Almost Anything Goes

By definition, collage is an artistic composition of materials and objects pasted over a surface, often with unifying lines and/or color. The origin of the word "collage" comes from the French word "coller," which means to glue. Simply put, anything that is glued or pasted onto something else might be broadly interpreted as collage. Historically, collage has existed for many centuries; and, notably, Pablo Picasso and Georges Braque launched collage into the art world of Paris in the twentieth century and made it a mainstream term with a more widely accepted understanding. But, much earlier, experimentation in collage took place in France.

Collage probably existed before the invention of paper, certainly long before the technique was thought of as artistic. Many people still view collage as a craft rather than an art; but many applications of the techniques can be used to create artworks as formal, challenging, and expressive as most paintings done on canvas.

By far the most popular types of collage fall into the category of "papiers colles" or pasted papers. These are the works one usually learns to create in early collage experimentation. Since most collage is based on ordinary materials—such as magazines, newspapers, photos, wallpaper or fabric—the creative use of these simple materials is what delineates practice and skill.

Collage has universal appeal to artists because it lends itself to constant and thorough search and experimentation. New and different ways to combine textures, colors and found object elements can, more than any other art form, be innovative. The versatility and flexibility of collage offers infinite possibilities for the arrangement of elements, unusual images, and imagined meanings not associated with works on canvas or other art forms.Series works, groups of similar artworks, are very popular among collage artists. Once a certain feeling is created between materials and their placement within a given field, several similar works can be created at one time. This is very helpful from a number of standpoints. The flow and progression from one work, one placement, from one idea to another is the common thread of all the works within a group or series. This means that while the artist is creating any one of the series, there is a learning and growth process in progress. Also, each individual work stands alone. So in the process of exploration and experimentation, the artist is able to complete a number of works.

It has been said that the only real challenge in collage is the decision to settle on any given selection of materials. Even when paper is the only material used in collage, there are hundreds of patterns, styles, colors, textures and luminescence qualities to consider. Many collage artists collect and categorize materials by color. This is one of the most expedient ways to organize materials, which can literally overtake the workspace of a creative artist. Clear plastic boxes are great for such storage, allowing the family of colors to be visible instantly, if not the textures and prints held within.

Additionally, for artists wanting to create many works of a similar nature, working from a master layout plan is very successful. Sketch the placements, component sizes, textures and colors on a large draft; then use it as a model for placement of actual collage elements.

Many collage artists feel that one important ingredient of their work is the materials they actually create for use. The desire for textures and implied textures is one of the reasons why artists make the additional effort of creating original textured papers. When you spotlight a special paper in a work, it becomes part of your style and professional approach to your art.

Re-coloring textures that can be readily found is another key to creating personal elements in your collage. One instance might be the use of soft corrugated wrapping often used in shipping. Torn, painted and reassembled, it can yield a variety of surface textures. Brown Kraft paper is another material with near-limitless appeal. One method is to wad the paper into a ball and paint it one color. Allow to dry, unroll, re-crush, and paint on another color. Finish with a bit of metallic pigment and you have created a one-of-a-kind "signature" ingredient in your creation.

One easy project that will allow for a wide window of experimentation is the creation of greeting cards. This is the fastest and easiest way to learn the fundamentals of collage. Small and economic, these little wonders will help you learn while creating a useful saleable or gift item. They can be created to commemorate any holiday or special occasion.

Begin with any blank card and matching envelope, a glue stick and paper scraps. Design a layout of components, keeping the number of "pieces" to around five or seven. This means that all you need are about five scraps of coordinated paper and you are set to go. One method is to arrange the elements by size. Use one large piece of paper in a dominant or favorite color. Add two or three medium components and then one or two small ones. The smallest ones might be metallic papers, since large metallics seem to take over the composition.

Coordinate the envelope by adding bits of each color to the back flap. Remember to sign and date the card, as it will be a small work of art suitable for framing. And remember, there is no wrong way to combine components. So be creative and enjoy the process!

Exhibition

"Meditations on Modernism: The Life and Work of Sarah G. Austin" is at the Wadsworth Atheneum, Hartford, CT, through December 17. Inspired by artists such as Joseph Cornell and Jean Tinguely, Sally Austin created collage boxes in response to Surrealism, the School of Paris, and other 20^th Century art movements championed by her father, A. Everett "Chick" Austin, Jr., legendary director at the Wadsworth Atheneum.

Colorado Ice Fest 2001

Pastel Society of the West Coast

The 15^th Annual International Open Exhibition, "Pastels USA 2001," will take place April 3 May 18. Soft pastel only. Juror: Albert Handell. Slide entry deadline: February 16. For prospectus, send business SASE to: PSWC "Pastels USA," c/o Kathryn Higley, 828 Mikkelsen Dr., Auburn, CA 95603.

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

All About Alkyds

Just what, exactly, are alkyds? Simply put, they are modified oils. Alkyds are oil paints that are made with an alkyd resin binder modified with a non-yellowing drying oil for optimum color retention, excellent durability, and rapid drying time. Synthetic oil is used as opposed to a natural binder such as linseed oil. The painted surface dries to a uniform semi-gloss surface, and all colors dry at the same rate. Artists' paintings done in alkyd oils dry in as little as 12 to 24 hours and can be varnished in as few as 30 days. In contrast, conventional artists' oils can take from three to six months to dry adequately enough for varnish application. Also, the traditional oils often dry with different surface qualities—dry and/or shiny patches— rather than evenly like alkyd.

Alkyds are applied in one of two methods. The most usual is called the imprimatura or "layered" application. These layers generally begin with a base of alkyd gesso, rather than acrylic gesso. This allows the very best adhesion and the perfect ground for the layers that will be applied over the base. Light sanding between layers, using care to remove any dust or debris, adds to the smoothness of the surface. The technique of building layers, while requiring more painting time, has several distinct advantages over oil painting. Layers offer a luminescence to the work, and this technique offers the opportunity to create ethereal, airy images and light glazes within a painting. Those who use alkyds consider the eventual richness of this layering to be one of the true attributes of the paint.

The second method of application is that of the contemporary oil painter, where there are fewer layers, heavier brush strokes and stronger application of pigment. This style of work, despite the heavier texture, dries remarkably fast when compared to the drying time of traditional oils.

Brushes used with alkyd can range from the highest grades of bristle to sable and imitation sable. All of these brushes impart characteristics of their own, some very smooth and some rich and textured. Sable brushes will yield the smoothest of surfaces and are especially suited to smooth glazes and light, thin layers of color. The opposite of that look might be the look imparted by bristle brushes. The earthy, linear look of paint applied with bristle brushes is very well suited to more impasto styles of work where texture is a vital element.

Mediums that can be used with alkyds are the same as those for traditional oil paints. However, many alkyd painters prefer special quick-drying mediums, matched to the speed with which the paint dries, and there are several brands available. Other professionals use simple, culinary quality canola and safflower oils. These are extremely light and do not offer some of the chemical qualities of the professionally manufactured oil mediums. Others prefer to have extended control of the drying time and employ the use of linseed oil, which slows the drying time considerably. One very popular manufactured medium is Liquin, because it is non-yellowing, durable and does not alter the drying time of the paint. Other oils and gels are available that are specifically designed for use with alkyds and match their quick-paced drying. Some offer matte, eggshell and gloss finishes as well.

The surface upon which an alkyd painting is created plays a large part in determining the texture and surface quality of the finished painting. Canvas, gesso-primed Masonite panels, canvas board, gesso-primed rag illustration board, gesso board and Claybord can be used as a base for alkyd paintings. The smoother the surface, the smoother your finished work will be; or you can alter any or all of these surfaces to impart the type of surface desired. The smoothest of these—the sanded, gesso-primed Masonite panel—offers a surface comparable to glass. It is slick, and even layering of paint is easily accomplished.

Cleanup with alkyds, like other oil paints, can be accomplished with turpentine, but mineral spirits does the best job of deep cleaning, especially brushes. It can be used to soak a brush that has been allowed to harden without cleaning. Over time, the paint will dissolve and the brush will again be useable. However, cleaning of brushes should occur directly after painting to prevent just such occurrences.

Clean the brush by first removing all of the paint from the bristles with an old rag. Then repeatedly dip the brush into mineral spirits or allow it to soak for several minutes. Squeeze all of the excess paint and mineral spirits from the bristles. Try to avoid pulling on the bristles, as this weakens their attachment in the ferrule. Press all of the mineral spirits out, and then dip into clean mineral spirits and blot the brush again. Repeat until the brush no longer emits any color. Shape the tip of the bristles and store tip-up in a container.

Fewer manufacturers offer alkyd paints than traditional oils. Simply put, many oil painters are perfectly happy with the rhythm and slower progression of their work. But, if you are ready to experiment, to explore faster and more productive time frames and still work in oils, consider trying alkyds. The color spectrum is extensive, materials are available at most major art supply centers, and instructional books abound.

Silentaire Technology—The Spectrum 2000 Color Changer is a revolutionary new product for the airbrush artist. This system makes it easy to change or blend colors and to create special effects. A color dial connects most bottom-feed airbrushes to the Color Changer, which holds nine jars—8 for colors and 1 for cleaner. Any airbrush compressor or air tank is suitable as an air source. All types of paints are usable and will not dry out in the jars because the system is pressurized. This product eliminates the need to have multiple bottles for color changes that often involves messy cleanup.—GIFT IDEA.

Barron's—Renaissance Painting is the newest book among Barron's oversized, lavishly illustrated coffee table art books. Replete with over 500 full-color art reproductions of the European Renaissance, the volume represents more than 90 Italian, Flemish, German, French, and Spanish artists in this distinguished collection. 400pp.—GIFT IDEA/HOSTESS GIFT.

Iwata-Medea—Two new airbrush sets have been released just in time for this holiday season. These new kits include everything one needs to get started airbrushing, and they make buying that perfect gift even easier! The Iwata Airbrush Intro Set is an ideal power-packed self-starting kit and includes: Iwata Eclipse BS Airbrush, the new Sprint Jet Compressor, "The Air Experience" instructional video, 10 bottles of Medea Com-Art Colors, Artool Freehand Template FH-1, and Medea Airbrush Cleaner. The Iwata Airbrush Deluxe Set is another great starter kit, but includes a deluxe assortment of everything you'll need to begin your airbrush adventures: Iwata Eclipse CS Airbrush, new Smart Jet Compressor w/auto shut-off, "The Air Experience" instructional video, "The Freehand Airbrush Template" video, 10 bottles of Medea Com-Art Colors, Artool Freehand Template FH-2, and Medea Airbrush Cleaner.—GIFT IDEAS.

Savoir-Faire—Sennelier has added 108 new colors to its comprehensive line of artists' soft pastels. Handmade from pure pigments since the 1900's, these pastels are world-renowned for their intense color and smooth texture and feature improved light fastness, a larger diameter, and increased strength. New colors have also been added to the range of 49 Giant pastel sticks. Sennelier has also re-launched their line of pastel sets and, with a fresh new packaging design, they now offer more options than ever before. Among these, and an elegant gift for the pastel artist, is Sennelier's new 108 Pastel Set in Wooden Box, consisting solely of the 108 brilliant new colors. For the oil painter, see the new Artist's Travel Oil Set in Metal Case. This handsome set features 14 tubes of Sennelier oil in an assortment of colors, empty jar for turpentine, 3 brushes, painting knife, palette dipper, Plexiglas palette, charcoals, and one extra-fine oil leaflet.—GIFT IDEAS. Not to leave the kids out, the new Cretacolor Quatro Junior Pencils are made from a wood casing with a bright core of four exciting colors all melded together (6-pack); and the new Cretacolor Junior Set of 10 Watercolor Crayons contains bright watercolor crayons in an ingenious protective plastic casing to eliminate messes and smudges, all enclosed in a metal box with a scraper for sharpening—STOCKING STUFFER IDEAS.

Kurt Schwitters 1887-1948 — The Collage Genius

Kurt Schwitters was born in Germany in 1887, the only son of affluent parents. During his youth, he experienced poor health and was haunted by insecurities. As a young student at Dresden Academy of Art, his work was called "unimaginative." Astoundingly, the man who later was seen as the grandfather of Pop Art, multimedia art and post modernism and the acknowledged master of 20th century collage started his artistic career with this poor critical acceptance.

Schwitters began his creative experience with expressionistic work, but this initial work was considered less than progressive. Then, in 1919, he took part in an exhibit that caused a stir among the critics. His works exuded inner tension, a juxtaposition of sensitivity between abstraction and reality. Schwitters was the first to transform trash into art, and what the viewer saw was material never thought of as art, displayed and revered as true creative expression. What others threw away, he used in a unique context, the result of which was pure drama. Therefore, this work is considered by many critics to be the first true wedding of art and life.

Of this group of early works, the abstracts Schwitters called "Merz" show his innate sensitivity and emotional play of color, balance, content and form. These were the first assemblages where he used scraps and trash. This exploration of color, design, and that inner tension are what shocked and enthralled not only critics of the time, but art lovers to this day. He later came to refer to all his work as "Merz."

Schwitters was, by most standards, a late bloomer. He was 32 before receiving any recognition of his work and before any work was exhibited. But when the exhibit came, it changed his life dramatically. He was suddenly drawn from obscurity and placed in the center of contemporary art. He quickly joined the art "avant-garde" of the time and worked with two strong groups of creative masters: Dadaists, which included such well-known artists as Klee, Kandinsky and Schlemmer; and the Constructivists of Eastern Europe. (Dada is a free and spontaneous artistic creativity that carried moral/aesthetic values to the point of absurdity. Constructivism was the very first movement whose aim was to create completely non-objective sculpture, sculpture that was more contemporary architecture than traditional art.)

Because of these affiliations and strong interest on the part of Schwitters, is it any wonder that at this point all restrictions on his creative style seemed to disappear? Over the next decade he immersed himself in experimental expressions that included not only multimedia art, but also abstract drama, poetry, cabaret, typography, body painting, music, photography and architecture as well. In 1923 he even published a magazine (Merz) that was printed on an irregular basis and then founded a successful advertising agency in 1924.

As a master of color and balance and, in association with Constructivism, in 1924 Schwitters' work made another dramatic change. His Merz pictures started to be more clear-cut, the textures more uniform, and the individual elements became larger, yet simplified. During this period, he began a monumental construction originally titled "Cathedral of Erotic Misery" that came to be known as "Merzbau" and worked on it from 1923 to 1932. Today this work would be classified as an environmental piece, as it grew to include eight rooms of his home in Hanover. It was extremely innovative for the time, was considered shocking in his day, and was as radical as any work done by contemporary artists today.

With the onslaught of war in Nazi Germany, Schwitters was forced into hiding. His work was considered to be so controversial that it was once displayed by the German government to prove his open defiance. In 1931 Schwitters' father died and his death started yet another phase in the artist's work. Gone were the bright colors, replaced with drab hues and works full of contemplative moodiness. In 1937 he fled his beloved home, abandoning his Merzbau work and immigrating to Norway—never to return to Germany.

The move started a third revolution in Schwitters' life. He started a second Merzbau (now a life's mission) in Norway, only to have to abandon it when Norway was invaded in 1940. Again he fled, this time to England where he was imprisoned until 1941. After release, Schwitters stayed in London until 1945 when he moved and started yet another Merzbau. The New York Museum of Modern Art financed this one and it came to be known as the "Merz Barn." He did not live to complete the project and, regrettably, none of his Merzbau creations exist today.

Kurt Schwitters died at the age of 66, in poverty and poor health, but believing that his work would someday be recognized for its genius. Not only did this come to pass, but Schwitters is also credited with initiating so many of today's modern art movements: multimedia, post-modernism, Pop Art and more. What a legacy!

Glossary of Terms

The following terms have been selected for definition to help the beginning airbrusher understand terminology that may be common to the advanced user, but meaningless to the novice. These terms cover types of airbrushes, compressors and other air sources, procedures, tools, and accessories. This should help to clear up some of the mystique associated with airbrush technique.

Internal Mix—A type of airbrush where the paint is atomized (mixed with air) inside the airbrush tip, a confined area, resulting in a very soft dot pattern in the spray.

External Mix—A type of airbrush where the air and paint mix together outside the tip or externally. This results in a coarser dot pattern in the sprayed paint.

Single Action—A method of activating (triggering) an airbrush whereby you simply press down on the trigger to deliver both air and a pre-set amount of paint simultaneously.

Dual or Double Action—A method of activating an airbrush whereby the user first depresses the trigger for air and, while the air is on, draws back on the trigger for paint. This type of triggering allows the user the most versatility, since he can change the amount of paint and the width of the sprayed line without stopping hand movement.

Bottom Feed—A siphon-feed system where paint is drawn up into the airbrush from a jar or color cup mounted on the bottom front of the airbrush.

Side Feed—A siphon feed system where paint is drawn into the airbrush from a color cup mounted on the side of the airbrush.

Gravity Feed—A system where paint is drawn down or flows down into the airbrush from a color cup mounted on top.

Air Source—A device or unit containing or capable of producing pressurized air (compressor, carbonic gas tank, propellant can).

psi—A measurement of air pressure, pounds per square inch. An airbrush is operated at a certain psi depending on the material being sprayed, the viscosity of the material, and the manufacturer's directions.

cfm—Cubic feet per minute is the volume of air that the air source can produce at a certain psi. An airbrush usually needs « cfm at 30 psi to spray paint properly.

Air Regulator—An adjustable device that is attached to the compressor or air source that regulates the psi flowing to the airbrush. When the artist wishes to work with more or less air pressure (e.g. low pressure for stippling or high pressure for high volume), this is controlled at the regulator, not with the trigger of the airbrush.

Frisket Film—A transparent, self-adhering stencil material with a peel-off backing used to create individual stencils directly on the surface of the artwork.

Overspray—Sprayed paint that drifts above and below the intended focus of the spray.

Dagger Stroke—A stroke used in freehand airbrushing that goes from wide to narrow in one pass and is commonly used in lettering.

Stipple—The controlled spraying of large dots that results in a textural appearance. This is achieved by lowering the air pressure with a regulator to 1 or 2 pounds pressure, which in turn causes the airbrush to spray larger than normal dots.

Understanding these key terms in airbrush technique will be particularly helpful when you are in the market for purchasing an airbrush, air source and compatible materials or after opening a new airbrush that was on your holiday wish list.

2000 Holiday Stamps Available—The U. S. Postal Service has selected Netherlandish artist Jan Gossaert's "Madonna and Child," c. 1520, as the Holiday-Traditional stamp this year. This painting is currently included in the Worcester Collection at The Art Institute of Chicago. The Holiday-Contemporary stamps feature four images (c. 1880's and 1915-20) that represent part of the rich folklore of Santa Claus.

Old Design Revived—A new silver dollar based on the design of the buffalo nickel (minted from 1913-1938) will be released next year. Originally designed by James Earle Fraser, the new coin will honor the Smithsonian's new National Museum of the American Indian.

Cast Your Vote—Kids and kids at heart across the nation are being requested to cast their ballots and make their favorite color count in the Crayola Color Census 2000. By participating in the census, you will be entered into a random drawing to win a colorful 10-day vacation for four to see colorful sites like The White House, Yellowstone National Park, and the Golden Gate Bridge. Vote online at www.crayola.com or call 1-800-CRAYOLA. But hurry—the deadline for submission is December 15^th!

Director Chosen—After a lengthy search, Briton Paul Warwick Thompson has been chosen director of the Cooper-Hewitt National Design Museum. Scheduled to take his new position early in 2001, Thompson will be the first non-American to serve as director of the museum.

Boss Winner Announced—Slovene artist Marjetica Potrc has been awarded this year's Hugo Boss Prize, given every two years to recognize significant achievement in contemporary art. She will receive $50,000 for her "politically relevant" architectural installations.

Art Designated for Vegas—Russia's State Hermitage Museum and the Guggenheim Museum are joining forces to open a mini-museum in the lobby of the Venetian Hotel in Las Vegas. Designed by architect Rem Koolhaas, it will exhibit 20 paintings from each museum's collection about twice a year. The Guggenheim is also renting a separate exhibit hall at the hotel to house special exhibits.

Auction Records Set—Picasso's "Woman with Crossed Arms," from the artist's blue period, has sold for $55 million at Christie's sale of Impressionist and modern art. This set a record for the artist and marks the fifth highest auction price ever paid for a work of art. In addition, Alberto Giacometti's "Large Standing Woman I" sold for more than $14.3 million, the highest price ever paid for a work by the artist as well as for a sculpture.

Museums Rated—Travel Holiday magazine has rated the National Gallery of Art in Washington D.C. as America's top museum; then, in descending order, The Menil Collection (Houston), The Frick Collection (New York), the American Visionary Museum (Baltimore), and the Museum of Modern Art (New York).

Holiday Happenings
Palm Beach, FL—Flagler Museum—Tree Lighting—Dec. 3 Select rooms in the museum are decorated in traditional Gilded Age holiday splendor, and Henry Flagler's great-great-great grandchildren will light the Marble Hall Christmas tree. Evening Holiday Tours Dec. 14-15 and 18-20 Guests are treated to a guided tour of Whitehall in its entire seasonal splendor, illuminated by the golden glow of its original electric light fixtures. Refreshments and holiday carols follow each tour. Admission. 561-655-2833.

New York City—Metropolitan Museum of Art—Annual Christmas Tree and Neapolitan Baroque Crèche Through Jan. 7 The museum continues a long-standing holiday tradition with the annual presentation of its Christmas tree. A vivid 18^th Century Neapolitan crèche scene adorns the candlelit spruce. A lighting ceremony will take place Friday and Saturday evenings at 7:00. 212-879-5500.

Chicago, IL—Art Institute of Chicago—Family Highlights: Holly Days - Dec. 26 30 - Between 12:30 and 3:30pm. Celebrate the New Year. Watch an artist demonstrate pastel drawing, decorate a New Year's calendar with your own work of art, and hear stories for all seasons. Festival of Children's Books - Dec. 3, 12-4pm More than 20 nationally published children's authors and illustrators attend the 10th Annual Festival of Children's Books. 312-443-3600.

Hartford, CT—Wadsworth Atheneum—27^th Annual Festival of Trees & Traditions - Dec. 2-10 The holiday traditions of diverse faiths and cultures from around the globe are represented in sparkling displays, music, song and dance. Included are entertainment, storytelling, hands-on craft project, a LEGO corner and enchanting "Candy Lane." 860-278-2670.

Stockbridge, MA—The Norman Rockwell Museum—"The Spirit of Christmas: Rockwell Paintings from the Hallmark Collections" Through January 28, visitors can view 27 original paintings from the Hallmark collection of Rockwell artwork that were commissioned between 1948 and 1957 for Christmas cards.

Minneapolis, MN—Minneapolis Institute of Arts—Holiday Traditions in the Period Rooms Through January 2, Tuesdays through Sundays. Decorative Arts Council Annual Holiday Event James Ford Bell: The Passionate Collector as Generous Benefactor Dec. 7. 612-870-3101.

Oakland, CA—Oakland Museum of California—Winterfest: A Celebration of Winter Family Traditions Dec. 3 - Family feasts and holiday games. Music, dance, craft activities and food of family traditions of Winter Solstice, Hanukkah, Kwanzaa, Mexican Christmas, Ramadan and others. Noon-4pm. A Festival of Lights Day Tour Dec. 12 and Dec. 17 Travel to San Francisco to take in the splendor of Union Square. Dinner at the Grand Hyatt, then board bus to enjoy more holiday lights. History Guild: 510-232-2964.

December Birthdays
  6   Frederic Bazille
20   Pieter de Hooch
25   Paul Manship
25   Raphael Soyer
30   W. Eugene Smith

HAPPY HOLIDAYS!

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Copyright ARTtalk Vol. 11 No. 2 -- December 2000