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 April 1,
(ARTtalk’s latest cybercopy is posted on
the 1st of every month.)
your calendar for Tuesday, May 6,
The Pittsburgh Foundation’s Day of Giving, when a gift to
Carnegie Museums will go even further!
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.
PittsburghGives.org between 6 a.m. and 11:59 p.m. on May
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.
your calendar for Tuesday, May 6!
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.
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.
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.
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
—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.
—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
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
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.
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
—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
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
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
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.
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
Equipment/Materials Provided for Use in Class
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.
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
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.
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
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.