Abstract:
A field easel with an integrated sketch box is provided. The sketch box comprises cavities for art supplies, allowing art supplies to be stored inside the cavity and secured with plates covered in memory foam. An easel is hinged to the rear wall of the box such that the easel can display painting support in a multitude of angles, and the easel provides adjustable support clamps that accept different sizes of painting support and can raise and lower the height of the painting support with respect to the box. Optionally, the field easel can be secured to a standardized tripod.

Description:
CROSS REFERENCES 
       [0001]    This application is a Continuation of U.S. application Ser. No. 11/704,395, filed Feb. 9, 2007, which has been previously assigned to Art Unit 3632. 
     
    
     GOVERNMENTAL RIGHTS 
       [0002]    None. 
     
    
     BACKGROUND OF THE INVENTION 
       [0003]    The invention relates to the field of art easels, and specifically to field easels having integrated storage capacity. 
         [0004]    Easels have been used by artists for thousands of years to hold a canvas or other painting support while the artist worked. Traditionally, easels were constructed of wood using a tripod or H-frame configuration. The basic components of an easel include a base and horizontal members attached to the base for securing a painting support. Easels come in various sizes, ranging from fixed studio easels to tabletop easels to small field easels. Studio easels typically use a large, floor-standing base, while field easels often use integrated collapsible tripods. 
         [0005]    A paint or sketch box usually refers to a covered storage box used to separate and store art supplies, and many sketch boxes can be used while an artist is painting to provide access to art supplies. While the sketch box can be a separate unit, some field easels utilize integrated sketch boxes. These types of integrated field easels are often unwieldy, requiring large amounts of setup time. It is thus an object of the present invention to provide an integrated field easel that minimizes the amount of setup time required. 
         [0006]    Of those integrated field easels in the prior art, none attempted to organize and secure art supplies during travel. Because art supplies can shift during travel, the integrated field easels of the prior art required the artist to reorganize art supplies upon arriving at the desired location. Thus, it is also an object of the present invention to provide a sketch box capable of securing painting supplies during travel in an organized manner. 
         [0007]    Another deficiency of integrated field easels of the prior art is that such easels often have tripods that are incapable of other uses. Today, tripods are used for a variety of purposes, including photography, and most modern tripods use standardized mounts such that many different types of equipment may be mounted on the universal mount tripod. Artists often photograph the subject matter of a work of art as well as painting in plain air in order to touch up the painting in a studio or to create similarly themed works of art using different painting supports. Easels of the prior art made this process difficult, as an artist wishing to both photograph and paint on a field easel was required to carry a separate tripod for an easel and a camera. 
         [0008]    U.S. Pat. No. 4,093,326 (the “&#39;326 patent”), utilizes a standardized tripod mount; however, the &#39;326 patent&#39;s implementation of such standardized tripod mount defeats several purposes of a sketch box because the tripod is mounted by drilling a hole in the bottom of the sketch box and mounting the sketch box to the tripod using a wing nut. This method of mounting a sketch box to a tripod defeats many benefits of the sketch box because paint and other items can fall through or leak out the mounting hole during travel. Also, the single mount utilized by the &#39;326 patent relies upon the sketch box structural material for strength rather than spreading the force exerted by the mount over a significant area, such as utilizing a metal base plate. Therefore, it is a further object of the present invention to provide a field easel that can utilize a standardized tripod as the base of the easel without compromising the structural integrity or the utility of the integrated sketch box. 
         [0009]    Most integrated field easels of the prior art also lack a means to adjust the easel so that the painting support is at a comfortable painting height. That is, easels of the prior art allow adjustment of the tripod or other base to adjust the height of the painting support to a level comfortable for the artist, only. While two easels in public use do provide for vertical adjustment of a painting support with respect to the sketch box, the designs of U.S. Pat. No. 2,751,271 (the “&#39;271 patent”) and 6,308,925 (the “&#39;925 patent”) lack the requisite structural strength needed to prevent extraneous movement of the painting support while the artist works. In the &#39;271 and &#39;925 patents, the structure for the painting support holders is one-dimensional; that is, both painting support holders are attached to the same linear structural member. It is thus an object of the present invention to allow a user to adjust the height of a painting support without adjusting the tripod or other base, while at the same time providing greater than one-dimensional structural strength to the painting support holder. 
         [0010]    A further deficiency of integrated field easels of the prior art is that such easels sacrifice usability and workspace for portability. It is thus another object of the present invention to provide an easel that is capable of being collapsed into a small size suitable for travel, including traveling with a wet or partially complete painting, while at the same time providing a sketch box having ample storage capacity for painting supplies and having ample workspace for painting. 
         [0011]    Depending on the painting conditions, an artist may also need secure a painting support in either a vertical or a horizontal position. Thus, it is a further object of the present invention to provide an integrated field easel which is capable of being adjusted between a vertical and horizontal plane and to allow the user to incrementally set the angle at which the painting support is positioned. 
         [0012]    It is a further object of the present invention to provide an easel with integrated sketch box that is capable of securing art supplies in a usable, visible position when the easel is in use. 
       BRIEF SUMMARY OF THE INVENTION 
       [0013]    The apparatus in accordance with the present invention provides an adjustable, collapsible, compact integrated field easel with ample storage capacity for organizing art supplies and ample workspace for painting. 
         [0014]    The present invention comprises two main components. The first component is a sketch box comprising a base with two side walls, a front wall, and a back wall and lids. A lid is hingeably attached to each side of the base. In a closed position, both lids form a top for the sketch box while the base forms the bottom. The lids are optionally secured in this closed position using a hasp or other securing means. In an open position, the lids allow access to the interior of the base, and when the lids are fully opened along the hinge axis, the base and lids form a working surface. The interior cavity of the base and the lids permit storage of art supplies, and in the preferred embodiment, these cavities are further equipped with moldable memory foam to secure art supplies. 
         [0015]    The second component of the present invention is the easel, which is hingeably attached to the rear wall of the base. The easel portion of the invention comprises an easel tray, adjustable support clamps, a lattice for securing the adjustable support clamps in the desired configuration using up to two dimensions of structural support, and means for securing the easel at a desired angle with respect to the base. In the closed and collapsed position, the easel folds to cover the top. The easel may be secured in the closed position using buckle fasteners or other securing means on the front. In an open and expanded configuration, the easel can be secured in a full 180° field of movement along the hinge axis. The adjustable support clamps can be raised and lowered. 
         [0016]    The base may have a standardized tripod adapter. 
         [0017]    These and other advantages will become apparent from the following detailed description which, when viewed in light of the accompanying drawings, disclose the embodiments of the present invention. 
     
    
     
       BRIEF DESCRIPTION OF THE DRAWINGS  
         [0018]      FIG. 1  is a perspective view of the preferred embodiment of the present invention in a closed configuration. 
           [0019]      FIG. 2  is a perspective view of the preferred embodiment of the present invention in an open configuration. 
           [0020]      FIG. 3  is a side view of the preferred embodiment of the present invention in a closed configuration. 
           [0021]      FIG. 4  is a side view of the preferred embodiment of the present invention in an open configuration. 
           [0022]      FIG. 5  is a bottom view of the preferred embodiment of the present invention in a closed configuration. 
       
    
    
     DETAILED DESCRIPTION OF THE INVENTION  
       [0023]    Turning now to  FIGS. 1 through 5 , field easel  101  comprises box  103  and easel  201 . Box  103  has a front wall  203 , a back wall  205 , two side walls  207 , and a bottom  501 . The walls and bottom  501  of box  103  create box cavity  209  designed for storing art supplies, and optional dividers  211  serve to separate art supplies inside box cavity  209 . In the preferred embodiment, brush cavity  213  is formed from dividers  211  to separate paintbrushes from remaining art supplies, which keeps paintbrushes from inadvertently coming into contact with other art supplies inside box cavity  209  during travel. 
         [0024]    One or more lids  215  comprise the top of box  103 ; in the preferred embodiment, there are two lids  215 . Lids  215  are connected to the side walls  207  of box  103  via lid hinges  105 . Lid hinges  105  have a range of motion such that lids  215  can rest on top of box  103 , or lids  215  can be opened to rest substantially flush to side walls  207  of box  103 . 
         [0025]    Lids  215  have lid cavities  217  for additional storage of art supplies. Optionally, lid cavities  217  may also have dividers  211 . Plates  219  are made of a rigid material and are covered in memory foam and have slightly smaller dimensions than lid cavities  217 . Art supplies are placed into lid cavities  217 , and plates  219  are pressed into lid cavities  217  to cover the art supplies. Catch cutouts  221  are either cut into the memory foam or fashioned by the artist by compressing the memory foam, and catches  223  rotate into catch cutouts  221 . Catches  223  can only rotate into or out of catch cutouts  221  when the artist applies pressure to plates  219  in the direction of lids  215 . When plates  219  are secured by catches  223 , the memory foam on plates  219  prevents art supplies in lid cavities  217  from moving during travel. When lids  215  are closed, memory foam on plates  219  opposite the side of lid cavities  217  prevents art supplies in box cavity  209  from moving during travel. 
         [0026]    Easel  201  comprises an easel tray  401  and a lattice  225 . Easel tray  401  is mounted to back wall  205  of box  103  using one or more easel tray hinges  503 . Easel tray  401  has a range of motion of substantially  900 , as demonstrated by  FIGS. 3 and 4 . The purpose of easel tray  401  is to allow lattice  225  to fold over and cover the top of box  103  when field easel  101  is in a collapsed position. When the artist is using field easel  101 , easel tray  401  is secured to box  103  using optional clasp  107  for additional stability. 
         [0027]    Lattice  225  is attached to easel tray  401  using one or more lattice hinges  227 . Lattice hinges  227  allow lattice  225  to be configured anywhere within a substantially  900  range of motion with respect to easel tray  401 . When the artist places lattice  225  at the desired angle with respect to easel tray  401  and box  103 , securing means  229  may be engaged so that lattice  225  is secured in the desired configuration. In the preferred embodiment, securing means  229  consists of a metal friction lid support engaged with a knob-handled screw. 
         [0028]    The main purpose of lattice  225  is to secure painting support for painting, and adjustable support clamps  231  serve this purpose. Two grooved tracks  233  are mounted on lattice  225 . Adjustable support clamps  231  are mounted on tongued rails  235 , and tongued rails  235  slide along grooved tracks  233 . The position of the adjustable support clamps  231  can be easily configured to a position dictated by the size of the painting support and preferred by the artist by sliding tongued rails  235  along grooved tracks  233 . When the artist has the adjustable support clamps  231  holding the painting support in the desired position, the artist can secure adjustable support clamps  231  by tightening retention bolts  109 . In the preferred embodiment, retention bolts  109  comprise a spring-loaded quick connect or bolts secured by wing nuts. Tongued rails  235  can be inserted into grooved tracks  233  with adjustable support clamps  231  pointing either towards or away from box  103 . When tongued rails  235  are inserted into grooved tracks  233  such that adjustable support clamps  231  point towards box  103 , notches  111  prevent adjustable support clamps  231  from snagging on retention bolts  109 . Optionally, lattice  225  may accept a clamp for a mahl stick for detail work or for an umbrella for painting in inclement weather. 
         [0029]    Lattice  225  has buckle fastener clips  237  which may be secured to buckle fasteners  239  mounted on lids  215  for the purpose of securing easel  201  to box  103  during travel. 
         [0030]    In a closed configuration, shown generally by  FIG. 1 , easel tray  401  folds up into travel configuration  301  and lattice  225  folds over the top of box  103  and closed lids  215 . In the preferred embodiment, safety hasp  505  secures the lids to each other to prevent inadvertent opening of lids  215 . Buckle fastener clips  237  on lattice  225  and buckle fasteners  239  on lids  215  secures easel  201  to a lids  215 . For carry without a painting, tongued rails  235  are inserted into grooved tracks  233  such that adjustable support clamps  231  face front wall  203  of box  103 . In this closed configuration, offset clips  303  are used to limit the travel of easel  201  towards box  103 , which creates a storage space  305  between easel  201  and box  103  for unused painting supports, for completed pastel, watercolor, or acrylic paintings, or for painting palettes. In the preferred embodiment, storage space  305  is large enough to hold a 9″×12″ painting palette. 
         [0031]    To set up the invention for painting, the artist begins by releasing buckle fasteners  239 . Easel  201  folds away from box  103  until easel tray  401  is substantially flush with the top of back wall  205  of box  103 , and clasp  107  secures easel tray  401  and box  103  in substantially flush configuration  403 . Lattice  225  is placed at the proper angle by the artist, and securing means  229  operates to secure lattice  225  in an open configuration such that the angle between lattice  225  and box  103  remains constant. A general drawing of field easel  101  in an open configuration is shown in  FIG. 2 . 
         [0032]    Once easel  201  is opened and secured, lids  215  are folded to side walls  207  of box  103  to create a workspace and to expose art supplies in box cavity  209 . The artist presses down on plates  219 , rotates catches  223  out of catch cutouts  221 , and lifts plates  219  away from lid cavities  217 , which exposes art supplies in lid cavities  217 . The artist removes paintbrushes from brush cavity  213  and places the paintbrushes into brush holders  241 . 
         [0033]    To mount the painting support on easel  201 , the artist has three options. The first option is to remove adjustable support clamps  231  and to rest the bottom of the painting support on easel tray  401 . The second option is to rest the bottom of the painting support on easel tray  401  and to secure the top of the painting support using adjustable support clamps  231 . The third option is to secure the bottom of the painting support using one of adjustable support clamps  231  and to secure the top of the painting support using another of adjustable support clamps  231 . Once the painting support is in place, the artist may begin painting. 
         [0034]    After the artist finishes an oil painting, the paintbrushes are returned to brush cavity  213  and other art supplies are returned to box cavity  209  and lid cavities  217 . Plates  219  are pressed into lid cavities  217 , and catches  223  are rotated into catch cutouts  221 . Lids  215  are folded onto the top of box  103 . Securing means  229  is loosened, lattice  225  is oriented vertically, and securing means  229  are retightened. Tongued rails  235  are inserted into grooved tracks  233  such that adjustable support clamps  231  face away from box  103  with one adjustable support clamp  231  facing up and another adjustable support clamp  231  facing down. The painting is mounted onto adjustable support clamps  231 , and retention bolts  109  are tightened. Clasp  107  is released, securing means  229  is loosened, easel  201  is folded over the top of box  103 , and buckle fasteners  239  are engaged to buckle fastener clips  237 . This process secures field easel  101  for travel, with the painting secured to and facing away from field easel  101 . 
         [0035]    When the artist finishes a pastel, watercolor, or acrylic painting, the paintbrushes are returned to brush cavity  213  and other art supplies are returned to box cavity  209  and lid cavities  217 . Plates  219  are pressed into lid cavities  217 , and catches  223  are rotated into catch cutouts  221 . Lids  215  are folded onto the top of box  103 . The painting support is placed on top of lids  215  inside storage space  305 . Clasp  107  is released, securing means  229  is loosened, easel  201  is folded over the top of box  103 , and buckle fasteners  239  are engaged to buckle fastener clips  237 . Tongued rails  235  are inserted into grooved tracks  233  such that adjustable support clamps  231  face toward the front of box  103 , and tongued rails  235  are slid into grooved tracks  233  until the adjustable support clamps  231  are flush with lids  215 . This process secures field easel  101  for travel, with the completed painting secured between easel  201  and lids  215  in storage space  305 . 
         [0036]    Turning now to  FIG. 5 , box  103  has an optional female tripod adapter  507  on bottom  501  for securing field easel  101  to a standardized tripod. The tripod adapter  507  gives the artist the option of using a standardized tripod as the base of field easel  101 , or using another object such as a table, rock, or the ground. 
         [0037]    In accordance with the present invention, a field easel provides improved portability while providing ample storage capacity for art materials. However, it should be clear that the present invention is not to be construed as limited to the forms shown, which are to be considered illustrative rather than restrictive.