Printmaking

Collagraph Printing

While there are some who enjoy the diversity and repeatability that plate printing offers, there are others who prefer the spontaneity and discovery that comes with exploring the possibilities of mixed media. For those who desire the best of both, there is collagraph printing.

A collagraph plate is a collage of various print techniques and materials that are combined to print a variety of lines or textures. This is achieved by building up layers of low-relief patterns from either modeling media or found, flat objects (or a mix thereof). Once dry, the plate surface can be inked and the image transferred to paper.

Some of the first collagraph prints were created in the 1930s when famous artists such as Georges Braque, Juan Gris, and Pablo Picasso experimented with combining collage and printing techniques. Their resultant works contributed significantly to the growth and popularity of this type of print process.

There are several basic methods that can be used to make a collagraph print plate. One method involves gluing thin, found objects of various shapes and sizes to a base plate. Another approach involves building lines and textures by painting a plate surface with modeling material such as acrylic gel, white glue, modeling paste, or gesso. Another collagraph method involves making an intaglio-type plate that is composed of fabric and acrylic medium combined.

The tools needed to make a collagraph plate are few and simple. These include cutting tools for carving into materials, scoring lines, and cutting the outlines of shapes. Synthetic brushes and palette knives are also required to help spread and build the acrylic (or other) medium lines and textures upon the collagraph plate.

Basic materials necessary for collagraph printing include the above-mentioned modeling and adhesive mediums as well as sturdy matboard, thin hardboard (such as Masonite), or plywood for the plate support. Other materials that can be used for this purpose are plastic or metal plates. Whichever type is used, make certain that the chosen material will adhere well to the surface.

Once all tools and materials are gathered, work can begin in whatever style you prefer. For example, if you wanted to create abstract shapes and textures, you might try stamping a sponge into gesso and then applying various relief textures on the plate surface. For a more patterned work, try using a paper or crocheted doily dipped in media and then transfer the image to the plate. The types of objects you can find, alter, and use are infinite and are limited only by the imagination.

By using found objects this way, images can either be transferred to a plate or the actual object itself can be glued to the plate and left to dry. These types of objects are also abundant and include fabrics, pressed leaves and flowers, torn paper, and the like. The only criteria to adhering an object to a plate is that it must be extremely thin—typically less than 1/8th of an inch thick.

Each level of applied material should also be kept within this same height limit or undue stress may be placed upon the print paper. If necessary, you can create deeper embossments by incrementally building up layers, much like a staircase. Once the objects or other relief impressions dry and become part of the plate surface, they can be coated with a layer of acrylic gesso or medium to seal and protect the surface.

What remains is a low-relief image that can be inked and transferred to paper. Keep in mind that all plate images will print an inverse (or mirror) image, so this should be accounted for in the design phase. Another bonus is that a plate may be multiply printed in different colors and orientations to create a series of works after it has been cleaned and new ink (or paint) applied.

For more structured works, such as an interior or a landscape, print material or media can be carefully applied to a plate to represent specific shapes and compositions. To create an illusion of depth, thicker layers can be built up and exact details can be applied by either painting medium on the areas required or by carving away low-lying areas.

Variations include carving into metal plates with power tools or using molten (or a fast-drying chemical) solder to build up relief textures or details. Another is adhering crumpled aluminum foil to the plate surface to create texture. If you try this, be certain to fill the backside of the foil so that it will not collapse under the pressure of the press.

It often takes several proof trials to get the desired effect from a print plate, so prepare for experimentation. For relief works, the plate can be inked and the image transferred to paper by using a roller. For plates with incised lines and recessed textures, try applying ink, wiping the surface, and then transferring the remaining pigment just like an intaglio print. You can either uniformly wipe pigment across a plate or paint specific areas as the image requires. As mentioned, be prepared to experiment with different techniques.

So if working in prints is something that you have always wanted to try, collagraph printing might just be the best introduction into this type of medium. For those more practiced in print techniques, collagraph printing can offer a new area of exploration and range of techniques. Either way, for a small investment in time, tools, and materials, the rewards might surprise you.

YOUR AD HERE Please e-mail us if you are interested in advertising with ARTtalk.

Competitions/Opportunities

Student Illustration Contest

"Illustration '98," sponsored by Strathmore Papers, is open to all full-time students. Original works created on Strathmore paper will be judged on creativity, style, expression, and use of technique. Entry is by 35mm slide, and finalists will be required to submit actual artwork. A First Place winner will receive $2,000, plus his/her school will receive a $1,000 art scholarship award; Second Place winner will receive $1,000; and four Third Place winners will receive $250 each. See a participating retailer for entry form and additional details. Deadline: March 31, 1999.

Purchase Awards Announced

Five artists were recently named recipients of the Liquitex Excellence in Art Purchase Awards for demonstrating creative excellence in the use of color, concept and media done extensively in acrylics. The top purchase award of $5,000 plus $1,500 in Liquitex products went to Cesar Holguin of Los Angeles, CA. Purchase awards of $1,000 plus $500 in Liquitex products each went to four additional artists

The five works purchased by Binney & Smith, maker of Liquitex products, have become part of the company's corporate art collection. Artists also received worldwide recognition of their works through the Liquitex Websitewhere information can be found on the 1999 Liquitex Excellence in Art Purchase Awards.

Art for Children's Sake

Since 1947, the sale of greeting cards by UNICEF (United Nations Children's Fund) has benefited children and improved lives worldwide. Designs express the ideals of UNICEF and the UN, and over 2,600 artists representing more than 140 countries have donated rights to reproduce their work. If you are interested in submitting original artwork to UNICEF for consideration or you want to have children compete within their class or school, designs may be submitted at any time to the UNICEF Greeting Card Selection Committee through Elizabeth C. McGuigan, 9 Termasen Drive, Stony Point, NY 10980,(914) 942-2954. Those submitted before February 1 of each year are considered each June. Designs in color and a rectangular form are preferred, and transparencies, 35mm slides or color photos only may be sent.

National Poster Program

The 55th annual AAA National School Traffic Safety Poster Program is now underway with a January 25, 1999 deadline. Students (kindergarten through junior high) across the U.S. and Canada may choose to illustrate any one of 10 slogans. Older students are invited to participate in the third annual National Senior High Traffic Safety Communication Contest in one of three media formats on one of three topics. Individual students do not have to be part of a classroom project to participate in either program. Contact the AAA's Traffic Safety Services unit for more info: (516) 873-2364 or (212) 586-1166, Ext. 2364.

A Little Art History

Vincent van Gogh 1853-1890

Vincent van Gogh's life was an enigma of extremes and contradictions. At times he was an independent wanderer, at others he was totally dependent on his brother. Some found him saint-like, others debased. One truth endures: Whether he was an inspired artist, madman, champion of the poor, or utterly helpless, his profoundly troubled life resulted in incredible beauty.

Vincent van Gogh was born in 1853 in the small village of Groot-Zundert, the Netherlands. As an adolescent, he was educated in Zevenbergenin where he was tutored in languages and began drawing for the first time. After graduating in 1869, he became apprenticed to Goupil & Cie, Parisian art dealers who had a branch established in the Hague.

In 1872 Vincent spent a good deal of time with his brother, Theo. It was during this time that they began a lifelong correspondence which today offers the best means of studying Vincent's opinions, feelings and state of mind.

Vincent was transferred to the London branch of Goupil & Cie in 1873. Here he continued to work and visit the museums and galleries to expand his knowledge of art. By the spring of 1876, Vincent resigned from his job and traveled to Ramsgate, England, where he worked as a teacher and curate with a Methodist minister at a small boarding school. As Vincent's religious fervor increased, his physical and mental state started to break down.

In the late 1870s, Vincent's formal religious studies came to an end, but he was still determined to pursue a religious vocation. During this time, he traveled to the Borinage (a coal-mining district in Belgium) to minister to the impoverished miners. The conditions for both Vincent and the miners were draconian, as some of his etchings from the period illustrate.

His religious enthusiasm in aiding these miners eventually attracted the attention of his superiors, who found Vincent's behavior too extreme. Vincent was quickly relieved of his position and subsequently became depressed over what he perceived to be failure.

This incident proved a turning point in his life, since he abandoned his religious pursuits and devoted himself exclusively to painting. At this time, his brother began to support Vincent financially, a situation that would continue until the end of Vincent's life. Later in the year, Vincent undertook some formal studies of anatomy and perspective at the Academy in Brussels.

In 1881 Vincent visited Theo in Etten and, later in the year, had his romantic advances rejected by his cousin, Cornelia Adriana Vos-Stricker. Vincent was devastated and once again deteriorated into depression.

It was around the time of his father's death in March 1885 that Vincent painted what many consider to be his first great work, entitled "The Potato Eaters." Vincent later tried to continue his formal art education at the Ecole des Beaux-Arts but he shunned many of the principles and withdrew.

From here, Vincent began studying with Cormon (1845-1924) at his atelier in Paris. It was not so much the training that influenced Vincent, but rather his introduction to fellow students such as John Russell, Henri de Toulouse-Lautrec, and Emile Bernard. When Vincent discovered the impressionist works of Monet, Renoir, Pissarro, and Seurat, it profoundly influenced him and affected his use of color.

In 1888 Vincent reached a pivotal point in his life and moved to Arles (in southern France) to paint. Here he began painting the flowering Provence landscapes and a number of seaside landscapes (in Saintes-Maries-de-la-Mer) as well as many of his most famous portraits (including the series of his postman and his family).

Still, madness haunted van Gogh, even during this productive time. Later in the year, after arguing with Gauguin about art, he attacked him with a razor. Immediately after the failed attack, Vincent lost all reason and cut off his left ear. He then wrapped it in newspaper and presented it to an employee of the local brothel he frequented. He was hospitalized, and shortly afterward Theo arrived from Paris to make arrangements for Vincent's care.

From this point on, Vincent continued to work, but his mental state fluctuated wildly. At times he was completely calm and coherent; at others he suffered from hallucinations and delusions. Eventually, his brother Theo had him committed to a mental asylum at Saint-Rémy-de-Provence.

When emotionally able, Vincent continued painting landscapes (his famous series of olive groves and cypresses) from the asylum, but was forced to stop when his attacks returned. In one, he tried to poison himself by swallowing his own paints. In 1889, Vincent's mental state steadily deteriorated as his work was finally beginning to receive critical recognition when his "The Starry Night" and "Irises" were exhibited at the Salon des Indépendants.

Toward the end of Vincent's life, Theo had his brother placed under the care of a personal physician in Auvers-sur-Oise, just north of Paris. Here Vincent began to paint with incredible verve, producing more than 80 paintings in the last two months of his life, which ended on July 29, 1890, from a self-inflicted gunshot wound.

The life of Vincent van Gogh was as diverse, extreme, and compelling as the art he created. You may view his paintings at the largest exhibit of van Gogh's works in the U.S. in 25 years at the National Gallery of Art through Jan. 3. The exhibition has averaged over 4,500 visitors a day since opening on October 4. To widen distribution of the 2,000 passes issued each day for admission that day, passes are being limited to four per person instead of six.

Holiday Gift Guide II

—Any artist, designer, or crafter would appreciate receiving the Sidekick, a tabletop, clamp-on easel from Artograph. The unique clamping mechanism allows you to secure the easel to the side of your drawing table and, with no base in your way, you may work seated or standing. The Sidekick angles from the upright, squarely perpendicular position to the prone position for horizontal work with watercolor, etc. It's lightweight and portable for studio work or to take on location. The Sidekick is great for presentations in art classes and seminars or on office conference tables, and the ideal height provides obstacle-free floor space for children and individuals in wheelchairs.

—A great gift for the airbrush artist who paints T-shirts, jackets, motorcycle tanks, etc., is the Skull Master Series from Artool. These templates allow you to spray perfectly anatomically correct skulls with one deft stroke. Fun for all ages, the Skull Master is available in the following designs: The Frontal; The Multiple; and The Screaming.

—Based on day trips to museums and other cultural venues taken as children, sisters Jacqueline Preiss Weitzman and Robin Preiss have authored "You Can't Take a Balloon into the Metropolitan Museum." Art photos and original drawings are included in this new book that has been chosen a Junior Library Literary Guild selection and is featured in the new catalogue of the N.Y. Met. (Dial Books for Young Readers).

—A most practical gift for artists and crafters from Gagne is the low-cost Light Pod tracing system by Porta-Trace. You may choose from two models (and sizes) depending on your requirements: the LP 4x6 or the LP 8x10. The Light Pod is ideal for doing calligraphy, stained glass, embossing, memory books, quilting, needlepoint and more.

—Graphic Chemical & Ink offers a multitude of gifts for the printmaker, from novice to professional, and what better idea than a great set of tools. For the beginning block printer, whether in wood or linoleum, good all-purpose sets include the Graphic 17 Woodcarving Set, the Japanese Basic Carving Set, and the Lyons Wood Carving Set WC6-1/2". The Graphic #11 Engraving Set includes 2 flat edge gravers, 2 round edge gravers, 1 point edge graver and 1 square graver and is suitable for work on all surfaces commonly used for engraving, such as copper, zinc, steel, and wood. Consult your retailer to see the selection of sets available, and don't forget that individual tools make great stocking stuffers.

—The new Eclipse SA, Medea/Iwata's new single-action airbrush, is a perfect choice for the beginning airbrusher—whether artist, hobbyist, or craftsperson. Easy to use (just press the trigger!) with a fully adjustable spray, the Eclipse SA combines a .5mm nozzle, bottom-feed design, and internal mix spray pattern for smooth, professional results the first time.—And for the best in stocking stuffers this holiday season and a great first adventure into the world of airbrushing, see the groundbreaking video The Air Experience with Richard Sturdevant. This video is designed to teach anyone to airbrush using easy-to-understand techniques that save time and inspire the creative process. Though this course is for the enthusiastic beginner, intermediate and advanced airbrush artists will benefit greatly from the innovative techniques used to prepare the work surface and create unbelievable special effects. The video comes with a study guide and project, so this year give "The Air Experience" to the creative one on your list!

—The new Werther B1000 oil-less diaphragm Compressor from Silentaire is a perfect air source for the beginning airbrush artist. It's inexpensive and maintenance-free and produces 35 to 40 psi of operating air pressure via a 1/6hp motor. The B1000 is the most powerful in its class and is lightweight and portable—only 11 lb.

Framing

Special Frames

Do you sometimes desire a frame that is unusual, makes a personal statement, and stays within your budget? You could put that watercolor into any old frame or you could display your photo collection in a simple, ready-made frame. Or you could design a frame that is as much an art statement as the art that goes into it. None of these methods requires any specialized materials or equipment. Everything you need can be collected from your home or studio or purchased inexpensively at any art materials, craft or hobby shop.

The most immediate way to change a frame is with paint. Before you paint, sand the surface lightly with very fine sand paper. Whether the frame is wood or metal, this will provide tooth, something for the paint to grip. Apply at least 2 coats, allowing each to dry completely before continuing. Although you can brush on the new color, spraying lays on the smoothest coat because of the tiny particle size of the spray. If you do brush, use a brush made of camel hair or other soft bristles.

After painting, consider a home version of "kiln drying." If the frame will fit into your oven, set the oven at 150 degrees and allow the frame to rest in the warm oven for about 15 to 20 minutes. This will dry completely and quickly and will set the color onto the surface. Placing your fresh project in the noonday sun accomplishes the same thing, but be aware of the danger of blowing dust, debris or inquisitive animals.

If you have a dark-toned wooden frame that you wish to change to a light tone, it is wise to seal the wood tone with gesso. First sand lightly to remove any varnish or sealer. Use the softest brush available, one that leaves no brush marks. Clean and delineate any detail with cotton swabs but be sure all areas are coated with gesso. Allow the gesso to dry completely and then sand lightly. This will prepare the surface and provide a better bond between the wood and the paint.

Coincidentally, this is also an acceptable procedure with which to apply metallic leaf. Just sand, apply gesso (perhaps 2 coats) and allow to dry completely. Apply a base undercoat. After the base coat is dry, apply adhesive and lay on any leaf product using a variety of adhesives. Gold, silver, copper—any leaf, composition or carat leaf—can create a dramatic, eye-catching, and elegant treatment. Many products are available with which to "leaf" frames (or decorator items - virtually any material can be leafed).

One fast-track method includes the use of a water-based adhesive that stays tacky for up to 24 hours. This window of time gives even the beginner plenty of latitude in applying sheets or torn segments of leaf to the prepared surface.

For a unique, personal statement, you can also cover a frame. Paper, cloth, ribbon, leather or any supple material can be used. The shape of the frame should be smooth and sleek to make attachment as simple as possible. A smooth contemporary line also allows the "decoration" to be easily viewed, uncomplicated and uncluttered.

Begin by sanding any existing finish or paint from the surface of the molding. Apply common white or archival, neutral pH adhesive to a small section of the frame. Into this fresh adhesive, lay strips of decorative paper, fabric or other pliable material. Wrap the material around the top, lip, sides and around to the back of the frame. Trim any excess while the adhesive is still soft so that any frayed edges might be softened into place.

Cutting tools that work well for this procedure include a stencil knife or snap-blade, renewable blade cutter. Smooth any edges flat, being especially aware of the lip of the frame. If there is irregularity in the flatness of this area, the glass will not set flush against the lip, may be put under stress and might crack. As long as the inside of the lip of the frame is smooth, all is well. If you need a bit of extra holding power while the work is drying, use office paper clamps, clothes pins or even push pins pressed into the wood to help hold the wayward ends in place.

Regardless of whether you are using paper, leather, cloth, ribbon, or leaves, it is usually advisable that the material completely cover the frame. In the case of natural items, like ferns or leaves or flower petals, a bit of the frame color might be allowed to show through and become a part of the color pattern. The tone of the frame and the items being mounted should be similar, as contrasting tones compete for visual control. Similar tones are very pleasant and seem to be more natural.

With these tips and many you will discover through your own experimentations and surprises along the way, you will surely develop a technique that is your own. A look that is personal/unique is a great aid in bringing attention to your work. Whether your goal is to show at exhibitions, sell your work in a gallery environment or salon atmosphere, or decorate your home or office, any of the frame decoration ideas mentioned above might help you achieve the personal statement you desire.

Art Marketplace

New Framing Products

Crescent has introduced their new Conservation Specialties, a select group of conservation, museum grade matboards in three basic styles. Intaglio combines a selection of Crescent Rag Mat, Classic Rag Mat and Moorman Suede matboards with three embossed patterns of classic Acanthus, gentle Foliage and historic Manuscript to add a distinctive, hand-crafted style to any framed piece. RagMoire is a silk-screened matboard in five gentle colors that brings a new level of beauty to conservation framing with the ageless essence of fine silk.—In addition, the Whitecore Basics line now includes 14 new and exciting colors that respond to the color trends of the millennium and encompass a range of soft "Sheers," vibrant "Techni-brites" and "Global Accents." They feature a specially formulated white core and backing paper. Included are 12 standard colors, available in 32" x 40", and two rice papers in size 29-1/2 x 40."

New Drawing Materials

Now available from your retailer are General's new Jumbo Charcoal Sticks which measure 2" wide by 1" x 1/4". The new blister carded kit is an assortment of degrees in soft and medium.

—Also look for the new Kimberly Jumbo Graphite Sticks now available in a blister card containing three sticks in assorted soft and medium degrees.

—General's Layout Ebony 2 Pack Kit has a special formula that makes it blacker than typical graphite drawing leads—The All-Art Woodless Graphite pack contains 2 Extra Smooth 8B Woodless Graphite, plus sharpener, and is used for drawing, sketching, and creating broad edges and bold strokes. (All the above are great stocking stuffer ideas!)

ArtPourri

Arts to Benefit—The New York State Council on the Arts will benefit from a new offering to New York drivers. Beginning Jan. 1, custom license plates declaring New York "The State of the Arts" will be available to motorists, with $15 from each plate going to the Council.

Holidays Celebrated—Visit "Mistletoe & Merriment: Recreating Yuletides Past" through Jan. 3 at the Winterthur Museum, Winterthur, DE, to bolster your holiday spirit. You'll see grand displays recreating holiday scenes from the past including a 19C. Hanukkah celebration, two vignettes inspired by Imperial Russia, a Swedish American holiday celebration, Creole Christmas Eve dinner, and much more. Reservations: 1-800-448-3883.

Painting Seized—"The Duquesne and Berigny Basins at Dieppe in Cloudy Weather" by Pissarro has been seized by FBI agents prior to auction in Cleveland. Valued at over $400,000, it is believed the painting was stolen from a home in Worcester, MA, in 1978. Ownership must be decided in court.

Complementary Showing—The Metropolitan Museum of Art, NYC, has opened an exhibition in conjunction with a retrospective at the Art Institute of Chicago. "Mary Cassatt: Drawings and Prints in the Metropolitan Museum of Art" runs through Jan. 24.

Sculptures Acquired—The Museum of Modern Art, NYC, has acquired several new sculptures for its permanent collection. Among these are Ellsworth Kelly's "Sculpture for a Large Wall" and David Smith's "Sentinel," both considered important works.

Bonny Art—In celebration of his 50th birthday, Charles, The Prince of Wales, will exhibit 50 of his landscape watercolors at Hampton Court Palace through Feb. 28. The works in "Travels With the Prince" were created during official tours and royal holidays and also include works by 10 British artists who accompanied him on tours.

Show Postponed—Because a sponsor could not be found to cover expenses, an exhibition of 75 photos of Jacqueline Kennedy Onassis did not open as scheduled recently in the new Grand Central Terminal in NYC. To date, the traveling show has raised over $1 million to benefit the Jacqueline Kennedy Onassis Lymphoma Fund. The NY exhibition is to be rescheduled for next year.

Winners Announced—Included among the winners of the 1998 National Medal of Arts are architect Frank Gehry, arts advocate Barbara Handman, visual artist Agnes Martin, and arts patron the Sara Lee Corporation. The awards were recently presented at a White House ceremony.

New Museum Planned—Frank Gehry (see above) has been selected to design a new museum in Biloxi, MS, to showcase the area's culture. It will be home to a major collection of works by famed potter George Ohr.

Exhibitions to Still Catch

Picasso: Masterworks from the Museum of Modern Art, L.A. County Museum of Art, Jan. 4; A Practical Dreamer: The Photographs of Man Ray, Getty Center, L.A., Jan. 17; New Worlds From Old: 19th Century Australian and American Landscapes, Wadsworth Atheneum, Hartford, CT, Jan. 3; Edgar Degas, Photographer, MOMA, NYC, Jan. 3; Dancing at the Louvre: Faith Ringgold's French Collection and Other Story Quilts, New Museum of Contemporary Art, NYC, Jan. 3; French Prints from the Age of the Musketeers, MFA, Boston, MA, Jan. 10.

December Birthdays

    2    Georges Seurat

    4    Wassily Kandinsky

    8    Diego Rivera

  12     Helen Frankenthaler

  24    Joseph Cornell

HAPPY HOLIDAYS!!!

.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!!

Copyright ARTtalk Vol. 9 No. 2 -- December 1998