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
ARTtalk Cybercopy - posted Oct. 1,
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Visit the Art Institute of Chicago for family fun this
Download our latest brochure and find a program that
fits your family.
Admission to the Ryan Education Center is always free,
so visit as often as you like! Children must be
accompanied by an adult.
Get in the spirit for another SF Giants win tonight—and
a giant new exhibition opening November 8 at the de
Haring: The Political Line will feature more
than 130 works of art by the preeminent artist and
social activist. Get your tickets early for the US
premiere of the first major Keith Haring show on the
West Coast in nearly two decades.
For a limited time during
get 20% off when you purchase adult tickets for Keith
Haring: The Political Line. Use code
now through October 31 to receive this discount when you
click the link below. Keep up with us @deyoungmuseum
New Director Named—The
Dia Art Foundation has appointed Jessica Morgan as its next Director. Upon
assuming her position in Jan. 2015, Morgan will lead Dia into its next era,
strengthening and activating all parts of Dia’s multivalent program, including
its pioneering Western land projects, site-specific commissions and
collections and programs at Dia:Beacon, as well as reinvigorating its artistic
and intellectual presence in NYC.
Metropolitan Museum of Art’s (NYC) newly redesigned David H. Koch Plaza has
opened to the public after a major two-year reconstruction. Running along
Fifth Ave. for four city blocks this outdoor space now features new fountains,
paving, lighting, allées and bosques of trees
leading to the Museum’s entrances, as well as seating areas. Koch, a Museum
Trustee, contributed the entire $65 million cost of the project.
Corning Museum of Glass and Corning Inc. have launched a new artist residency
program, which will support artists in adapting specialty glass materials for
the creation of new work. The first artist selected for this unique
collaboration is American sculptor Albert Paley, who is best known for his
large-scale works in metal.
is launching new resources to assist practitioners who are working on
arts-based community development projects: “Exploring Our Town,?an online
resource featuring case studies; ?015 Our Town Guidelines? and “Beyond the
Building: Performing Art Organizations and Transforming Place,?a national
convening to be held on Nov. 3. arts.gov.
addition to being named the #1 Travelers?Choice Museum in the U.S. by
TripAdvisor, the internet’s leading travel resource, the Art Institute of
Chicago has also been named the #1 museum in the world. “World?winners also
included The Getty Center at #4 and The Metropolitan Museum of Art at #7.
New York’s 10th Annual Windows on Main Street has awarded Tess Elliott the
Grand Prize as well as the Gallerists?Pick Award for her work in the window
of People’s Bicycle, on view at 430 Main St. through the winter. The People’s
Choice award was won by Ezequiel Martin Consoli for his installation in the
window of Beacon Homebrew, 469 Main St.
Nov. 11 Sotheby’s will present Jasper John’s Flag,
encaustic on silk on canvas, in the Contemporary Art Evening sale, with an
estimate of $15-20 million.—Christies will present a pop-up Andy Warhol
selling event in Seattle on Oct. 3-8 at Sole Repair Shop, with more than 40
photos, prints and works on paper. It will coincide with the “Pop Departures?
exhibit at the Seattle
featuring the works of Warhol and others.
Directions ?4, a national juried contemporary art exhibition, Barrett
Art Center, Poughkeepsie, NY, is on view through Nov. 8. Artist info and
accepted works are viewable online at
Lines, The Drawing Center, NYC, thru Dec. 14, features a group
exhibition that features 16 artists who engage in sewing, knitting and weaving
to create a wide-range of works that activate the expressive and conceptual
potential of line and illuminate affinities between the mediums of textile and
Michelangelo, Cellini: Sculptors?Drawings from Renaissance Italy,
Isabella Stewart Gardner Museum, Boston, Oct. 23-Jan. 19, examines the
multifaceted relationship between drawing and sculpture in Renaissance Italy
and features 45 drawings along with select sculptures by several Italian
Augsburg: Renaissance Prints and Drawings, 1475-1540, Frances Lehman
Loeb Art Gallery, Vassar College, Poughkeepsie, NY, features prints, drawings,
illustrated books, medals and armor from a cultural golden age in Augsburg,
Germany, that address the themes of Christian devotion/the Reformation, moral
conduct and everyday life, etc. Thru Dec. 14
Harris Hammerschlag Biennial Award—The National Association of Women
Artists welcomes American women sculptors whose medium is direct carving to
apply for this prestigious award of $5,000. Applicants must be 18+, U.S.
citizens or permanent U.S. residents. Deadline: Nov. 22.
Basel-Miami 2014|Cosmic Connections Exhibition at Concept Fair. All
emerging and established artists 18 and older are asked to respond to the
theme “Cosmic Connections.?nbsp; Media: computer art, mixed media, painting,
photography, short films, small and monumental sculptures, video, 3D printing,
and all innovative new technologies in art. Awards. Deadline: Oct. 31.
Handmade at Arts Mid-Hudson, Poughkeepsie, NY. Small items (jewelry,
functional ceramics, textiles, soaps, small matted prints/paintings, handmade
books/paper pieces, etc.) from artists/artisans for collecting and holiday
gifts are wanted for the handmade shop that will run Nov.1—Dec. 30. Deadline:
of Learning: Stitched in Time, New Britain Museum of American Art, New
Britain, CT, Oct. 13, 9:30-2:30. Presented in conjunction with the
exhibition Let Me Quilt One More Day, experts will discuss the history
of New England quilts, contemporary art quilt making and the why/how of
appraising antique, vintage and contemporary quilts. Reservations:
860-229-0257, ext. 203
After Hours: Toulouse-Lautrec’s Nightlife, NYC, Oct. 16 or 22, 6-9 p.m.
Designed in conjunction with the exhibit The Paris of Toulouse-Lautrec:
Prints and Posters, this class offers students an opportunity to immerse
themselves in the world Toulouse-Lautrec captured. Food, wine, lively
Some Subjects That Can Be Found In
The Pages Of ARTtalk!
art, arts, paintings, painting, airbrush, airbrushes, airbrushers, paint,
sculpture, sculptors, printmakers, printmaking, pencils, pencil, brush, brushes,
decorative, women, drawings, pens, inks, papers, illustration, boards, canvases,
portrait, collages, colors, studios, exhibition, crafts, classes, workshop, drawing,
pen, ink, workshops, magic markers, landscapes, portraits, history, paper,
canvas, color theory, arts and crafts, studio, competitions, exhibitions, news,
oil, pictures, software, figure painting, erotic art, tattoo, framing, mat
cutting, matting, holidays gift, guide, kid's, children's, newsletter,
materials, products, marketplace, stores, supply, material, retailers,
wholesaler, organizations, books, frisket film, watercolor, acrylic, gouache,
carving, fine art, aquamedia, magazines, lessons, artists, painters,
printmakers, potters, weavers, weaving, textile, pottery, lithography, screen
printing, silkscreen, carving, wood, poster, tools, prints, compressors, museums,
galleries, schools, lessons, instruction.
Eclipse Airbrush, Iwata Airbrush, Medea Textile Colours, Medea Com-Art Colours,
Ampersand Art Supply, Artool, General Pencil Co., Silentaire Technology,
American Art Clay Co., Graphic Chemical & Ink, Grumbacher, Schmincke,
Chartpak, Higgins Ink
ART in Beacon NY
THE ARTIST’S MARKETPLACE
ARTtalk Local Beacon, N.Y.
Robert Paschal, MFA
Sat. Oct. 25 2014 in Beacon NY
Equipment/Materials Provided for Use in Class
Airbrush History Trivia
—Abner Peeler, of Webster City, IA, invented the
airbrush in 1878. Imagine, over 130 years ago! Abner, a
professional inventor who tinkered with things such as screw
machines, bicycles and typewriters, developed this painting
tool—originally called a “paint distributor”—specifically for
photographic retouching. The paint distributor, which was similar
to today’s oscillating internal-mix airbrush, had a wooden handle
with metal parts and sold for the incredible price of $10. The
first such airbrush was sold to S. M. Thomas, and we know that the
first painting completed with this paint distributor was a
self-portrait of Peeler himself done by his wife on an enlarged
—The painter Man Ray (1890-1977) is probably the
first fine artist to exhibit paintings done exclusively with the
airbrush. Ray, considered the only American Dadaist, learned to use
the airbrush while working in an ad agency in New York City between
1917 and 1919. His fine art airbrush renderings were shown in NYC
galleries and called “aerographs.?nbsp; Looking at them with today’s
standards of what we consider airbrush painting, these works of art
would be considered simplistic—but at that time, totally new. They
consisted of images developed by airbrushing around found objects,
such as paper cutouts, tools and paper clips that were used simply
as stencils. Man Ray worked flat on a table, allowing gravity to
hold the stencils in place, and sprayed around them with black ink.
He repeated these images in both opaque and transparent ink and the
end products lent themselves to the look of cubism.
It is said that Man Ray was primarily interested in
producing paintings with a smooth machine-like finish. And because
the ink was airbrushed onto the surface, there were no brush strokes
in the artwork, which imparted an industrial appearance. An
excellent collection of his works is held by and exhibited at The
Art Institute of Chicago; and even viewed today, their simplicity is
Pablo Ruiz Picasso 1881 - 1972
There is much that could be written about Pablo
Picasso, arguably the greatest artist of the 20th
century. The enormous volume of work he completed stands without
question as legend. His influence on several generations of artists
and his recognition as the founder of many art periods, most
famously that of cubism, attests to his immersion in creativity. For
80 years of the 91 he lived, he devoted himself to an artistic
production that contributed to development of modern art of the 20th
century. And, all the while, Picasso was a man who loved women.
During his life he had affairs, lived with or married over six women
and fathered four children. He abhorred being alone when he was not
Aside from the tumultuous personal life, Picasso was
devoted to his art. During his early years he abandoned most of the
classical training given him by his father and first instructor for
his own interpretation of the world around him. Five “periods?are
recognized as brought to life by Picasso.
Most have heard of his Blue Period that lasted from
1901 to 1904 in which somber, blue tinted paintings prevailed. These
were influenced by the loss of a friend. Images of this period
include depictions of acrobats, prostitutes, beggars and artists.
His Rose Period (1905 to 1907) brought out paintings
with overall tones of orange and pink, many involving images of
harlequins. During this period he was seriously romantically
involved and the warmth of the relationship is seen in his palette
Soon after the Rose Period came an African Period
(1907 to 1909) that was influenced by artifacts from his personal
collection. Many paintings of this period repeat the use of two
Cubism, the style for which Picasso is most famous,
came into being when he and his friend and painter Braque challenged
each other to dissect and “analyze?objects, then paint them in
terms of their shapes. Color played a large part in this period of
work ?monochromatic browns and shadow tones prevailed as a common
thread. Each artist developed the style in his own way and each had
His Cubist Period ran from 1909 to 1919, and
included the use of collage as a fine art form. Heretofore, no
artist had used collage and cut paper to convey images. Imagine art
Picasso had many artist friends and some rivals.
Matisse was one of the “gentle?rivalries experienced in Picasso’s
lifetime. Both were strong, talented and seemed to challenge one
another. A recent collection of works by both artists reveals they
had a lot in common, although their styles were personal and not
derivative. The bold, outlined and highly decorative nature of both
artists' works is without question.
Historically, a lot happened during the 90+ years
Picasso lived, but he remained detached from any personal
commitment. He was a proclaimed pacifist, refusing to fight for any
side in the Spanish American War, World War I or World War II. If
was thought by many of his contemporaries that his dislike of war
and his unwillingness to fight was less political and more
cowardice. Being Spanish but living in France during these
conflicts, he escaped involvement and thus proclaimed and solidified
his pacifistic standing. He did, however, remain a member of the
Communist Party until his death.
At the time of his death, Picasso had enjoyed wide
acceptance as the greatest artist of his time. Many of his works
were recognized within his lifetime. Some include The Old
Guitarist from Picasso’s Blue Period, on display at the Museum
of Modern Art; Las Meninas Series, on display at the Picasso
Museum in Barcelona, Spain; and Guernica, in Madrid, Spain.
“My mother said to me, ‘If you are a soldier, you
will become a general. If you are a monk, you will become the Pope.?
Instead, I was a painter, and became Picasso.?- Pablo Ruiz
Picasso. Last words: “Drink to me.?/td>
Painting on a Grand Scale
When artists gravitate towards large scale works,
they face some interesting challenges along with the actual creative
process. How art is created ?on a grand scale ?is different from
small artworks. Every aspect of the act of mural painting and other
large scale artwork has considerations that make it fun and
stimulating - well worth those deliberations.
From the very ground onto which the artist places
sketch lines, brushes of paint and blended colors, large scale
nudges the artist into new realms of production. In order to paint
large scale, the preferred ground ?canvas of some sort ?must be
acquired in an appropriate size. The content of the canvas and its
weight are both vital considerations when the painted surface is
Widths/lengths and fiber content of canvas-type
grounds vary greatly, but there are sizes as large as 12 feet wide.
More commonly, large scale works are completed on canvas of 60? 72?
or 84?widths. Roll length purchases are necessary and can vary by
manufacturer ?from 6 feet to 25 yards.
But, after width and length, the fiber content may
be the single most important element of the painting. As you would
expect, there is cotton fiber in a variety of weights, but there is
also linen, jute, cotton/linen blends polyester (all synthetic) and
cotton/poly blends and all can be found primed and unprimed. The
weight and texture of the canvas will have an important bearing on
the finished artwork, and most artists match their style with the
texture and surface of their ground. Choices abound!
Rather than traditionally sized tubes of paint, most
muralists/large scale painters use jars, tubs ?even gallons of
artists?colors. Most manufacturers of paint offer a wide selection
in larger quantities. Selection of textures in those containers is
also sometimes available. Thicker paint means more pigment for
application and working into large spaces.
tools include brushes for sure, but those used are much larger in
size. Consider when doing any work—if the scale were huge, you would
want to use larger brushes. And, additionally, rollers (like those
used for wall painting) and trowels are also used in larger scale
works ?tools that would be difficult to use small scale become a
necessity for bigger works. Trowels, scrapers, and tools not often
associated with “painterly?applications are used by muralists and
accomplish the job they want. Painting pads and hand “mops?for
decorative surfacing of walls can come in very handy on larger scale
Easels play a big part in big works. Studio easels
in both wood and metal often accept works as large as 5-8 feet tall.
They help hold the work at the proper level ?that at which it will
be viewed ?so the artist is always aware of the scope, perspective
and dynamics of his/her work. Some artists who do large scale work
cover a wall with plywood and then staple or tack their canvas to
that surface at the proper level for work and viewing. Easels and
wall attachments ?whatever they might be ?help artists by allowing
them to step back and take in the “big picture.?For large stretched
canvas, wall mounted easels are great. They can accommodate works of
around 100 inches in height. They are sturdy, help hold the
stretched canvas firmly and adjust to all points up to around 100
And lastly some artists employ the use of airbrush
to do a lot of the design layout and fill-in on large works.
Texturing with an airbrush can be accomplished by painting through
screening, metal mesh, decorative pierced metal sheeting and many
more items. Airbrush gives the type of color gradation almost
impossible to achieve in any other way. Mists of tone-on-tone and
the softness achieved is a huge asset to some muralists.
In review, large scale artworks bring new thought
processes to ponder and hurdles to overcome. But, isn’t that what
contributes to making art so enjoyable and rewarding—to accept the
intellectual stimulation of such works and to succeed.
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
Graphic Chemical & Ink Co.
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.
following is a simple explanation of some terms associated with
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
mordant - an acid or other corrosive
substance used to “bite?into a metal plate to create an image on
gouge ?a V- or U-shaped tool for cutting a
wood or linoleum block.