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Drawing Pen & Ink When most people think about pen and ink drawings, images of black lines on white paper usually come to mind. But pen and ink has advanced far beyond these confines, as today's pens, papers, brushes, and multicolored inks and pigments make almost any type of illustration possible. Most ink pens use a metallic nib, of which there are many versions available (according to the kinds of lines desired). Traditional crow quill pens are typically dipped into ink to load their small reservoirs with enough ink for only a few strokes. These pens have steel tips that are available in a range of sizes. For versatility, they are also interchangeable on a wooden or plastic holder. These types of pens clean up easily but have limited stroke direction and a tendency to splatter and drip. Technical pens are commonly used to draw fine, controlled lines of various thickness. These pens consist of a hollow nib, a self-contained ink supply, and a plastic holder. Within the nib is a thin wire that helps regulate the flow of ink from the tip. By using technical pens with various nib aperture widths, line widths from very fine (.13 mm) to wide (2mm) can be consistently produced. Other pens such as fountain, bamboo, and reed are also used for a specific variety of line appearance. Each type has its own characteristics and limitations, so it is best to try them all and check the results for yourself. India ink has been traditionally used as a pigment for these types of pens, but it can also be applied in washes with a brush. This ink was actually invented in China, but the carbon pigment was located in India; thus the name. India ink is manufactured by mixing carbon black pigment with water and a little shellac or some other water-dispersed resin to make it water resistant.   Once limited to only black, there are now blue, sepia, and sienna colored inks to work with. White ink is also available to highlight drawings. Dye-based inks and pigmented inks are the two major types to work with, and both are available in multiple colors. These can be used in drawing pens, airbrushes, and with brushes and water. Dye-based inks dry in clear, transparent films that are effective for glazes. Each brand and color should be checked for its ability to retain its color value (lightfastness). This type of ink can be used effectively in technical pens. Pigmented inks resemble watercolor paint except that their binder is more transparent than the gum used in transparent watercolors. These tend to be more lightfast than most colored inks, but results should be checked firsthand. For an increased range of coloring, quality watercolor pigment may also be used with most ink pens. As long as these colors are richly tinted and their pigments finely ground, they perform the same as most inks. Liquid acrylics also create a transparent permanent film that works well with both pen and brush. Being transparent, they are compatible with watercolors and look good over layered watercolor washes.  If you are going to apply multiple pigment mediums, you must also use a type of paper that can handle these mediums, the pen and ink dynamics, and also wet washes. For example, the pen should be able to glide over the surface without snagging or clogging, and the paper should be absorbent enough to avoid warping when wet washes are applied. For best overall results, use a paper that is pH neutral and has a high rag content. In most cases, a good-quality, cold-pressed watercolor paper (125 to 140 lb.) should do just fine. Try using colored paper along with colored inks to extend the tone and range of an illustration. Textured paper can also greatly affect final appearance. Hand control is very important as you work with nib-point pens. To produce fine lines, a pen should be held upright and pulled across the paper with light, even pressure. Thicker lines can be created by holding the pen at more of an angle and applying more pressure. This way, the tip of the nib will be splayed further apart and allow more ink to flow over a wider area. Line width is best produced by using different nib points that are designed for precise line width and flow of ink. Hand control and choice of pen nib are the key elements in successful line production. By drawing lines in a crosshatch pattern (or drawing long, fine lines across each other in an "x" pattern), shaded gradients of pigment can be introduced into a drawing. If washes are to be applied to an ink work, it is recommended that sable hair brushes be used, since they are soft and absorbent enough to hold large amounts of pigment. Brush shapes should include round, flat, and fan (in various sizes). Also, old worn-out synthetic brushes are useful for stippling, scrubbing, and general textural applications. Unconventional items such as a spatula or razor blade can be employed to apply sheets of color or be used to scrape away highlights within a work. To help alter pigment flow, try using a spray mister, paper towels, plastic wrap, or even small grains of rock salt on wet pigment. Many nicely illustrated books on this subject are available for those who wish to explore the many visual possibilities of pen and ink drawing. Versatility is the key; and with a few tools, materials, and imaginative techniques, you may find that this style of illustration can offer many visual solutions to your work.   Art Marketplace New Mediums Chroma now offers several new Jo Sonja Mediums to expand the creative potential of your Jo Sonja Acrylics: --Decor Crackle Medium provides a weathered, crackled appearance like that of aged paint. --Porcelain Crackle Medium creates a fine, crackled effect over completed paintings. --Stroke & Blending Medium slows the drying time of paint to allow blending of paint wet-in-wet or wet-over-dry. --Acrylic Varnish (available in three finishes) dries crystal clear and is suitable for both indoor and outdoor use. This is ideal for fine art, folk art and craft applications. --Watercolour Medium provides an economical, limitless amount of colours for watercolour techniques. Also available are the new Glass & Tile Primer and Medium and Decoupage Varnish. Ask your dealer for these new products. Go for the Gold (or Silver) In response to demand from decorative artists, Daler-Rowney has expanded the Canford range with two new metallic finishes to complete the range of 55 colors of Canford Paper and 24 colors of Canford Card. Completely acid-free, Canford Metallic Paper and Card is now available in both gold and silver and will add a special touch to many different projects including greeting cards, gift boxes, personalized wrapping paper, and festive decorations. Available in single sheets from your retailer and great for your holiday projects! Decorative Arts History of Beads Ever since they first appeared some 35,000 years ago, beads have remained cyclically popular throughout the cultures of the world. Originally made from locally-found materials such as plant seeds or sea shells, many regions and cultures have developed specific bead types and construction techniques according to provincial concepts of art, design, and function. In prehistoric villages, ivory was harvested from Siberian mammoths and used to carve tiny beads, which were then thought to have enhanced fertility. In ancient Greece, fossilized tree resin was used to make amber beads. Pearl beads have always been especially popular with many cultures. Turquoise stone beads were valued by the ancients as a charm against bad fortune. This popularity may have led to the earliest-known manufacturing of Egyptian faience beads around 4000 B.C. These were constructed from crushed quartz crystals and lime that were heated to a glassy state. Before firing, a glaze of copper salts was added to produce a bluish tint, giving the beads a turquoise appearance. When heated with soda, faience became glass, which made glass beads possible and also helped to launch glassmaking technology. Originally, the most popular glass bead was the eye bead, so named because it contained a circular pattern of glass that was pressed into a base of another color. These types of beads were first developed in the Bronze Age in western Europe; and by 300 B.C. the Phoenicians had perfected them into brilliantly-colored millefiori beads. These became so valued that, by the age of the Renaissance, they became a principal trading currency for Spanish and Portuguese explorers. As metalworking technology became more advanced, beads were crafted into many types of shapes and textures from semi-precious and precious metals, such as gold. By 1500 B.C. in Crete, metal beads were being ornately cast and cold-constructed into floral shapes. Ancient Egyptian and Mesopotamian cultures had been manufacturing metal beads long before this, where the earliest-known gold beads were formed into the shape of seeds, perhaps as tribute to the first organic beads. Originally, bead necklaces were manufactured by simply boring a hole through a seed, wood, or seashell and then lacing them on a string. Other natural materials that have been used to create beads include carved ivory, animal horns, pearl, abalone, fossilized amber, and practically any other organic material that you can drill a hole in.   Since it is so common and malleable, clay was (and still is) a good medium for beads. When wet, clay beads can be hand-crafted or pressed into molds to form a variety of shapes. Later, a glaze of color or patterns can be applied and the beads heated (fired) to a stone-hard state. Ceramic beads (clay and terra-cotta) are among the oldest beads known to man and are often painted or shaped with provincial patterns. Semi-precious stones have also been traditionally used in the manufacture of highly-valued beads. These minerals were selected for their natural beauty and durability and include such stones as quartz, agate, turquoise, malachite, and garnet. Precious stones have always been prized for their color and appearance; and once they were able to be drilled through, they became most sought after. Glass beads, such as millefiori, were manufactured by pulling pieces of molten glass into thin strands. These were bundled together and then plunged into more molten glass until they fused into a hollow rod. Once cooled, each bead was sliced from the end of the multicolored rod. Venetian beads began by one person forming a large bubble of molten glass, while another slowly pulled the end to form a long, hollow tube. Once cooled, beads were cut from the end of the tube. To dull sharp edges, they were heated and tumbled with a mixture of ash and sand to prevent the beads from fusing together. Today, plastic beads abound, since this material now offers the greatest range of visual appearance. Plastic can be formed to make beads of practically any texture, shape, color, or luster. There are literally thousands to choose from but, since plastic is so common, there is scant worth attached to these types of cosmetic beads. Once an indication of wealth, beauty, or social standing, beads still perform a similar function (as is evident by a pearl necklace). Beads have also been historically prominent in religious reverence and ceremony, with the usage of Catholic and Buddhist rosary beads. In fact, the word "bead" is derived from the Anglo-Saxon biddan (to pray) and bede, meaning prayer. Beads are still regarded as ritual objects in some Arabic countries where certain cultures attach single blue beads to children, brides, animals, and even automobiles for good luck. Beads were once valued to a level that the world sea trade community exchanged them for precious commodities during the 15th to the 19th Centuries. Some beads were so valued that they were routinely traded for palm oil, ivory, silver, and even gold. Elementary school history reminds us that the island of Manhattan was originally purchased from the indigenous Indians for some $24 worth of beads and trinkets. Throughout history, beads have been an integral part of life in the world community. Like anything else, popularity comes and goes as values change and wealth becomes concentrated in new areas. Once used for trade or to socially communicate everything from wealth, age, rank, or marital status, beads now perform a more subtle and decorative function. Bead Expo'98 Santa Fe, NM, will once again host Bead Expo, which will feature a week full of festivities, exhibits, workshops, and seminar for artists and scholars from March 25-30, 1998. The bazaar will include unique and unusual beads from around the world, plus books, videotapes, findings, tools and bead supplies, as well as demonstrations. Open to the public March 27-29. (800) 732-6881; e-mail recursos@aol.com. Craft Program Scheduled Lifetime TV's craft program "Handmade by Design" will feature a segment on using Liquitex Concentrated Artists Colors and Liquigems to decorate holiday ornaments. The show will air on December 12 at 12:30p.m. EST. Be sure to tune in. Holiday Gift Guide II --Logan has just introduced the new Model 750 Simplex Plus Mat Cutter. This versatile mat cutter features a 27" squaring arm, two guide rail stops, durable gray laminated surface, aluminum mat guide channels, improved guide rail extrusion for easier operation, and new four-color packaging. A great gift for any artist/framer! --For the watercolorist, see Strathmore's new Imperial Watercolor Pad Gift Pack which includes a 12-sheet 9x12 pad and a Sabeline Brush; and the new Wyeth Watercolor Paper--5 sheets of bright white, archival quality paper to a pack. Also check out the 500 Series Watercolor Sampler Pads and the Lanaquarelle Sampler Pads (2 sheets each of rough, hot press, and cold press). --New from Watson-Guptill Publications is How to Draw Animation by Christopher Hart. The author offers the essentials of animation, teaches how to draw children, and gives an excellent lesson in character development. Beginning through advanced techniques are covered for people who want to create and bring to life their own characters. 144pp. --The AirPen from Silkpaint Corporation is an innovative crafts tool which draws fine lines with a variety of mediums. Complete with compressor and refillable cartridge, the AirPen is great for fabric decoration, ceramics, faux stained glass and decorative woodcrafts. --The following videos have been released by Home Vision, a Chicago distributor: Vermeer: Light, Love and Silence; Piet Mondrian: Mr. Boogie Woogie Man; and Annie Liebovitz: Celebrity Photographer. For information, call (773) 878-2600. Mixed Media From Plain Cards to Collectible Objects by Janean S. Thompson Over the past few years, commercial greeting cards have become more diverse in style as they have shot skyward in price; and, although convenient to quickly pick up at the store, they offer no real individuality in either look or verse. But there is an alternative available. Let's examine the quality of the plain, white greeting cards available at art supply stores. These are made of elegantly textured papers, some with deckled edges, each with a matching envelope--both of which beg for decoration, embellishment and your personal statement of artistic expression. Following are a few ideas that can convert a plain card and envelope into a matched set of art statements that will wow your friends and associates and become small art treasures to all. Many galleries offer small works in card form, hitting a market ready to buy but unable to afford large-scale works. Your creations can easily mimic these small-scale wonders. Texture and color are found in everything from advertising art to fine art papers. Any interesting scrap of paper with texture (implied or real) can start you off with a collage card. The art of collage can actually be considered an art of recycling. There are so many textures, colors, patterns and oblique images used in advertising art that you could design hundreds of greeting cards with magazine pictures alone. Tear bits and pieces from ads, articles and photos and recreate a new image with these beginnings. Ordinary objects and backgrounds can yield delightful textures when taken out of context. From a design standpoint, it is usually wise to create your collage pattern with a large shape, a couple of medium shapes, and a few tiny ones. Metallic candy wrappers or foils can add a bit of sparkle to the finished work, and these materials are "free." It is the play of colors and textures that is so appealing to collage cards. Stickers and other added materials can be used alone or in combination with other techniques. Stickers are available in all types of images and patterns and represent one of the fastest and most direct methods of card decoration. When you begin to investigate the types of cards being created by artists, you will see that they often combine sticker or stamped images with collage or line drawings for a neat effect. Because no drawing skill is needed to convey the images, stickers can make card creation easy and fun.       Rubber stamps are taking the art and craft market by storm. Even artists who would never consider using images that they do not personally create are designing and using stamping materials in their artwork. So why not join in this practice and create your own images to embellish your original cards. Stamps can be made the "old fashioned" way--carving potatoes and carrots into unique designs. Erasers are excellent stamp-base materials and can be cut easily into dynamic patterns with a stencil knife. Acrylic paints can be used to stamp images on greeting cards by charging a household sponge with paint and using it as a stamp pad. Simply press your newly created design onto the paint-charged sponge and stamp your designs. Paint applications can be the traditional methods--painted with brushes--or you can create beautiful finishes by sponging on several colors to give the illusion of marble or other stone. This is best accomplished by applying three or four colors with a sponge, allowing each to dry before applying the next. Apply color from darkest to lightest and apply more dark and medium tones than light. The result will be a dynamic, rich, and natural stone appearance. Finish with "craze" or "crack" marks and you have an elegant card. This technique is very good for fast multiples, since you can create a dozen cards almost as quickly as you can create one. Just set them out and apply the colors to each, one after the other. Another quick way to create decorative cards is with an airbrush. For example, a quick winter scene can be accomplished either freehand or with a few stencils. Various effects can be achieved from soft spray to stippling. Airbrush techniques may also be used to enhance cards that are painted with a brush or other tools to create shadows or special effects. And you can write your holiday greeting with it, too! Three-dimensional additions to cards can be done if you remember that the card must fit into the envelope provided and that the postal department will have to "hand cancel" thick or bulky material. Mat board or lightweight card stock can be cut to resemble a window frame or a doorway; then you can create an image behind the window or door to give the feel of a distant scene. Cut and paint the window frame or door. Create the background scene and then glue the three-dimensional piece over the scene. In the "abstract" form, three-dimensional material can add interest and texture like no other. Simple painted shapes added to collage cards or with stamped or stickered images are especially eye-catching. Last but not least are the painterly techniques of watercolor, acrylic, pastel, chalk, ink and other art materials used to create images for cards. Water should be used sparingly so the card stock will not buckle. Pastel and chalk or charcoal must have some type of sizing applied so that the recipient does not smudge the image. Use a good quality fixative so that the card will not deteriorate over time. Permanent ink drawings are a delight, and color can be added in the form of watercolor or acrylic. Images can be basic, simple color blocks with other materials added for interest. Metallic marking pens will add instant "jazz" to your creations. Most effective might be the combination of several of the techniques described above. Acrylic or watercolor washes with ink drawings and bits of slightly dimensional material can be very striking, while collage with paint or pastel can be beautiful mixed media presentations. Experiment and see what looks are most interesting and satisfying to you. Remember, also, to embellish the envelope to create a matched set of card and envelope. Collage "scraps" can be added to the flap of an envelope. The same line drawing style or pastel work can be added in small areas of the flap, and a coordinated look will be created. Stickers and stamps used on the card can be carried to the back of the envelope. Additionally, you can line the envelope with coordinating paper for a rich and elegant presentation. Simply trace the shape of the flap and half the depth of the envelope onto template material. Trim slightly so that the lining will fit inside the envelope and glue in place. Remember to leave the glue strip on the envelope uncovered so that it can be closed properly. Impromptu lines that extend from the back flap around the envelope to the front add interest. Simply sketch a line that is complementary to the lines on the card and bring the line around to the address side. These can be made with ink, colored pencil, metallic paint pen, or paint applied with a script brush. As you can see, greeting cards might start out plain and simple; but with a little paint, a few bits of colored or textured papers, a metallic paint pen, a couple stickers or stamps, and some time, you can create a unique and personal card that will be cherished by the recipient. It's fun, economical, and lets you share your creativity every time you correspond; and this holiday season is the perfect time to begin. Airbrush Special Effect: Wood Grain When creating a painting or illustration where objects are to appear in a photo realistic manner, the airbrush is an indispensable tool. To make an object appear real, you need only allude to its texture, shape, and color. Different types of wood, of course, have different textures, from the fine grain of softwood to the heavier grain of hardwood. To mimic these types of wood, the artist must first study the grain to become familiar with the patterns. The airbrush is perfectly suited to replicate shiny and glossy surfaces such as chrome, plastic, glass, etc. But when it comes to wood, the airbrush must be used in a different manner, incorporating much more freehand brushwork. Following are some helpful hints when developing the look of wood: 1. Use the airbrush to spray in an even or graduated tone for the color of the wood. 2. Stipple (the spraying of large dots) a lighter tone over top of the base color. While the stippled paint is still wet, lightly drag a piece of cotton across it to develop tiny grain lines. 3. Avoid over-working the painting or illustration by trying to add every ring in the tree unless, of course, you are a botanical illustrator. 4. Freehand saturation of color will give you the look of a dark hardwood. Clear grained wood--such as ash--can be developed by spraying a light base color and then putting in the grains with a fine paint brush; or create the look of pine by spraying along the edge of a torn piece of paper for a coarse-grained look. 5. To develop highlights, use a hard rubber eraser to rub through the painted areas to expose the white of the board. Be sure to work on a durable (hot press) board or a surface that is clay-coated. 6. The look of wood (such as on the stock of a rifle) can be developed by spraying dark brown; let dry and then airbrush light brown over it (or vice versa). Next, carefully scratch grain lines through the top layer of paint to allow the bottom layer to show through. Use a razor, stylus, frisket knife, or a metal comb to accomplish this. Each artist employs different methods to paint the illusion of wood; and he has developed these methods through personal experimentation. These suggestions are just a starting point. Only by trial and error will you find the best techniques for you. ArtPourri Restoration Planned--The National Arts Club at 15 Gramercy Park South, NYC, will soon begin a full restoration. The ornate facade of the building--designed in the early 1880's--includes sculptural ornamentation that depicts plants, animals and birds native to the NY region in addition to busts of writers and artists. The process is estimated to take two years at a cost of $2 million. Museum Expanded--The J.B. Speed Art Museum in Louisville, KY, has reopened after a $12 million capital campaign to renovate the 70-year old building and add an almost 3,000 sq. ft. art center. The museum also received a $50 million gift from the founder's granddaughter, which is expected to make it one of the most influential regional museums in the country. Paintings Donated--The Milwaukee Art Museum has received a gift of eight oil paintings and two charcoal drawings by Southwest artist Georgia O'Keeffe. With a total of 21 O'Keeffe artworks, the museum now has the fourth largest collection in the nation. Wing Dedicated/Exhibition Welcomed--Hillary Rodham Clinton recently dedicated a new wing to mark the tenth anniversary of The National Museum of Women in the Arts in D.C. In addition, she has welcomed an exhibit of 12 statues of American Indian sculpture to the Jacqueline Kennedy Garden, where it will remain until next fall. Luminaries Make News--Pop artist Peter Max has pleaded guilty to tax fraud after failing to pay income taxes on $1.1 million in art sales. Scheduled to be sentenced in February, Max faces a prison sentence from a mandatory minimum of 4 months to 10 years.--Meanwhile, Las Vegas crooner Wayne Newton claims he's the owner of several works by Renoir, Dali, and Matisse that were seized during a drug sting two years ago, alleging they had been stolen. The Drug Enforcement Agency, which had planned to auction the paintings, has requested proof of ownership. Christie's Celebrates/Sotheby's Shudders--Christie's has celebrated with a successful auction of the collection of Victor and Sally Ganz, which was considered one of the most important collections of Picasso works in private hands in the U.S. Picasso's "The Dream" sold for $44, the highlight of the evening. Meanwhile, at Sotheby's, the collection of the late Evelyn Sharp (which included masterpieces by Picasso, Modigliani and Matisse) was over-estimated and resulted in a loss for the auction house. Exhibitions: --"Monet and the Mediterranean"--through January 4--Brooklyn Museum of Art. --"The Legacy of Generations: Pottery by American Indian Women"--through January 11--National Museum of Women in the Arts, Washington, D.C. --"The Private Collection of Edgar Degas"--through January 11--Metropolitan Museum of Art, NYC; also "Picasso: The Engraver"--through December 21. --"The Dark Mirror, Picasso: Photography and Painting"--through February 1--Museum of Fine Arts, Houston. --"The Warhol Look/Glamour Style Fashion"--through January 11--Whitney Museum of American Art, NYC. .com ...the link between you, the visual artist, and the manufacturer of art materials. Established 1990 SIGN UP - FREE ARTtalk e-Newsletter© Search all of ARTtalk!! • ARTtalk's Manufacturer Art Materials/Product Info. Center • Copyright ARTtalk Vol. 8 No. 2 -- December 1997