Paper

Handmade Paper

The process of making handmade sheet paper remains essentially the same as it did many hundreds of years ago. Today, there are still many artisans that produce a diverse array of fine handmade papers. Most work in paper mills that are located throughout the United States, Europe, and in the far East.

Handmade paper still flourishes in India and in the Himalayan kingdoms of Nepal and Butan. For 1,200 years, the Tibetan Buddhist monasteries have used this type of natural paper for woodblock patterns and for manuscripts. Thailand is another country that has made handmade papers for many centuries, often as a family craft practiced in villages by many generations. Japan has been making handmade paper for some 1,500 years in a volume and variety that far surpasses any other country in the world. This type of paper is used daily for purposes such as writing, printing, calligraphy, fans, clothing, and even as a design element in houses.

Traditionally, handmade paper fibers were extracted from various plants by sorting, cleaning, chopping, and soaking operations before they became suitable for use as paper pulp. Today, however, many professional hand papermakers bypass these laborious steps by instead using a pre-manufactured fiber base, such as cotton linters.

One of the most important operations in the manufacture of a quality handmade paper is a thorough mixing of the fibers. This is usually achieved in a Hollander beater where the fibers are separated and then added to a large vat of water in an approximate proportion of 1% paper pulp and 99% water. Later, the mixture is subjected to patterned shaking that causes the fibers to intertwine or "felt."

In the Western tradition of hand papermaking, a mould and deckle are used to form individual sheets of paper. A mould typically consists of a sturdy wooden frame (often made of mahogany) that is covered with a fine mesh of wire. The deckle is a similar frame that fits over the top of the mould frame.

A sheet of paper is made by dipping this porous mould into a steam-heated vat of pulp fluid, gathering some fibers, and then lifting out the mould with a special shaking action. As it is lifted from the vat, the mould is typically shaken front-to-back and side-to-side in order to align the fibers in multiple directions in an action that is called "roughshake."

As excess water drains away, a thinly compacted sheet of interlocking fibers is formed on the surface netting of the mould. The deckle is then held on top of the sheet to prevent the pulp from spilling off the ends of the mould and to also help crisply define the edges of the wet sheet of paper.

At this point, the vatman (or paper craftsman) removes the deckle and then passes the mould sheet to a croucher who flips the wet pulp onto a damp felt blanket. This process is repeated numerous times until perhaps one hundred sheets (a post) of paper have been made. The stack of wet sheets, each separated by a felt sheet, is then pressed to remove excess water.

Later, the compressed papers are separated and then hung (or laid out) in an open loft to dry. Typically, the sheets dry within four to five days in natural air. Some large mills reduce the drying time by using a heated cabinet or hot cylinders. Once completely dry, the sheets can be sized and finished to their completed states. Between two to five reams of paper can be made at one vat mill (depending upon paper size and weight). The entire process from beginning to end product takes about three weeks' time. Depending upon the size of the mill and the degree of machination, this time can be reduced.

Some imperfections will always occur when making handmade paper. Sheets with tears are called "Broke Sheets" (graded BXXX or XXX), and these are typically packed toward the top and bottom of a ream to protect good sheets during shipping. Other defects include visible remnants of water droplets, crushed folds (when sheets were wet and pressed), random discoloration, or uneven edges. These kinds of flawed paper are usually removed from the good sheets and set aside for repulping.

Handmade papers are quite individual in their respective looks, range of colors, weights, and surface textures. However, compiling an accurate list of handmade papers is difficult, since not all mills produce sheets on a regular basis. And when they are produced, it is often for a specific retailer or other client.

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For those who are interested in this type of paper, some samples should be available at local art supply stores. There are also many books available on the subject, some that also provide step-by-step procedures for making sheets by hand. Some books may contain a listing of established mills that produce this type of paper. For details on handmade paper specifications, these mills can be contacted for special orders or additional information.

Handmade paper can be systematically made from scratch with diverse natural fibers or quickly made by using a pre-manufactured fiber base material. For those who have a passion for paper, the handmade variety should be considered for its diverse look and feel and for the quality that it offers as an outstanding palette for drawings and other fine works of art.

Papermaking Museum

The Robert C. Williams American Museum of Papermaking (located at the Institute of Paper Science and Technology, Atlanta, GA) is an internationally renowned resource on the history of paper and paper technology. It features a collection of over 10,000 watermarks, papers, tools, machines,and manuscripts, as well as more than 2,000 books. Two tours are offered; Paperworks! includes a hands-on papermaking workshop where children and adults make their own sheets of paper out of recycled blue jeans, cotton and banana leaves. Advanced reservations required. Opening October 9: "Patchwork--An Exhibition of Handmade Paper Quilts" by Zelda Tanenbaum.(404) 894-6663.

Kids' Korner

Pumpkin Patch Scheduled

The Children's Museum of Memphis (TN) is sponsoring a Pumpkin Patch on Saturday, October 24, from 10a.m. - 4p.m. At this non-frightening celebration, children can explore Autumn Atrium, where they weigh and measure different sizes of pumpkins and decorate treat bags. In Shadowland, children hunt for animals of the night and produce their own animal puppet show; while at Spider Station, they navigate through a giant spider web and create a jumping spider to take home. Admission. Call (901) 458-2678 for information on this event or classes and workshops.

Art Donated

Members of the Professional Picture Framers Assn. in the U.S. and Canada will celebrate National Custom Picture Framing Month by donating 750 pieces of custom framed art to 150 Ronald McDonald Houses in the U.S. and Canada. The official month highlights the value that framed art and mementos can bring to any home or office environment. Ronald McDonald Houses provide a home-away-from-home for the families of seriously ill children undergoing hospital treatment. Organized through PPFA's local chapters, more than 200 framers participated in the Ronald McDonald project by framing artwork. Member art publishers donated the posters and prints; and manufacturers and distributors donated the moulding, mat board and glass required for the framing.

Extravaganza Planned

The Children's Museum of Manhattan (NY) has scheduled a Halloween Extravaganza, sponsored by Family Life magazine, to be held Oct. 28 through Nov. 1. Children will experience "crazy creatures, mazes, crazes, paint your faces, puppets, storytellers, ghoulish races," and more. For further info on this activity and classes offered, call (212) 721-1234.

Face Painting for Beginners

Children planning to march in Halloween parades, dunk for apples at parties, or go trick-or-treating with parents will love the book Starting Face Painting by Fiona Watt and Caro Childs. A lively introduction for young beginners aged 5-8, it covers everything you need to know to be able to create amazing faces, such as a sinister ice king, a jolly pirate, or a colorful rainbow face. Simple steps show you exactly what to do, and the delightful photos offer inspiration and encouragement. Usborne First Skills Series, 32pp.

New Outreach Program

This fall, ART Station, of Stone Mountain, GA, launches a new program in cooperation with the Boys and Girls Clubs of Metro Atlanta. It will bring a broad range of art experiences to more than 200 children in five Metro Atlanta clubs on three afternoons a week. The year-long program includes drama, dance, puppetry, textile and fiber arts, painting, drawing, sculpting, and cultural arts. (770) 469-1105.

Painting

Unusual Painting Tools

Want to relax the style in which you paint, but not lose the character of your subject matter? Want to learn new ways to create textures that will set your work apart from others? Perhaps you want to take your creativity to a new and unexplored plateau - something interesting and different?

If the answer to any of these questions is yes, then read on. No matter the style in which you paint, textures and designs can play an important part in the visions you paint. So let's consider non-traditional ways to apply paint.

For starters, even as an adult, your hands are fabulous tools. By charging the palms of both your hands with paint, the large flatness of them can render elongated swipes in grays or blues to quickly create a dramatic sky; or lay in foreground washes, quick masses of color for grasses, trees, or background richness. The sides of your hands can help define the edges or outlines of objects while laying out the basic design and placement for your subjects. And your nimble fingertips make fast work of irregular squiggles. It takes no time at all to learn a myriad of ways in which palms and fingers can become indispensable painting tools. Using surgical gloves is recommended, and most agree that the gloves do not interfere with either the result or the pure fun of this painting method.

To experiment with unusual painting tools further, go into the kitchen, grab the following items from your pantry, and get ready to begin a texturing bonanza. Waxed paper, plastic wrap, foil, inexpensive cellulose sponges, plastic pot scrubbers, 3M Scotch scrubber pads, and slender, soft rubber blender spatulas or long-handled rubber bowl scrapers are a good start.

Crushed waxed paper, plastic wrap, and foil are extremely versatile for creating the look of deep textures without the use of massive quantities of paint or the intensive labor to actually create the textures. Experiment with color and contrast to create wonderful crackle patterns by laying the crushed waxed paper, etc., over a freshly painted area. Working over one layer of color with a complementary tone can render the elegance of rich fabric or the broken pattern of tree bark.

Texture is most distinct when the tool is used as the applicator rather than working into a wet area, but there is a certain subtlety achieved when working in wet paint that is impossible to duplicate. Plastic household scrub pads of all types can be indispensable for applying tiny bits of color, such as those you might need to render a light snowfall over stones or tree branches. Their rigidity and non-porous nature allow light application of color and evenness of speckling. They are an ideal way to "dust" any area with metallic paint. Their minimal paint pick-up makes it easy to control the amount of color being applied. To use, spread paint over your palette and set the scrub pad into the color. Gently set down then lift the pad in the areas you wish a spattering of color to appear.

Carve through fresh color with the edges of flat sides of bowl scrapers or blender spatulas. Their flexibility and usually long handles make them easy to use when moving through freshly applied paint. In addition, they also make wonderful paint mixers.

Now head for the garage, basement or utility room. Gather old, clean rags, small scraps of wood, window screening, strings or cords, cleaning bags or plastic market bags, brown kraft paper bags, yesterday's newspaper, or any other materials that look interesting. Each gives a different texture and can be used as an application tool or for texturing fresh paints.

Strings and cords are great ways to get unusual lines and "cracks" in surfaces. Simply apply paint to the string and drop it onto the surface of your work. And volumes could be written on newspaper and its use as a creative tool. Tight balls of newspaper or rags rolled through fresh paint can resemble everything from crushed velvet to aged metal. Crushed wads have been the professional finisher's tool of choice for marble, crackle and many stone finishes. Texturing with newspaper is easy and cheap, since it's a plentiful and disposable tool. Brown grocery bags (and brown kraft paper) create a leather-like appearance and texture paint in a more pronounced crackled finish.

Rolling on paint with paint rollers is not new, but is not widely used by artists. Available at paint suppliers are half length rollers on regular length handles. These are good for laying on wide bands of color quickly and more cost effectively than regular wide rollers. The color created is most often varied, even though the roller is solidly charged with paint because, as the paint is applied, the roller becomes more and more dry. While the varied, mingled tones are very effective for many situations, control of the amount of paint can be achieved by first blotting a freshly charged roller on old newsprint. With a bit of practice you can create even background tones for skies, florals or landscapes/seascapes; and in the process, you might impart an interesting, light texture.

Rollers are especially useful for applying gesso--white or colored. The evenness of application (completely void of brush marks) and the fact that you can really load the surface with gesso make rollers indispensable tools. When working in wet-on-wet techniques, they get a lot of paint down quickly and make your interaction with them happen sooner. By tilting and lifting the body of the roller off the surface, using only the very edges of the roller, you can create lines and breaks that mimic trees in the distance, fence rows, barn boards or many other linear details.

These unusual painting tools are familiar to all, and there is no intimidation or hesitation. Just leap right in and enjoy a new painting experience!

Art Marketplace

New Colors Introduced

Daler-Rowney has introduced ten new colors of both Canford Paper and Card. These deeper and richer natural colors include damson, plum, ocean blue, bordeaux, ice white, brick, terracotta, fern, spice, and turquoise. See your retailer.

In the Spotlight: The "Lightracer" from Artograph

The Lightracer from Artograph is a portable, all-purpose art and craft light box. It features a conveniently slanted, generous 10" x 12" surface. The 8-watt fluorescent bulb provides evenly dispersed, bright lighting which stays cool and lasts about 7,500 hours. Made of durable plastic, the Lightracer is lightweight at only 2 lb. and comes packaged in a colorful "tote" box which is handy for transportation and storage.

Ideal for student art projects for both school and play, the Lightracer is also a fast and easy way to tansfer designs and patterns for:

• Embossing
• Quilting
• Stained Glass
• Calligraphy and Lettering
• Creative Keepsake Books
• Needlework and Embroidery
• Viewing and Visualizing
• Stenciling

Priced affordably with a one-year warranty, the Lightracer makes an ideal gift for the upcoming holidays.

Decorative Art

The Art of Tattooing

One of the more noticeable fashion fads of late is the resurgence of tattoos. Once the enclave of crusty sailors, convicts, and bikers, tattoos have now gone mainstream since famous musicians, actors, and sports idols led the way by getting images inked into their high-profile skins. Duly inspired, an impressionable generation has once again emulated its heroes.

Even art galleries are getting into the act with shows of tattoo designs. Why tattoos now? It may be easier to understand why the art world has taken interest than why young people decide to get them. Tattoos relate to many trendy art topics such as cartoons and body art, which is not just art about the body but also art involving the body. Perhaps the appeal of permanent tattoo designs is to simply decorate the human body or to provide a unique form of self-expression.

Tattoos have been discovered on Egyptian mummies dating to about 2000 BC. They were also worn by many other ancient cultures throughout the world. Originally, people thought that tattooed designs offered magical protection from misfortune; present day Arabs still use tattoos to ward off evil.

Sometimes a tattoo was a mark of courage or gave the illusion thereof. For example, the Maoris of New Zealand tattooed elaborate designs on their faces to disguise expressions of fear. The early Japanese wore tattoos to designate rank in society, and in the 1800's, tattoos were used to brand criminals. By the 1960's, tattooing experienced another surge of popularity as hippies followed Janis Joplin's lead.

Tattoo designs are created by repeatedly cutting or pricking the skin while inserting colored pigment into the broken flesh. Because the coloring is placed under the skin, the tattoo becomes permanent. Historically, devices that have been used to open the skin for pigment have included sharpened bones, thorns, knives, and needles. Today, modern electric needles (or "tattooing irons"), which are like engraving pens, have refined the tattooing process.

Permanent tattoos are applied by using a small electric machine with a needle bar that holds from one to fourteen needles, each in its own tube of pigment. This machine operates like a sewing machine: As the needle moves up and down, the skin is pierced and pigment deposited. For fine, delicate lines, a single needle is used; thicker lines (or shading) are created by using a row of needles.

Most tattoos are created from the many pre-designed stencils that customers can select from. Other tattoos include "flash art" which is a carnival term for stock motifs including hearts pierced with arrows, eagles wrapped in American flags, crosses, dragons, and the like.

Lately, tattoos are not just limited to small images or words scribed in black ink. Some individuals have sat through multiple sittings to have expansive, painterly scenes tattooed across their entire torso or back. Others have entire legs and/or arms laced with panoramic scenes or symbols of their choosing and the artist's creation.

Before work begins, the tattooist or "ink slinger" (who should be wearing surgical latex gloves) should inspect the customer's skin to make sure there are no open cuts or scrapes. The skin should be sprayed with an antiseptic and then the hair shaved (and shaver disposed of in a special container).

Next, the tattooist typically makes a stencil transfer of the tattoo on the skin, or draws a freehand outline with a pen. A thin layer of ointment is applied as the tattoo work begins. Getting a tattoo may take less than an hour or more than a month, depending upon the size and detail of the image.

The tattooing act is definitely painful, and the next day, the area feels like a bad sunburn. This aspect tends to boost the status of the tattoo in the Western world where it becomes a statement of willpower and commitment.

Besides the artistic ability of tattooists, a vital consideration is how stringently they sterilize their equipment. Since the tattoo needles are in contact with the skin (and blood) of different individuals, the threat of transmission of viral and bacterial infections is ever present. Other complications include an allergic reaction to the dyes and infections that may occur while the newly tattooed skin is healing.

When considering a tattoo, use common sense and discretion, e.g., avoid a tattoo artist who works out of his kitchen or the back of a van. A legitimate tattooist who is concerned about his client's health will always follow appropriate health measures. And like any other form of art, the quality of the image produced is directly proportional to the skill of the tattooist.

For those who want a tattoo but are faint of heart or resolve, there is a solution. Temporary tattoos are available in a large variety of images, colors, and sizes. These can be simply self-applied by pressing a color-permeated design against the skin with a moistened towel or wad of cotton. Depending upon the quality of the temporary tattoo, it should look as good as the real thing but will last only about a week (or less, if removed with baby oil).

Many beauty salons now also offer the application of airbrushed body art in a variety of colors. These temporary designs with non-toxic paints last up to about five days. Also available here is a system incorporating pre-drawn transfers that, coupled with a variety of paint-on non-toxic colors, will create a very realistic "tattoo." This system is available as a salon service or as a retail item for purchase. These methods are affordable, temporary, easily changeable, and--maybe most appealing of all--entail pain-free application.

Airbrush

Airbrushing Acrylics on Canvas

When airbrushing on canvas, artists' acrylic colors are the preferred medium. They can be thinned easily to a sprayable consistency; they dry quickly so you can work fast; they are flexible and have good adhesion; and they work well on either raw canvas, gessoed canvas, or prepared canvas.

Acrylic colors are waterproof, permanent, and will not fade. Therefore, it is not necessary to cover acrylic works with glass for display. Canvas allows the artist to work on a continuous surface without seams in extremely large formats. Thus, acrylic on canvas is one of the most preferred forms when developing fine art paintings to be exhibited in galleries.

Some tips for working with acrylics on canvas follow:

1. To thin acrylics to a sprayable consistency and still have good adhesion to a gessoed surface, do not use only water. Instead, add a mixture of 50% gloss medium/50% water as a thinning agent to the paints. Experiment. You may want to add acrylic flow improver or utilize acrylic thinning agents to reduce paint consistency to your satisfaction. Remember, also, to consider the size of the airbrush tip: The smaller the tip, the more difficult it is to spray acrylics.
2. Acrylic paint has a tendency to dry on the tip of the airbrush, resulting in clogging. To clean the tip, have on hand a stiff, flat bristle brush and airbrush cleaner. Dab the airbrush tip periodically with cleaner to remove any buildup of paint in the air cap. T-shirt painters--who must paint fast using acrylic-based fabric paints--often work with the handle off the airbrush. Thus, they can quickly remove and clean the needle whenever it appears that a clog is developing. You can make this determination by the spray pattern of the airbrush--it should be round. When it starts to flatten, you know that paint is accumulating at the tip.
3. Slowly build up the paint on a gessoed surface. The paint needs to adhere to the surface, not be absorbed. If the acrylic is overly thinned and too fluid, you will get not only paint bleed under masked and frisketed areas, but also puddles and runs on the surface. This can also happen if you work at too high an air pressure--wet paint will blow into areas where they are not desired.
4. A silkscreen, either photo-processed or hand cut, makes an ideal stencil when intricate objects (e.g. newsprint) must be rendered. When acrylics are airbrushed through a silkscreen, an exact image is developed; and since acrylics are water-soluble, they can be easily washed from the screen for its repeated use.
5. Although acrylic paint on canvas can be displayed without a protective coating, it is recommended that you coat your work with varnish--either acrylic or petroleum-based. Acrylic paints can be marred and damaged and thus difficult to repair, and this coating will provide protection.

Some paintings are developed totally by airbrushing acrylics on canvas. Many others are developed with varying degrees of airbrush/paint brush combinations. Artists' acrylic colors lend themselves to a variety of application methods (airbrush, paint brush, sponge, roller, etc.) that work well together without distraction.

ArtPourri

Art Fair Plus--Pier 30/32 at the Embarcadero in San Francisco is the site of a Celebration of Fine Art until Nov. 1. Expansive tents contain temporary studios of 80 prominent artists, many from the Southwest as well as the Bay area. Participants can view fine art and fine crafts and interact directly with the jury-selected artists. Admission. (415) 788-0185.

Art Stamps on Sale--The Corcoran Gallery of Art has hosted a ceremony to introduce postage stamps depicting four centuries of American art. Included among the 20-stamp set are "The Last of the Buffalo" by Bierstadt and "Niagara" by Church.

Lost at Sea--The Swissair jet that crashed off Nova Scotia recently was transporting a painting--"Le Peintre" (The Painter) by Picasso. Since it was shipped in a wooden container, the painting is assumed to be destroyed. The shipping company estimated the painting to be worth $1.5 million.

No Facelift Required, Thank You--The Louvre is giving the Mona Lisa a room of her own, but it won't be completed until at least 2001. In the interim, some art experts feel she should be restored by having layers of resin, lacquer, and varnish that were applied over the past 495 years removed. Museum officials say the solvents required for removal could irreparably damage the painting. Mona Lisa will retain her yellow cast.

Restorers to Convene--The Association of Restorers will host its third convention in Las Vegas from December 3-5. The association consists of restorers of furniture, pottery, glass, oil paintings, and more; who are conservators, artists, collectors, and anyone who has an interest in returning an item to its aesthetic beauty. Membership is open to all. 1-800-260-1829; www.antiquerestorers.com.

Towering Sculpture Unveiled--The 24-foot-high clay model of a prancing horse sketched by Leonardo da Vinci five centuries ago was unveiled recently at a ceremony at the Tallix Foundry in Beacon, NY. A bronze statue of the model will be cast and donated to Italy, where it will be unveiled in Milan in September, 1999.

New Hours for Museum--The Brooklyn Museum of Art has extended closing time to 11 p.m. on the first Saturday of each month. The expanded evening hours on this day will feature gallery tours with artists, film and live performances, and dancing to live music. On all other Saturdays the museum closes at 6p.m.

October Birthdays:
  4 - Frederick Remington
10 - Benjamin West
12 - Al Held
22 - Robert Rauschenberg
25 - Arshile Gorky
27 - Roy Lichtenstein

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Copyright ARTtalk Vol. 8 No. 12 -- October 1998