Hand Building with Clay--Creative Simplicity

Since pre-historic man, clay vessels have been formed and used. It is theorized that the first fired clay objects were created by accident. Perhaps, a clay-lined basket was placed too close to an open fire, hardening the clay liner and burning away the reed, resulting in a reusable, more permanent object. Through experimentation with natural clay deposits, early man learned that other shapes and ritual objects could be made permanent by exposure to heat or flame.

As children, we learned several simple methods of clay formation, the same techniques that early man might have used when he first began to shape vessels. Coils (long, thin snakes of clay, slab (flat pancakes of clay) and pinch methods (squeezing thick clay shapes into thin, functional objects) are three of the most popular hand building methods. Every style and type of vessel can be made from these techniques, and combinations of all three offer real creative opportunities.

All clay construction methods require a bit of "glue" to hold each successive layer or addition in place. This glue is called slip and is actually liquid clay. Slip holds pieces together with a type of suction caused by the reaction among the dryer clay of the base form, the new additions and the liquid slip. To clean away excess slip, wipe with a damp sponge.

Coils may be the oldest structured clay formation method. Native Americans still employ coiled building methods and are experts at creating smooth-surfaced, elegant and collectable pottery that resembles wheel thrown. Indian surface painting/carving techniques are world famous for beauty, symmetry, craftsmanship and value. Coils can also be left visible, rather than smoothed. This is an especially good look with thick glazing methods. The "valleys" hold color, while the high ridges of the coils appear thinly glazed, and the resulting contrasts are striking.

Slabs can be formed into cylinders and boxes that function as tumblers, vases, storage containers and the like. Construction is simple: Shapes are cut from flat clay pancakes, rolled into desired shapes and joined with the same slip as that used in coil construction. Again, clean up with a damp sponge.

Creating pinch pots is easy, and the shapes created can be anything from utilitarian to strictly decorative. Pinch method is nothing more than the uniform pressing into a ball of clay, gradually increasing pressure until there is a consistent thickness to the walls of the object. Collaring in the top can be done by removing pie-shaped pieces of the open throat. Overlap the sides of the reductions with slip and press firmly. Smooth with a damp sponge.

Pinch pots can be made in a rather unique way, too. Press a chunk of clay around a dowel, and then gently roll the dowel against a work surface. As the dowel presses the clay, the opening in the chunk opens to form a cavity. Work until you attain the desired wall thickness, and then attach a base with a small slab.

By adding some decorative techniques to the foundation methods of formation, you can create a full spectrum of looks. Medallions of clay attached to the still-damp base form can add personalized texture. Such medallions might be made by first creating uniform balls of clay. Flatten the balls into a coin style then press any texture into the disc surface. Textures that work well are those that are strong enough to remain visible after glazing. Tools might include sticks or twigs, wire, and found objects for pressing designs such as pencil erasers, pen caps, the edges of a ruler, old jewelry and the like.

Another possibility is to create "press molds" that create duplicates of special shapes that can then be added to the surface of your vessel. Pressing any design, object, shape or texture into moist clay can make press molds. Allow the clay to dry, then bisque fire (to condition the clay for glazing). It is then a permanent mold and ready for repeated, long-term use. To use, press small pieces of clay into the recessed design, then remove the moist clay and trim. They may then be added to the surface as topical decoration. Attach with slip while both the pressed shape and the vessel are leather hard.

When glazes are applied over these dimensional objects, interesting color shifts and pools might occur that add even more interest to the surface. For more rustic or primitive looks, using no glaze on the outer surface of the vessel gives a more natural and stone-like appearance. Glazed interiors are recommended if any water is to be used in the container. If planters are created, remember to include a drain hole so excess water can drain away from the plant roots. Matching saucers help prevent water damage to furniture and can be made with slabs that have slightly raised edges.

Most people think quality clay work is created using a potter's wheel. But hand building is thought by many clay artisans to be far more original, more connected to the elemental qualities of the clay itself, and more Zen. There is no mechanical intervention, nothing between the raw "dirt" and the art or functional object--creativity at its primal best.

Explore the possibilities of clay work by enrolling in a regional university class or neighborhood studio workshop. You will experience how addictive clay can be.

Strathmore Digital Art Contest

Strathmore Papers invites all digital artists to enter original prints of their digital art on Strathmore Artist Inkjet Paper in their "Digital Art Contest."

Subject: Open to the entrant's discretion.

Specs: Original prints on Strathmore Artist Inkjet Paper are to be submitted for judging on creativity, style, expression, and use of technique. Copyrighted images or other artists' works will be disqualified. You may enter as many times as you like.

Rules: Artwork will not be returned unless a self-addressed stamped envelope is submitted along with entry. Winners may be requested to provide electronic files. Submission of entry constitutes agreement that Strathmore can reproduce artwork for promotional use. Full credit will be given to the submitter, and a nationally renowned panel of artists will judge the contest.

Include with all Entries: Digital print, artist's name, address, telephone number, software used, printer used, paper used, and title of piece. There is no entry fee!

Mail Entries to: Digital Art Contest, Strathmore Artist Papers, 39 South Broad Street, Westfield, MA 0l085. Entries must be postmarked by October 31, 2001.

Prizes: First Place: $1,500; Second Place: $750; Third Place: $250; and five Honorable Mentions.

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

3D Projection Devices for the Artist or Craftsperson

For centuries, artists have used a variety of means to project images to aid in the capture of subjects. In the 1600's, for instance, artists began to employ the camera obscura, a primitive box/lens combination that helped them capture very precise likenesses. Today our choices are wide, and the use of projection machines can be applied to a variety of artistic applications.

As "start-up" quality, or for artists who work in small format, several manufacturers offer simple units that enlarge and project small images like photographs. This type of equipment is usually illuminated by a conventional incandescent light bulb, generally from 60 to 100 watts. Although this style of projector is not very powerful (the image is not overly bright), if used in controlled environments, it offers a very inexpensive way to transfer images to the work surface.

The operation is very easy and straightforward: The selected picture is placed beneath the unit. It is illuminated by a bulb, and then reflected through the lens and onto the canvas, wall, etc. The distance between the projection unit and the drawing surface usually dictates the projected image size. To facilitate the use of larger masters, illustrations can be projected in sections. This is easily done by first drawing a grid over the master, dividing it into segments the size of the viewing area of the projector. Use the grid lines to position the image for an exact match of sections.

There are projectors available in a wide range of costs, and features can help with selection. Those features include top-loading screens rather than bottom access, floor and table stands and more powerful halogen lamps or photo quality bulbs that afford brighter images. Some units offer larger fields of image capture, a few as large as 10" X 10" and 8" X 11".Size of projected illumination can range from 4X to 1500X, depending on the unit and application selected. One available model can even project the image of a three-dimensional object. Several models can project slides as well as opaque images. Reductions up to 70% are also possible, a function that can be useful in many art and craft applications. Removing and then reversing the lens position usually achieves this.

Artists and craftspersons alike should explore the options and versatility of projectors. They can be very effective as time- and labor-saving tools, given the fact that they eliminate the task scale, size and proportion interpretation by the artist. Rather than draw the image, simply use a projector to capture it and immediately transfer it to the wall or canvas or wherever desired. All that remains is the linear delineation of the subject and the actual application of art technique.

Crafters are sometimes not versed or disinterested in drawing skills and may struggle with shape and subject likeness. Any projection system would be a boon to their success because drawing is eliminated. Simply insert a picture into the viewing area of the unit, project the image and copy it (perfectly) onto your project. No time is invested unnecessarily, and there is one less obstacle in the way of unbridled creativity.

Projection units are especially useful to muralists or artists who work in large scale because of the physical size of their works. Small drawings or initial sketches can be enlarged onto the large work surface and copied. When this initial step of image transfer is eliminated, time and energy spent on manual transfer can be applied to the completion of the project. More work can be done in a much smaller window of time and this often translates to more income or profit.

Artists who demand stark realism in their work and can work from slide imagery may benefit greatly from the use of slide reproduction and enlargement. Rather than invest time in drawing an original scene, simply project a slide onto the chosen surface and then copy it. Many hours of time can be saved, especially on large works, and all detail is depicted. Watercolorists can actually paint their works while the image is projected onto the paper. Sharp edges and clear shapes can be very easily captured in this manner. There are no pencil lines needed, so the end result is one of extreme clarity and startling craftsmanship.

Of course there are purists who consider the use of any mechanical apparatus a cop-out or feel somehow it is like cheating. But if you are looking for a way to cut time from your work schedule, thereby enabling you to create a higher volume of quality art, projection devices offer many ways to assist you. Also consider that the projection devices make it possible to paint on any surface--walls, ceilings, and the sides of vans--as well as desktop drawing or easel painting.

Somewhere in the varied selections is a projection unit that fits the need of nearly any artist or craftsperson. Retail prices range from around $20 for a very simple, light bulb unit to around $450 for a deluxe, large-format model. Also available are high quality light tables and tracing devices, evenly illuminated for fast, comfortable tracing of designs. Many sizes are available in a wide price range.

Most retail stores have both types of units set up so you can see how they are used and what model might best suit your needs. Explore the furniture department of an art supply center soon or explore these websites for more information and tips on using projectors: www.artograph.com and www.gagneinc.com.

New Products from AMACO

The American Art Clay Co. has announced the availability of several new products.

NuBlade, the first blade designed specifically for use with FIMO and other polymer clays, is now available in an economical 3-pack. Thicker than razor blades, NuBlade stays sharp two to three times longer than other blades and resists oxidation. It is flexible, but remains rigid when cutting large diameter canes, resulting in clean, accurate cuts.

AMACO has added 10 new colors to the lead-free Old World Crackle glaze series, formulated to produce a network of cracks on fired ware similar to crazing, giving pieces an old or antique look. Fog gray, amber, beige, leaf green, celadon, peach, pink, light red, and yellow are now available in addition to clear glass and satin white. Old World Crackle glazes can be used for all-over coverage or they can be applied over an underglaze design. Because of the transparency of the color glazes, the underglaze design shows through, creating extraordinary effects of design and color. Recommended firing temperature is Cone 06.

AMACO has introduced a set of 14 Ceramic Posters that include step-by-step, full-color photographs to illustrate ceramic techniques. Printed on cardstock 17" x 22" with holes for hanging, these have a protective UV coating and include finished works by leading ceramists. Included are: Wedging, Pinch Pots, Coil Building I, Coil Building II, Slab Construction I, Slab Construction II, Hump Molds, Centering and Throwing I, Centering and Throwing II, Center and Throwing III, Trimming, Profiles of Pots, Glazing, and Bisque and Glaze Firing.

AMACO has introduced a new line of lead-free Stone Texture glazes with a smooth, unique stone-like surface when fired over a Cone 04 bisque. The ST glaze series flows a little in the firing, settling in the crevices and towards the bottom of a vertical surface. When applied over a textured surface, they produce antique-like variations or a weathered and worn-out look on the higher relief areas of the piece. These can be used over any AMACO earthenware clay. When applied over Indian Red Clay No. 67, the clay color showing through the high relief contrasts and blends with the glaze color, and the entire piece is enriched by the warm undertones. Stone Texture glazes are best applied over Cone 04 bisque with a recommended firing temperature of Cone 05. Colors included in this series are blue, light blue, blue gray, rust, straw, green olive, peach, ivory beige, lavender, violet, and burnt orange. See your retailer and www.amaco.com.

New Artist Bridge from Artool Products Co.

Artool has announced the release of the Artist Bridge, actually an improved version of the popular Multirail from Artool. Not only was the Artist Bridge renamed to fit its intended purpose, but also a neoprene insert was added to the anodized tempered aluminum models for added control and comfort. With the non-flexing bridge, you will never smear or smudge the surface of your artwork again. Control all soft and wet mediums with confidence, whether rendering details or cutting in accurate line work. Use paintbrush, pastels, charcoal, markers or even airbrush with professional results every time. See www.artoolproducts.com.

New Books from Krause Publications

Ceramics: Mastering the Craft, 2nd Edition, by Richard Zakin, is greatly expanded and updated and features more than 300 color photos of the most innovative work being done in the ceramics field today. Also included are historical background information and analysis of design creation techniques, advice on formulating clays, choosing and applying glazes and firing clay bodies; and processes such as raku, throwing on a wheel, hand forming in a press mold and working with colored clay are featured in photo essays. 256pp. In Raku: A Practical Approach, 2nd Edition, by Steven Branfman, the author guides beginning and intermediate potters through each stage of the raku pottery technique, from its origins and history to clays and glazes, and provides instruction on firing, combustion and post-firing methods. 176pp.

New Field Pack from Strathmore

Strathmore's new 400 Series Field Watercolor Pack features the 400 Series Field Watercolor Book with watercolor paper interleaved with 400 Series Sketch and Winsor & Newton's Cotman Water Colour Compact Set. The attractively styled box includes a mixing tray, 14 half pans of Cotman Water Colours, a Cotman Series III No. 5 Brush and leaflet. This pack is an excellent companion for the traveling watercolorist doing on-location studies.

Jan Vermeer, Man of Mystery (1632-75)

Johannes Vermeer van Delft, more commonly known as Jan Vermeer, represents one of the most mysterious figures among all painters. He is a paragon of questions and controversy.

Although he lived his entire life in Delft (Holland), much of Vermeer's history is unknown. His body of work, that which can be confidently credited to his hand, is quite small. Today, fewer than 40 paintings exist, and most portray household genre, portraits and city views. Yet, his paintings are hailed as some of the most exquisite neoclassic work in Western Art. He is categorized as a "genre" painter due to the realistic subjects and simplicity of activities documented.

The training Vermeer had is not documented with any certainty. It is thought that he may have apprenticed with Karel Fabritius (then a famous Dutch painter of portraits) or perhaps in Italy under Felice Ficherelli. Additional influence most probably included Rembrandt.

Despite the limited number of works and the limited scope of subject matter, Vermeer's luscious canvases displayed an acute awareness and application of the effects of light and color. Together with a sensitivity to spatiality (his subjects exist in harmony with their surroundings) and a certain poetic quality in those simple images, he is considered a master. Although he was highly regarded in his lifetime, he never attained wealth. At his death, he left his wife and 11 children heavily in debt. To retire the debt, she gave away several of his paintings to the local baker and other creditors. The remainder of his paintings were sold at auctions or given to friends and family.

Because of the sketchy record of his life, it has been theorized that Vermeer may not have relied exclusively on his art to support himself. This is supported by the limited information on him and his work, and the few references that exist include references to works that exist today. Because documentation on Vermeer is splintered, one obscure theory even projects the idea that perhaps "Vermeer" works may not have been done by one person but may be a jumbled collection of works by several painters named Vermeer. Some of those painters might include Jan ver der Meer of Utrecht or Catharina Vermeer, a woman painter, but not Vermeer's wife (also named Catharina). It is little wonder that there is so much confusion.

Be that as it may, Vermeer's name and reputation were all but forgotten and his work was admired only by a small group of collectors until the late 19th century. It was at that time that art critic Thore Burger published an essay attributing 66 paintings to Vermeer, and all of those works became widely known. It was later confirmed that only 34 of these paintings could definitely be credited to Vermeer. Much confusion and many questions stem from the fact that during WWII, Vermeer's works were forged and sold to the Germans. The Allies discovered several cases of suspected forgeries after the end of the war, but no real proof was ever found as to the number of forgeries.

To further complicate the issue of who painted what and when, only three of Vermeer's works were dated at completion. These three paintings are considered "history" paintings, painted in a warm palette of rich golds and reds, and in a large format, after which almost all of his paintings fall into the category of contemporary subject matter (contemporary images of his time) and are of a much smaller size. They also employ a different tonal palette. Colors changed from warm in those early works to cool, dominated by deep blues, lemon yellows, olive greens and clear dove grays. These colors were often delicately balanced with vivid touches of bright red and golden brown. In his use of white pigment, no painter ever surpassed him. It is to this period that practically all of his remaining paintings belong.

Contemporary works, again the bulk of his work, usually depict indoor, domestic spaces with one or two figures. A genius for composition and the lighting within paintings are trademarks of Vermeer's work. Light usually streams from a source to the left of the subject, nearly always light from a window. Each work emits a sense of serenity, balance and order.

Vermeer is believed to have employed the use of camera obscura, an instrument that is composed of a lens in a box. Light penetrates the lens; the image is enlarged and transmitted onto a screen. Use of this camera may have contributed to the near photographic quality of his imagery, but it is uncertain whether Vermeer would actually trace the projected images. Many art historians support this belief because of his ability to exactly duplicate maps and other artists' works within his paintings.

Visit the following website to see 18 of Vermeer's works: www.ibiblio.org/wm/paint/auth/vermeer/.

Airbrushing the Figure

If there ever were a subject ideally suited for rendering by an airbrush, it would be the human figure. Whether it is the work of Alberto Vargas or George Petty or that of sharp focus realist painters H. N. Han or Jerry Ott, the airbrush is the tool used to develop that "feel" of the human body--skin that you think you can touch.

Sprayed paint lends itself to the illusion of roundness on a flat surface. As it is projected from the airbrush, it spreads out in density, with fewer and fewer sprayed dots reaching the outer perimeter. It is this gradation of value and color that gives volume to the leg, arm, or breast in the rendering of the human body.

When Vargas painted, he did an underpainting with a paintbrush and then airbrushed color over top in a glazing technique. Even though he worked in watercolor, he was able to achieve this because the sprayed color did not disturb the delicate underpainting, which remained untouched during color application.

An airbrush can be used to develop flesh tones by spraying overlapping coats of different transparent colors. Or opaque areas can be built up with premixed paints.

A total spectrum of edges can be achieved by using a variety of airbrush techniques. Spraying paint freehand without the assistance of stencils or frisket results in a blurred, soft edge. On the other hand, hard edges are created when paint is sprayed along an edge of a stencil or frisketed area. If you spray along a frisketed area, the result is a very crisp edge; if you spray along the edge of a torn piece of soft paper, a feathery edge will result.

Because all paints can be sprayed through an airbrush, all painters can utilize it, whether they work in acrylics, watercolors, or oils. With the airbrush, the figure can be rendered as life-like as a photograph.

Illustrators Honored--Twenty of America's greatest illustrators have been honored in a pane of commemorative postage stamps that "epitomize the American way of life and our cultural heritage." The stamp designs are details of illustrations originally used for several purposes, including books, advertisements, magazine covers, murals and posters. Some of those included are James Montgomery Flagg, Rockwell Kent, Rose O'Neill, Maxfield Parrish, and Jessie Wilcox Smith. Text on the back of the stamp pane identifies the illustration and provides a short biographical sketch of each illustrator. You won't want to use these little "treasures" as postage!

Artwork to be Auctioned--The International Museum of Cartoon Art in Boca Raton, FL, is auctioning items to pay down its debts. Among the hundreds of items is the first drawing of Mickey Mouse, a 36-panel storyboard from Disney's "Plane Crazy" cartoon.

Website Planned--The Solomon R. Guggenheim Foundation is in the process of developing a new website at Guggenheim.com. This super-sophisticated new site will combine art and e-commerce, and it's reported that it will eclipse most other museum sites by its wide range of content and slickness.

Artist's House Opens to Public--Cedar Grove, the Catskill, N.Y., home of painter Thomas Cole, has opened to the public for the first time after a $300,000 restoration. The 1815 federal house features several galleries devoted to Cole, his art and environmentalism and other Hudson River School painters and contemporary artists. Open Fri.-Sun.; call (518) 943-7465.

Designers' Seminar Scheduled--The annual Society of Craft Designers' seminar will be held in Phoenix, AZ, from Sept. 5-8. This 26th year of this seminar will have "Education" as its theme. For info on the SCD, call 740-452-4241; www.craftdesigners.org.

Auction Results In--The spring auction season began with Phillips's auction, where 15 works failed to sell and the total was below its estimate. At Sotheby's, where only three works failed to sell and the total far exceeded the high estimate, a triptych by Francis Bacon sold for $8.5 million, a record for the artist. At their sale of impressionist and modern art, a self-portrait by Max Beckmann sold for $22.5 million, a record for the artist. Christie's sale of impressionist and modern art totaled below the estimate and six works failed to sell.

Sculptor Design Chosen--Gwendolyn Gillen of Hustisford, WI, has been chosen to design a life-size bronze sculpture of Mary Richards, a.k.a. Mary Tyler Moore. Commissioned by the cable channel that syndicates reruns of "The Mary Tyler Moore Show," the sculpture will be permanently loaned to Minneapolis.

Exhibitions:

Stockbridge, MA--Normal Rockwell Museum--Norman Rockwell: Pictures for the American People opens June 9 before completing its 7-city tour at the Guggenheim in New York City. Through October 21. Associated programs include "An Evening with Peter Rockwell: Confessions of a Reluctant Model" on June 14; "Family Time: A Day with Rockwell's Models" on June 16; and "Community Connections: Bouquets to Rockwell" on June 23-24.

Washington, D.C.--Corcoran Gallery of Art--Painters and the American West: The Anschutz Collection features 75 paintings by all the major painters who have depicted the West and showcases singular masterpieces by Albert Bierstadt, Frederic Remington and Georgia O'Keeffe, among others, as well as significant groupings of portraiture, landscape, still life, genre and history painting. Through July 30. Also, 2001 National Foundation for Advancement in the Visual Arts Fellowship Exhibition is on view June 2 July 9 and 2001 National Scholastic Art Awards Exhibition of 250 award-winning student works will be on view June 15 - July 14.

Washington, D.C.--Renwick Gallery of the Smithsonian--USA Clay is the second exhibition in a series that focuses on a specific medium in the craft collection of the Smithsonian. Highlighted are 95 pieces of ceramics, ranging from functional wares to conceptual sculptures to folk art to works that emphasize particular techniques and aesthetic approaches. Through July 15.

Charlotte, NC--Mint Museum of Art--Saltglaze from the Rhineland to Randolph County For over 200 years, N.C. potters created saltglazed wares using a technique that originated centuries earlier in the German Rhineland. The exhibition traces the use of saltglaze from its origins in Germany to England and finally to America, where it became the working method of choice by nineteenth century potters. Through Nov. 18.

Los Angeles, CA--L. A. County Museum of Art--L'Esprit Nouveau: Purism in Paris, 1918-1925 revisits the origins of the Modernist movement that made a lasting change in art and architecture. Included are rarely exhibited paintings and drawings, as well as a full-scale reconstruction of the interior of Le Corbusier's Pavillon de l'Esprit Nouveau built in 1925 for the Intl. Expo. Of Decorative and Industrial Arts in Paris. Through August 5.

Newark, NJ--Newark Museum--Picturing America celebrates the opening of a new wing of two-dozen renovated galleries devoted to the museum's American Art Collection. Starting in colonial times and ending in the 21st century, over 300 works of art examine the powerful impact that artists have had on shaping American culture and identity. Masterpieces of painting and sculpture are shown with great works of photography, drawing and decorative arts by and for Americans of many backgrounds. Take a virtual tour of the exhibition at www.newarkmuseum.org/americanart/html/tour/tour.htm.

June Birthdays:
  3    Raoul Dufy
  6    John Trumbull
10    Gustave Courbet
12    Annie Albers
18    Robert W. Weir
20    Kurt Schwitters

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Copyright ARTtalk Vol. 11 No. 8 -- June 2001