting research into pigments and drawing inks in use in the period 1888-1890 and comparing this to the inks Van Gogh used [UPDATE: See the Research Results REVIGO: Paintings - which also comments on inks]

Trees with ivy in the asylum garden, 1889
Vincent van Gogh (1853-1890) Saint-Rémy-de-Provence, May-June 1889
pencil, reed pen and brush and ink, on paper, 61.8 cm x 47.1 cm
Credits: Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

3. Composition - Principles of Design

This post forms part of an introduction to the elements and principles of composition and design and follows on from yesterday's post about the elements of design. 

It's an overview. More can be written about each and every principle - and has been!

• Good composition doesn't happen by accident. A quick reminder. The analogy which I find helpful for remembering which is which is to compare the elements and principles of art and design to the ingredients and method of a recipe. Cookery and composition have quite a lot in common!
• All the elements are ingredients - they are separate and need to be combined effectively to produce a successful outcome. Each ingredient gets to play a major or a minor role in the eventual outcome. This, in part, is dependent on the quantities employed and, in part, on the nature and intrinsic power of each ingredient (think garlic and chilis!).
• It's the particular way that they they are combined - using the principles of design - which enables a successful outcome. The same ingredients can for example be combined in a number of different ways (think of recipes for eggs!)

The Fire Risk of Aluminium Painting Panels for Art

Yesterday I said I'd follow up on the use of an aluminium panel by the winner of Episode 4 of Portrait Atist of the Year 2025 (see yesterday's blog post Review: Episode 4 of Portrait Artist of the Year 2025 (Series 12)

I think I'm going to need a LOT more time on this topic....

My next post will follow after a lot of time has been spent researching products, querying suppliers and getting answers to questions. I may do a survey....

FIRE RISK of aluminium panels

There was one VERY BIG and very significant issue which arose when I started querying "aluminium panels".

This post relates to the FIRE RISK issues for aluminium PANELS - and is by way of being a warning to be VERY, VERY CAREFUL if you want to try painting on aluminium.

The fire risk of artist aluminum panels depends entirely on the panel's composition: 

• bare or anodized/painted aluminum is non-combustible (Class A1), 

• but composite panels (ACP) with a flammable plastic core, such as polyethylene (PE), pose a significant fire hazard. 

• The main danger comes from the core material, which can burn rapidly once exposed to fire, releasing a large amount of heat, while the aluminum sheets themselves have a high melting point and do not contribute to the fire. Google AI

Bottom line:

• sheets are safe
• panels are not - if they are sandwiched using a polyethylene core

Various images of aluminium supports for artists

- as seen on Google Images in response to the query

"aluminum composite panels aluminium panels for artists"

I'm raising this concern, because

• the art materials industry appears to be happy to call them "panels"
• in complete ignorance of the horrendous reputation of aluminium composite material panels which caused the Grenfell Fire.

I think they'd be more correct to call them "sheets" - but I'm not actually sure what they are supplying - because of the total lack of technical specification sheets. I also find this worrying given the manufacturers' generally tarnished reputation for being open and transparent about risks - and the inaccuracy of the tech spec sheets they provided.

In principle, Aluminium SHEETS are a uniquely fireproof material - they are solid and non-combustible as pure aluminium.

• it has a natural oxide layer that prevents the metal reacting with oxygen and causing ignition. 
• it is non-flammable: solid aluminium does not catch fire. Solid aluminum itself is non-combustible and is in the highest fire-safety class (A1 or A2). 
• It melts at a high temperature (660°C) and deform
• but it will not combust and does not contribute fuel to a fire.

However, Aluminium PANELS were one of the main reasons why the fire accelerated up Grenfell Tower and killed so many people. 

• These panels were aluminium front and back but sealed with a Polyethylene Core - and it was this core which was inflammable. 
• thin aluminium deforms quickly when exposed to flames/heat - exposing the inflammable core to flame
• These composite panels were used in the refurbishment of the exterior of Grenfell Tower - and were one of the primary causes of the way the fire accelerated up the building at great speed. 
• The polyethelene core burns very fast at high temperatures. ( as in the Building Reseach Establishment had to abandon a fire test on composite panels at the fire safety centre after starting the test - because the fire was totally out of control! See one of the reports where the material completely failed the test)

Such panels can be as thin as 3mm. This is one manufacturer's description.

Aluminium composite panels (also known as Alupanel or Dibond sheets) are a high-quality, lightweight sheet material made of a polyethene core sandwiched between two aluminium skins. Available in a thickness of 3mm and a range of colours and finishes, this rigid product is suitable for both outdoor and indoor applications.

It is possible to make an aluminium composite panel with non-flammable material - but to be sure it is safe this needs a fire certificate issued by a reputable third party.

The problem is that the Manufacturers also refer to the ACPs as "SHEETS" when they are actually panels i.e. marketing is what they use to sell their products! Panels are now the recognised problem so it's "better for the bottom line" to call them sheets.

Obviously there are some crucially important distinctions which need making between literal "Aluminium Sheets" and "Aluminium Panels" and "Aluminium Panels which might be called Sheets"

Artists need to beware that:

• they are only buying from reputable art suppliers 
• who in turn are only buying from reputable manufacturers.
• they MUST NOT use aluminium building panels or any panel with a polyethelene core

The risk issue is not helped by the fact art suppliers are apt to refer to them as PANELS whereas they appear to be SHEETS. 

The other concern I have is there's not much transparency as to which company makes the aluminium sheets. Just as the manufacturers of the aluminium panels on Grenfell were completely opaque to the point of downright lies re the fire risks associated with the panels. The issue here being are the manufacturers actually reputable and trustworthy? 

As in really?

Preliminary conclusion

Make your art on aluminium which comprises two thin aluminum sheets with a polyethylene core and should there be a fire, you may see all your art go up in flames very fast - plus the room / building holding them

Artists wishing to use "aluminium panels" have to 

• be aware of the consequences for anywhere these are stored should a fire occur
• decide whether you are prepared to accept the fire risk associated with composite panels - and all associated and necessary precautions. 

CONCLUSION: I'd like to see 

• complete TECHNICAL SPECIFICATION sheets for all aluminium sheets and panel products
• supplied and visible on the websheets of ALL suppliers of "aluminium panels" for artists.

I've had artists tell me it is a wonderful surface to paint on - but artists also need to be 100% confident that it is also a safe surface to use and store.

READING

• How the products used in Grenfell Tower’s cladding system were tested and sold | Inside Housing
• Grenfell Tower inquiry: 9 things we now know about the cladding | BBC News

(NOTE: I should explain that on night of June 14-15 2017, I watched Grenfell Tower burn all night due to switching to the news before going to bed - after a late night. I also used to live at the top of a tower block after graduation. I went on to become a regular listener to the Grenfell Tower Enquiry podcast during my daily walks and was absolutely appalled at what I heard about the disregard by aluminium manufacturers for people's safety )

Royal Family Order of King Charles III: Portrait by Elizabeth Meek MBE PPRMS

The New Royal Family Order - created for King Charles III

The new Royal Family Order, which features a miniature portrait of the Monarch, was unveiled recently and this post is about how it came about. I interviewed the Artist who created the miniature portrait the day after it became public knowledge!

This post covers:

• What is a Royal Family Order?
• What does the Order comprise - and who did what
• The Miniature Portrait painted by Elizabeth Meek.

The new King Charles III Royal Family Order was worn for the first time at a reception and State Banquet for the Japanese Emperor and his wife at Buckingham Palace.  HM Queen Camilla wore the Royal Family Orders commissioned by her husband  and the late Queen.

The Royal Family Order

To provide some context - the Royal Family Order is a decoration conferred by the monarch on female members of the British Royal Family.

• They have been created and conferred since 1820. They are usually the first honours given by the new Monarch to the female members of his or her family.
• It's usual for the colour of the ribbon used to attach it to a gown to change as the monarch changes.
• It's typically worn on State Occasions - such as State Banquets for a Visiting Head of State. 

Royal Family Orders have been given since 1820. Usually they are the first Honours awarded by a new Sovereign to Royal Ladies. 

To date, Queen Camilla is the only Royal Lady to receive one. However I think it very likely that we will see both the Princess Royal and the Princess of Wales wearing one in the near future - as both were absent due to ill health at the time of the banquet.

Copies of the miniature portrait are made to create the Royal Family Order worn by female relatives of the King.

Below, The King and Queen with The Emperor and Empress of Japan at the State Banquet at Buckingham Palace.

 

View this post on Instagram

A post shared by The Royal Family (@theroyalfamily)

What does the order comprise?

Creating a Royal Family Order is very much a team effort - although I'm focusing on the miniature painting which sits at the centre of the order in this post.

The Royal Family Order comprises:

• a miniature portrait of the Monarch, typically at the beginning of their reign
• a jewelled encasing which features loose jewels from the Royal Collection
• a ribbon which is used to hang the portrait and its case - and to hide the method used to attach it to the dress worn for the occasion! The colour of the ribbon can vary.

The new Royal Family Order commissioned for the female relatives of King Charles III was created by the following individuals and comprises:

• a miniature portrait by leading professional miniature portrait painter Elizabeth Meek MBE PPRMS. 
• This was based on a photograph of the monarch wearing the uniform of Admiral of the Fleet and his array of decorations taken by the official Royal Photographer Hugo Bernard at Windsor Castle in 2023. This depicts the King wearing the ceremonial day uniform of a Royal Navy Admiral of the Fleet with the collar of the Order of the Garter, the Royal Victorian Chain, the riband of the Royal Victorian Order, the badges of the Order of the Bath and Order of Merit and various medals.
• A miniature Tudor Crown sits at the top of the jewelled casing that surrounds the portrait. This includes diamonds weighing 10.41 carat - which came from loose jewels in the Royal Collection. This was created by British jewellery designer Fiona Rae Goldsmiths has been designing and making jewellery for over 34 years, after graduating from Central St Martins and receiving a business loan from the Prince's Trust. She was recently granted a Royal Warrant from HM King Charles III. 
• The enamelled reverse of the case depicts the King's cypher in gold. The case and goldwork was engineered by Seth Kennedy, a scholar from the Queen Elizabeth Scholarship Trust.
• The casing for the portrait is suspended from a pale blue moiré silk bow created by the leading milliner Philip Treacy who makes lots of hats for the Queen.
• His Majesty personally selected the colour of the ribbon, which is based on the Family Order of his great-grandfather, King George V. 
• This marks a change from the yellow that decorated the late Queen’s Order.
• Those wearing the Royal Family Orders usually arrange them in layers on the left shoulder.

You can see an image of Queen Camilla wearing the new Royal Family Order with that created for HM Queen Elizabeth 11 in this Tatler article Queen Camilla debuts King Charles' new Family Order at Buckingham Palace: everything we know about the honour

The Miniature Portrait - by Elizabeth Meek

Now on to the art involved!

ASTM Pastel Lightfastness Standard D8330-20

This will interest all pastel artists - specifically those who are interested in the lightfastness of pastels and the new technical standard for how lightfastness is tested.

I've been a long-time proponent of lightfastness which is how I got involved in how lightfastness standards are developed and the testing involved. 

I first wrote about the development of a lightfastness standard for pastels back in 2010 - in A Lightfastness Standard for Pastels: current status. As a result of this I was invited to become a member of the ASTM Subcommittee D01.57 on Artist Paints and Related Materials - albeit have never made it to a meeting since they've traditionally been held in the USA! I stuck to commenting from a distance!

This was followed by a second post - ten years ago(!) - called UPDATE! Standard Specification for Artists Pastels

Finally the Standard was published in 2020 - but for some reason passed me by at the time! Maybe other things were happening!!

Below you will find two videos, produced by the International Association of Pastel Societies (IAPS),  about the new (in 2022) Lightfastness Standard for Pastels published by the American Society for Testing and Materials - now better known as ASTM International.

The Visual Appearance of Light Testing Results - from the video talk by Michael Skalka
from left to right: the colour not exposed to light, the colour exposed indoors, the colour exposed outdoors

ASTM D8330-20: Standard Specification for Artists’ Pastels

Below are two videos - made in 2022 - which comment on the process and the technical aspects of testing for lightfastness.

• the first is a talk by the man who has been responsible for steering all the lightfastness standards on art materials
• the second is a discussion between Council Members of IAPS about how they were involved with the process of developing the standard

IAPS ASTM Pastel Standard (54 minutes) - this lengthy video has an explanation by my good friend Michael Skalka,  the longtime Chair of ASTM Subcommittee D01.57 on Artist Paints and Related Materials, about 

• the rationale for the development of the Lightfastness Standard
• the benefits of the Standard
• addressing criticism of the Standard
• plus a demonstration of some of the test results across different colours (which accounts for why I got heavily involved with lightfastness well over 15 years ago - when I saw the same results for coloured pencils using different pigments!)
• plus a visual summary of the test results - which highlighted which pigments did very well and why dyes used for pastels produced very poor results
• Conclusions about the overall process - highlighting the lack of engagement by both manufacturers and artists

Since Michael retired from his work in Conservation at the National Gallery in Washington, he's started a website called The Syntax of Color and I wrote about Michael and new developments in Michael Skalka knows about art materials!

IAPS ASTM (11 minutes)

The second is a "talking heads" video which focuses more on the ongoing relationship IAPS had with ASTM in the development of the standard over many years.

A conversation with IAPS Materials team - Richard McKinley, Shirley Anderson and Susan Weber about the ASTM pastel lightfastness standard.

The IAPs developed an Art Materials Team and have worked together with ASTM - to help finish the testing and build a bridge between the artists and the manufacturers.

Note: You can read current news from IAPS here. This INCLUDES an article about ASTM and Lightfastness of Pastels.

My own informal testing process

I have my very own lightfastness tests going on, on the walls of my home.

I have to say that, compared to other media (notably coloured pencils), I am very impressed with the quality of colour of artworks produced using Unison Pastels.

Golden Oldie #2: Pigments and Dyes for Art Media

Back in 2008 I did a mammoth project all about Colour. Colour - a materials perspective #1 - pigments and dyes is one of the posts I did about my research into what creates colour - and relates to the materials used to create coloured art media.

It provides a materials perspective on colour for artists and a basic overview of pigments and dyes. 

Pigments I found in a shop in Venice

Pigments and dyes are a prime component of the colour used by artists - but

• Where do they come from?
• Which are 'old' colours and which are new?
• What or who creates them?

Colour - a materials perspective #1 - pigments and dyes will interest all those:

• who are seriously interested in what goes into the colours they make their art with
• those who want to understand the differences between pigments and dyes
• those who want to understand what is
• Organic and Inorganic;
• natural and synthetic
• how pigments behave
• what binders are used

At the end there are a series of Learning Points I derived from my research.

TIPS FOR ARTISTS - THE BASICS (In Draft)

NOTE: The entire Colour project will be moving to a BIG section in my (still in draft) Tips for Artists website. The aim is to make all the relevant information for artists that I've collected over the years much more accessible.