ARTTalk - FREE Copy - Vol. 8, No. 8 - Painting, Arts & Crafts, Art Marketplace, WaterMedia, Airbrush, ArtPourri

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Painting

How to Stretch Canvas

Stretching your own canvas is fairly easy once you know the procedure and have the proper tools and materials. Note that the canvas referred to below is pre-primed; but you could also use the following procedure with raw canvas and, after it has been stretched, prime it with two coats of acrylic gesso. Please read through all of the instructions first, since certain steps must be prepared for in advance.

First you will need to gather a few tools and materials: canvas pliers, stapler/staples or hammer and tacks, stretcher strips, and canvas. In addition, a T-square is convenient to help you insure that the stretchers are square. Then follow these steps to stretch your canvas:

Select the appropriate-sized stretchers for the canvas you want to build. Your art supply store has a variety of pre-cut wooden frame rails (or stretcher bars) that have interlocking mitered edges.
Once your stretcher frame is assembled on a flat surface, you should verify that it is square. Do this by taking a tape measure and checking that the diagonal distances from both opposing corners are equidistant. (They almost always will be.) If you encounter an offset, you can correct it by attaching a small metal right-angle brace on the inner frame corner. A small plywood right-angle triangle attached to the rear frame corner will also help correct any shift.
For frame rails longer than 36 inches, an interior brace should be inserted between these rails to support them from bowing inward after the canvas has been attached. This will also protect against frame distortion during periods of fluctuating humidity. If this type of support rail did not already come with your pre-cut frame, you should cut a piece of similar wood and attach it with the type of braces detailed in step 2.
Take the canvas and lay the primed side down on a clean, flat surface. Place the frame atop the canvas and then cut away any excess material so that there are two inches of excess canvas bordering the frame on all sides. It is important that you leave this border material because this is what you will use to grip, stretch, and attach the canvas to the frame.
Fold one side of the canvas over one of the shorter frame rails and then attach a canvas tack at the center of the outside edge of that rail.
At the opposite side, use canvas pliers (which are similar to regular pliers except they have a broader gripping area) to grip the canvas at mid-rail. It may be helpful for you to set the frame upright while doing this. With a firm grip, pull the canvas until a straight crease is formed to the tacked end. While keeping tension on the canvas, insert another tack at the center edge of the rail, just like the other side. Note that you may also use a staple gun/staples instead of tacks. (The Arrow JT-21 is easy to use.)
Move to the next frame rail (one of the longer ones) and repeat steps 5 and 6. As you do, you will notice a triangular canvas crease as you attach the third side and then a diamond-shaped crease when the fourth tack is attached on the remaining mid-rail.
Now, place temporary tacks at all four corners. Starting with the center of one of the long rails, grip the canvas tightly with the pliers and fasten tacks at 2" intervals. Repeat with several tacks in both directions (from center) and then switch to the opposite side and repeat this process. Continue working from the center until both long sides are completely tacked down to all but one inch from each corner, stretching the canvas evenly as you proceed.
Once both long sides are finished, remove the temporary tacks that you fastened in step 8. Now repeat the same fastening process for both of the short sides, working out from the centers. For smaller canvases, one entire short side can be fastened first, followed by the opposite side. Larger canvases should be rotated several times to evenly stretch the material over the frame. Note that a primed linen canvas (oil-primed linen, in particular) will normally require that the tacks be placed closer together, due to the limited stretch of this material.
Fold and pleat the corners of the canvas and then neatly wrap them around to the rear of the canvas frame. Keeping tension on the material, tack all of the excess cloth to the rear of the frame so that it is neatly secured. Then place tacks on all four outer corners. This excess material is important to have in case you ever need to restretch or remount the canvas.

Any remaining canvas indentations or ripples can be reduced by moistening the affected area with a damp sponge. Be careful not to saturate, and allow the canvas to dry completely in a well-ventilated area.

Keep in mind that it is easier to stretch primed cotton and Polyflax canvas than it is to mount a primed linen canvas, since linen fibers do not stretch as much. Oil-primed canvas requires the most attention when mounting on a frame because it has virtually no stretch. When working with this type of canvas, you may have to remove tacks in wrinkled sections and then restretch and retack.

By following the above steps and using proper materials and a few tools, you can easily build your own canvas. With a little practice, the process becomes much faster and easier, almost to the point of becoming routine.

Arts/Crafts

The Stamping Story
by Janean S. Thompson

Ever wonder where the craze of rubber stamping started? Who uses rubber stamps and why? Ever contemplate the value of images that are instant, fun and available at all art supply centers? What items can be created using stamps? What mew materials are there?

Written history of rubber stamping tells us that it originated longer ago than one might think. Its birth took place with DaDaism, an artistic movement that hit its zenith in the 1930's. During this period, the artist rebelled against the established salon/gallery style of painting exhibitions and sales. The followers of this movement wished to abandon the "old order" and believed that art should be for all people; that it should be everywhere and that it should be free--not tied to an ever-escalating spiral of wealth and power; and that the structure of art presentation and the creation of artworks should be more mainstream.

In this movement, art was created as cheaply as possible and distributed in every conceivable place. In order to recreate their images quickly and to spread their visions to as many as possible as quickly as possible, artists developed means by which those images could be replicated. Thus masters were employed so that this easy duplication process could be feasible. Although very different from the rubber stamps of today, the concept and end result was very similar--quick images, far easier and less involved than creating individual works and low cost enough that they could be developed and distributed to the masses.

In the 1940's and 1950's, the practice of giving prizes and trinkets in different food products was common. Small "toys," rubber stamps mounted to small plastic handles, were often included in cereal and cookie boxes. Art stamping at this point was mostly a children's pastime. Should you be fortunate enough to own any of these "trinkets," consider yourself lucky, since they are now highly prized and very collectable.

It was not until the 1970's that the use of stamped images started a widely practiced rebirth. From the West Coast, birthplace of many creative movements, a new trend began in which artists either created original images or had them made by the same companies that created commercial rubber stamps. The more serious stamp artists purchased vulcanizing equipment (specialized rubber image mastering machinery) of their own. This equipment allowed them to create their own stamps; and because the stamps commercially available at that time were either youthful images or teaching aides, these artists began a trend.

Slowly, the demand and interest grew. New companies began to introduce more and more contemporary and/or complicated images and all the materials associated with their use. By the 1980's, stamping was back, offering something for every age group. Stamping is now a multimillion dollar business.

Today, the heaviest user of stamps is female. The mean age is difficult to pinpoint, because the very nature of stamping makes it appealing to all. Many are fond of this pastime because it is neat, portable, immediate, and can be enjoyed by everyone.

Teachers of rubber stamping techniques tell of students who have attempted other art endeavors with disappointing results. They have not succeeded because of the level of commitment and study necessary to achieve good results. With rubber stamping, there is no need to "study" or "practice." From the first stamp image you create, success is virtually assured.

The wide assortment of ink color choices is another aspect of rubber stamping that allows anyone to create an "original" card, poster, gift wrap, album page, etc., unlike any other. Personal expression has never been easier.

So, when you combine the hundreds of images, the ease of satisfactory completion, and the great variety of materials available, rubber stamping seems a natural choice for many creative people. New designs and products hit the market almost daily, offering an even wider acceptance of rubber stamping.

Some of the most innovative products include new specialty papers with hundreds of colors, textures, shine, tooth and metallic finishes. As stated above, ink pads come in rainbows of colors, some of which are permanent and can be used on fabrics. This means it is possible to easily design your own material from which to create original wearable art. Clear "inks" and embossing powders can create raised images on papers and card stock. This gives the same appearance and elegance of traditional printers' thermography. See your local retailer for information and the latest products.

Now for a special note. There are two distinct "families" of rubber stamp producers. One group, called "angel" companies, allows the use of their images on any and all types of creations. There is no royalty or fee for the use of their stamp images even if you use them to create items for resale.

Other companies, however, are not as charitable. Their images carry copyright protection and they do prosecute persons who infringe on their copyright. It is wise to contact the producer of any stamp you wish to use on works of art, cards, gift wrap or other items from which you hope to gain financially. Many will grant you permission or have an open policy of free use.

Art Marketplace

New Papers

Strathmore has introduced a new line of high quality Rubber Stamping Papers. Stamping enthusiasts will be delighted with the bright white, smooth surface and the matte finish that allows ink to dry quickly with no smudging. Included in the line are: Greeting Cards/Envelopes, Mini Cards, Note Cards/Envelopes, Post Cards, Picture Mats, Picture Frame Cards/Envelopes, and Greeting Card and Stamp Set. Be creative and original with your birthday cards, correspondence, gift enclosures, mat boards, etc. See your retailer for Strathmore's new line of Rubber Stamping Papers.

Films Again Available

Frisk Products has announced that Friskfilm masking films and Coverseal laminating films have returned to the U.S. market after a hiatus of two years. Friskfilm uses a specially formulated, low-tack adhesive to provide consistent masking results, while Coverseal laminates without heat to protect drawings, charts, maps, and more. See your retailer for availability.

Free Sample of New Mounting Substrates

Incredibly smooth, warp-resistant, brilliantly white! These describe Crescent's new SuperSmooth Mounting and Competition Boards, which are the ideal choice for professional presentations. Available plain or coated with Perfect Mount repositional adhesive, these non-yellowing, ultra-rigid substrates help eliminate the "orange peel" effect caused by low quality mounting boards. You'll get professional results every time with SuperSmooth. For a complimentary sample pack, contact Crescent at 1-800-595-5544.

In the Spotlight:

Liquitex Medium Viscosity Concentrated Artist Color/Liquitex Airbrush Medium

Thinning Acrylic Paint for the Airbrush

Some "pre-reduced" airbrush colors formulated for direct use in the airbrush may not offer artists the greatest permanency, color quality, intensity of pigment, or color choices; and the "pre-reduced" consistency may not be suited for a particular airbrush or technique.

Liquitex Professional Grade Artist Colors offer permanent, brilliant, lightfast and versatile airbrush color. All colors are low to no odor, easy to thin and clean up with water, non-yellowing, water resistant when dry, fully pigmented, flexible and non-toxic.

Liquitex Medium Viscosity Concentrated Artist Color

Same pigment load as in High Viscosity Artists' color.
Fluid consistency mixes easily with Liquitex Airbrush Medium to make airbrush colors.
Small amount of Airbrush Medium necessary for proper consistency means intense color.
Pre-filtered, no straining necessary.
Packaged in convenient flip-cap, squeeze containers.

Thinning with Liquitex Airbrush Medium

Liquitex Airbrush Medium is a 100% acrylic binding system specifically formulated for thinning acrylic colors for airbrush application. Mixing colors with Airbrush Medium will ensure that the colors do not lose their adhesiveness or flexibility. It mixes easily with all Liquitex Medium Viscosity Concentrated Artist Colors to produce airbrush paint with the proper viscosity for airbrushing; and it contains specific additives designed to retard drying time and improve the flow of acrylic paint through an airbrush, decreasing airbrush clogging and paint build-up around the airbrush tip.

Mixing Directions:

Mix 1 part Airbrush Medium into 1 part Medium Viscosity Concentrated Artist Color.
Mix thoroughly, adding more Airbrush Medium as needed. The proper consistency of airbrush paint is light cream. As more Airbrush Medium is added, the intensity of color will be decreased and the transparency increased.
If resulting mixture is too thick to flow through the airbrush, either increase air pressure or add water to thin airbrush paint mixture. Do not exceed 1 part Airbrush Medium to 1 part water.
The proper viscosity will depend on the air pressure supplied, type of airbrush, and proximity to the working surface. As the paint is thinned, air pressure can be lowered and the airbrush held closer to the working surface for greater detail. As the air pressure is increased, the airbrush is held further from the working surface.

Liquitex Airbrush Medium is available in 8 ounce and 16 once squeeze bottles from your retailer.

WaterMedia

Gouache

Water-based paints have been around since ancient artists decorated surfaces with pigments that were bound with adhesive gums derived from animal and vegetable sources. These pigments have enjoyed longevity because watermedia still offers a wide range of expressive possibilities that translate well into the spontaneous styles of modern art.

A major asset of water-based paints is that they dry quickly and can be diluted enough to brush freely without suffering any noticeable loss in binding ability. But dilution often translates into transparent works which tends to limit this type of medium. For this reason, gouache pigment is available for water-based applications that require opaque (solid) coloration.

Gouache is a watercolor pigment type (since it uses the same binder as transparent watercolor) as well as a painting technique. The opaque quality of gouache pigment results from the addition of crushed precipitated chalk in the vehicle. This produces a solid pigment that covers well and applies smoothly.

Since the ground precipitated chalk can be easily crushed, a decent gouache can be made in the studio. This can be done by first preparing the binding vehicle by mixing it with distilled water. Then pigment is mixed with precipitated chalk in a separate container. (Good opacity is typically derived from a 1:1 ratio.) The pigment mix can then be blended with the vehicle and further rubbed out to a fine paste by using a spatula.

This is a very simple explanation of an often detailed and time-consuming process. The downside is the mess and dust inhalation hazards that are inevitable, and many trials must be performed before the desired colors and consistencies are achieved. For these reasons, it is usually preferable to purchase pre-manufactured gouache pigment.

Sable watercolor brushes are suitable for applying gouache pigment, but some prefer bristle brushes, since gouache can be applied in thick layers. Paper is typically the support of choice for a gouache painting, but a rag mat board or a glue-gessoed panel is also suitable. Since gouache pigment is so opaque, the support need not display light values, as does a transparent watercolor support.

One distinction of using the gouache technique of painting is that multiple layers of pigment can be built up into a thick film. These layers cannot duplicate those of a thick oil impasto, but can capture and retain brushstrokes and will support limited areas of semi-impasto.

Care must be taken when applying thick layers of gouache pigment, since any defects will be revealed after the paint has been allowed to thoroughly dry. If an area cracks or crumbles, it can be reworked by scraping away the bad area and then repainting.

Gouache can be used to produce many different levels of opacity or transparency, depending upon the degree of dilution of the pigment. This allows for a range from solid colors to watercolor washes to mixed transparent passages of color. Also, gouache pigment can be attractively combined with other mediums such as ink, dye, or pastel for unique mixed-media applications.

A general rule of thumb when working with opaque watercolor in a mixed-media application is that the gouache technique should remain prevalent in the image while all other media support the image. Also note that gouache pigment tends to dry somewhat lighter in value than it appears when wet, since the chalk content appears translucent when wet but opaque when dry.

Most fine art materials manufacturers produce ready-made opaque watercolors that are ready to use from the tube or jar. Some of these brands are typically labeled "designers' gouache," which indicates that their primary intended use is for applications where permanence is not required. This designation exists since graphic designers traditionally produce their works for mass replication rather than for longevity (although there are now many who wish that the paints that they had worked with were more durable).

Finished gouache paintings should be matted if they are to be stored. They can also be stored in a portfolio (without the matting) if they are laid flat and separated with a barrier of neutral paper. For exhibition, a gouache painting should be matted (at least) and probably have a coat of varnish applied to protect the paint surface.

For further protection, a gouache painting should also be framed behind glass, especially if atmospheric conditions are extreme. Using a glass protective barrier will also help protect against physical damage and keep dust out.

Since gouache pigment can be used in its natural state for solid colors or be thinned to almost any consistency, it remains versatile as a pigment. Add to that the quick drying time, lack of fumes, and easy cleanup, and gouache stands as a pigment that is virtually universal. For those who have not worked with this unique and enduring medium, it is recommended that you give it a try.

Airbrush

The Airbrush Cyber Community

There are myriads of visual art-related Web pages on the Internet. Many of them deal with specific mediums or techniques, and one of the most prevalent is airbrush.

Airbrushing is represented on sites that are posted by airbrush magazines and airbrush equipment, paint, compressor, and accessory manufacturers or distributors. Web pages are also maintained by artists, galleries, and airbrush organizations. Many interesting airbrush sites on the Internet are accessible through our home page at http://www.arttalk.com.

Following is this month's selection of sites to investigate:

For an artist's site where the airbrush is utilized, see Robert Anderson's paintings at http://www.erols.com/arttek/.

Anderson, co-author of The Art of the Dot-Advanced Airbrush Techniques, has maintained a professional web page for the past few years. Not only are there examples of his artwork, but a resume and personal insights are included as well.

Airbrush Action magazine maintains their site at http://www.airbrushaction.com and features how-to articles along with cutting-edge airbrush work--be it illustration, motorcycle painting, or pottery.

A complete catalog of airbrush equipment can be found on line at http://www.arttalk.com/iwata/index. The Medea Airbrush Products company maintains an entire catalog of Iwata airbrushes, Com-Art paints, and Shark compressors. By clicking onto a particular airbrush model in the Comparison Chart, you can access not only a picture of that airbrush, but a schematic as well.

The address of a centralized gathering point for airbrush artists is http://www.airbrush.com. All airbrush roads seem to lead here, where you can post a message on a bulletin board, talk live to other artists on the chat board, or link to other like-minded artists and view their work.

ArtPourri

Reward Offered--The Society of the Friends of the Louvre have posted a reward of approximately $16,000 for the return of the Camille Corot painting stolen from the museum. On May 3 a guard discovered that "The Sevres Road" was cut from its frame.

Discounts Available--Admission offices of six New York attractions are selling Citypass, a booklet with discounted admission tickets. Included among these is the Museum of Modern Art. (212) 708-9400.

Paintings Arrive Late--Seven Grandma Moses paintings, which were bequeathed to the Bennington (VT) Museum but were stolen from their owner in 1984, have mysteriously turned up on the doorstep of the museum; they are now displayed as intended.

Records Set--Bill Gates (think Microsoft) has set a new record price for an American painting when he paid over $30 million at a private sale for the last major seascape by Winslow Homer--"Lost on the Grand Banks."--A record has been set for painter Andy Warhol by the sale of "Orange Marilyn" for $17.3 million at Sotheby's.

Season Begins--Chesterwood, home of sculptor Daniel Chester French, is open for the season and has many events planned. The 19th Annual Contemporary Sculpture Exhibition will open on July 4. Staff members will guide parents and children of all ages through a half-hour tour of works in the show, plus a half-hour sculpture hands-on activity on Mondays and Fridays in July and August. For a brochure and events calendar, write Chesterwood, Box 827, Stockbridge, MA 01262-0827; (413) 298-3579, Ext. 15.