Impasto Technique

Impasto, a term that is used to cover a wide range of paint application techniques, deals primarily with the thickness of oil paints and the way these are applied to canvas or other painting surfaces. Texture--and the visual stimulation that thickly applied paint can bring to the viewer, not to mention the painter is the name of this game. So if you are experiencing a lull in your artwork or want to try something that might enliven and jumpstart your creativity, impasto may be the solution.

Artists have used impasto techniques for centuries to give extra dimension to their works. Monet used thickly applied underpainting in his works, especially the haystack and cathedral series. His mastery of the technique reflects a near vibration of the surface. The use of an irregular thickness of paint and the interaction on the surface of these textures draw in and hold the eye of the observer.

Rembrandt used impasto in his own personal way as a highlight rather than overt texture. His application was more to enhance an object or facial feature and to focus attention on that area of the painting. Other artists have used this occasional texturing technique to achieve the same result, and there is special excitement when this technique is done well.

The surface upon which you paint is part of this process. Many impasto artists like to work on a rigid substrate, such as specially surfaced Masonite--Claybord. Others use canvas that has multiple gesso layers. Masonite can be surfaced with repeated layers of gesso or actual oil paint. Both of these bases can be toned so that the textured surface adds an underglow of color.

Canvas should be stretched quite tightly, and the surface should be dampened so that it is as taut as possible. Remember that the thickly applied layers of paint will weigh heavily on the canvas. Improperly stretched canvas could allow movement of the substrate and thereby damage the finished work.

Whether you are using Masonite, other wood substrate, or canvas, creating a textured basis upon which to paint is the initial step in impasto. This is done, most often, without regard to specific placement of subjects. Produce this texture with the tool of your choice, creating a crosshatch of brush strokes of uneven, related sections. Your subject is then painted over this textural base.

Underpaint application can be a way to relax otherwise constricting or restricting painting habits. By applying this base paint in a more freeform and loose manner, with no attention to small details, you are able to concentrate on the large blocks or masses of color. It might also lead you into a more stylized expression in the finished work as well.

The tools used to apply the paint, or underpaint, can vary greatly. Many artists simply super-charge their paintbrushes and apply paint with the same type of stroke and motion that they use to create their smooth surfaced artworks. Some artists, having adopted the philosophy that the older a brush gets, the better it gets, consider application of paint - regardless of the situation - done with anything other than a brush a near sacrilegious action. Application with brushes can be as simple as rolling a paint-charged brush onto the painting surface to achieve a thick painted line. Repeated charging and dabbing the brush hairs against the surface can yield a mottled and highly textured surface. Multiple layers can be built up to create a super texture.

Other artists choose painting knives of various blade shapes and sizes to apply and control the thick super structure of their paintings. Once thought of as gadgets for trick effects, palette knives have proven themselves to be of real importance and value to any painter. Choose the blade length, width, and flexibility that give you the texture and result you want.

Texture is what you are trying to create, so you might want to leap right into unconventional tools--perhaps small spatulas or flat wood strips--to apply paint. Once the paint is in place, it might be desirable to create additional or unusual texture. Crushed foil, paper or plastic bags (though messy) can create most unusual surface variations. You should consider nothing sacred when it comes to texture application. If a sponge gives you the look you want, use it! If the edge of an eraser can be used to "shovel" the paint or gesso into the shapes and configurations you want, what is the harm?

In the strictest sense of the word, impasto can be created as the work progresses. In fact, that is the method of choice by most impasto purists. Control of the texture and degree of dimension to the surface can best be controlled as the work is developed. Different tools and brushes can be used throughout the process so that the exact texture is created in the exact place desired.

One important use of impasto is as a highlight or luminescent technique. A smooth surfaced work, with only moderate brush strokes visible, can come alive with a few simple, yet thickly applied highlight areas. This is especially true in paintings where there are many dark areas. The application of a sharply contrasting light spot can make the work spring to life.

But, whether a simple application of highlight, a moderate textural amplification, or a full-blown underpainting and over layers of paint, impasto is one method to generate visual interest in your paintings. And, although impasto is usually linked with oil, the same techniques can be applied to acrylic painting as well.

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

Kids' Korner

Old Fashioned Baskets - New Twists

While this project has been selected for the Easter season, these baskets could be crafted and used at almost any time of year to create unusual containers, especially unusual gift containers, or given as the gift itself. This method of decoration is actually an old one, originating in the l950's.

Materials needed for your project follow:

1. A cardboard, lidless box the shape and size you want your basket to be. You will use this box as a base and will attach decoration to it. Art and craft stores offer great ideas, since boxes come in many shapes and sizes and are specifically designed for craft use. However, one of the best box bases is a recycled oatmeal box cut in half to form two round cylinders, one with a bottom and one with a lid attached.
2. White glue or permanent glue stick. Light papers can easily be glued with a glue stick. Heavy papers will require something like Elmer's glue.
3. Scissors.
4. Wire for a loop handle (if a handle is desired). This wire should be similar to coat hanger wire that is strong enough to hold its shape when the basket is lifted. The length needed should correspond to the size of your base box, but 18" would probably be enough for any size base you will be using.
5. Paper. This can be any type of paper you wish. Soft papers that can be twisted and shaped, like crepe paper and tissue paper, are good. Lightweight wrapping papers, decorative artists' papers, and even brown Kraft paper or construction paper can create dynamic looking textures and great possibilities.

Begin by lining the inside with your chosen paper, bringing the lining over the top edge at least one inch. Fold that paper down to finish what will be the top edge of the basket and glue into place. Pierce holes one inch from the top of the box and insert handle wire. Bend to hold, then cover it with two layers of paper cut into 1" strips, gluing the tails at the start and end of the wrap to the outside of the box. To cover the outside, cut the paper into wide leaf shapes or ovals. If the paper is stiff and has enough body, you can shape the "leaves" as you apply each one with adhesive. Apply glue to the wide base of the leaf shape and attach it with the point up. Layer edges of leaves, covering the base with rows and layers.

These baskets look festive when lined with colorful tissue paper or "grass" and filled with decorated Easter eggs, homemade cookies or candies. Store the baskets in plastic bags for protection from dust and moisture, and they can be used year after year.

Contests for Kids

Fish Art Contest

Wildlife Forever, a non-profit conservation organization dedicated to preserving America's wildlife heritage, is sponsoring a State Fish Art Contest. Open to children living in the U.S. in grades 4-12, they must draw their state's official fish in its natural habitat and write a one-page composition about that fish. Three winners in each grade group will be selected from each state for a total of 150 winners plus three Best of Show awards. Winning artwork will be showcased at the Mall of America, Minneapolis, MN, from June 2-4 and on the web for one year. States without an official state fish have a "preferred native" fish. Information and entry forms are available by calling toll-free 1-877-347-4278 (allow two weeks) or may be downloaded or printed from the Internet. All must be sent via regular "snail mail" and postmarked by March 31. Visit www.statefishart.com for further information.

Annual Art Contest

"Transportation in the Future" is the theme of WCNY's 27th Annual Art Contest. All students in the viewing area (upstate New York) are eligible to submit one entry, and entries will be judged in four divisions: Primary (K-3), Intermediate (4-6), Junior (7-9), and Senior (10-12). Artwork in any two-dimensional medium may be submitted. For particulars, call (315) 453-2424, Ext. 235. Deadline: March 31.

Winter Creations

Like it or not, winter is still with us for a few weeks, and most children are infatuated with snow. It provides an abundant and free medium for creative as well as recreational "projects." Snowmen: Snow Creatures, Crafts and Other Winter Projects by Peter Cole, Frankie Frankeny and Leslie Jonath provides 30 recipes for making everything from snowmen to snow creatures to other indoor winter craft projects. Chronicle Books.

Illustrations Acknowledged

The American Library Association has announced the winners for children's literature in illustration. The prestigious Caldecott Medal was awarded to Joseph Had a Little Overcoat (Viking), written and illustrated by African-American Simms Taback in watercolor, gouache, pencil, ink and collage. Four Caldecott Honor Books included Sector 7, The Ugly Duckling, When Sophie Gets Angry Really, Really Angry, and A Child's Calendar; and two King Honor Books included My Rows and Piles of Coins and Black Cat.

Art Marketplace

New Compressors From Iwata-Medea

Iwata-Medea, Inc., manufacturer and distributor of fine airbrushes, has just introduced the new Iwata Studio Series Jet Compressors, featuring "Sprint Jet Power" and "Smart Technology." Powerful and compact, these three new compressors represent today's technology at affordable prices. A few of the high-end features include zero maintenance, oil-less piston-driven systems, mounted air pressure gauges and moisture filters, rugged air on-demand reliability, and smooth, quiet operation. The true beginner, casual, or professional airbrush user may choose from the powerful and compact Sprint Jet, the quiet automatic shut-off Smart Jet, or the dual oil-less piston Power Jet with a large capacity air storage tank and "Smart" technology. See your retailer. The complete Iwata-Medea-Artool catalog is on the Web at www.iwata-medea.com.

New Catalog from AMACO^®

American Art Clay Co., Inc., has announced that the new 2000 catalog is now available for distribution. Featured are products and equipment recently added to the extensive AMACO^® line: Kiln Vent; Majolica Gloss Decorating Colors; a new non-toxic Kiln Wash; Easy Squeezy™ Clay, Kids' Clay Tools; PlasterForm^™ Plaster Cloth; ArtEmboss™ Soft Metal Sheets and Tracing Patterns; WireMesh^® Wire Fabric; FIMO^® Soft, Soft Sets and Classic; and new books; as well as Genesis Artist Colors™, the fine art paint of the future that stays wet and workable until it is set with heat. A full-color brochure and price list for this revolutionary new art paint can be requested separately. In addition, the four-color catalog showcases a variety of paintings created by artists and students using Genesis Artist Colors™, as well as dozens of art pieces made with AMACO^® products. For this free catalog, call or write American Art Clay Co., Inc., 4717 W. Sixteenth Street, Indianapolis, IN 46222; (800) 374-1600. On the Web at www.amaco.com.

Drawing Trees from North Light Books

Drawing Trees Step by Step by Stanley Maltzman provides clear, step-by-step instruction, charming art, and a pervasive mood of communing with nature through art. Using pencil and charcoal, artists will learn how to draw trees of all kinds from a lone, mighty oak to untamed clusters of conifers or birches as well as delightful textures and details such as knotholes and spider webs. This book taps into today's ever-growing environmental consciousness and the corresponding demand for this type of artwork. North Light Books.

Spotlight On: Liquitex^®

Liquitex^® Soluvar^® Final Removable Picture Varnishes Part II

Thinning

If necessary, thin with up to 25% mineral spirits or turpentine. Do not use Odorless Mineral Spirits or water. Thinning increases penetration and can make application easier. Over thinning may result in weak varnish film, poor adhesion, running and soaking into substrate.

Spray Application

• Use for textured surfaces (thick impasto, thick textures), where brush application may result in foaming and fragile surfaces (watercolor, tempera, graphite, pastel, gouache), where brush application may disrupt drawing or painted surface.
• Use a spray gun such as the IWATA RG-2, with a large gravity feed 5oz. covered cup, which is adjustable for spraying at different angles. The RG-2 also features adjustable spray diameter and volume.

1. Select air pressure (PSI) depending on air gun used and viscosity of varnish. Greater PSI permits thicker varnish to be sprayed, but may affect fragile surfaces. The IWATA RG-2 operates at pressures between 30 and 50 lbs.
2. Two to three light, even coats are better than one thick coat.
3. Spray a continuous film by moving the spray gun in a smooth motion from one side of the painting to the other. First coat horizontal, second coat, third coat horizontal, etc.
4. During spray application maintain same distance across the surface of the artwork. Move your body as well as your arm to avoid "arching" motion and uneven application.
5. Wear a dual filter NIOSH-approved respirator and provide adequate ventilation.

Varnish Removal

• Remove varnish in a clean, well-ventilated area.
• Wear a dual filter respirator (NIOSH-approved) and neoprene gloves. Dampen a small piece of lint-free, soft, white cloth with mineral spirits (not "odorless") or turpentine nothing stronger. Do not use ketones or paint removers.
• Work horizontally. Apply mineral spirits generously and allow it to lie on the surface for 15-30 minutes. Check periodically. Longer time may be necessary, depending upon age of artwork and strength of mineral spirits. If varnish is not dissolving or is dissolving slowly, use a higher strength mineral spirits or turpentine. (Cover with plastic to slow down evaporation of mineral spirits.) Stronger mineral spirits are not labeled as such, but have a stronger odor.
• Rub cloth gently over a small area 1-2 square inches until varnish starts to dissolve.
• Using a clean cloth and clean solvent, rub the area again to remove residue. Repeat this procedure for the entire area to be cleaned. If any paint color shows on the cloth, stop immediately and allow the surface to dry.
• Allow painting to dry before reapplying a fresh coat of Soluvar^® Final Picture Varnish.

Glass

Fused Glass: Primitive Art Elevated to High Tech

Documentation reveals that fused glass was first created around 2000 BC; and by 1500 BC, the Egyptians and Romans had learned to control the fusion properties and had begun to create uniform glass objects. When blown glass was invented (around 500 AD) fused glass fell from popularity. Objects could be blown from molten lumps of glass and items crafted faster and more intricately than with fused materials. During the Art Nouveau period (1880 to 1920), glass fusion was revived--perhaps saved-- from total obscurity. There has been a slow but steady resurgence of interest in this exciting and colorful art form since that time.

Through the ages, the concepts of glass fusion have remained the same. In the simplest of terms, glass is heated until soft. This frequently requires temperatures up to 1,800 degrees Fahrenheit. Factors such as glass thickness and quality determine the melted "fusing" temperature needed. At the soft stage, glass fuses to itself and to other glass with which it makes contact. The result is a bonded form which, when cool, is a single solid piece. Several layers can be built up during subsequent heatings. Care should be taken with the entire process, as glass reacts to quick heating and cooling. Cracks that can render an object useless can occur well after the piece is cool to the touch. Internal stresses can cause multi-layered works to self-destruct over time.

Not all glass reacts well to heating, and some glass is not suited to fusing. Tests should always be conducted to determine the compatibility of any glass you wish to use in projects. The problem most frequently encountered is one of melting temperature differences. Fusion will not take place unless all glass in the project melts enough to "bond" to the others. Your can purchase with confidence from dealers who supply materials to glass fusion artists. It is the "found" object glass that can cause disappointment in your creative process.

Design of your projects is another element that must be studied. As most glass starts to soften and melt, it draws back on itself--almost shrinks. Very soon after this stage, the glass flows. Catching the exact moment just before the material becomes a flowing mass is a must. And using compatible glass insures that this stage will occur at the same time for each element of the design.

No special cutters are required for cutting glass for fusing. Any cutter will do. However, there are special swivel-headed cutters that make curved and flowing lines easy to cut. Most fusion artists create layers of cut and broken pieces to form a mosaic type approach. Score the glass and snap immediately along the score line. Old fashioned as it may sound, it is the favored way in which to cut shapes. Using shards and scraps of glass from the "variety" packs available through material retailers is another way to create "freeform" designs. Easy, fast and very spontaneous, the shapes and colors seem to create themselves.

To soften the glass, a small tabletop kiln is used. It resembles an overturned bowl that is fashioned from high temperature refractory materials that enable the artist to fire to temperatures of nearly 2,000 degrees. The kiln "furniture" (shelves and supports) is made of special material that can withstand the temperatures without warping.

The actual firing of the special glass fusion (jewelry) kilns is simple. Most have small capacities and have unsophisticated controls that simply start firing and stop only when the operator cuts the power. While this is not automated or fancy, it allows the manufacturer to offer a kiln at a very reasonable price--one that works well and is uniform in its performance. Slumping (heating glass above an indented form which catches and shapes the hot glass to form bowls, etc.) can also be done in the same kiln. The trick is to locate slumping molds that can fit within the limited firing chamber of the small jewelry kiln.

Some minor adjustments may sometimes be necessary when the edge of a piece of fused glass ends up sharp or for some reason is chipped. Grinding the edge is possible with a diamond bit grinder or refiring can often alleviate the sharpness.

Waste is very minimal, as each small chip and shard can be used as surface embellishment for jewelry or small sculptural forms. Dynamic metallic glass is available for the experienced glass fusion artist. Bulk glass perfect for experimentation and early projects is sold by the pound and usually comes in mixed colors. Costs to start up are minimal, the largest being the purchase of the kiln. Keep in mind, however, that results can be very marketable. The color and shine of glass jewelry and objects makes them very desirable.

When you are ready to leap into another art form, one that offers copious colors, unlimited design possibilities, low profile three-dimensional work, and high profitability, look to fused glass.

Cautions: This article is an introductory overview and not intended as complete information, and you should consult other sources on the subject. Safe habits and clear thinking should be part of the process when dealing with molten glass. Always wear protective eyewear when peering into a red-hot kiln. Gloves and special protected work surfaces are also necessary. Kiln furniture should be painted with a special solution to allow the removal of the fired glass. But these requirements are a small price to pay for the resulting beauty you will pull from your cool kiln. No two pieces will be alike!

Glass Museum

The Corning Museum of Glass in Corning, N.Y., is undertaking a $62 million renovation. In June '99, the Museum debuted major new facilities including the Glass Innovation Center, which includes three galleries that tell the stories of world-changing technological breakthroughs in glassmaking; a glass Sculpture Gallery; a new glass entryway; the Nature of Glass Theater, which awakens visitors to the power and magic of glass; new glass shops and restaurant. Throughout 2000 the final components will open, including the renovated Art and History Galleries with a renewed exhibition of the world-renowned collection; the Regional Visitors Center; the new home of the Rakow Library, the world's library of record for glass; and Crystal City, and exhibit on the history of glassmaking in the town of Corning. Open daily from 9-5; from 9-8 in July and August. For info, call (800) 732-6845 or visit www.cmog.org.

Stained Glass Web Site

Art Glass World, sponsored by Delphi Stained Glass, is located on the Web at www.artglassworld.com. Stained glass artists will find a good variety of information on supplies, magazines, retail stores, new products, education, glass studios, and more, as well as free patterns and an upcoming calendar of events that will feature classes, seminars and events across the country.

Airbrush

A Little History — Part II

Liberty Walkup - The Years 1882-1892

In 1882 Liberty Walkup purchased the patent to the "paint distributor" airbrush invented by Abner Peeler. Walkup's wife was a trained portrait photo retoucher, the occupation for which the airbrush was invented. With her help and ability to demonstrate, Walkup introduced the airbrush at a photo convention in Indianapolis, Indiana. It was met with curiosity more than anything else. Some thought perhaps there was a trick involved--a sleight of hand performance. It seemed impossible that such effects could be achieved with the airbrush and, hence, it was not a success. However, Walkup saw potential.

In 1883, Walkup, with a group of investors from Rockford, Illinois, formed a company that offered fifty thousand dollars worth of stock. This enabled him to form The Airbrush Manufacturing Company of Rockford, Illinois. In 1884, with improvements made by Peeler consisting of the revolutionary "walking bar" and a hard rubber handle to enhance appearance, the new and improved airbrush was introduced and became an immediate success.

Walkup was now well on his way to starting an airbrush dynasty. In 1886 he formed the Illinois Art School, which specialized in airbrush technique but taught other disciplines as well; it was housed in the same building as his airbrush company.

When Walkup sold an airbrush, he also gave lessons in its use. At this time the retail price of a complete airbrush hookup including airbrush, air storage tank, and pump was $45.

Throughout the 1880's, the airbrush was presented at many photo-related conventions. When it was demonstrated at a photo convention in Milwaukee, it became an instant hit and was favorably written up in the Philadelphia Photographer, a leading magazine of the time. It was also awarded gold medals from various institutes and exhibitions such as the Franklin Institute and the Exhibition of the American Institute of the City of New York, among others.

To increase his exposure and network in the realm of airbrushing, Walkup published the Airbrush Journal. This quarterly publication made its debut in January 1891 with a subscription rate of twenty-five cents per year. At this point, Walkup not only manufactured the airbrush and ran the school that taught its application, but published the only journal dealing with the trade; he had the world of airbrushing "locked up." In that same year, The Airbrush Company of Rockford, Illinois, produced 15,000 catalogs that were distributed to consumers throughout the U.S.

During this time, Chicago was the focal point of the photo-retouching industry. Once a month Liberty Walkup traveled there and stayed at the Sherman House to make himself available to answer any questions in regard to airbrushing. Everything seemed to be running smoothly; however, little did Walkup know that on the horizon loomed the invention of the internal mix airbrush (1891). This new type of airbrush, in which the air and paint mixed inside the tip, produced a softer, more delicate spray. It would soon displace the oscillating paint distributor as the predominantly used airbrush.

ArtPourri

New Cyber Art Competition The San Francisco Museum of Modern Art and the International Academy of Digital Arts and Sciences have created a new Webby Award to recognize and encourage artists working in online media around the world. The SFMOMA Webby Prize for Excellence in Online Art will offer $50,000 to an artist or artists for a body of work whose primary focus is to be experienced online and that explores and expands the distinctive capacity of the online medium. Winning artists will have their work exhibited in "e.space," SFMOMA's new online gallery. Winners will be announced at the Webby Awards 2000 on May 11. Deadline: March 14. Call (415) 357-4000; www.sfmoma.org.

Sculptor Chosen Artist Glenna Goodacre has been chosen to create the Irish Memorial, a sculpture to commemorate the 150th anniversary of the Irish famine. Measuring 12 feet high and 25 feet long, the work will feature more than 25 figures in silicon-bronze and will be installed in a park at the Penn's Landing district of Philadelphia, where many Irish arrived.

Milestone Comic book artist Gil Kane has died in Miami at age 73. Kane was known for his dynamic figures (Green Lantern, the Hulk, Captain Marvel, Spider Man, etc.) and innovative fight scenes between them.

Gifts Donated Peter Norton, California software entrepreneur, and his wife are donating Nearly 1,000 works of art by more than 450 artists to 29 institutions. Mostly dating from the '90s, the works are valued at more than $3 million Raymond and Ruth Perelman have donated $15 million to the Philadelphia Museum of Art. The museum will use this, the largest cash gift in its history, to acquire and renovate an Art Deco structure across the street, which will add 100,000 sq. ft. of space.

Painting to be Returned After confirmation that Madonna and Child in a Landscape (1518) by Lucas Cranach the Elder was indeed stolen by the Nazis during WWII, the North Carolina Museum of Art will return the painting to its rightful owners in Austria. Deeded to the museum by a California art collector in 1964, this was one of its most prized paintings.

Attendance Records Set According to the New York Times, record numbers attended U.S. museum shows last year. Over 800,000 people saw Van Gogh's van Goghs at the Los Angeles County Museum of Art; over 400,000 saw Egyptian Art in the Age of the Pyramids at the Metropolitan Museum of Art; and nine other exhibitions drew crowds of more than 300,000.

Exhibitions:

Detroit, Michigan Detroit Institute of Arts Van Gogh: Face to Face is the first exhibition of portraits by Vincent van Gogh. This major exhibition celebrates the artist's commitment to and love of portraiture and features 50 paintings and drawings that are brought together from an array of public and private international collections. Opens March 12 through June 4. Travels to Museum of Fine Arts, Boston, and Philadelphia Museum of Art.

Omaha, Nebraska Joslyn Art Museum Dale Chihuly: Inside and Out. Featured are art glass sculptures and large-scale "environments" created by the world renowned artist for museums and universities, as well as train stations, outdoor sanctuaries, and other public spaces. Through June 4. Travels to Knoxville Museum of Art.

New York City National Academy of Design 175th Open Annual Exhibition. This annual exhibition is America's oldest, continuously held juried art competition and has attracted America's finest visual artists. Some 160 juried works painting, sculpture, watercolor and graphics are on view through March 26.

Columbus, Ohio Columbus Museum of Art Illusions of Eden: Visions of the American Heartland. This exhibition features installations by four contemporary artists and art and artifacts from the 1920's through the 1940's and explores the cultural identity of the Middle West. Through April 30. Travels to Madison Art Center, WI, in February 2001.

Washington, D.C. Corcoran Museum Annie Leibovitz: Women Celebrating the status of women at the end of the millennium, this show features more than 70 portraits of women who have made significant contributions to contemporary culture. Through April 3.

March Birthdays:
  6    Michelangelo Buonarroti
  9    David Smith
14    Diane Arbus
19    Joseph Albers
21    Hans Hofmann
30    Francisco de Goya

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Copyright ARTtalk Vol. 10 No. 5 -- March 2000