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 ARTtalk  Each month you’ll find informative articles that deal with a variety of subjects such as artists and art history, current events and art world news, schools, competitions and workshops, and a Kids’ Korner. Subjects vary each month. art supplies, airbrushing, drawing, painting, printmaking, sculpture, ceramics, matting and framing, arts and crafts, and more. These explain various techniques—how to work and paint with artist's watercolor on paper, oils or acrylics on artist canvas; how to use pastels, pencils or  pen and ink; how to work with different surfaces grounds; how to paint with the airbrush and compatible materials; the use of projectors and light boxes in your work and more. You’ll also find artists information on magazines, art books. (Established 1990)

ARTtalk Cybercopy - posted April 1, 2014
(ARTtalk’s latest cybercopy is posted on the 1st of every month.)

 ARTPOURRI

NEWS

 
http://members.carnegiemuseums.org/site/R?i=-uwntRil4MdS4tpre-3pHw

Mark your calendar for Tuesday, May 6,
The Pittsburgh Foundation’s Day of Giving, when a gift to Carnegie Museums will go even further!


The annual Day of Giving encourages the people of the Pittsburgh region to support the nonprofit organizations they love. Please consider showing your support for Carnegie Museums on May 6 by making a special gift.

You can make your donation at PittsburghGives.org. Up to $1,000 of each gift will receive a portion of The Pittsburgh Foundation’s matching funds, which are set aside for this once-a-year campaign in support of Pittsburgh’s far-reaching nonprofits.

Giving is easy.
1. Visit PittsburghGives.org between 6 a.m. and 11:59 p.m. on May 6.
2. Select Carnegie Museums of Pittsburgh.
3. Make a tax-deductible gift of $25 or more.

All gifts will go towards our Annual Fund. But if you’d like to designate your gift to a specific museum(s), you’ll have the chance to do that after we receive notification of your gift. (Per the guidelines established by The Pittsburgh Foundation, donations may not be used to fulfill dues, pledges, or for specific projects.)

And remember: If you’ve already made a 2014 gift or plan to do so later in the year, you can supplement that gift with a donation through this year’s Day of Giving.

Mark your calendar for Tuesday, May 6!

 

http://members.carnegiemuseums.org/site/R?i=Rhu9M5Ch6kyVs3RIDoxsBQ

 

 

Books2Eat Celebrated—The International Edible Book Fes-tival is a yearly event that takes place on April 1 (or thereabout) throughout the world. It unites bibliophiles, book artists and food lovers to celebrate the ingestion of culture and its fulfilling nourishment. Participants create edible books that are exhibited, documented and then consumed. The only rule is to make edible art that has something to do with books as shapes and/or content.

Painting Recovered—”Child with a Soap Bubble,” a painting attributed to Rembrandt and stolen in 1999 from the Municipal Museum of Draguignan, has been recovered by the French po-lice. Two individuals trying to sell the painting were arrested. Estimated to be worth $5.4 million today, the painting has not been confirmed as a Rembrandt original and may have been completed by one of his students. Research to continue. —Collection Expanded—The Norman Rockwell Museum has announced an expansion of collections as it celebrates its 45th anniversary year. They have acquired the art and archives from the Famous Artists School in Westport, CT. Also, gifted among several original Rockwell artworks was the 1947 painting “First Signs of Spring,” created for the March 22, 1947 cover of The Saturday Evening Post.

Budget Announced—President Obama has released the fiscal year 2015 budget request of $146.021 million (the same amount as the current budget) for the National Endowment for the Arts, which will “allow the NEA to continue their mission of provid-ing all Americans opportunities for arts participation.” In fiscal year 2013, with a budget of $138.383 million, the agency awarded 2,153 grants totaling $112.734 million.

New Appointment—The Metropolitan Museum of Art has announced that Sandra Jackson-Dumont will join the Museum as the Frederick P. and Sandra P. Rose Chairman of Education this May. She has worked at the Seattle Art Museum since 2006.

Special “Guest” Planned—The 2014 MoCCA Arts Festival will take place in NYC on April 5-6. And one of the world’s most beloved comic strip character balloons from the Macy’s Thanksgiving Day Parade will take flight in an appearance inside the 69th Regiment Armory. Yes, Charlie Brown will join festi-val fans and honorees, including Alison Bechdel, Howard Cruse Fiona Staples and Robert Williams, who will be celebrated for their work in illustration, comic and cartoon art during this ac-claimed arts gathering.

—New Digital Initiative to be Launched—On April 24th, the NGA will debut an innovative digital initiative with the launch of Arthur K. Wheelock Jr.’s Dutch Paintings of the Seventeenth Century. This first release in NGA Online Editions is part of an ongoing effort to digitize and provide open access to the Gal-lery’s permanent collection catalogs and will eventually docu-ment more than 5,000 paintings, sculptures and decorative arts. nga.gov/research/online-editions.

Auction News Sotheby’s March Contemporary Curated sale brought a total of $17.3 million, establishing the highest ever sale achieved for a various owner mid-season sale, and led by Robert Indiana’s LOVE (Red/Blue) at $1.69 million. Their June 4th NYC auction will comprise the most extensive collection of  the late John Lennon’s original artwork, autograph manuscripts and typescripts to ever appear at auction. At Phillips, Andy War-hol’s Marilyn Monroe (1967) brought $1.8 million, while a world record was set for Ken Price’s Pink Egg, at $509,000.

 

ART EXHIBITIONS

The Print Show - The Woodstock School of Art, Wood-stock, NY, April 26—May 31, Reception on April 26, 3-5 p.m. This is a national competition of traditional hand-pulled prints.

The Monuments Men and the National Gallery of Art: Behind the History—National Gallery of Art, Washington, DC, through Sept. 1. Photographs, documents and memora-bilia describe the seminal role the NGA played in the creation of the Monuments, Fine Arts and Archives (MFAA) program during WWII and explores the experiences of a few of the real-life monuments men.

2014 exposure is the 11th annual national juried high school photography exhibition, presented by the Art Institute of Mill Street Loft—Gallery 45, Poughkeepsie, NY, through April 11.

 

ART EXHIBITION

Roof Garden Installation at Met Museum, NYC

American artist Dan Graham will create a site-specific installation atop the Met’s Roof Garden—the second in a new series of commissions for the out-door site. It will be comprised of unique steel and glass pavilions set within a specially engineered land-scape designed in collaboration with Swiss landscape architect Günther Vogt. The Roof Garden Commis-sion: Dan Graham will be on view from April 29 through November 2 (weather permitting).

 

ART OPPORTUNITIES

Sculpture Expo 2014, RHCAN, Village of Red Hook, NY, June 14-Nov. 15. For this juried show there will be approximately five spaces for larger pieces of about 2000 lbs. and 15 spaces for moder-ate scale pieces up to 500 lbs. Deadline: May 1. www.rhcan.com

2nd Annual Reel Expressions Youth Film Festival, Poughkeepsie, NY, Sept. 27, 2014. Filmmakers must be between the ages of 13 and 19 and all films must be under 10 minutes long. Deadline: May 30. childrensmediaproject.org, 845.485.4480.

Gowanus: Call for Art. ArtBridge is looking for Brooklyn-based visual artists to submit their origi-nal contemporary works of art that explore the vi-brancy of their urban interactions in NYC. All types of work are encouraged—mixed media, painting, photography, printmaking, digital art, etc. Dead-line: April 20. art-bridge.org/gowanus

Enduring Brilliance!—42nd Pastel Society of America Annual Exhibition, National Arts Club, NYC, Sept. 2-27. Open to all artists, members and non-members, using traditional soft pastels only—no oil pastels. All subjects/styles are eligible, from traditional to contemporary. Awards. Dead-line: June 16. pastelsocietyofamerica.org

PHOTOcentric, Garrison Art Center, Garri-son, NY, Sept. 13-28. This international juried exhibition is open to all amateurs and professionals and all

photographic mediums. Early Deadline: May 14, Final Deadline: June 6. garrisonartcen-ter.org

Learning from Abroad is a new webinar series highlighting international design initiatives and partnerships that’s sponsored by the National En-dowment for the Arts. “When Government Meets Design,” May 7 at 1 p.m. ET; “Universal Design + Landscape Design,” June 18 at 3 p.m. ET. An ar-chive of all webinars will be available on the NEA’s website after each event. http://arts.gov/news/2014/national-endowment-arts-host-webinar-series-international-design-initiatives

 

 

 

       

 

 

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Printmaking

Printmaking Techniques & Materials

 Printmaking is an enjoyable expression and is accompanied by some terms that often seem a bit difficult to understand. So, here some of the common terms and techniques will be explained. The scope of printmaking is huge and can be enjoyed by nearly any age group. Some of the materials used are found around the home, while others must be purchased from art material dealers
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No matter the level of your involvement with printmaking, it is sure to be exciting. In some techniques, duplication of results is nearly impossible, which seems a bit contradictory to the basic term: printmaking. Let’s take, for our first example, the most direct and simple of prints…monoprints.

A monoprint (mono meaning one) is created by applying ink or paint to a hard flat surface (plate), pressing paper against the plate and lifting the paper from the plate. The resulting print is one-of-a-kind, since ink or paint would be nearly impossible to set in the same place time after time. Simple doesn’t mean uninteresting, and this is a great technique for any artist.

Collagraph, a very simple form of printmaking, is a print created from a plate (Masonite, mat board, chip board, etc.) that has natural and/or found objects with texture glued to it. The surface of the plate is sealed and, when dry, is inked on the textured plate, excess removed and a paper placed on top. Downward pressure (using a press or hand roller) presses the paper and ink together and the images are transferred (in reverse) to the paper. Again, the simplicity of collagraph prints makes them easy for everyone to try. Many, but not unlimited, prints can be made from a master collagraph plate.

Wood block (woodcut) printing advances in difficulty because the artist uses special gouges and carving tools to create a dimensional image in a wood block. The high surfaces of the wood block are inked, paper is pressed against the inked areas and the resulting image is a woodblock print. Surfaces other than wood can be used; linoleum, wax, and rubber are a few that are a bit easier to carve. Early wood block designs were used for fabric embellishment and those blocks endure as collectables.

Reduction prints are created with care by print artists who desire more color and texture in their work. Each color is printed individually on the ever-decreasing wood block. Working from back to front colorwise, the artist reduces the wood block with every color, printing that part of the plate that will reflect a specific color, and then removing more mass to print the next color. When finished, the only areas that remain on the block are those representing the very last color.

Drypoint etching is more involved because it starts with a metal plate. The plate is scribed (scratched) by the artist to record a subject. Ink is rubbed into the slight toothy grooves created by the scribing. Paper is then put on the plate, pressed and the resulting print is pulled away from the plate. For all but the tiniest of printed images, a printing press is invaluable in the process. Strong definition and evenness is difficult with hand pressing methods. Many prints can be made from the original plate. Etching can be taken yet another step by using acid to enlarge and remove areas of the metal surface.

Intaglio prints are made from a metal base into which designs have been created. This is often done with harsh chemicals, the metal dissolving where there are scribed or etched lines that have been made through a protective covering. Because of the chemical contact (acids), this level of printmaking is considered advanced and should be done under supervision and instruction. Many prints can be made from the original plate. Ink is rubbed into the low areas, paper is pressed to the surface and a print is created.

Finally, following is a simple explanation of some terms associated with printmaking:

brayer - a hard rubber roller on a handle used to transfer ink to the plate.

plate – a surface on which an image is formed, usually metal.

baren - a circular padded tool used to rub against the back of paper to obtain an image from a master.

hard ground -an acid-resistant material applied to an etching plate through which you scribe to create a design.

mordant - an acid or other corrosive substance used to “bite” into a metal plate to create an image on that plate.

gouge – a V- or U-shaped tool for cutting a wood or linoleum block.

Clay

Working with Clay

Working in clay is one of the most interesting and expressive things an artist can do. There is a universal feeling of making "something" from what appears to be "nothing," and it is great to have successes with that type of creative process. Clay is, however, far from "nothing." It is a very precise combination of materials that when joined together with moisture is a wonderfully plastic and malleable material.

Clay formulas vary greatly in the degree of smoothness or texture they possess. Porcelain, for instance, has nearly no grit within the formula, so the surface will be smooth and sleek for glazes. It is also fired to the highest temperatures to achieve vitrification. Porcelain clay is usually a very light color of gray or pure white once fired.

Earthenware clay is the other extreme. It is more porous, has much more texture and glazes are less fluid on the earthenware surface. Colors range from tans and yellows to rich browns and reds. It is easier to manipulate than porcelain but not as smooth or "polished" in appearance.

Between these two extremes is stoneware clay, the most popular. The composition of stoneware offers a more rigid and stronger base than that of earthenware but not as "tight" a surface as porcelain.

All three clays can be shaped/formed in the same way - hand built, slip cast or thrown on the potter's wheel. In liquid form (slip), all can be cast into molds for rapid and exact duplication of shapes and forms. Of all choices of manipulation, hand building is the method used most by potters who want to offer creative and expressive forms for sale. Throwing on the potter's wheel is fun and is a skill that can be worthwhile to learn. For the creation of large forms the potter's wheel is very valuable. However, most potters agree that once the mechanics of throwing are learned, it is far less rewarding than the ability to create one-off items with hand building.

As in clay bodies, glaze formulas are a very precise measurement of components. Some of the elements in a glaze help hold it on the clay body. Some make glazes flow and intermix with the colorants. Some of the colorants can react with the other components to create an ever-changing array of glaze "activity." Potters want to have a regiment of glazes that they can depend on and that will perform well and as expected. That final step is vital to the success of any clay artisan.

Methods of glaze application are as varied as there are potters. The order in which multiple glazes are applied can affect the result in new and unexpected ways. That is not a bad thing. New can be good. Some colorants react to a minor change in glaze composition to give a huge range of colors with a very slight change in formula. For those who are less interested in experimentation or study, there are hundreds of very controlled and beautiful glazes where all that is required is to open a jar and apply the glaze. Easy can be good, too!

One can brush on glazes, singly or in layers. Designs can be painted over a base glaze to create a completely new look. Dipping is a choice of many clay artisans because in one dunk you cover the entire surface. The base of a piece of pottery must be clear of glaze or it will stick to the kiln shelf. If you dunk, you either have to put on a wax-type resist to avoid the glaze coating or wash off the base. Airbrushing glazes is a very fast application method, and if applied one over another, you can create totally unique colors and textures. Even in the method of application, there are dozens of choices, so change can be a vital part of the learning process with clay and glazes.

Carving through glazes to create designs that will show the original color of the clay is also popular. Any tool can be used that will render an area large enough to detect once the glaze is fired. Runny glazes are obviously not a good choice if you want your carving to show.

Two methods of firing clay are practical for most potters:  electric or gas firing. Electric is easiest but is a bit limiting because of the oxygen-rich environment. Gas firing uses this lack of oxygen to create red glazes with copper based glazes but also fires any glaze well. Gas draws oxygen from the clay body, through the glaze and transforms copper from green to red. Pretty amazing, but if reds are your passion you can get them with electric firing by purchasing ready-made glazes in red. Occasionally you will find an artist who does wood firing. That is a wild and interesting way to fire clay but not very practical for the average potter. The kilns are huge and massive amounts of wood are needed.

This article barely scratches (carves!) the surface of clays and glazes, but once an artisan becomes interested in the practices, designing and—dare we say—chemistry of pottery, it is one of the most engaging and creative ways to express one's artistic abilities. If you get an opportunity to try any part of the clay experience - take it!  Visit www.amaco.com for all your material/equipment needs from clay to kilns.

 

 

 
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