Drawing

Pencils Getting to the Point

As long ago as the time of the Pharaohs, marks on various materials have helped to document the history of the ages. Originally, these scribing instruments were nothing more than long strips of metal, cast into slender shapes and used to scribe faint lines and images on papyrus reed paper. Then slender sticks of lead were crafted, which left darker, more permanent marks. Although lead has not been used in pencils for over a century, this ancient identification still remains. Today's pencils have graphite cores, but the pointed centers are still referred to as "lead."

The creation of this graphite mixture is a process involving considerable precision. Large quantities of graphite and clay are placed inside huge drum grinders. These two components are crushed into a fine powder to which water is added and mixed well. After the excess water is pressed from this mixture, the sludge left behind is air dried and hardened for several days. It is then re-ground, forming an ultra-fine powder to which water is added, this time creating a soft paste. This paste is extruded into long thin pencil length sticks that are dried and then heated in a special oven to 1,800 degrees. This high heat insures a smooth and hard lead with uniform strength that will perform as expected in drawing and writing tasks.

Actual construction of pencils is very much the same as it was decades ago. Large blocks of wood are cut into slats. These slats are grooved and prepared for the insertion of the graphite sticks. Glue is applied to the surface of the grooved slats, and leads are placed into the slats. Two such slats are quickly joined together, sandwiching the lead stick in place. The exterior profile is shaped. At this point, razor-sharp blades slice through the remaining fragment of wood that remains between the two halves to form individual sticks. Slight sanding and up to eight coats of paint are then applied.

The last part of the construction is the addition of the metal collar, or ferrule, that holds the eraser in place. In the U.S., hundreds of tons of erasers are produced for the 2.8 billion pencils sold each year. However, in Europe most pencils sold do not have erasers.

Different grades, or varying hardness, of lead are accomplished by adding more or less graphite to the mixture. Extreme care is given to the formulas used to insure uniform repetition of pencil marking qualities. Graphite and clay can be combined in mixtures anywhere from 9H (extra hard), which leaves a barely detectable line, to 8B (very soft) and creates a near jet-black line. This means that there could be more than 25 variances in any given line of artists' graphite drawing pencils.

Different methods of sharpening pencils appeal to different "schools" of pencil users. A true pencil aficionado would never think of sharpening his slender collection with an electric apparatus. Instead, he might use an old-fashioned hand-crank style sharpener. But among devoted pencil persons, perhaps the most popular sharpening device is a small hand-held sharpener. This is said to give the most even point shape and the most control over the amount of sharpening with the least waste.

Some artists abhor super sharpness in favor of a slightly blunt point. Their sharpener would be less likely to have a catch-cup attached because the smell of the freshly shaved wood becomes part of the ritual. For this degree of appreciation, there is nothing quite like a jar of freshly sharpened pencils standing in wait for the next assignment or project.

Lastly, the drawing surfaces onto which pencil line is placed can vary greatly. Every type of paper from newsprint to all rag museum papers and from napkins to freezer wrap--holds possibilities, but most artists choose one or two surfaces that give them the "tooth" or texture they need to convey their imagery. Smooth surfaces are best for fine detailed drawings, and heavy textures like watercolor paper can be just right for abstract or experimental work. And don't forget those surfaces usually reserved for pastel--the sanded surfaces of gesso boards, which offer more avenues for exploration.

While we are on the subject of experimentation, remember that pencils are not just graphite. There are conte pencils, similar to hard pastels; charcoal pencils, in white and blacks; and watercolor pencils, ready to blend with the addition of just a bit of water.

In closing, here are some little-known facts about the pencil:

--A single pencil can write up to 45,000 words.

--A single pencil can draw a line up to 35 miles long.

--A pencil can write in zero gravity, upside down and underwater.

--Pencils were standard issue to soldiers during the Civil War.

--Thomas Edison kept a three-inch-long pencil in his vest pocket to jot down any important notes.

--Leonardo da Vinci often sketched in pencil.

--John Steinbeck used as many as 60 different pencils every day.

--George Washington is said to have used a short pencil as he surveyed the Ohio Territory in 1762.

--Wooden pencils date back to the 16th century.

Easy to carry, clean, widely varied and very spontaneous, pencils may be "the" medium for the new millennium.

Ampersand Art Supply High quality prepared wooden panels and accessory products including Claybord, Claybord Black, Claybord Textured, Gessobord, and Hardbord.

Art Marketplace

Spotlight on: Jacquard Products

Holiday Ornaments with Pearl-ExMarbleized glass Christmas ornaments are one of the hottest holiday craft projects, and they are easy to complete with Pearl-Ex from Jacquard.

In a paper cup, mix two teaspoons of Pearl-Ex, six teaspoons of white glue or clear acrylic, and two teaspoons of water. Pour the mixture into a clear glass ornament. Place a finger over the opening and turn to coat the inside completely. Remove any excess mixture.

Carefully blow-dry the coating, turning as it dries, until it stops running and is set. Air dry completely and occasionally turn the ball to avoid puddles.

As the mixture dries, it will shrink and crack. When it is completely dry, use another color of Pearl-Ex mixture. This is what gives it the marbled look.The application of an acrylic coating changes the finish from transparent to opaque. If you use a very dark color acrylic paint black especially you both "mirror" all the Pearl-Ex and change the interference colors. A white, gray, or pastel acrylic gives a polished stone look.

Pour colored acrylic paint into the ornament, cover the opening with a finger, and turn the ball to coat the inside. Pour out any excess, set with a dryer and air dry, turning occasionally to prevent puddles.

CAUTION: When setting glue mixture or acrylics with a hair or embossing dryer, be very careful not to overheat the ornament. Also, don't place the dryer right up to the opening, as you can burn the finish. As always, children should be supervised when using a dryer or handling glass ornaments.

For other projects, see the new book Perfectly Pearl-Ex by Susan Pickering Rothamel. Clearly written and illustrated projects demonstrate many techniques for using Jacquard's Pearl-Ex Powdered Pigments including faux finishing, stamping, backgrounds, fabric painting, and more.

See Jacquard Products online at www.jacquardproducts.com, where new additions include an Artist Gallery, Store Locator, and Frequently Asked Questions section.

Printmaking

Limited Editions Large and Small

Printmaking is a vast term that is seldom fully understood by the public and not often understood by artists who are not directly involved with the process. It actually means the replication of an image from some type of master plate, screen, block, etc. With so many types of electronically generated images bombarding us every day, it might be a good time to review some of the parameters and terminology connected to printmaking.

The first family of prints generically described will be those that are created by hand, without photographic processes.

When an artist takes a metal plate, creates a master image on that plate, inks the plate and presses it against special papers, the images he prints are considered etchings.

When an artist carves a wooden block to remove the material around a subject or image, the block can then be inked and printed to create original wood block prints (also called woodcuts). Artists often use a different wood block for each color.

Carving into a somewhat soft surface of special linoleum material creates linoleum prints. The image can then be printed much the same way as a wood block print. Note: During WWII, battleships were outfitted with special fiber-backed linoleum. The same type of material is still manufactured today and is the favorite carving medium for purist lino printmakers.

Stone lithography involves the use of a specially acid-etched stone. Once inked, the high spots print color and the slightly recessed areas do not print. The weight, size and difficulty of preparation, and the hazards of dealing with harsh chemicals make this a rarity.

When an artist creates a special screen design and pushes ink through this screen onto paper, the result is referred to as a silkscreen or serigraph. Multiple screens may be used to create different colors. Usually one screen is used for each color, and the screen is open only in the areas where that specific color is desired.

Presses are used in all but silkscreen printing to force the paper against a master plate, woodcut, etc., and to extract a sharp and precise image. Hand burnishing can often be substituted if a press is unavailable, but this increases the degree of difficulty and the amount of labor and time involved. In either case, whether the print is created on a special press or hand burnished to reveal the image, each print is considered an original. They are duplicates in a series of works and can be numbered and signed as a limited edition.

Works created during the development stages of the master plate are often referred to as artists' proofs. They are not considered part of the edition, but are nevertheless very collectable. Descriptions of the numbering methods follow below.

Other types of printmaking methods are used as well. Many are developed as the artist does experimentation is his studio: rolled prints, created with intricate carved master rollers; soft base materials that can be easily carved and yield

results similar to wood cuts; found objects pressed against paper. Virtually any textured surface can be inked and will create a useful texture for the printmaker. However, those methods that yield a flat master plate are most favored by printmakers because they speed the creation and quality of their artwork.

Numbering of editions is an interesting study. A print number usually consists of two different numbers, these being separated with a slash. The number to the right of the slash indicates the total prints that were created from the master plate, while the number to the left of the slash represents the exact order in which the prints were created. Artists' proofs, as stated, are created outside the limited number of any run, and it is practice for the plate to be destroyed or severely altered before other runs of prints can be created using it.

A second family of prints is that created by some type of photographic or electronic reproduction. Photographic lithography is the first method that offers all artists a way to create multiple images from any painting, drawing, pastel, or watercolor - nearly any medium could be photographically recreated. It is extremely popular because of the exact, repeated duplicates it creates.

Photolithography involves the four-color process in which an individual printing plate represents each color. As the plates are inked, printed and overlapped on the page, the image comes to be a realistic and true replication of the original artwork. These prints can be very affordable, can be created in a variety of sizes, and make the creation of artwork duplicates very easy. Prices vary greatly, depending on the number of prints created at any given time, the paper the work is printed on, and the quality/reputation of the printer.

Sources for printers can be located in any art magazine. Order samples, discuss your special needs, and examine all your options before settling on a deal.

TIPS: Order enough prints to make the printing process feasible, but avoid over stocking. If you can find a printer who deals in lower numbers, you can have prints made of several images rather than a large number of one image. Shop price and quality. Research the inks the printer uses; ask about their life expectancy and lightfastness. What is the rag content of the paper? High rag content means the paper will not discolor.

This is a good opportunity for artists to tap a second market, a clientele that is unable to afford originals. And it is a great way to enhance your income.

Holiday Gift Guide II

--The reformulated FIMO Soft from American Art Clay Co., Inc., is easier to knead and is ideal for mixing, while it remains strong and durable after baking. Now available in 48 colors (including six metallic, six fluorescent, and six transparent), a kit of 16-color or 10-color assortments would be ideal for the sculptor. --For the scratchboard artist, see Ampersand's Claybord Tool Kit. Contained here are two scratch nibs with wooden nib holder, stainless steel wire brush, parallel line tool, fiberglass erasing brush and oil-free steel wool pad, as well as a sample of Claybord. The tools may be used on Claybord, Claybord Black, or scratch art boards and papers. Or an individual assortment of tools makes a nice stocking stuffer.

--A great gift to follow the trend, be cool, and have fun is Temporary Tattoos from Artool Body of Art Products! These transfers are applied to the skin and then hand painted with Artool's Body Art Paint, available in 18 colors. The Master Tin Set includes 6 colors, brush, alcohol pads, talc powder, alcohol and « sheet of outline transfer sheet, while the Temporary Tattoo Mini-Kit includes 3 colors and ¬ sheet of outline transfer sheet. You won't be able to distinguish these from "real" tattoos, but they simply wear off in a few days or can be removed when desired.

With Artool's Airbrush Body Art, fantasy artwork is applied to the body with an airbrush using stencils and color blending for professional results. Choose from a wide selection of transfers and stencils.

--The fabric artist will be happy to receive an assortment of Deka Permanent Fabric Paints, available in 18 colors and clear, as well as eight metallic colors. These paints are ideal for brush painting, stenciling, stamping and airbrushing and can be used on natural and synthetic fabrics for professional results.

--The new Studiopack A/T from designstar is an artist's dream come true! This tote board backpack allows you to carry your tote board, pads and supplies to class, studio or the field hands-free. Just unclip the buckles and start drawing. The removable, waterproof supply case has plenty of room for all kinds of drawing tools.

--Make life simpler for an artist! Give her Fredrix Creative Edge Artist Canvas, which is pre-stretched, medium-textured, pure cotton duck that is mounted on heavy-duty stretcher frames and bonded to the back to allow painting on all edges. It comes double primed with acid-free acrylic gesso and is restretchable. Available in Gallery style with a heavy-duty stretcher and Traditional with a standard stretcher in a variety of sizes.

--Give a painter a revolutionary new product--the Genesis Heat-Set Synthetic Oil Colors Introductory Set. These colors perform similar to oil paints in mixing, blending, and opacity, but stay wet indefinitely and dry quickly at the painter's discretion when heated with the Genesis drying tool. Included in the set are five colors, glazing medium, Genesis drying gun, video and instruction manual.

--Graphic Chemical & Ink carries every tool or material the printmaker could wish for from A to Z! In addition to assorted printmaking tools, videos make great stocking stuffers, so choose from Printmaking-Relief Printing, Screen Printing, Innovative Non-Toxic Photo Etching, Water/Etch Acidless Etching, and Litho Sketch.

--The Iwata Custom Micron series of airbrushes from Medea Airbrush Products provides absolute precision for the elite professional who demands accurate control of very detailed spraying. The Custom Microns feature a special "head system" which has all of its parts matched and tested together as a set, adjusted, and retested until the spray characteristics are as perfect as an airbrush can be.

The Custom Micron B has the smallest nozzle and needle combination, providing the most precise and accurate control of detail spraying. The Custom Micron SC has identical features but has a side-feed cup, which is engineered for both right- and left-handed use. And the Custom Micron C is ideal for professional use where heavier paints are required or when larger work is being created.

--Go for the gold with the ultimate gift for the pastelist: Savoir Faire's Sennelier Millennium Pastel Set. This limited edition treasure chest is a one-of-a-kind presentation of Sennelier's historic range of 576 pastels, including the original color palette commissioned by Edgar Degas at the turn of the century. Presented in an exquisite mahogany case-- featuring 16 removable pastel drawers, a locking lid and bottom drawer--are one stick of every color created by Sennelier, as well as a C4 Pastel Pad featuring beautiful Ingres style pastel paper, paper blending stick and eraser.

Among those items appropriate for either gifts or stocking stuffers are the new Fabriano Artist's Diary featuring 12 colors of Ingres paper for each month and every emotion; Herbin Executive Scented (fountain pen) Inks for Men and Frosted Glass Pens; the new Isabey "Gold" Boxed Gift Set, which includes two essential watercolor brushes in a special edition set; and the new Etude Student Oil Paint Starter Set.

--SilentAire has a line of professional-grade compressors for both the beginner and the advanced airbrusher. The B1000 is a compact oilless compressor that weighs slightly more than 12 lb. and will fit easily into a tight work area. It delivers 36 psi of operating pressure and boasts a 1/6hp motor. This makes it the most powerful and affordable in its class. It is available with or without a foot switch.

The Mac-A is the next step in SilentAire's oilless compressor lineup. It features an automatic shut-off for on-demand 40 psi of operating pressure. This eliminates any noise factor when not airbrushing and prolongs the life of the compressor. It also features four rubber suction feet to prevent skating along smooth surfaces. The Mac-A is ideal for higher power applications, e.g., epoxy/urethane and textile finishes. Either of these compressors makes an excellent choice for the airbrush enthusiast!

And, lastly, more books to consider:

--Dr. Seuss is renowned for characters such as the Grinch and the Cat in the Hat, but did you know he also engaged in WWII political satire by drawing cartoons for the New York daily PM in the early 1940s? Two hundred of the drawings have now been published in Dr. Seuss Goes to War by Richard Minear. The New Press.

--Washington Irving's classic, Rip Van Winkle, has been retold and illustrated by Will Moses, great grandson of Anna Mary Robertson Moses. This 20th century edition of Irving's tale is published by Philomel Books and may be a classic in its own right.

--Colored Pencil for the Serious Beginner by Bet Borgeson is a sophisticated guide that shows readers how to develop from a serious beginner into a dedicated professional artist. Borgeson opens with an overview of the methods unique to colored pencil; covers the basics of drawing, composition, and color; illustrates her practical instruction; and shares her special techniques for creating still lifes and landscapes. 144pp, Watson-Guptill Publications.

--The pièce de résistance just may be Art: The Critics’ Choice. This sumptuously illustrated book would beautifully grace any artist's coffee table or bookshelf. It brings 2,000 years of art to life through exemplary works presented chronologically within ten periods, ranging from the Middle Ages through the late twentieth century. Noted experts open each period with a general overview, followed by self-contained essays on 15 works of art. Edited by Marina Vaizey and introduced by John Russell. 368pp, Watson-Guptill Publications.

Airbrush

The Airbrush Painter's Workstation

All airbrush artists have a preference for the manner in which they work standing, sitting, at an easel or an art table, or maybe flat on a worktable. Several factors dictate the artist's manner of working: the size and weight of the painting, the type of support it's on (stretched canvas, watercolor paper, illustration board, etc.); and the medium (paint) being used.

Easels - Airbrush artists commonly use an easel, and there are a variety of types for a variety of applications.

Studio easels, which are free standing and adjustable, are normally used for painting works of art on canvas and prepared panels. They can be adjusted in height and in angle and come with or without winches for crank adjustment. Studio easels are usually employed for large works of art completed in acrylics or oils. They are designed to hold the stretched canvas so that the entire front plane is accessible to the artist. A table easel, of course, is placed on a table to hold a stretched canvas. All easels can accommodate a drawing board or sheet of plywood or Masonite when the artist works on a paper surface, which requires a stiff backing board. A watercolor easel is designed to hold a sheet of paper that is worked on flat or at an extreme angle.

TIP: When working on a 90-degree angle, the airbrush artist must use either hand-held stencils or those that are self-adhering.

To use stencils that are not self-adhering (acetate, shields, etc.), work on a sheet of steel as a drawing board and use magnets to hold the stencils in place.Tables Drafting and drawing tables are often used in airbrush technique when working on paper surfaces. They come in a variety of sizes and have a very smooth, flat surface that can be adjusted in elevation. There are four-posted, pedestal, and folding drawing tables, and you can work on these from a flat to a 90-degree position and upon virtually any surface you wish (paper, illustration board, canvas, etc.). They are not, however, suitable for very large paintings.

TIP: For drawing and drafting tables, magnetized rubber surface covers are available so the airbrush artist can use thin strips of metal to hold stencils in place.

Light Tables/Light Boxes--For smaller works of art, these work surfaces are particularly handy when you want to use a line drawing as a guide underneath a sheet of paper. With these, you can cut your friskets and stencils without pencil lines on the work surface. A light table is free standing, while a light box is placed on a table.

No matter what type of surface you work on, in airbrush technique you must make sure that it is situated close to electrical power, ventilation, and your air source. The air regulator should be as close as possible to the workstation. In most cases the regulator should be equipped with a moisture trap, from which is attached the airbrush hose. The regulator/moisture trap/hose configuration can be attached to a taboret or table next to the easel, drawing table, or light box. Ventilation can be achieved with an exhaust system over the work area, a window fan close to the workstation, or a circulation fan that blows over the area and moves any overspray toward an exhaust fan. Additionally, you will need an electrical outlet to power the compressor and the exhaust fan, as well as adequate lighting.

Airbrush artists, like all other artists, have their own special requirements and work methods. Some may find that putting two level nails in the wall and hanging the stretched canvas will suffice.

ArtPourri

Auction Results In Christie's sale of Impressionist and post-Impressionist art found 48 buyers for 52 works offered for a total $88.2 million. A Monet "Waterlilies" sold for $22.5 million. Of 53 works offered at Christie's sale of 20th century art, 38 found buyers. Picasso's "Nude on a Black Armchair" brought $45.1 million. At Sotheby's, 44 of 46 works found buyers, with Picasso's "Seated Woman in a Garden" selling for $49.5 million, the second highest price ever paid for a Picasso. On another night, Modigliani's "Nude Sitting on a Divan (The Beautiful Roman Woman)" sold for $16.7 million, a record for the artist.

Conference Scheduled "Innovation-Transformation-Contemplation," the 11th International Surface Design Conference, will be hosted by the Kansas City Art Institute from May 29 to June 9, 2000. Numerous exhibitions related to the conference theme and textiles in general will coincide with the conference. Entry deadline for both the "Up and Coming" International Student exhibition of works in Fiber and the "Measure for Measure" International Yardage Exhibition is February 1. Call (816) 836-0913.

Judge Rules Re the controversy over the "Sensation" exhibition at the Brooklyn Museum, a federal judge has ruled that city officials violated the Constitution by cutting off funds to the museum in retaliation. The city had withheld a $497,554 payment and then sued in state court to evict the museum from a city-owned site it has leased for over 100 years.

Needy Helped--Arts Against Hunger combines support for the arts with a focus on feeding the hungry. Participants join one of the many food drives held in communities across the country and receive a special discount on the arts event. For further info, call Foodchain (900) 845-3008 (www.foodchain.org) or SecondHarvest (800) 532-FOOD (www.secondharvest.org).

Paintings Returned Three paintings stolen 21 years ago from the M. H. de Young Memorial Museum have mysteriously appeared. The four damaged 17th century paintings were left anonymously in a box at the William Doyle Galleries auction house in Manhattan.

Exhibitions

New York City--Metropolitan Museum of Art--The holiday tradition continues with the annual presentation of the museum's Christmas tree and the Neapolitan Baroque Crèche with more than 200 18th century crèche figures. Through Jan. 9. Also, "Egyptian Art in the Age of the Pyramids" includes sculptural and decorative arts from Egypt's Old Kingdom. Through Jan. 9.

Philadelphia--Philadelphia Museum of Art--"The Kingdoms of Edward Hicks," one of the best known American folk painters, features more than 80 works of art and includes paintings and decorated objects, as well as important manuscript materials. Through Jan. 2.

Portland, ME--Portland Museum of Art--"The Grand Moving Panorama of Pilgrim's Progress" showcases one of the most popular moving panoramas of its time (1850-51) that was just recently rediscovered. "Panorama of Bunyan's Pilgrim's Progress" depicts John Bunyan's religious allegory "Pilgrim's Progress." Through Jan. 2 and then to the Wichita State Museum.

Wichita, KS--Wichita Art Museum--"Maurice Prendergast and His Associates: American Impressionist and Early Modernist Works on Paper" from the WAM Collection features two Murdock Collection watercolors by Prendergast and 14 additional watercolors and pastels by American artists of the period. Through Jan. 2.

Atlanta--High Museum--"Norman Rockwell: Pictures for the American People" features more than 70 oil paintings and 322 Saturday Evening Post covers. Through Jan. 30; then travels to Chicago, Washington, San Diego, Phoenix, and Stockbridge, MA.

St. Petersburg, FL--"Winslow Homer Graphics" features 88 wood engravings that Homer produced between 1857 and 1880, many of which were created for leading American publications. Through Jan. 30.

Springfield, MA--Springfield Library and Museums Association--"On the Road with Thomas Hart Benton: Images of a Changing America" features more than 75 of Benton's paintings, lithographs and drawings from his travels throughout the U.S. Through Jan. 9.

Winterthur, DE--Winterthur Museum, Garden & Library--Experience the holidays as seen through the eyes of past generations of America's children during "Visions of Sugarplums: Yuletide at Winterthur 1999." Through Jan. 2.

Worcester, MA--Worcester Art Museum--"Alphonse Mucha: The Spirit of Art Nouveau" features more than 100 works by the avant-garde artist who pioneered art nouveau at the turn of the century. Through Jan. 2.

Washington, DC--National Museum of American Art--"Edward Hopper: The Watercolors" features 56 watercolors made between 1923 and the mid 40s, ranging from early scenes of Gloucester and Cape Cod to works painted on trips to Mexico and Charleston. Through Jan. 3.

Chicago--Field Museum--"Cartier 1900-1939" celebrates the jewelry company's centennial and includes more than 200 examples of Cartier's work. Through Jan. 16.

Dayton, OH--Dayton Art Institute--"In Praise of Nature: Ansel Adams and Photographers of the American West" includes 70 images by Ansel Adams among an exhibit of 150 rare photographs. Through Jan. 2.

Birthdays:

    5  Walt Disney

    7  Stuart Davis

  12  Edvard Munch

  15  George Romney

  31  Henri Matisse

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Copyright ARTtalk Vol. 10 No. 2 -- December 1999