Colored Pencils

If you are considering creating artwork using colored pencils, you might have one or two questions about their properties, uses and applications. The following paragraphs address concerns and/or obstacles that you might have encountered.

What is a colored pencil and of what is it made? Are there different grades or qualities of pigment? Colored pencils are made in many styles. Most have a wooden body, usually round or hexagonal, into which is placed a round column of pigmented material. The pigment can be either a thin column or a thick one. Different brands choose different styles. But in all cases, the colored pigment yields a smooth, even colored line when stroked across a paper, panel or illustration board. In the higher quality pencils, pigment is usually bound with some type of oil. This creates a consistent and uniform firmness, which helps control the degree of color, the smear-proof properties, the blending capabilities, and the overall application of the pencil "lead."

The grades of colored pencils available range from very inexpensive student grades, which usually consist of a limited number of colors, to very high quality, professional materials that can be purchased in a wide range of colors. While most colored pencils are offered in groups or sets, pencils of the highest quality are often available individually. This means that the artist can augment his/her palette, creating a customized array of hues, or can replace those pigments used most frequently.

Some manufacturers offer two different styles of color applicators—pencils as described above and sticks of pure color, without any wood surround. These are most often square sticks that offer great hard edges and extra coverage for bold, dramatic color use. There is even a style of pencil that is woodless. The entire pencil shape is colored "lead," sealed with a light plastic-style covering. Either the stick or the woodless pencil can be sharpened if desired.

Additionally, there are a few types of colored pencils that are created with the express purpose of being easily erased. These can be very useful in design layout work-ups where changes of tone and color might be anticipated; and they often come with erasers attached, making the removal process easy.

Colored pencils are usually sharpened with a good quality hand sharpener. There is a real split between the professional pencil artist and the amateur on this issue. The professional feels that the unnecessary loss of even the slightest amount of pencil length and pigment is an unforgivable waste and that the use of an electric sharpener is unthinkable. There are several high quality hand sharpeners that also include a collection cup, making the sharpening process neat and fast.

Working surfaces that are recommended for use with colored pencils vary widely. Certainly the most popular are any of the wide range of colored papers created with a slight tooth and a strong surface. This makes these special papers very useful for overlaying of color, blending, and scrubbing the surface during the blending process. Look for papers that indicate they are suitable for pencil, pastel, charcoal or pen work. These come in a variety of fiber contents, but the most colorfast and strong include those made of cotton fiber. Most of these are also acid-free. One paper that is not used with colored pencil, as a general rule, is the family of sand-surfaced papers. These erode the pencil and are not soft enough to hold the pigment.

Blending colors is one of the strong points of colored pencils. The colors easily overlay and are blended by the overlapping process. Fingertips can be used for blending, although the degree of blend is very limited. Stumps and tortillons are not very applicable, as there are fewer floating particles for capture and blending. There is a new family of pencils that actually is a topical addition that helps visually blend tones beneath it. It does not change the colors or make dark colors milky the way white or ivory pencils do.

You may experience a time with colored pencils when error correction is desired. This can be a touchy technique, but there is one long-standing method that seems to provide an answer. Light surface abrasion with a sharp, pointed tool such as a needle or straight pin will loosen the pigment and the paper fibers beneath it. Very gentle erasing with a magic rub or similar oil-free eraser is recommended. Because this technique removes a portion of the actual paper beneath the pigment, extreme caution should be used. Holes can be rubbed through the surface if one is not careful.

About now you might be wondering what the difference between colored pencils and watercolor pencils might be. Of course, watercolor pencils are water-soluble. Colored pencils, as a rule, are not. One can dip the tip of colored pencils in water for a wider, richer, though sometimes more primitive line, but the product is not designed to be wet-blendable.

It's time for you to investigate the advantages of colored pencils! Consider how compact they are, how lightweight and easy to transport. Remember, too, that they can be used in virtually any location, without water, medium, easel or other support materials. All you need is a surface on which to draw and the pencils themselves. Nothing could be more direct or more fun.

Call for Entries

The Colored Pencil Society of America will present "Explore This!" from April 18 to May 27 at the West Bend Art Museum in West Bend, WI. The exhibition is open to all artists 18 years and older, and the judge is noted historian and critic Dennis Adrian. Two- and three-dimensional works are eligible where 75% of the medium is colored pencil pigment. Slide deadline is Nov. 1. For further info, call 901-861-0225; e-mail: pttkz@aol.com; or visit www.cpsa.org/update/EXPLORE/ExperimentalShow.html.

Picture Frame Makeover—Easy Gold Leafing

Nearly everyone probably has an old wooden frame that is in dire need of a "facelift." Although there are many finishes that could be applied, one of the most dynamic and striking is shiny gold. While there are paints that offer a great range of gold finishes, some lack the fire and excitement of gold leaf or any metallic leaf application. For this reason, if you want a bright, fresh, gold finish, your choice could be actual karat gold leaf or the less expensive choice of composite leaf. Visually, there is very little difference between the two and, frankly, as a learning experience, composite leaf offers a great introduction to the processes. It is handled exactly the same as karat gold leaf as far as application. One must understand, however, that there are some differences between karat and composition metal leaves.

The first and the most noted difference between the two is the cost. Karat leaf costs are based on the price of gold, an average of around $35 to $55 for a standard "book" of 23-karat gold leaf. Second, composite leaf will tarnish with time. Sealers can be used to delay the process, but karat leaf is the only sure way to avoid eventual tarnish. The third difference between karat and composite leaf is their size. Karat leaf comes in books of 25 pieces that are roughly 3½ inches square. Composite leaf has 25 pieces per book and is 5½ inches square.

Metals that can be used in leaf form include silver (more pure than sterling silver), aluminum, copper, and variegated composition. Silver leaf of a superior grade is best used in glasswork, where it can be properly backed up and protected from the air. As a framing material, it will tarnish quite quickly due to its high silver content and the reaction of that silver to the atmosphere. Aluminum is a better choice for framing applications and wherever a silver color is desired. Copper leaf is 100% copper and gradually changes to a natural patina if left unsealed. Creatively, it will react to certain atmospheric chemicals and to handling, but these changes can be real attributes. Consider experimenting with household chemicals like ammonia or salt to achieve some exaggerated results.

There are a myriad of special tools available to assist in the application. Some are very valuable and some are less necessary unless you intend to do a lot of gold leaf work. One important assist is a gilder's tip lifting tool. It is a very thin 4" wide "brush" made of pure squirrel hair that is especially made for lifting and laying gold leaf on a prepared surface. It works with static electricity and gently lays the fragile gold or composite sheet in place. Using one's fingertips is very difficult, as the leaf will adhere to any moisture or oil on the fingertips, and the leaf is so light and wispy that it nearly floats from your fingertips. The gilder's tip holds the sheet and allows its placement in exact locations.

Surface preparation, prior to laying on of gold or composite leaf, is essential. There are a number of very easy steps that you might choose to use. In the case of your picture frame, as much old finish should be removed as is possible. This can be done by stripping or sanding. Clean residue from the stripped/sanded wood, repair damage, and then apply a base coat. This base coat could be a rich oxide red (characteristic of the wonderful Chinese gold leaf work). Black base coat is another possibility, also used in quality gold leaf work and very popular with contemporary frame manufacturers. Some leafing experts use a yellow ochre color as a base coat, allowing a more golden tone to show where there might be a crack or skip in the leaf application.

Graphic Chemical & Ink Co. Printmaking, etching, blockprinting litho supplies. Silkscreen Trade Names: Perfection, Easy Wipe, Graphic, Sureset, Universal, Graphinx.

Adhesives that join the gold/composite leaf to the frame include a variety of materials. Gloss acrylic painting medium can be used to adhere gold leaf for small repairs, but does not allow a large enough window of work time to be a practical adhesive application for large projects. Another option includes quick gold leaf sizing. When it is brushed on, it stays tacky for one to three hours, so you must work quickly. Slow gold size gets tacky immediately and will remain workable and "sticky" for about 15 hours. And last is gold leaf size, which is tacky within two minutes of application and stays workable for about 36 hours. One of these choices should afford you a workable window of time.

Once the adhesive is ready and the gold leaf is set into place, it should be lightly pounced with a soft brush. Squirrel hair or camel hair brushes do very well. Work the gold leaf into the crevices and details of the frame. Piecing the leaf may be necessary, as it tears easily and might not fit readily into some of the dimensions of the profile. Once the leaf is in place, rub it gently with a soft cloth. This will effect a polish on the surface and remove any excess leaf that may be lingering.

Don't hesitate because you think gold leafing is too difficult. As you see, it can be more direct and quicker than some sources would indicate. The bottom line is the results you get, and with a little practice you can do it!

NOTE: Culinary applications that include gold leaf mean karat leaf ONLY. Composite leaf is poisonous.

New FIMO^® Classic from AMACO

FIMO^® Classic from Eberhard Faber, the polymer clay recognized around the world as the leading brand of oven hardening clay, has been reformulated for the new millennium. Newly introduced by American Art Clay Co., Inc. (AMACO), FIMO^® Classic features the firm texture that made it the preferred clay by sculptors and professional artists, but it is slightly softer than the original for easier blending and control. FIMO^® Classic comes in 24 designer colors in a new block design, which is divided into eight segments to make cutting and blending easier. Eberhard Faber has developed a blending chart that illustrates how easy it is to combine segments to create more than 100 new colors. FIMO^® Classic can be combined with FIMO^® Soft, as well.

FIMO^® Classic becomes soft and pliable by kneading and is perfect for all types of projects, including figures, miniatures, jewelry, home accents, and detailed specialty uses such as millefiori. And it's ideal for creating decorations for the upcoming holiday season. Pieces become permanent after baking in your home oven or toaster oven for 30 minutes at 265 degrees F. See your dealer.

Updated Edition from Krause

The original work that first introduced artists and artisans to the materials, tools and techniques used to create wax models for jewelry, Modeling in Wax for Jewelry and Sculpture by Lawrence Kallenberg, is now available in an expanded and updated second edition. The original chapters have been revised to include new techniques and shortcuts, and chapters on jewelry design and the problems involved in mass production have been added. Techniques are presented in a concise, step-by-step format and instructions for several projects are included. Krause Publications, 256 pages.

Part 2: Prehistoric Art—The Middle Stone Age

Positioned historically between the Paleolithic Period and the Neolithic Period is the Mesolithic Period, the Middle Stone Age or ancient cultural stage of human development. This period is defined as that time between the birth of crude chipped stone tools and more refined, smooth, polished tools. Mesolithic tools are based on chipped stone and often include microliths, very small stone tools intended for mounting together on a shaft. Polished stone occurs in some of these Mesolithic assemblages, as do a variety of bone, antler, and wooden tools.

Mesolithic usually refers specifically to a development in northwestern Europe that began about 8000 B.C. and lasted until 2700 B.C. Although this period was culturally and technologically continuous with the Paleolithic, Mesolithic cultures were forced to adjust to diverse adaptations of environment. The hunting methods, the tools, and the art of this period can be directly associated with Mesolithic hunters and fishers.

At the end of the Ice Age, the great herds that had provided food for the Paleolithic hunters disappeared from France and Spain. Man came out of his cave and began a more migratory lifestyle, utilizing natural stone shelves and overhangs as shelters. Forests covered the landscape and offered smaller groups of deer and other grazing animals that were smaller and moved faster. As a consequence, they were much more difficult to hunt and kill. So, although the climate was warmer than before, it was much harder to live by hunting alone. Mesolithic man had to modify his hunting techniques and forage for the seeds and fruits that the forests provided or the fish and shellfish that he could find in rivers or on the coasts. Cooperation was essential, and the new situation was clearly evident in the art of the period.

In the southern and eastern parts of what is now Spain, small bands of such hunter-gatherers left a record of their activities in the rock shelters where they camped. In some ways the new paintings resemble the old, although a simple silhouette technique for the most part replaced the outline and shading techniques of the Paleolithic style. More acute observation and stronger brushwork continued in these new creations, and they exuded a sense of movement and clarity. However, there is one obvious conceptual difference between the two artistic groups.

The new paintings represent the first compositions that depict a clear story, and they also show man finally emerging as the chief actor in the scenes on these rock walls. Clearly illustrated are large coherent groups of men, hunters stalking their prey and dominating the animals. Arrows are flung into herds of panicked deer, presumably driven into a trap set by the hunters. Scenes of battle or groups of dancers also occur, even implying social status in some of the work. There is painstaking detail of archers portrayed in the finest clothing, with the best weapons to indicate their high status within the tribe. This emphasis on man is new, but even more significant is the element of cooperation as part of a group whose survival is directly tied to hunting or ritual where it is probably necessary for a group to survive and prosper.

So in the Mesolithic Period, we have evidence of what must be called a well organized collective of hunting and survival activities. The art of the period clearly supports this finding and shows man grouping together. These communal populations were successful but did not, however, differ greatly from the previous period in abstract ways. There seemed to be no significant indication of cultural development other than environmental adaptations, and it is said that the level "changed just enough so that they would not have to change."

One glaring difference in the drawings of previous cave dwellers and these less permanent shelters is the size of the works completed. Many of the drawings are mere inches in height, and there is a true feeling of movement and energy. The sense of group is exaggerated with the use of repetitious basic shapes. Even so, details are distinguishable—bows, arrows, feathered headdresses—and a wide stance of legs is used in some scenes to indicate leaping strides or perhaps marching or wild dancing.

Again, in this period we start to see the general abstraction that is beginning to transform them into more symbol than picture. Although in the Middle East at this time, this step in the evolution of symbolic form established the formation of a writing, it is still thought by many authorities that the significance of the rock paintings was magical-religious, like the paintings in the caves. Others feel they represent nothing more than pictorial records of memorable events. Since the paintings are concentrated in areas that were used for long periods of time, rather than areas better suited for painting, it is suggested that the sights were sacred. This is further supported by the fact that long after the Mesolithic Period, future dwellers of the sights also added their drawings. Even Romans were drawn to these areas and used them as holy places.

The best examples of Mesolithic Period paintings are found in rock shelters among the barren hills of the eastern coast of Spain, near Castellon.

Fall art and craft festivals abound throughout the U.S., and following is a small selection.

Oct. 4-22 - Gatlinburg, TN - Gatlinburg Craftsmen's Fair, Gatlinburg Convention Center

Oct. 13-15 - Sioux Falls, SD - Autumn Festival, An Arts & Crafts Affair, Sioux Falls Arena & Convention Center

Oct. 13-15 - San Diego, CA - Harvest Festival, San Diego Concourse

Oct. 13-22 - Rockville, IN - Parke County Covered Bridge Festival, Country Wide Event

Oct. 26-29 - Edison, NJ - Country Folk Art & Craft Show, NJ Convention Expo Center

Oct. 27-29 - Essex Junction, VT - Essex Fall Craft Show, Champlain Valley Exposition

Nov. 1-5 - Birmingham, AL - Christmas Village Festival Arts & Crafts Show, Birmingham/Jefferson Convention Complex

Nov. 2-5 - Denver, CO - Denver's Holiday Food & Gift Festival, Denver Convention Center

Nov. 2-5 - Hamburg, NY - Christmas in the Country, Hamburg Fairgrounds

Nov. 2-5 - Omaha, NE - Autumn Festival, An Arts & Crafts Affair, Omaha Civic Auditorium

View hundreds more at www.artandcraftshows.net; or see Sunshine Artist magazine, which publishes information and reviews for more than 2,000 open entry shows and festivals each year—online at www.sunshineartist.com.

French Dry Brush Techniques

Decoration on virtually all environmental surfaces is currently in vogue. There are dozens of ways in which you can achieve surface textures (or implied textures) and many tools you can use to achieve these dynamic textures. A sponge is probably the most popular and widely used tool for surface ornamentation, but there is another that is just as easy to use, and most all homes have the raw materials ready and waiting.

French style dry brushing is a broad term used to loosely describe the scant application of paint with a brush. The brush is nearly dry when used, and because of that light charging with paint, it lends a delicate and almost wispy look to the finished wall, tabletop or trim area. Painters have used French dry brushing on a very small scale for years.

When an artist lightly wafts color over a large area, applying the paint with a delicate touch so as to leave it "floating" over the other pigments, the end result is one that very closely resembles the newest decorator trends. French dry brushing, as it is being used for home decor, works best for large-scale applications. Walls or wall trim areas are some of the best places in which to use the wide sweeping strokes of dry brushing.

One really delightful thing about this technique is that it requires no specialized equipment. Fact is, most of us have an old, worn and decrepit house paintbrush, and that is exactly the tool that will best impart the open, scratchy, crosshatch, "dragging" patterns so widely used in this decorating technique. If you do not have an old paintbrush, a new one will work. Just remember, the idea in this technique is to lightly wisp the color onto the surface. Use very light pressure and experiment with a variety of application techniques.

Crosshatch patterns are very effective because they are random, easy to master and give the illusion of marvelous textures without a lot of surface preparation. Simply by dragging a very lightly charged brush across even the smoothest surface, one can create a contrasting and broken pattern over the surface. The length of the drag can be altered within a specific project to yield interesting patterns.

Contrast is an important issue, too. Colors that are similar in value will yield very subtle results; and while that can be very elegant and understated, contrast will give the most rapid and noticeable surface changes. Some consideration should be given to severe color contrasts, as they may struggle for dominance and spoil the effect desired.

Stippling is another method of application that does very well with a very lightly charged paintbrush. When close to dry, with no real "wet" paint in the bristles, stippling yields a soft, fur-like appearance. If the brush is too full of paint, it will yield a speckled, highly contrasted surface that appears to be splotched rather than blended to a soft and controlled surface.

Practice with the amount of paint and the brush to achieve the look you like best. Use the very paint colors you will be working with on your finished project and do samples that are at least two feet square. If your sample does not turn out the way you wish, simply roll a new cover of base coat color over the sample, allow to dry and start again. When you have the combination right for your work style, begin your project.

One very dynamic use for dry brushing is to create your own border patterns. Begin by painting the walls (or your project) the chosen color and allow to dry. Mask off the border. This could be either a high ceiling border or a chair rail border. Use special painter's tape (low tack and far less likely to damage the freshly painted base coat) to create mask borders. Apply your pattern within the masked area. If strong delineation lines are desired, allow the painted border to dry completely and remask with strips of tape separated by the width of lines you want to enhance your dry brushed border. Paint between these strips of tape. The end result will be an original, stylish and very contemporary look.

The same masking and application techniques just described for dry brush dragging can be used for stippling with a dry brush as well. Or consider combining both techniques, stippling and dry brush dragging. These are the types of textures that many of the most expensive and exclusive wall coverings offer, and you can do them in paint for a fraction of the cost of wallpaper.

One element of any of these dry brush techniques that appeals to almost everyone is that it is very neat. There are virtually no drips, splatters or runs with a very lightly charged paint brush.

That means it is a much cleaner technique. To keep the brush as "dry" as possible and since the longer you work, the more paint seems to stay in the brush, using 3 or 4 different brushes will help keep the project progressing without having to stop and clean and dry the original brush.

Remember to place any brushes in a plastic bag until it is convenient to clean them, and they will remain supple and soft. If a brush is allowed to dry, mineral spirits can be used to clean the dried paint from the bristles.

Customize Your Space!

It's common to think of the airbrush as a means to decorate a myriad of objects—customization of automobiles and motorcycles, painting of ceramic glazes onto pottery, the application of paint to figurines, industrial airbrushing of doll faces, etc. The airbrush is routinely used in these areas because of the way that paint is applied to the surface—sprayed in a uniform manner that gives a very unique look as opposed to paint that is brushed on. The smooth surface achievable with spray paint is the same type of surface that you find on an array of metal or plastic household items, the colors of which were likely applied with sprayed paint. The airbrush can imitate these surfaces, so artists can apply paint and end up with an object that appears to have been manufactured that way.

Over the past few years there have been many innovations in the paint industry, giving the airbrush artist a wide selection of both water-soluble and mineral-based paints from which to choose. It's now easy to find paint that is compatible with either metal or plastic surfaces. Many of these have been used to customize motorcycle tanks, personal watercraft, snowmobiles, etc. Now we begin to see artists moving this technology indoors to customize functional household objects. Some things that have been painted/decorated are television sets, computer towers, microwave ovens, stoves, etc. Think about it. This opens up a whole new area for the creative abilities of artists who use an airbrush. And the number of objects that can be worked upon is limitless—toaster ovens, refrigerators, washing machines, clothes dryers—any item that has a smooth surface. NOTE: When choosing paint for an item that becomes hot when in use, obtain the advice of a paint expert for compatibility.

A few things to consider:

1. Preparation of the Surface. Make sure that the surface is extremely clean. No matter if it is metal or plastic, it should be washed with a prep solution, which is available wherever industrial paints are sold. There are specific ones for plastic and metal surfaces, respectively, that will thoroughly clean objects of dirt and grime, oil from fingerprints, grease and lubricants. And, at the same time, they give the surface a slight etch (tooth) for successful paint adhesion.
2. Stenciling Materials. As in airbrush technique for illustrators, if you were painting a given scene on an appliance and desired a hard edge line, you would utilize a masking material or stencil. Anything from frisket film to self-adhering vinyl stencils that are cut using a computer to commercial or handmade art/craft stencils or found objects can be used. Be sure to first test the materials being used as a self-adhering stencil on the work surface to insure compatibility.
3. Working Environment. Since all objects are not portable for transport to your studio, there will be instances where it will be necessary to work "on location." Remember to protect nearby objects, floors and walls from overspray. Also, make sure you have good ventilation, possibly using a portable fan and, if need be, a carbon filter respirator.

Here you can let your imagination run wild. For example, for those who are not inclined to cook, picture a roasting turkey painted on the front of the oven door. And, remember, there are many things that can be decorated besides those ubiquitous fiberglass cows and rabbits—the sides of your computer, the frame around your monitor, etc.—that will brighten your day. Decorative home objects—a new type of "refrigerator art" for the home of the 21^st century, made easy with airbrushing!

Tradition Continues—For the past 12 years, NYC artist Diane Krukowski has changed colors at the Saratoga Race Course in Saratoga Springs, N.Y. A jockey statue that stands in the center of the paddock is painted the colors worn by the winning jockey immediately after the Travers Stakes race. Shane Sellers (blue/yellow) recently rode Unshaded to victory.

New Addition Celebrated—A formal ribbon-cutting ceremony and public reception highlighted the much-anticipated opening of the Frederik Meijer Gardens and Sculpture Park's new 65,000 sq. ft. building expansion in Grand Rapids, MI. The new sculpture galleries' inaugural exhibition features "Richard Hunt: American Visionary," along with a new display of botanical work by Chicago artist Winifred Godfrey, through January 3.

Grant for Restoration—A $1 million grant has been given by Target Stores to fund a contemporary art program at Madison Square Park in New York City. Installation artist Tony Oursler's "Influence Machine" will kick off a three-year plan as he projects ghostly images onto artificial smoke, trees and paths during evening hours from Oct. 19 to 31.

Statues Planned—The Hyannis, MA, Chamber of Commerce has commissioned sculptor Daniel Lewis to create a bronze statue of President John F. Kennedy and his son. The $300,000 statue will depict father and son as adults walking along a beach and is targeted for completion in fall 2001.

Guide Available—ARTREACH, Inc., has announced the publication of "Access the Arts, etc A Guide for People with Disabilities." Residents of and visitors to Philadelphia will find info on the physical and programmatic accessibility of over 75 venues (including museums). For further info, call 215-951-0316 or go to www.art-reach.org.

Exhibitions:

Santa Fe, NM Georgia O'Keeffe Museum "O'Keeffe on Paper" features 55 works on paper in charcoal, pastel, and watercolor in celebration of the publication of Georgia O'Keeffe: Cataloge Raisonnè, by Barbara Buhler Lynes. Through Oct. 29.

New York City The Frick Collection "A Brush with Nature: The Gere Collection of Landscape Oil Sketches" features approximately 60 plein-air sketches created by eighteenth- and nineteenth-century artists such as Bertin, Boldini, Corot, Degas, and Giroux. Through Nov. 12. Travels to Memphis, TN.

Austin, TX Jack S. Blanton Museum of Art at U. of Texas "The Lithographs of James McNeill Whistler from the Collection of Steven Block" features more than 80 works and represents oeuvre in lithography. "Whistler as an Etcher: His Work and His Followers" rounds out the portrait of Whistler as a printmaker. Through Oct. 22.

Oakland, CA Oakland Museum of California "Secret World of the Forbidden City: Splendors from China's Imperial Place" includes a selection of precious objects from the Palace Museum in Beijing. Oct. 14 through Jan. 24.

October Birthdays:
  1    Larry Poons
10    Antoine Watteau
17    Childe Hassam
28    Andrea della Robbia
31    Jan Vermeer

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Copyright ARTtalk Vol. 10 No. 12 -- October 2000