Florals In Oil

The luminosity and richness of oils are ideal for painting floral works. Oils, in the old master technique, are usually applied in soft, light layers, building colors and undertones as the painting comes to life. Or, when painted in a semi-impressionistic style using wet-into-wet applications, blending and softening is also possible. Remember that, by building layers, regardless of the style, you are creating a smooth, even density of paint.

The two distinct paths of exploration mentioned, old master techniques and impressionistic, offer great painting adventures. If you follow the old master method of paint application, you first establish a meticulous drawing and use it as the basis for all subsequent layers of color; whereas the impressionistic wet-into-wet method allows you a more "fluid" approach by working wet paint into other prepared, wet areas, blending and creating color right on the canvas as you paint.

To make the old master technique a little more updated, the following might offer you the best of everything. This method will yield sharp images, with clear designs. Draw--from life, a set-up of silk blossoms, or a combination--onto paper the precise image you wish to paint. Be sure to create a very detailed drawing the exact size of the painting. Transfer the drawing to canvas by laying graphite paper beneath your drawing and then redrawing the image.

After the transfer is complete, cover the graphite lines with permanent sepia ink. Allow this to dry completely. Pencil, charcoal or the "carbon" from graphite paper will wash away with the first oil wash application, but the ink will stay put. Use this detailed drawing as your foundation and begin building color. Apply shadows around and behind the subject, using perhaps umber, ochre or a deep green to intensify the depth and richness. Paint lightly, using turpentine, medium, or a synthetic medium to thin the paint. Remember to cover the entire canvas with some sort of tone.

You are building up from this foundation an underglow of color and depth. Allow this application to dry. Create another layer of rich undertone with more umber or other deep shadow tone, using less thinner. Allow to dry. Then start with subtle colors, colors that are toned to a warmth and "aged" quality. Keep layering with the subtle colors through two or three steps of color brightness. Not until the fourth or fifth layer should natural colors come into play. By slowly increasing the tone and building the underpainting slowly, you will achieve an inner glow that is unlike any other painting method. NOTE: Avoid colors that are too vivid. Choosing subtle tones and understated glow will serve you well with the finished piece.

Old Dutch masters carried their application to a rather extreme level of importance. Some documentation indicates that they painted in seven layers, allowing each layer to dry completely before continuing. In strict adherence to this process, drying time takes up to seven weeks for each layer. One obscure documentation also employs a very unusual surface treatment after the fourth or fifth layer. Although the exact explanation was not discovered, it is believed that the natural components of an onion "set" or "condition" the surface of the oil paint.

Several references to rubbing an onion over the dry layers of oil paint have been found and each seems to indicate that the paint becomes more receptive to subsequent layers, so the onion must act as an adhesion or astringent agent. Again this is allowed to mellow before continuing. With the fifth layer, the more vivid tones begin to surface. In this style of painting, the most natural colors are those with subtlety and elegance.

NOTE: Today there is an innovative synthetic oil-based paint on the market that dries on demand with the use of a hair dryer--Genesis Heat-Set Artist Oils.

Soft, impressionistic images can be done in fewer finishing layers, but the foundation steps are very similar. Begin by doing a complete drawing, with less detail, but with placement, size and composition well documented. Transfer with graphite paper to the canvas, then set the drawing by copying the graphite with permanent sepia ink. Layer on at least two layers of middle tone darks into the areas of shadow; no need to dry before continuing. On the third layer, start to bring in soft natural tones. Here, too, avoid garish colors. The green tones of foliage can work to draw all elements of the artwork together, and development of their placement and support of the design can begin with the second or third undercoat.

In impressionistic style, the images are less perfect, often melded with the surrounding colors and patterns. When you start with a strong drawing, all that remains is the placement of color and the relationship you create with each of those colors.

If you desire a smooth, texture-free surface, you can prepare your canvas prior to drawing transfer. Begin by first coating a stretched canvas with an additional layer of gesso. Allow it to dry; then sand it with fine-grit sandpaper. Remove dust with a damp cloth. Repeat the process with the direction of gesso application reversed from the first layer. Dry and sand. Repeat a couple more times or until the threads of the canvas are closed and the surface is flat and smooth.

Now that you are armed with two distinct and interesting ways to create a floral in oils, isn't it the perfect time to try one? Grab that paint box and head out to the garden. You'll be glad you did.

Art Wanted!

American Art Clay Co. is seeking amateur and professional art to feature in upcoming catalogs and advertising. In order to showcase a varied and distinct selection of contemporary ceramic art, the company is asking ceramists throughout the country to submit work for consideration. Work can be functional, nonfunctional, or sculptural glaze pieces. All submissions must be produced in some association with AMACO/Brent products or equipment (from clays and underglazes to pottery wheels and kilns). For an application form or additional information, call or write David Gamble, American Art Clay Co., Inc., 4717 W. Sixteenth St., Indianapolis, IN 46222; (800) 374-1600. Here's an opportunity--go for it!

Call for Entries

The Parrish Art Museum's 36th Juried Exhibition is open to works in two and three dimensions, including painting, sculpture, works on paper including photos, collage, video art and mixed media. "Best in Show" will receive a cash prize of $5,000. Visit www.thehamptons.com for an application form. Deadline: September 24.

International Competition

Visual fine artists around the world are invited by the Federation of Canadian Artists (FCA) to participate in "Aim for Arts," an international competition celebrating artistic achievement. This open juried exhibition and sale of paintings will be shown Sept.-Oct. 2000, and will award $50,000 (Cdn) in cash prizes. You may download the prospectus from www.artists.ca; or send a SASE (business-size) to FCA, 1241 Cartwright Street, Vancouver, BC, Canada, V6H 4B7. (Persons outside Canada should include an international reply coupon available at your post office in lieu of Canadian postage.)

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Really Cool Beads

Bead making is both fun and entertaining and can be a great activity on either a hot day or rainy day when outdoor activity is not possible. Creating necklaces, bracelets, cords for sunglasses and other items is really easy and doesn't require any expensive materials or special tools. In fact, some of the most striking and unique beads are made from recycled magazine pages or old gift wrap--virtually any colored paper can be used.

All you need is a pair of scissors, ruler, pencil, permanent glue stick, round toothpicks, string or yarn on which to string the beads, and a collection of papers--either purchased for this project or recycled from magazines, junk mail, old greeting cards, gift wrap, or colored copy paper. (Even printed on one side is okay.)

Create the beads by first cutting strips of paper. Cut a point at one end of a strip and roll the wide end first, rolling the strips of paper around a round toothpick. The point gives a design to the outside of the bead and creates a "fat tube" shape. Glue should be placed down the center of the strip and along the edges of the point. The longer the strip, the "fatter" the bead. Begin with a strip about 3 or 4 inches long. When complete, carefully slip the tube bead off the toothpick and allow to dry completely. String onto heavy darning thread, thin yarn or crochet thread. Be sure to double knot the two ends together so that the necklace will have good strength.

If you want to dress up your presentation, include a few small plastic craft beads as you string your project. For bracelets, you want to create beads that are short so that they will bend around wrists easily. For fun, string the beads on round elastic (available at craft and fabric stores). That way it will slip on and off easily. TIP: Remember to choose beads that will accept the thickness of string you use to construct your creation.

To make the necklaces and bracelets last longer, brush on a coat of sealer such as acrylic painting medium; or an adult could spray on a coat of clear sealer. (Any clear acrylic would do.)

Eyeglass cords require small tension rings to hold the glasses. They are available at art and craft stores in the jewelry section. Simply tie one end of your stringing material to one of the loops, string your beads, tie on another tension ring, and then tighten the tension rings around the glass frames. Nothing could be easier.

Be creative! Mix textures, colors, prints, and solids. Experiment with repeats of colors for uniform looks. Mix different sizes, shapes and thicknesses of beads for variety. It is your original artwork and you can create whatever you want!

Call for Children's Art

American Art Clay Co., Inc. (AMACO) is seeking children's art to feature in upcoming catalogs and advertising. In order to showcase a varied and distinct selection of art by students in grades K through 12, the company is asking teachers throughout the country to submit student work that is functional, nonfunctional, or sculptural glaze pieces for consideration. All submissions must be produced in some association with AMACO/Brent products or equipment. For an application form or additional information, call or write David Gamble, American Art Clay Co., Inc., 4717 W. Sixteenth St., Indianapolis, IN 46222; (800) 374-1600.

New Color Name Chosen

After considering more than 250,000 name suggestions from nearly 100,000 crayon enthusiasts of all ages, the color name Chestnut was chosen by the maker of Crayola products to replace the crayon formerly known as Indian Red. It is one of only three crayons in Crayola history to ever be renamed. Can you name the other two? See below for answer. One hundred fifty-five consumers suggested the new name, which will appear on 15 million crayons each year. Answer: Prussian Blue and Flesh.

Museum Bigger and Better

The Hands On Children's Museum in Olympia, Washington, has opened in a new location with a new look and new exhibits. The art center, filled with new and recycled materials, is ready for young artists to create their own works of art to take home. The Toddler Time Art Series for parents and young children has been retained. Museum hours have been expanded to include Friday evenings and Sundays.

Global Art Gallery

The Global Children's Art Gallery at www.naturalchild.com welcomes children's artwork from around the world from ages 1 to 12. All drawings with family-friendly content will be added to the Gallery as time and space permit. Submissions must include e-mail address, first name and last initial, age, state or province and country, title of picture, medium used, and indicate top of picture. E-Mail: gallery@naturalchild.com. If the artwork was not done on a computer and you do not have access to a scanner, mail it to: The Natural Child Project, P.O. Box 7, Fulford Harbour, BC, V8K 2P2 Canada.

Museum Exhibitions

Children's clothing has long reflected the childhood experience of each generation. Nineteenth Century Children's Clothing at the Mint Museum, Charlotte, NC, presents approximately fifteen children's garments, plus a selection of christening gowns and accessories. Paintings from the museum's collection depicting 19th century children will complement the garments. Through November 6. And The Fashionable Child of the Nineteenth Century at the Los Angeles County Museum of Art explores the changing nature of children's fashion of that century. Displayed through January 17 are 29 children's costumes drawn from the museum's permanent collection.

Canvas Protection

All canvases, even if constructed with the highest-quality materials, need to be protected from the ravages of time (specifically, atmospheric and physical damage). Humidity, mishandling, and improper storage can all deteriorate artwork. If you value your finished works and want to protect them for many years to come, you need to take the proper precautions.

One of the best ways to preserve a canvas is to begin by selecting the proper weave for a specific application. Following are some details on the most common canvases and their intended uses:

Cotton fiber is one of the most commonly used canvas materials and is available in duck, sailcloth, and twill weaves. Duck is perhaps the most popular of these due to its wide range of thickness and weight, as well as its inexpensive price.

Linen is also a popular choice of canvas material. This cloth is woven from natural fibers and is available in a large array of textures, weaves, and assorted colors. Belgian linen is considered by many to be the most attractive and durable canvas material to work with.

Polyflax is a new synthetic fiber that was developed specifically as an artist canvas. One asset of this material is that it is substantially stronger than traditional natural fibers. This fiber is often woven with natural fibers, such as cotton, to create a composite weave that lends strength, durability, and a finer surface texture.

Before painting in oil, it is essential that the canvas have a sizing layer (or be pre-sized). This is achieved by applying an aqueous glue (such as rabbit skin) in just enough quantity to fill the pores of the canvas weave. If oil is directly applied to the canvas, the fiber will eventually rot by becoming weak and brittle.

To help protect a canvas from the rear, try brushing on a coat of red lead or white lead (in oil). Or you might try adding a layer of tanning or formaldehyde. Doing so will help make the picture's sizing layer more resistant to water.

Some prefer to stretch an additional layer of canvas under the picture. Others tack a sheet of cardboard to the back of the stretcher or picture frame. These extra precautions will greatly insulate the rear of the canvas while still allowing air circulation.

One of the prime hazards to a canvas is water, either as vapor or as humid air. If a canvas is moistened from the back, the picture may detach from the surface. If a canvas is stored in a warm, humid environment, the growth of mold can occur. Mold (or mildew) is a kind of fungus that can grow on sized fabrics, glue, paint films, wood, etc. This typically begins as a white, feathery substance that can quickly develop into a denser and darker substance (depending upon the species).

In the early stages, the growth of mold may be halted by placing the canvas fabric in strong sunlight (or ultraviolet light) and fresh air. If the growth becomes too predominant, the mold must be physically removed. The best prevention against mold is to store a canvas in a cool, dry environment.

Insects can also pose a hazard to finished works, especially in semi-tropical areas. The best prevention for insects is to keep a clean work and storage area that is not too humid. If necessary, spray the surrounding area with a liquid insecticide (read the label first). If insect problems persist, call a professional.

Physical protection and additional support are important for extending the life of a finished canvas. When properly planned for and executed, a frame can both protect and enhance the final appearance. Frames are most beneficial for works that will be transported extensively.

One of the most popular and easily constructed borders for a canvas is a strip frame. This type of edge enhancement consists of thin strips of wood that are nailed to the outer edges of the painting with small brad nails. Before it is attached, the wood may be stained, painted, or left plain. Although this type of edge protection is easy to construct and apply, it offers little support to the frame and minimal protection to the canvas surface.

As a canvas becomes larger in size, it will require a larger frame for protection. Most artists purchase a pre-cut (or pre-assembled) frame from their art supply store and then assemble, paint, and attach the frame. For variety, these frames are also available in many different types of colors, finishes, and materials. Some are even fully assembled so all you need do is color them (if desired) and then insert your art.

If a painting is to be stored for an extended period, you might consider rolling it up. To do this, carefully remove the painting from the stretcher and then roll it (face out) around a large-diameter cylinder. If you want to keep the picture flat, tack it (face down) to a sheet of wallboard. To ship a picture while flat, cover with another sheet of wall board and tie securely with twine.

Whatever your canvas protection requirements, your art supply dealer should have all you need to do the job. There are also detailed books on the subject of canvas preservation that can help you with additional ideas. With a little effort and planning, you'll find that you can both enhance the look of your art and protect it for many years to come.

Products...

--New Papers--Strathmore's line of Textured and Decorative colored sheet stock for artists and crafters has just been extended with the addition of Chromolux. The perfect choice to give an air of luxurious elegance to any project, these substantial papers cut and fold cleanly, making them ideal for gift boxes, cards, memory books, folders, displays, and menu covers.

Available in three styles: Chromolux Color Cover will add polished beauty to any project requiring a cast-coated heavyweight paper (four colors); Pearlescent Chromolux is made from a cast-coated sheet that is layered with a metallized coloring, resulting in a satin finish and a soft reflective surface (four colors); and Mirri Chromolux is a glamorous specialty paper with a unique mirrored surface that is dramatic, yet unbelievably versatile (silver and gold). Mirri folds and cuts cleanly and can be litho or screen printed. All papers measure 19.5 x 26 inches and come 15 sheets to a package. See your retailer.

--New Book on Oils--Oil Painting with a Basic Palette by Morgan Samuel Price provides valuable insight for oil painters looking to simplify and strengthen their use of color. The reader is guided through choosing materials and how to use them, using value to build space and form, mixing color with a basic palette, and designing successful paintings. Six step-by-step painting demonstrations, using only seven colors, show all the lessons applied. North Light Books.

...and People

--New Sales Manager for Sakura--Sakura of America, well known for the popular Gelly Roll pen and Cray-Pas oil pastels, has named John Yi as National Sales Manager. Yi has a strong background in several consumer product industries including arts and crafts. An artist in his own right, Yi has also worked as a gallery director/manager and an illustrator/designer. Yi was chosen to enhance and reinforce the company's "Power to Express" creative theme.

Basics of Book Binding

Some of the earliest recordings have been found in Egyptian tombs; and these papyrus reed papers, which told us much of their way of life, are treasures. They were discovered intact mainly because they were dry and protected from the elements, but other early records on wood and leaves have been lost.

How fortunate we are today to have at our disposal thousands of bound editions of every type and subject. Additionally, a strong creative interest in making personal hand-bound books has recently developed.

Book binding can be very rewarding and useful knowledge. There are several methods of binding that require no specialized materials or tools and are easily learned. They amount to little more than a collection of pages joined with simple sewing techniques and can be achieved by any age.

The most simple of these is a binding in which folded sheets of paper are joined together at the fold with a simple loop of thread. Begin by folding conventional 8-« inch x 11 inch papers in half to form a booklet of pages, one stacked inside the next. Bring the fold together as tightly as possible and simply sew the sheets together in the fold. This can be done with thread - or ribbon, twine, raffia, cloth strips, thin wire - almost anything flexible. For the best look, position the sewing in the center of the fold. Your loop should be at least four inches long in order to hold the pages together without shifting. Tie the ends of the loop together to insure a good hold. Virtually any size or shape of book can be made.

This one simple binding could open up many avenues for personal expression. Add to this binding a simple cover--perhaps an elegant decorative paper. Fold the cover around the inside booklet, and sew it in place with the pages as they are bound together. You also may prefer to use a rich colored stock or perhaps pastel paper or watercolor paper with rich texture for the inside pages. You have hundreds of choices and every combination you come up with will be original and personal.

More advanced binding methods usually allow the inclusion of more pages. Most of these are based on a method that incorporates several "booklets" joined to a single "spine" or anchor point around which a decorative cover is placed. The techniques used are a bit involved, but easily mastered.

There are dozens of books at your local art supply store or library that offer all styles and types of bindings. Explore the possibility of creating your own sketch diaries, travel logs, personal journals and scrapbooks and see why bookbinding is of fast growing interest to today's creative spirits.

BookBits: The First Book of Urizen by English poet and artist William Blake sold at auction recently for $2.5 million. Blake used his personal etching method and then worked the image with watercolors. The book was paper-bound with the pages sewed together with thread--a complete work of art from beginning to end...The Women's Studio Workshop web site (www.wsworkshop.org) now includes an Artists' Book Archive with over 50 artists' books produced at WSW which are now out of print as well as selected pages from the more than 50 books still available. Artist's book residency grants are also available from WSW...Book as Art XI is on view through Dec. 31 at the National Museum for Women in the Arts, Washington, D.C.

Airbrush and Watercolor--A Personal Experience

by Kirk Lybecker

A problem that I have always had is that I can never get things right the first time. Watercolors, for instance. I couldn't get a wash to come out the way I wanted it to save my soul. I also have another mild quirk in that I am usually too ignorant of things to know when to give up. This combination of ineptitude and ignorance is what got me into using the airbrush and watercolors.

After I finished school in 1976, I got a part-time teaching job at a local community college. While I was teaching oil painting, the watercolor teacher went on sabbatical. The head of the department asked if I would like to fill in for his year, and I said that I would be glad to. However, I had only done about three watercolors in my life and they weren't even good enough to be called mediocre. So I started reading about watercolor in an effort to stay ahead of my class. The upshot of all this is that I did keep about a week ahead of my students. I could explain almost everything, but I never did get the hang of doing washes. So my demonstrations depended more on "smoke and mirrors" than anything else.

At the time, I was also getting into using the airbrush. I was having problems in that department, also, in that oil paint is a mess to clean from an airbrush. Putting the two together seemed preordained. I found the problem that I had with washes was that they seemed anemic when they dried. And unlike the oil painting, I couldn't change the color in particular areas of the wash. With the airbrush, however, I found that I could go back into the wash and build up its light areas with more pigment. This could be done without creating reset lines in the wash. Also, if I were doing a sky, I could add a light dusting of yellow to the horizon to create a perfect transition from green into blue.

From there it went downhill fast. I started to see the possibilities of the airbrush as the auxiliary tool for a watercolorist. As I became more skillful with the airbrush, I could use it in smaller and smaller situations, such as putting shadows into fairly discrete areas.

One of the things that an oil painter has over the watercolorist is the ability to glaze a color. You can get a deeper sense of color if you layer it up rather than try to get it in one pass. Problematically with the watercolor, you have to rewet the surface to get the color to flow. However, each rewet dims the color and tends to rough up the surface of the paper. But if you do a regular wash and then go back into it with the airbrush, you can build the color without the associated problems. The neat thing is that the glazing can be done with layers of a single color to get it to the saturation level that you want, or you can use a variety of similar colors to mold the color to meet your needs.

Since the paint in a watercolor wash tends to be absorbed by the fibers of the paper, it is rather hard to remove. But the paint applied with an airbrush tends to stay on the surface of the paper and is easier to remove for a touch of highlight.

Lastly, the thing that an airbrush does particularly well is blend colors. There is no color scheme so wild that you can't do it with an airbrush. I have always had a penchant for odd sets of colors and the airbrush makes even my rather bizarre taste achievable.

I have had a lot of fun with the airbrush over the years. It has helped me develop my personal vision of the world. Without it, I think that I would have achieved only some of the effects that are possible and at a tremendous cost in time. So here's to reducing the learning curve!

Ed. Note: Kirk Lybecker, MFA, has been a painter for the last 25 years and has taught at several institutions. He has had over 30 solo shows of his paintings, and his work is included in major collections. Kirk and his work have been featured in American Artist magazine (1998).

Art Show Scheduled--The Fourth Annual Art Methods & Materials Show will held at the Pasadena Convention Center, CA, from October 14-17. Sponsored by American Artist magazine, the show features more than 172 classes in fine art, decorative arts, and art marketing. The trade show exhibit (Oct. 15-17) features over 80 art materials manufacturers. See free demos, try a wide variety of art materials, paint a square on the world's largest canvas painted by multiple artists, and vote for the People's Choice Award in the floral art competition. Visit www.artmethods.com for complete information; or call 1-888-200-7895.

Festival Forthcoming--The 5th Annual Paradise City Arts Festival will be held October 9-11 at the Tri-County Fairgrounds in Northampton, MA. This showcase has been rated the #1 fine art and craft show in the Northeast U.S. by the prestigious Harris List. Information online at: www.paradise-city.com.

Portrait Society Events Scheduled--The American Society of Portrait Artists Foundation is sponsoring events September 18-19 in Chicago and October 23-24 in Hamden, CT. Portrait demos, slide presentations, portfolio reviews an Q&A sessions are scheduled. Call 800-622-7672.

Prints/Printmakers Receive Award--Adirondack Prints and Printmakers: The Call of the Wild, edited by Caroline Mastin Welsh, received an award from the American Historical Print Collectors Society, Inc., for its contribution to the "understanding and appreciation for prints as part of the history and culture of the U.S." Adirondack Museum and Syracuse U. Press-1998.

Arts Preserved--The Senate has voted 80 to 16 to extend the life of the National Endowment for the Arts. The vote tabled a bid to close the NEA by eliminating its fiscal 2000 budget of $99 million.

Exhibitions

--Fort Wayne, IN - Lincoln Museum - Lincoln From Life: As the Artists Saw Him - Through October 17. Forty-six paintings, sculptures, photos and sketches that Lincoln posed for between 1860 until his assassination in 1865 are included.

--Portland, ME - Portland Museum of Art - Love and the American Dream: The Art of Robert Indiana - Through October 17. This first exhibition to explore the two central themes of Indiana's artistic career includes more than 70 paintings, sculpture and prints from museums and private collections around the world.

--Brooklyn, NY - Brooklyn Museum of Art - Winslow Homer: Illustrating America - Through October 10 - This first retrospective at the BMA of the artist's wood engravings features more than 115 works created from 1857 to 1878, including some of his best-known Civil War images.

September Birthdays:
  2  Romare Bearden
  4  Oskar Schlemmer
  7  Grandma Moses
13  Robert Indiana
25  Mark Rothko

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Copyright ARTtalk Vol. 9 No. 11 -- September 1999