Scratchboard--A Detail Lover's Dream

Scratchboard is a simple concept You scribe or scratch lines into a black drawing surface to expose a white under color. But there is so much potential with this technique that provides great contrast and is easy to do. Once considered a less than serious art material, or perhaps a material best suited to children's art, scratchboard has been elevated to a much higher level through the refinement of composition and the introduction of new products created for use by professional artists.

The most basic of scratch art materials is actually scratch paper. It consists of strong, lightweight paper that is first coated with white or brightly colored chalk and then covered with black ink and is the least expensive scratch art base available. Finished drawings can be dramatic because scratching reveals rainbows of color. This paper usually measures about 8˝" by 11".

A basic scholastic quality scratchboard is made of heavy paper base coated with a smooth coating of china clay. Black ink is then used to cover the clay surface. It is lightweight and great for student or study work. This type of product comes in a variety of sheet sizes up to about 22" by 28".

Scratchboard created especially for the professional artist has set new standards of excellence. Made by a number of manufacturers, most professional sheets are handmade to ensure a specific degree of smoothness. At this level, you can purchase the sheets pre-inked or un-inked, which gives you the option of choosing the type and color of ink to use. With this quality of product, ultra fine line details can be etched without fear of chipping or crumbling. This is usually sold in full sheet sizes, up to about 20" by 24".

One final type of scratchboard from Ampersand is made of 1/8" rigid hardboard, thickly coated in clay with a perfectly inked surface. Its rigid structure makes it ideal for all types of scratch work. It will not curl with heavy scratch application, nor will it crack, bend or tear. Artists can scratch with precision unequaled by other scratchboard products, and a full range of sizes is available.

Commercially made tools created to scratch the designs are numerous, but one can use anything from a hatpin to a pushpin or tapestry needle. Most manufactured tools are made with wooden handles and some sort of stylus mounted in the end. Some are needle tools, while others are more like small knives. Another tool looks like a large coin with small, serrated protrusions around the edge. Each nub offers a different pattern, each positioned at intervals around the "coin." Ampersand's Claybord Tool Kit contains 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.

If you fancy details and fine line drawings, pick up a selection of scratchboards at your local art supply center and enjoy this splendid technique soon.

John H. Twachtman 1853-1902

Born in Cincinnati, Ohio, in 1853, John Henry Twachtman became one of the most highly respected American landscape painters of all time. His first artistic efforts were painting floral window shades for his father's business during the day, while he spent his evenings training at the Ohio Mechanics Institute. In 1874 he studied at the Cincinnati School of Design and was chosen to study in Munich at the Royal Academy. His mechanics career was abandoned in favor of visual arts. From 1883 to 1885, Twachtman studied in Paris, where he was influenced by the paintings of James Abbott McNeill Whistler and the French Impressionists. Twachtman returned to the United States and by 1888 had settled in Connecticut, where most of his work was executed. That same year he won an award for a landscape from the Society of American Artists, and in 1889 he had a very successful two-man show with J. Alden Weir. It was at this time that he began teaching at the Art Students League.

In 1898 Twachtman founded the "Ten American Painters," who became known simply as "The Ten." These painters were considered the leading American Impressionists and included Theodore Robinson, Theodore Wendel, Childe Hassam and J. Alden Weir.With the invention of lead tube colors, Impressionists of Twachtman's day could paint outdoors, capturing the changing effects of light on their subjects. They were attempting to capture what the eye actually saw, the constantly changing effects of light and color, rather than what the brain registered. This is the truest meaning of impressionistic work.

In color and style, Twachtman was strongly influenced by the French Impressionists. And although American Impressionism was usually measured against the French masters, John Henry Twachtman's work was distinctly his own. He took a very specific, well accepted style and developed it into a particularly sensitive and very natural projection through his personal painting methods. His perception and vision depended on sensibility as much as objectivity.

A hallmark of Twachtman's work was the use of square or vertical canvases, departing from the more customary horizontal format. An aggressive painter, the artist often sanded the oils he used and the surfaces he painted to mimic an aged or weathered quality. Noted as the very first painter to use the color blue for shadows, he was known as a master in the use of color values. He was also a pioneer in the use of complementary colors rather than black for shading objects.

When viewing Twachtman's work one sees the delicate, sketchy, unfinished-appearing brushwork, as vital today as when painted 100 years ago. His work was similar in one way to most other American landscape painters of his day. In contrast to the European painters who gave importance to the sky, the Americans chose to give most of the composition over to the land. Much of his work depicted isolation and seldom had figures, supporting his theory that a real landscape painter was close to the land, spending great amounts of time in the country, in isolation and nearer to nature.

One of Twachtman's favorite subjects was the area around Gloucester, MA, where he spent the last two years of his life. It was at this location that he painted his personal favorite of all the works of his career. Bark and Schooner, completed in the summer of 1900, was regarded by the artist as "the best thing I ever painted." After his premature death in 1902, this seaport became a favorite site for many later generations of painters. The quality of the light and the ever-changing natural beauty of the landscape make it as appealing today as it was for Twachtman.

Twachtman was fond of poetry, and was passionate about classical music, especially Brahms, Chopin and Schubert. Taken as comparisons, both poetry and music can be applied to Twachtman's work. His paintings were full of atmosphere, harmony and color, and they relate directly to the two other art forms. There was a type of synergistic relationship between the three creative disciplines.See the first retrospective of John Twachtman's work in over 30 years at the High Museum, Atlanta, GA, through May 21. Featured in John Twachtman: An American Impressionist are 52 oil paintings and six pastels selected from the finest works of the artist's career.

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

New Fredrix Desktop Inkjet Canvas

Fredrix has introduced Desktop Inkjet Canvas, a real artist canvas you can print on that is acid-free, woven, and richly textured. Compatible with HP, Epson, Canon, Lexmark and other inkjet printers, you can print your own original artwork or enhance photographs, clip art, illustrations, or Internet images! It's specially coated for superior quality, high-resolution printing and is available in packs of ten 8-1/2" x 11" canvas sheets. (Look for further details on the use of this great new product "In the Spotlight" in a future issue of ARTtalk.)

New Airbrush Templates from Artool

Just when you thought you had seen enough cool skull stencils and everything was back to normal in the airbrush world they're back! Artool Products Company has introduced the new Son of Skull Masters (The Sequel) by Craig Fraser for your airbrushing pleasure: Bonz, Nite & Day, Menagerie, and Devil or Angel. These are totally interactive with your first set of Skull Masters, are produced with exacting laser-cut precision, and are completely solvent-proof for those "toxic" projects. For a complete listing of the Iwata-Medea-Artool catalog, go to www.artoolproducts.com.

New Products from Strathmore

Strathmore has announced several new products: New ivory colored Creative Greeting Cards feature their signature deckle edge and are available in announcement (package of 10) and full sizes (packages of 10 or 20). The 400 Series Artagain Pad, solid black paper that is ideally suited for charcoal and soft pastels, is now also available in a new 6" x 9" size. And the 500 Series Illustration Board is now available in 15" x 20" in Heavyweight Vellum or Heavyweight Plate (10 sheets to a pack), while the Lightweight Vellum (15 sheets to a pack) is available in 15" x 22". These drawing sheets are mounted to both sides of a high quality white board to create a balanced tension that resists warping.

Hot Off the Press

DOG, A Dog's Life in Art and Literature by Iain Zaczek is a captivating collection of canine-inspired artwork created through the centuries. Organized into such sections as sporting dogs, wild dogs, working dogs, lazy dogs, and symbolic dogs, this is an affectionate portrait of man's best friend as portrayed in paintings, drawings and sculptures from all eras and all parts of the world. Paired with excerpts from prose and poetry to inform, amuse and educate. Watson-Guptill, 400pp, 294 color illustrations.

It's a great time of year to introduce Ceramics for Gardens & Landscapes by Karin Hessenberg. Gardening is the No. 1 hobby among Americans, and today's potters can fill this new market need by creating ceramic pieces that combine the beauty of pottery with the splendor of the outdoors. Presented are the works of international ceramists who share the pieces they have created and discuss the special considerations of making them, from thrown and hand-built pots and planters to birdbaths, sundials, fountains, tables, and benches, figurative and abstract sculpture. Krause Publications, 160pp, 100 B&W and 150 color photos.

In the Spotlight: DEKA^®

Painting with DEKA^®-Gloss

DEKA^®-Gloss is a premier water-based enamel for decorative craft painting. It has excellent opacity, is durable, fade resistant, and nontoxic. DEKA^®-Gloss can be brushed or airbrushed on wood, paper, glass, metal, plastic, leather, stone, plaster, clay, ceramics, and more. The high-gloss coverage is lightfast and scratch resistant, and colors mix well to create a variety of shades.

General Instructions:

--Stir paint.

--Clean surface to be painted.

--Thin paint with cold water, if desired, and apply with a soft brush intended for water-based paint. When airbrushing, thin paint with 15% water and avoid inhalation of paint mist by providing ventilation.

--Use cold water to clean up brushes.

--A thin coat will dry to the touch in 30 minutes and is completely dry in three days.Finishes: #361 Gloss Finish functions as a clear coat to enhance gloss and durability and may also be used as a glazing medium. #362 Matte Finish will change a glossy surface to matte. Allow project to dry overnight before applying finish.

Heat Hardening: DEKA^®-Gloss is very durable without heat hardening, but this process will further improve its adhesive strength and scratch resistance.

--Allow the paint to dry at least 72 hours.

--Place painted object in cold oven and set oven to 200 degrees F. for one hour.

--Turn oven off and leave the object in oven to cool.

NOTES: 1. Do not heat harden leather, plastic or other surfaces sensitive to heat. 2. DEKA^®-Gloss is not recommended for eating or drinking utensils where the painting will come in contact with food. 3. Washing in the dishwasher is not recommended, and avoid the use of strong cleaners on ceramic or glass surfaces.

DEKA^®-Gloss is available in 1 fl. oz. and 4 fl. oz. bottles in 15 shades, as well as black and white and gloss and matte finishes. See your retailer for this and other DEKA^® products and enjoy your creativity!

Canvas Concerns Storing and Shipping

What is the best way to store unprimed canvas? Or primed canvas? How should one store stretched canvas? What is the best way to ship a stretched canvas? How does one preserve and store canvas that has been removed from its stretcher bars? In order to protect this important and essential art material, as well as your finished paintings, read on.

Canvas is a very strong material. Usually made of all cotton, cotton and linen, or linen, it can be woven in any texture from smooth to nubby. Newer synthetic fibers have been introduced as well, and these add strength of a different sort to the basic natural fiber content. Synthetic fibers resist rot and decay far more readily than natural cotton or linen. This quality makes synthetic "canvas" a good candidate for exterior display.

Cotton, linen or synthetic canvas can be purchased either primed (usually with a high quality acrylic primer) or unprimed. Artists who have developed their own formula for underpainting ground or who do not want the surface sealed use the unprimed surface. Many acrylic painters love the near watercolor effects of using unprimed canvas. Both primed and unprimed canvas should be stored away from strong direct light or exposure to moisture. Light will destroy canvas just as it does any form of fabric. Primed is slightly less susceptible to light damage, but UV contact should be limited whenever possible, whether primed or unprimed. Ideally, canvas should be rolled around a firm center and covered to protect the roll from dirt and grime (and UV).

Stretched canvas should be stored standing upright along one edge. Multiples should be stored in such a way as to prevent abrasion of the next canvas. One way to accomplish this is to stack the first two back-to-back, in pairs. Then fronts contact only fronts and backs contact only backs. Standing in some sort of rack can best facilitate this. Storing one on top of the other in a stack will promote warping of the stretcher bars and also creates a situation where objects could fall onto a painting and cause damage or possible rips.

Shipping a stretched canvas requires one of several options to be exercised. First and most chosen is the procedure of wrapping the (dry) painting in soft foam sheeting and then packing in a heavy cardboard carton. Shipping/storage companies offer several choices in heavy corrugated boxes. Choose one that is at least 6" larger on all sides than the painting (including the thickness of the art). Fill all areas around the painting with foam sheets, making sure there is no room for the painting to slip or move during transport.

Crates can be built (either by you or a freight company) for shipping ornate, oversized, or extremely valuable artworks. These crates resemble what you might expect a giant piece of heavy machinery to be shipped in. The sheer size and proportions of the crate make it an expensive option, but one that might be necessary for some works.

Paintings purchased at times when crating is impractical (such as when traveling), can be removed from their stretcher bars for shipping. This makes the size (and the cost) smaller and more manageable. To remove the tacks or staples from the stretcher bars, use a sharp instrument such as the tine of a screwdriver or a pocketknife and a pair of pliers. Gently lift the tack or staple up, and then grip it with pliers. Remove all tacks or staples. Cover the painting with a soft cloth or smooth paper and carefully roll the painting to fit a large, heavy mailing tube. Avoid rolling too tightly. Pad each end of the tube so that the edges will be protected from crushing. It is sometimes possible to reuse the stretcher bars, so they might be collapsed and shipped with the canvas. Ship stretcher bars in a separate package or tube, as they could cause creasing or other damage if shipped inside the tube with the painting.

Rolled, painted canvases should be unrolled and re-stretched as soon as possible. The simple act of rolling a painting, even though the surface is somewhat flexible, could cause cracking or other damage; and the longer it stays rolled, the more likely damage is to occur. If you are unsure how to re-stretch the canvas (and there is a special technique to stretching) consult a professional framer who will be able to re-stretch the work for a nominal fee.

Proper storage of artworks, especially stretched canvases, is vital to their long life. If stretched canvases are exposed to prolonged periods of high humidity (such as a warehouse or garage storage facility that is not air conditioned), severe warping of the stretchers can occur. That is the most immediate and obvious damage. Humidity creeps into the painting and penetrates between the painted surface and the canvas onto which it is painted. Cracks and crazing are the end result. When examined closely, these cracks (caused by excessive humidity) go all the way through the painting, right to the canvas core. It may take many months for the extent of the damage to become visible, but by that time the damage is already done. Correction can be made by a conservator, but at a very high cost.

As you can see, by taking just a few simple precautions in the storage and shipment of canvases, you can save yourself lots of time, disappointment and money.

April 28-29--Memories Expo Midwest--Rosemont Convention Center--Chicago, IL. This show will highlight the scrapbook/memories industry's premier suppliers alongside dynamic local retailers, topped with cutting edge education. Public show hours are 1-6pm on Friday and 9am-6pm on Saturday. Info: (740) 452-4541, Ext. 3141. www.memoriesexpo.com.

May 18-21--Carmel Art Festival 2000--Carmel, CA. More than 60 plein aire painters will compete for $20,000 in cash prizes during this year's juried event. Painters from galleries will join entrants from the Carmel Art Association, The California Art Club, Plein Aire Painters of America, and Oil Painters of America across the U.S. The exhibition will be showcased and auctioned at the Hanson Gallery, where works will go on display through the awards ceremony on the 21st. Prizes will be awarded in up to 22 categories. Info: (831) 626-1766.

May 31-June 4--18th International Sculpture Conference--Houston, TX. Presented by the International Sculpture Center in cooperation with Houston Sculpture 2000, the conference will include featured speakers, panel discussions and presentations, computers and sculpture forum, networking sessions, TECHshops, trade show; and Mark di Suvero, 2000 recipient of the Lifetime Achievement in Contemporary Sculpture Award, will be honored. Info: (713) 861-5991; Register online at www.sculpture.org.

June 1-4--2000 Portrait Arts Festival--New York City. Sponsored by the American Society of Portrait Artists Foundation, this event allows artists to study portrait painting with some of the nation's leading portrait artists in The Grace Rainey Rogers Auditorium at The Metropolitan Museum of Art. Other sessions and the major portrait agencies, along with the award-winning 2000 International Portrait Competition paintings, will be presented in The Huntington Room of the National Academy of Design and School of Fine Arts. Info: (800) 622-7672; Register online at www.asopa.com/.

Solving the Shallow Frame Challenge

The selection of wooden frames available today is inspiring. There are hundreds of shapes, colors, widths, textures and types. And since do-it-yourself framers are sometimes not aware of what to look for and how to avoid challenges in the framing process, we will address some tips and suggestions to help.

On any wooden frame, the channel into which the artwork sets is called the "rabbet." No problems exist as long as the rabbet is the same depth or deeper than the "package" (art, mat, mounting board and glass) being placed therein. A formidable challenge occurs when we try to put a thicker artwork package into a frame than the frame can actually hold. Ideally, the depth of the rabbet will be deep enough so all that's required is to set the package into place and use finishing nails, a point driver or framer's points to hold it in place. When the rabbet is too shallow by a very small amount, it is still possible to manipulate brads or to aim driven points at an angle to hold the artwork in the frame. But when the rabbet is grossly overloaded by the artwork, additional steps must be taken.

The most expedient way to add depth to the rabbet channel is to glue narrow strips of wood to the back side of the frame, around the existing rabbet. The strips should equal the depth needed to facilitate holding the artwork. Cutting strips that are the exact measurements of the two short and two long sides of the opening of the rabbet is best. Glue (with wood glue) and clamp the strips precisely along the opening and allow to dry overnight. Continue your closing process using the new elevation to nail or point into place. When the art is in place, cut and attach a dust cover and hanging wire and there will be little evidence of this "add-on."

Another seldom used but very possible way to get around a shallow rabbet is to double frame. That means to choose two frames: One deep enough to hold the entire package will be placed immediately around the art package, and a second frame will encircle the first frame. This technique is used more and more by professionals for two reasons: First, it allows a new, contemporary look and style of presentation; and second, it solves the shallow rabbet problem. You might have to work with a frame supplier that can cut specific lengths of moulding, but the end result will be a winning look. Using either of these techniques opens new vistas of framing possibilities.

Liquid Frisket Techniques

By Kirk Lybecker

There are two approaches to the use of liquid frisket. One is the thought that an area needs specific, precise coverage and the other is that there needs to be a little ambiguity.

Liquid frisket is a liquid that is applied to protect an area of a painting from overspray or overwashing. The two most common types are the commercially prepared products like Liquid Mask and Misket. The other type is rubber cement.

The commercially prepared frisket is usually a combination of acrylic rubber and ammonia. As the ammonia evaporates, the rubber dries, leaving a film that protects areas from unintended paint. When you are finished painting, you rub the liquid frisket and it should ball up and roll off. This type of mask is used where you need a precise area of coverage. On the other hand, the use of rubber cement is a little iffier in that you can't control the coverage as well. It does have an advantage in that it can be more easily manipulated to give you some really interesting textures.

The sure thing in using liquid frisket is to ask if the project would be easier to cut out or paint in. It would be silly to use liquid frisket to paint in a square. It would be better use of your time to cut it out with frisket paper and a knife. It would be equally silly to use a frisket paper to mask off a bare branched tree.

Lybecker's first law of art survival is to test first. Sometimes liquid friskets will have unusual consequences for certain types of paper. It is always a good idea to test on a scrap of paper unless you are sure that the frisket will not ruin the artwork. Liquid friskets usually contain ammonia and may discolor colored papers. It is also not a good idea to leave liquid frisket on for a long time, as adhesion tends to increase with time. The harder the surface of the paper, the less likely it is for the liquid frisket to affect it.

The second note is that liquid friskets tend to be "brush death." Though there are ways to protect your brush from the mask drying in the hairs, they are not reliable enough to warrant using a good brush to apply them. If you need to use a brush, first coat it in some type of soap. Ivory bar soap seems to work as well as anything, and this will not affect the liquid frisket. Then stir (do not shake) the liquid and apply where needed. Do not shake because sometimes you will get tiny bubbles in the liquid similar to those in a bottle of pop. The bubbles will burst when the liquid is drying and expose some of the paper. I recommend that you put the coat on thickly enough to cover, but not too thick. The reason is that if it is too thick, a skin will form over the top and leave the under part of the frisket still wet. This will come as a messy surprise when you go to rub it off. It may also allow the frisket to sink more deeply into the fibers of the paper and cause tearing when it is later removed.

As opposed to brushes, I recommend a host of disposables that may do the trick for you without messy clean up or dead brushes. First, if you have a large area that needs to be covered, a Q-tip works great. The cotton fibers that it leaves behind usually get swept up with the frisket. If you need something a little finer, a pipe cleaner will work. And if you need a fine, precise line, a writing quill or chisel-shaped stalk of bamboo will work better than a brush. They are also easy to clean in that you just wipe them off. Don't use any of your good calligraphy nibs. If you need a regular wide line, you can also use a bow pen (an old drafting tool that will give you a line up to 1/8" wide).

If you require a brush, the cheaper the better. I recommend the ones at the store that say "Genuine Artist Hair Brushes." (I always wondered if that was what happened to Picasso's hair!) These will need to be soaped as described above. To keep the liquid frisket from clotting, they will have to be rinsed and re-soaped often.

The other liquid mask is the use of rubber cement. It is a product that covers well, but you can't always see where the coverage exists. It is also my favorite for getting odd textural results. I tend to split the rubber cement 50/50 with rubber cement thinner. (No, you can't use paint thinner.) I also apply it with a disposable brush or Q-tip and use foam brushes for large areas. After your first coat has dried you can rub the cement lightly to create "sags" in the surface. If you put on another coat of paint, it will leave a texture that looks like holes. So you rub, dry, and paint. This done over and over will astound friends with your texture.

Traditionally, liquid friskets are used on paper surfaces like watercolor paper, but these are not the only surfaces that you can use them on. The rule is that you should test first, but things like rubber cement will work on metal, canvas, gesso and other surfaces. The only limit is your imagination.

Centennial Celebration Planned Yaddo, the renowned artists' working community in Saratoga Springs, NY, will celebrate its 100th anniversary with a major arts festival scheduled from May through August. The event will kick off with a recital at Alice Tully Hall at Lincoln Center, New York City, on May 4. In addition to concerts, there are readings, exhibitions, symposiums and more scheduled. (518) 584-1312.

Quilt to Benefit Children As a result of the compassion and efforts of artist Teresa Griffin, a quilt will be auctioned online on eBay to benefit St. Jude Children's Hospital. Caring artists from the U.S. and Canada volunteered to paint textile squares using airbrush technique with the theme Seasons/Wilderness/Wildlife.

Whitney Support Dropped/New Award Planned Marylou Whitney has withdrawn her financial and fund-raising support of the Whitney Museum because of a work by German-born New York artist Hans Haacke in the 2000 Biennial that links Mayor Giuliani and other political figures to the Nazis. The Whitney has created the Bucksbaum Award, a $100,000 prize to be given every two years to an emerging artist living and working in the U.S.

Canine Paintings Popular As evidenced at the William Doyle Galleries in NYC recently, paintings of dogs are hot. John Emms' Jack and Two Knaves brought $140,000 as bidders responded from around the world. The record still belongs to George Stubbs' Portrait of a Newfoundland Dog that sold in the fall for over $3.6 million.

Exhibitions:

Boston, MA--Museum of Fine Arts - Edward Weston: Photography and Modernism Through May 28. In addition to the 140 vintage Weston photographs, the exhibition reveals Weston's contribution to avant-garde styles by juxtaposing his works with selected examples of paintings, drawings, and sculpture by the artists with whom he associated. Art In Bloom, from April 25-27, is Boston's premier celebration of fine arts and flowers and includes the opportunity to view more than 70 masterpieces from the MFA's eminent collections and their creative floral interpretations by members of New England Garden Clubs. Call (617) 267-9300 for info on corresponding events.

New York City--Dahesh Museum - Overcoming All Obstacles: The Women of the Academie Julian Through May 13. The first major museum exhibition to explore the Academie Julian concentrates on the women who traveled to Paris to study and then established themselves as working artists in their native countries, thereby creating a new class of female professionals. Travels to Memphis, July 9.

April Birthdays:

  4    Edward Hicks

15    Leonardo da Vinci

18    Max Weber

24    Willem de Kooning

26    Dorothea Lange

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Copyright ARTtalk Vol. 10 No. 6 -- April 2000