Portrait Pointers

Curious about what is involved in the creation of a pastel portrait? Well, the same materials as those used in other pastel works are utilized when creating portraits. The tones and colors might vary, but the overall approach to technique, application, approach, and finishing is essentially identical.

Since one of the most important elements in all pastel work is the paper (or other ground) onto which the artwork is done, that is the best place to begin our investigation. Paper choices can include anything from soft, neutral tones to vibrant and rich jewel tones. Darker tones offer the element of depth and color complement to the finished portrait. These colors peak through from beneath the skin tones and often give a glow to the work that is achieved in no other way. Such a case might be the use of a tone that is the direct complement to the tones used in the portrait. A mellowing of the overall work is achieved with this play of tones. Similar results can also be achieved by painting the surface of other grounds (canvas, panels, heavy watercolor paper, etc.).

The pastels could be either soft or hard, but soft is generally the preferred choice by long-time portrait artists. For distinctive elements in the late stages of the work, many professionals use hard pastels to add sharp, linear detail and surface interest. Hair, beards, grasses, and fine detail, in general, can be amplified by using sharper lines in those areas.

Palette color choices vary greatly. Just as there are thousands of skin tones and variances, so are there many possible color combinations used in portraiture. Complementary tones are used to bring depth and vibrancy to the tones. Lights and expressive darks are used to give drama and depth to the subject. And the use of totally "foreign" tones like super brights and dynamic colors are used in many portraits to capture the viewer's interest. Shades that are not normally associated with flesh tones, colors not natural to actual skin, can be dramatic. They seem to pique the interest of the viewer and draw him in, offering more than the vision--offering excitement, too.

Textures can play a vital part in portrait work. One simple method to achieve textural interest is to choose a paper such as heavily textured watercolor paper where automatic texture is guaranteed. Other textures can be applied to a surface where textural interest is desired. While layering pastel can require skill (because the paper "tooth" fills and can no longer hold the soft powder), there are some tricks to help. Try what Edgar Degas developed: He used steam to soften and moisten his applied pastels. This created a "paste" which he then worked with a brush. Once dry, this surface can be reworked with additional pastel. The resulting surface often looks more like oil than pastel and is especially good for the softness desired in portraiture. Although Degas' exact method is unknown, a small travel iron or travel steamer can be used for this technique. In areas where fine line detail is desired and where pastel is already in place, scraping the surface with the tip of a stencil knife often results in sharp, well defined lines.

Lighting in portraiture is very important. What would Rembrandt be without his famous lighting? Positioning the subject in strong, direct, eye-level light will offer sharp profile contrasts. Overhead lighting will give a somber and edgy look to the portrait. Full, all around lighting will offer more photo style lighting. Positioning the subject with emphasis on strong facial detail is one way to create drama in the finished portrait.

On the subject of fixatives, there are two distinct schools of thought. Most pastel artists do not like to spray the finished works with anything. They feel, rightly so, that this is an alteration of the work, and that it causes changes in the finish that are not intended. Alternatives include spraying before the work is totally finished, thereby holding in place the "foundation" work and allowing the finishing touches to float on the surface. Another suggestion is to cover the surface of the finished pastel with tissue or Kraft paper and gently press the powders onto the surface. Care should be exercised so that the textures are not lost, but this does give a viable option to true surface alteration.

Miscellaneous Tips:

--To prevent smudging while working on the portrait portion of a painting, consider cutting masking material to cover areas already worked or to keep the background clean. This is especially important when multiple portraits are included in the same work. Mask one area while working on another. Cut-paper masks are easy, inexpensive, and work well. Adhere with a removable tape to prevent damage upon removal.

--To clean dirty pastels, put them in a zip plastic bag of ground rice (available at Asian markets) and gently toss the bag for a few minutes. The result is super-clean pastels.

--When working in the field/traveling, pack extra sheets of paper to lie over your works to protect them during transit. For long-term storage, attach the pastel works to museum board with archival tape and then cover the works with tissue or tracing paper. Tape the covering over the pastel to prevent any smudging.

--Recipe for a clear, non-staining, permanent, hazard-free fixative: Dissolve one-half teaspoon plain gelatin powder in two pints of warm water. Cool to lukewarm and then apply immediately with brush,airbrush or sprayer.

Handmade Holiday Fun

If you are looking for a new art adventure, this is the perfect time to do some investigative work at your local art supply store. They will have loads of new project ideas, most of which come in kit form. These kits not only make great gifts, but also offer budding artists a chance to try ideas inexpensively. The kits come complete with information about the product and how it is used, all necessary "tools" (brushes, paints, fibers, glues, decorations, etc.), the basis for the project (glass, wood, metal, paper, canvas, etc.), and very possibly enough excess materials for future work.

This holiday season one new kit includes glass decorating for bowls and plates. The paints are made permanent by baking in the oven and, once baked, are dishwasher-safe and safe for food. Small weaving kits, complete with mini-looms, are a great introduction to fiber arts for anyone interested in the creation of woven materials. Bead/jewelry kits are very popular, and there are some very inventive collections of materials in kit form for the "wearable art" artist. Other kits include trusted, long-time favorites like woodcrafts (bird houses, etc.), leather crafts, printmaking, and papermaking.

But if you are interested in a near-instant holiday project and want to have unlimited creativity with your choices in materials, why not create original Christmas tree ornaments? Imagine a tree covered with your own unique ornaments! Here are a few ideas:

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

Suggested Supplies: Unbreakable, undecorated tree ornaments in a variety of colors, all-purpose glue, glitter, a collection of holiday stickers (metallic stickers look especially striking), and permanent paint markers. Optional: ribbon for hanging.

How-To: Begin by cleaning the ornament. Grease and fingerprints prevent the paint/stickers from adhering. Cleaning can be as simple as rubbing the surface with a soft cloth to remove these. Set the ornament aside while you assemble your decoration materials.

Lickety-Split Sticker Ornament: After cleaning, select stickers that complement the color of the ornament. Peel and stick to the surface. Remember to place the stickers in such a way that they can be seen when the ornament is hung on the tree.

Glitter Ball: Spread a "catch" paper over your work surface. This will catch the excess glitter and allow it to be recycled for use in the next project. Holding the ornament by the top or by its hanger, carefully draw patterns on the surface with all-purpose glue. Immediately sprinkle glitter over the glue designs. Gently tap off any excess and set the ornament aside to dry.

Paint Designs: Using permanent paint markers, draw designs, shapes, or motifs onto the ornament. This technique works well in combination with stickers and glitter, so it could be the basis from which "multi-media" ideas spring.

So investigate the ready-to-go kits, gather those supplies, and have some handmade holiday fun!

New Books for Children

Barron's has released two new books that will make wonderful Christmas gifts for children ages 4-8. Suzette and the Puppy--A Story About Mary Cassatt combines the beauty and history of great art with a charming and entertaining hardcover children's picture book. The story takes place in Paris in the 1870's and culminates in the painting of Mary Cassatt's "The Little Girl in the Blue Armchair," which hangs in the National Gallery of Art in Washington, D.C. Written by Joan Sweeney and illustrated by Jennifer Heyd Wharton. 28pp. Leonardo and the Flying Boy joins several other children's books by author Laurance Anholt that are based on art history. Included--in addition to a fascinating story based on a true event--are a short biography of Leonardo da Vinci, full-color illustrations throughout, and reproductions of some of da Vinci's famous artwork. 32pp.--HOLIDAY GIFT IDEAS.

Edward Hicks (1780-1849)

Edward Hicks was born to a Quaker family in Attleboro, Pennsylvania, on April 4, 1780. He began his formal training as an apprentice in coach making at the age of 13. Throughout his life, he was always able to make his living through the decoration of coaches and the creation of business signs. As his only form of livelihood at this point in his life and forever after, he quite literally supported himself by painting signs of all types, especially for taverns. Because of the quality and popularity of his work, he was able to set up his own successful business, which included the painting of signs, clocks, furniture and other utilitarian items, but did not include canvas art. The business was so successful that he had to hire assistants to complete the projects that were in high demand. But, at the age of 22, he gave up his business to answer a religious calling, becoming an unpaid, traveling Quaker preacher. He spent most of his life in the Quaker communities of Bucks County, PA.

Hicks did not begin to paint easel paintings until he was middle aged. He considered his art a useful, elevating craft rather than artistic accomplishment. And he actually came to painting reluctantly, feeling that it was contrary to his religion and that it struggled with the purity of his religious convictions. He did finally concede that it could sometimes bring meaning to life and perhaps could be an instructional tool.

Hicks seemed unable to make a painting without addressing an apparent moral issue and often framed his pictures with theological verses of his own composition. From 1820 to 1849, his entire painting period, he created paintings that echoed the Quaker belief that salvation lies in the "Peaceable Kingdom" of a serene and well ordered heart. To that end, Hicks is reported to have created as many as 100 paintings that depict this Quaker philosophy. They are all based on the Biblical subject of Isaiah 11: 6-9, "The wolf shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the lion and the fatling (existing) together; and a little child shall lead them." In each of his works, Hicks illustrated his visualized belief in spiritual landscapes crowded with animals that symbolize human vices and virtues. The landscapes, figures, and animals create his visualization of Quaker ideals.

Other symbols Hicks used in his work included the use of color, particularly in sunrises, to depict the arrival of a new day and a new beginning for the world. The mixing of Indians with settlers, all within the same scene (one that also contained the "kingdom" animals and children) seemed to suggest the desired constant of the Quaker philosophy.

Hicks was convinced that he could illustrate parallels in history to those in the natural world, and his Biblical works often included scenes of William Penn conversing with the Indians. Many of the 100 "Peaceable Kingdom" works show a distant group of adults, including Penn signing treaties with the Indians while animals and wild beasts mix in the foreground with playing children all set in a natural setting (frequently along the Delaware River). He also painted many charming landscapes in and around his home in Pennsylvania and in New York State.

Because Hicks' intentions were of a religious nature, he employed the characteristic devices of primitive art, such as large staring eyes to engage the participation of the viewer. And the juxtaposition of wild creatures and laughing children seemed to captivate the public. All of his talent and artistic skills were self-taught. The bold flat colors and strong outlines that he developed in his early works are the main characteristics that dominate all of his works. He had developed an extraordinary sense of design while working as a carriage painter.

It was as a Quaker preacher, not an artist, that Hicks was most revered by his contemporaries. It is documented that over 3,000 mourners attended his funeral and all grieved the loss of a favorite minister. Because of his naive and charming style, Hicks was, however, recognized by scholars within his own lifetime as one of the great indigenous artists of 19th Century America--all of this from a man who started painting very late in life and did it not so much as an artist, but as a religious teacher with no formal training as an artist.

Of the 100 theme works that Edward Hicks created in the 29 years he painted, around 62 still survive. Many of his works, including several examples of his "Peaceable Kingdom" works, can be viewed at the Brooklyn Museum, the Museum of Art in New York City, and Worcester Art Museum, among others. "The Kingdoms of Edward Hicks," at the M. H. deYoung Museum in San Francisco through January 7, focuses new attention on the Quaker beliefs and church politics that inspired both Hicks' subject matter and his self-consciously naïve style. Included are more than 50 paintings, ranging from his well-known "Peaceable Kingdom" variants to other historical subjects, showing the entire range of Hicks' artistic interests.

American Art Clay Co., Inc. -- WireForm Metal Crafts is a new 14-page, four-color project book containing 17 step-by-step creative projects--picture frames, ornaments, boxes, flowers, and more. WireForm is a specially manufactured metal mesh in aluminum, copper, brass, and stainless steel that is pliable enough to mold, yet sturdy enough to add structure to clay and modeling materials. Easily transformed into three-dimensional shapes, it is perfect for home décor projects, gifts, and party favors. Also, Soft Metal Embossing with ArtEmboss is a new project book available from AMACO. The 14-page, four-color book contains step-by-step projects for creating picture frames, albums, clocks, boxes, vases, and more. Ideal for arts and crafts, ArtEmboss metal sheets allow you to recreate a European craft tradition simply and beautifully and are available in pewter, copper, brass, aluminum, and six bright colors. Also see the ArtEmboss Stylus Tool Set and 13 reusable Tracing Patterns--GIFT IDEAS.

Ampersand -- Two new additions to Ampersand's Scratchboard Kits by Sally Maxwell are the Bird and Floral series. Now there are eight kits from which to choose. Each kit comes complete with a 5x7 Claybord Black, a scratch knife, pattern, and detailed four-color instructions--GIFT IDEA. In addition, Sally Maxwell has teamed up with Ampersand to film the first ever Scratchboard Video. Sally divulges her secrets to making outstanding scratchboard images as well as her secrets for adding color. The video is 60 min. and comes with patterns and detailed instructions.--STOCKING STUFFER IDEA.

Krause Publications -- To help enthusiasts make the most of their time and effort, scrapbooking experts from all areas share their best secrets for creating personalized items in the new book More Than Memories III: Mastering the Techniques. The third book in a series, this one takes an in-depth look at the most popular scrapbooking techniques. Edited by Julie Stephani, it is an easy-to-use guide that teaches how to preserve and organize photos and negatives, display photos and memorabilia in unique and clever ways, and write captions and stories that tell the rest of the story. 128pp., 120 color photos.--GIFT IDEA.

SKS Enterprises -- Join admirers and collectors with Colours, a first edition bear created from an original design by internationally acclaimed watercolour artist Tom Lynch. Each jointed, 18" bear, attired in vest/beret with brush and palette in paws, has been signed by the artist and numbered to certify its authenticity.--GIFT IDEA.

Strathmore -- Just in time for the holiday season is Strathmore's new Thai Dye Papers. These environmentally friendly papers, handmade exclusively for Strathmore in Thailand, come in six colorful assortments: Autumn Sunset, Midnight Sky, Celebration, Ocean Waves, Field Flowers, and Red Passion. The vibrant colors come from natural dyes and the paper is acid-free. Thai Dye Papers are ideal for craft projects of all types from gift boxes, picture frames, cards and books to home accessories such as lamp shades.--HOLIDAY PROJECT/HANDMADE GIFTS IDEA. In addition, Strathmore has recently introduced the Reserve Collection of distinctive greeting cards and gift boxes. The greeting cards are made from heavyweight duplex papers that feature deep saturated colors outside and complementary white or ivory inside and include Pouchette, Embossed Photo Frame, and Embossed Border Cards. The elegant Gift Box Assortments offer a Two Drawer Card Box, Pouchette Box, and Stationery Card Box. Most items are available in colors such as Roguet Red, Beaumonde Blue, Grappia Green, and Bayonne Black.--HOLIDAY GREETING/GIFT IDEAS.

Murano Glass - A Brief History

Clarity, elegance, style and perfection of form--Each of these elements applies to the exquisite glass items produced by Venetian glassmakers today and over many centuries. There are records of a glassmakers' guild as early as 1224 in Venice, although no examples remain that can be positively dated prior to the mid 15th Century. Because of this, a lot of the early history of Italian glassmaking is conjecture. It is known that in the early 1200's, all glassmaking houses moved from Venice to the nearby island of Murano, where they remain to this day.

Murano Island is located in Venice Lagoon, north of the city of Venice, and has an area of only 1,134 acres. It was founded between the 5th and 6th Centuries and experienced its major development in the 1290's, when glass furnaces were moved across the bay from Venice. Murano then became the manufacturing center for Venetian glass, exporting huge quantities to all of Europe. It reached its highest production in the 16th Century when the island had over 30,000 residents. Glassmaking continues to this day, although production is greatly reduced from its zenith period. However, the quality, craftsmanship and perfection established centuries ago are still the hallmark of Murano glass items.

In the 16th and 17th Centuries, the primary products made were drinking glasses. Many of those shapes began to take on the look of elaborate animal or mask motifs, thus changing their function to more decorative. By the 18th Century, the once highly guarded secrets of Venetian glassmaking were widely known. Other countries, including Germany, France, and England, began to replicate the techniques and diluted the uniqueness that Murano glass had held to that time.

In the early 20th Century, a revival of old Venetian techniques was established and Murano glassmakers once again thrived. Some of the finest designers of the period contributed to this rebirth. Inlays, lattices, grids, traditional Venetian millefiore (repetitious, finely detailed, multi-colored designs), translucency, polish and diamond engraving are all considered elements of fine Murano glass items. Today, Murano glassmakers are known for a variety of items from elaborate lighting fixtures to vases, as well as hundreds of decorative and/or functional containers. The clarity and form of their work is unrivaled.

Many books are available that document the history of glass, the influence made by Murano Island glass manufacturing, and the current manufacturing of glass. "Memories of Murano: American Glass Artists in Venice" can be viewed at the American Craft Museum, New York City, through January 7. Works by 20 American artists focus on the relationship of Italian and American glass artists in the last 50 years and the influence of that experience on contemporary American studio glass. Also at the museum is "Venetian Glass: 20th Century Italian Glass" from Nov. 21 through Jan. 7, a landmark exhibition that presents a comprehensive overview of the finest examples of Venetian glass produced in Italy throughout the 20th Century.

Airbrush Photo Retouching

The computer has nearly eliminated the traditional commercial airbrush photo retouching industry, but fine art photo retouching and digital print re-rendering have rekindled interest in traditional airbrush retouching techniques.

The airbrush of choice in photo retouching is an internal mix, dual-action model. This gives the artist extreme control with a dual-action triggering ability and a very soft spray, a result of the internal mix of air and paint. The softer the dot pattern of the airbrush spray, the more compatible it is in retouching a photograph. A photograph is composed of myriad dots, which are mimicked by the internal mix airbrush, so they completely blend in when re-rendering.

You can work on either B/W or color photos printed on any type of photographic paper or on digital printouts on paper or canvas. There are photo-retouching paints formulated in gray scales for doing B/W work and a full spectrum of colors for doing color work. And there are four different types of paint to select from when retouching. First and foremost is gouache, an opaque watercolor that has been used for many years in this technique. Gouache has the ability to conceal undesired areas completely and to be removed, if desired, with water, leaving no effect on the photographic surface. Gouache is available in tubes and in blocks, and it must be thinned with water to a sprayable consistency.

A second type of medium used is liquefied watercolor, normally a dye that comes either transparent or opaque. Again, there is a full color range and various values of black and gray from which to choose. This is less forgiving than gouache because it is more difficult to remove. Liquefied watercolor is pre-reduced for airbrushing and comes in jars with applicators (usually eye droppers) for transferring the medium to an airbrush.

A third medium for use in photo retouching is airbrush paint. This is normally a mild acrylic-based, pre-reduced paint that is ready for use and dries water-resistant or waterproof, making removal difficult to impossible.

Fourth and least used are artist acrylic colors, available in tubes, jars, or squirt bottles. These come in varying viscosities from thick to watery, but are not quite fluid enough for airbrush technique. All need a little bit more manipulation and require thinning with water.

To practice photo retouching, it's always good to have two or three identical photos so that you have reference material as well as another to work on, if necessary. The photo should be mounted onto a piece of stiff board such as illustration board. If you are serious about the longevity of your artwork, the mounting board should be neutral pH. Mounting can be accomplished in several different ways, including dry mount tissue, spray mount, or rubber cement. Make sure that the mounting board is free of defects, since your photo must lie perfectly flat.

At this point, it is a good idea to wash the surface of your photo with Bestene Rubber Cement Remover on a cotton ball. This will remove any fingerprint marks, dirt, grease or grime that might be on the surface of the photo print. After the print has dried, it should be sprayed using a can of matte photo lacquer finish, available at art supply and photo stores. This gives a fantastic surface to work upon that is both durable and has high adhesion, and it aids in preventing the airbrusher from disturbing the photo emulsion on the surface of the photograph.

Some photo retouching is done freehand with the airbrush, while other is done with stencils. In most cases, however, both methods are employed. When airbrushing freehand, you spray directly onto the surface of the photo and achieve a soft, blurry paint edge. But, when working with stencils or frisket film, you achieve a hard and exacting edge. For instance if you were airbrushing around the background of a portrait's hair, you may do it freehand. But if you were spraying the background of an object that required exacting edges (such as around an automobile) you would use an acetate stencil or frisket film. Frisket film is self-adhering, but be sure it doesn't stick too tightly and do not leave it on for more than a few hours. Acetate stencils are held in place by working flat on the table, setting weights (fishing sinkers, washers, bent needles, etc.) on them, and letting gravity do its job.

Once you have completed airbrushing, you must seal the artwork with another coat of spray lacquer, either matte or gloss, thus protecting your retouch job and rendering it more durable.

You can do photo retouching by pixel or by airbrush. But one thing the computer and digital photography have done for airbrushing, however, is to provide you with many more items to potentially retouch!

Discounts Offered--CityPass offers the best attractions (including some major art museums) in seven American cities at one packaged price with no waiting in ticket lines. If visiting San Francisco, Hollywood, Seattle, New York, Boston, Philadelphia, or Chicago, you will want to check this out. Prices vary by location. Visit http://www.citypass.net/or call 707-256-0490.

Acquisitions Made--The Museum of American Folk Art has acquired 22 paintings, manuscript books and an extensive archive of sketches, tracings, etc., of Henry Darger, a noted self-taught artist of the 20th Century. This collection, the largest in the world, will be housed in a new building to open in late 2001.

Public Art Events Slated--Boston--The Revolving Museum's Tunnel Vision project is a public art series addressing personal, social, and political issues that arise when an arts community is threatened by displacement. Several events have been planned through December in response to the Central Artery/Tunnel Project in the Fort Point Neighborhood: a public display of monumental artworks (mobile pieces and large-scale sculptural works), Art Carts that will travel through the streets, a Poetry and Photography Push Cart, Sculpture on Wheels, Art Cars, and more. Visit www.revolvingmuseum.org; 617-439-8617.

Milestone--The illustrator of British nanny Mary Poppins for a series of seven books by P. L. Travers has died in London at age 90. Mary Shepard, the daughter of E. H. Shepard, illustrator of Winnie-the-Pooh, began the first sketches at age 23 when just out of the Slade School of Art.

Expo Scheduled The Seventh Annual International Exposition of Sculpture Objects & Functional Art (SOFA) will be held at the Navy Pier, Chicago, from November 3-5. This event features 90 select galleries exhibiting over 1,000 of the world's foremost artists working in the media of glass, ceramics, wood, metal and fiber.

Exhibitions:
Portland, OR -- Portland Art Museum -- "Painting Revolution: Kandinsky, Malevich and the Russian Avant-Garde" includes 86 paintings from 13 Russian museums and covers a wide range of individual styles, movements, and significant trends in Russian art underlining the extraordinary vitality of early 20th Century Russian painting. Through Jan. 7. Also, "In Search of the Promised Land--Paintings by Frederic Edwin Church" demonstrates how this Hudson River School artist's interests in exploration and the natural world were manifested in his art. Through Jan. 3.

Baltimore, MD -- Baltimore Museum of Art -- "Power, Politics & Style: Art for the Presidents" hails the election of a new chief and the 200th anniversary of the White House. One hundred magnificent objects from 15 different U.S. presidents tell the story--from Washington to Clinton--of how they have used everything from furnishings and fashion to portraits and china to carry their message to the nation. Through Jan. 7.

Cleveland, OH -- Cleveland Museum of Art -- "From Rembrandt to Rauschenberg: Recently Acquired Prints" represents a full range of techniques and serves as a mini-history of printmaking in America and Europe. Through Nov. 26. Also "Picasso: the Artist's Studio" includes 60 paintings and a limited group of works on paper that represent major styles periods, and genres of Picasso's work--and the studio was the crossroads of all that occurred in his. Through Jan. 6.

New York City -- Metropolitan Museum of Art -- "Art and the Empire City: New York, 1825-1861" includes more than 300 artworks that chronicle the beginning of New York as a world-class art/cultural center. Through Jan. 7.

November Birthdays:
  2     Jean Baptiste Chardin
  5     Raymond Duchamp-Villon
11     Paul Signac
14     John Steuart Curry
15     Georgia O'Keeffe
18     Louis Daguerre

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Copyright ARTtalk Vol. 11 No. 1 -- November 2000