Tools of the Trade

Printmaking is one of the most versatile and fulfilling art involvements one can experience. There are so many different types of printmaking that there is surely one to suit your personality and work style. Everything from simple shaped sponges and other materials to more technical etched metal plates--and an ocean of ideas between the two--can be used to create controlled images, personal art statements and saleable art items. All you have to do is examine the possibilities and dive in!

Supplies needed for basic printmaking include ink, paper, ink brayer (a small roller with a handle attached), and your choice of plate master. Linoleum block, wood block and easy-carve soft base materials are great for those beginning their printmaking experience.

Shaping any type of sponge, foam sheet, mat board, or foam board can create simple, yet striking prints. What makes these "masters" so appealing is their availability, their ease of manipulation and the low cost. Once you are finished with the master, simply toss it away, or clean it and re-use it later.

Tools required for shaping these materials might include scissors or sharp-bladed knives. Remember that the positive, or high, portion of the master will be coated with ink and leave its reverse image on the printing paper. Select a design that is full of large flat areas, allowing the shapes and contours to create rich prints.

To ink the master, roll a brayer (roller available at any art materials dealer) over a dollop of ink, rolling to spread a smooth even layer over the surface of the roller. Then roll the ink over the high spots on the master plate. It is now ready to print.

Place the paper over the master plate and rub gently to press the wet inked surface against the surface of the paper. When all areas of the design have been pressed, gently and evenly lift the paper. The resulting print will be a mirror image of the inked master plate. The first print is most often used as a test print, to examine places where more or less ink might work better for the design.

After exploring these immediate and easy types of printmaking, consider graduating to woodcut, linoleum block or soft-base material for prints. Special woodcarving tool sets can be used on wood blocks to create detailed, long-lived master plates; and these same cutting blades can be used to carve into linoleum (mounted onto wood blocks or unmounted) as well as the soft-base mediums now available from Speedball. This soft base is easily carved and can depict and maintain sharp detail print after print.

Detail is sharpest with the hard quality of wood, but linoleum masters are long-lived and can be cut to create dynamic designs. One aspect of linoleum that makes it most appealing is that you can carve your design from unmounted linoleum and piece different designs together. This opens yet another door in the printmaking experience. When you combine the versatility and ease of manipulation, multi-piece linoleum masters can be used to create an unending sequence of patterns.

Metal plates and plastic surfaces--such as acrylic sheets like those used to cover artwork--can be scratched, inked and printed with remarkable ease. Tools used to etch both surfaces include any strong, sharp metal tool. Old dental tools make especially good etching styluses because they are very strong and rigid. Sharpen the tip of any old tool to a point using a bench grinder or by raking across a smooth cement surface. The resulting point will scribe into the surface of either metal or plastic. Special tools for scribing are available at art supply centers and offer several tip sizes and handle shapes that make them easy to use.

Scribing should be done very similarly to the lines you use in cross-hatching during drawing. The more crossed over lines you build up in any given area, the richer the tone of dark in that spot. The less lines or etch marks you create, the lighter the area will be.

Inking metal or acrylic masters is very similar. Ink is rubbed gently into the scribed lines. This can be accomplished with a fingertip or a small scrap of mat board or cardboard. Once the ink is worked into the scribed lines, wipe away all excess ink with a soft cloth. Removal of lots of ink will soften the color of the etching, while leaving more ink on the plate will create a darker, bolder image.

Once this image is inked and excess removed, it is time to print. Lay a slightly dampened paper over the plate and press firmly with a baren (hand burnishing tool) or with the back of a wooden spoon. Even pressure is essential. In the very best situation, the use of an etching press is ideal. It allows the master plate and paper to be evenly pressed so that all the ink is extracted from the etch marks. Hand burnishing can accomplish a very good image, but requires more energy. Either method creates breathtaking images.

For best access to printmaking classes, consider university art workshops, continuing education or private printmaking studios (or the Art Methods and Materials Show -- See "Art Events" below). Museums and art schools offer many classes related to all types of printmaking. But to explore on you own, you can get started for very little money and the experience you gain will aid in your future exploration of the medium.

September 28-29 - Memories Expo, Colorado Convention Center, Denver, CO

Thousands of products, 40 scrap classes and exhibits of the latest supplies by the nation's leading manufacturers will make this a super Expo. Doors open to the public at 11 a.m. on Friday and at 9 a.m. on Saturday. Workshops take place both days to give everyone the chance to learn the latest layouts, trickiest techniques and oodles of ideas. Call 740.452-4541, Ext. 3110 or see www.memoriesexpo.com.

October 12-14 - Art Methods & Materials Show 2001, Convention Center, Pasadena, CA

The 6th Annual Show includes exhibits by over 80 art materials manufacturers where you can try, buy, and save directly on the show floor; free demonstration area where you can learn tips and techniques from artists and manufacturers; "Experience" areas where painters at all levels can try a wide variety of art materials; and the Painting Event, where you can paint a square on the world's largest canvas painted by multiple artists. In addition, you may choose from 175 tuition-paid workshops, demonstrations, and lectures taught by the nation's leading artists, including "Plein Air Painting" and a "Keynote Breakfast" with renowned "painter of light" Thomas Kinkade. Seminars begin on October 11th. Phone 877.693.1005 or see www.artmethods.com

October 11-14 - 14th Annual Conference of the Folk Art Society of America - Theme: "African-American Folk Art," Richmond VA

Phone/Fax 1.800.527-3655 or find the schedule of events and registration blank at www.folkart.org.

October 22 - Decorative Arts Symposium: Possession/Obsession: Artists' Houses, Studios, and Collections, Carnegie Museum of Art, Pittsburgh, PA

Sponsored by the Women's Committee, the symposium will explore how artists' environments have proved vital to the understanding of their lifestyles and their art and have significantly influenced collecting trends, interior design, and fashionable taste. The symposium has an admission fee and will include a lunch for those pre-registered by October 15. Phone 412.622.3131

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

Origami--Beauty in Simplicity

Although most people credit the Japanese with the origins of origami, paper folding actually originated in China around the first century. Sometime during the sixth century it arrived in Japan and was immediately embraced by the aristocracy. The Japanese named it "ori," meaning "to fold," and "gami," meaning "paper." Because paper had great value and was rare, its use was limited to the rich. But when the Japanese perfected inexpensive ways to produce paper, origami assumed a new role in the social structure of the country. Everyone could enjoy the simplicity, economy and "Zen" of folding.

From the 1600's to the late 1800's there was a flourishing of Japanese arts and culture, and it was during this time that origami attained its most glorious stature. For generations, all patterns and directions for folding were handed down from one generation to the next. Historical documentation occurred when two texts, one written in 1797 (How To Fold 1000 Cranes) and one in 1845 (Window on Midwinter) documented the early Japanese "bases" or designs.

The Japanese and the Moors in North Africa developed paper folding simultaneously. When the Moors (excellent mathematicians) invaded Spain in the eighth century, they brought with them the practice of paper folding. This geometric style, the Moorish traditional "school" of origami, still exists in both Spain and South America today (due to Spanish influences). Originally, only geometric folding was allowed because of the religious limitations on recreating animal forms. As trade routes opened to North America and Europe, origami came along with trade goods.

Materials used for contemporary origami include many specialty papers very well suited for folding. Most designs are still based on the geometric base of a square, and most pre-packaged papers are sold cut into uniform square shapes. Metallic papers, patterned papers and solids of every hue can be found organized in packets at all art material suppliers. Most packaging includes basic instructions but there are dozens of easy to follow instructional books available.

You can create properly folded images without a folding bone, but a bone is very helpful in attaining the crisp folds that yield precise points and angular elements. Folding bones are usually made of rigid plastic, with a dull point at one end. The point is used to smooth shapes and angles for sharpness.

Even though origami is considered by many to be art for children, currently there is strong interest by adults. The soothing level of concentration required for accurate and precise folding is considered as beneficial as meditation for many. Classes are available through continuing education systems and art organizations throughout the U.S.

Websites for information, history and direction: www.origami-tsuru.com, www.fascinating-folds.com.

The Power of a Peer Group

Imagine, as an artist, you and a number of your artist friends pull together to form a support group. This group could meet at a local coffee house, could discuss challenges, ideas, products, formulas, and techniques. Long, often loud and jovial conversations and speculation about the present conditions, about the future, about what matters to creative minds, would bounce around the room. Laughter and a camaraderie would exist that could unite the members. Perhaps the reason the group came together in the first place was because they were each artistically on the fringes of acceptability and conformity.

Eight artists created just such a group in the 1870's, among them Edouard Manet, Claude Monet, Auguste Renoir, Edgar Degas, Paul Cézanne and Camille Pissarro. This was a group of artists who helped to change forever the course of painting. As history would record, it was a time of artistic upheaval, of turmoil that eradicated what had previously been considered "acceptable" art. Whether it was the raw nerve of these artists or their new and "shocking" style so far removed from the acceptable, formal, detailed artwork of the times, the art world was never the same thereafter. They created not only a painting "period," but also an entire exhibition style.

A 1920's American group, the Algonquin Round Table, drew creative minds from art, theater and writing. They met for breakfast daily to discuss the trials of being a creative spirit, brainstormed the problems, and shared their joys and triumphs.

A resurgence of the peer group philosophy is alive and well today. Pulling together "like" minds and sharing tips, suggestions, direction, inspiration and results can be very educational and helpful. Many lessons can be learned in the process of establishing a peer group of your own. Those include the business basics of art (funding, advertising, generating an audience, the physical presentation of art in public, plus materials insight).

The contemporary group might begin with a gathering of dedicated and connected creative minds. Brainstorming problems and obstacles gives the experienced participants a chance to share their successes, while giving the beginning creative mind a "leg up" on the process.

So gather a group and set things into motion. Talk about the directions you would like to go with your creativity, share tips, talk about materials or new applications for old ones. Don't be hesitant. If you do not currently have a peer group from which you might invite friends, consider joining an established creative group. Then draw from that membership to form your own special support group. But, above all, enjoy the experience. There is much to be learned.

SILENTAIRE TECHNOLOGY, a leading supplier of professional, noiseless air compressors in the U.S., has announced the new Scorpion automatic shut-off air compressors. This series of piston-driven compressors represents a new high-quality line of affordably priced entry-level compressors manufactured to exacting standards and requirements of reliability and durability.

The Scorpion I Single Piston Compressor has a maximum operating pressure of 30 psi, is rated 1/8 HP, and weighs only 7 pounds. The Scorpion II Double Piston Compressor has a maximum operating pressure of 45 psi, has a 1/4 HP rating, and weighs only 9.2 pounds. Both models are portable, compact, oilless and require no maintenance. They will fit into tight work areas and are relatively quiet in operation. A simple on/off switch activates the compressors, and they feature an automatic shut-off switch--the unit will turn itself off when not in use and back on when airbrushing is resumed. This eliminates heat-related moisture build-up, reduces running time and minimizes motor wear, thus extending the longevity of the compressor and eliminating any noise factor.

AMERICAN ART CLAY CO. now offers a Rub 'n Buff Sampler Set that includes one « oz. tube of each of the 20 available colors. Rub 'n Buff Metallic Finishes are lustrous wax-based finishes for antiquing, crafts, and decorating. Simply rub them onto any surface with a finger or soft cloth, and then gently buff to a beautiful luster. Colors included are Gold Leaf, Antique Gold, Grecian Gold, Autumn Gold, Olive Gold, European Gold, Chinese Red, Antique White, Ebony, Pewter, Silver Leaf, Spanish Copper, Jade, Emerald, Turquoise, Sapphire, Pearl Blue, Amethyst, Patina, and Ruby.

Halloween Crafts: Eerily Elegant Décor from KRAUSE PUBLICATIONS includes 50 beautiful, vintage looking Halloween crafts and party recipes to create an especially spooky holiday. Authors Kasey Rogers and Mark Wood provide detailed, step-by-step instructions that allow all crafters to create these unique quick and simple projects that require not much more than a glue gun, sewing and painting. More than 100 photos show the finished crafts, as well as guide readers throughout the creation process and inspire them to celebrate and decorate with these exciting projects.

STRATHMORE ARTIST PAPERS invites you to visit their new web site at www.strathmoreartist.com. Here you can download the 2001 catalog by category (Fine Art, Specialty or Creative Products) to view the complete product line, find information about contests and see works of previous contest winners, as well as read tips and techniques for fine artists, craftspeople and hobbyists.

The Art of Letters

The Greek alphabet is believed to be the origin of all major Western alphabets today. This means that alphabet is also the origin of contemporary calligraphy. Even as early as the middle fourth century, the Greek alphabet was read left to right and top to bottom and was accepted officially as the most unified script of the time. It represented the most cohesive record-keeping form. Flourishes and accents were added and trimmed throughout the centuries, changing it slowly to the alphabet we now use.

Modern calligraphers use ancient alphabets as their basis for style and embellishment, while modern materials make the process of creating letters most enjoyable and a connective to all those scribes over the centuries. Even the advent of computers, with their perfection and reliable ease, has done little to diminish the interest and dedication to the ancient art of letters.

Even if you can't draw a straight line, don't know what end of a paint brush to dab into paint, can't capture a likeness or think you don't have an ounce of talent, you can learn to create exquisite lettering and scripting that offers you a creative outlet based on the cursive you learned as a child. Or you can investigate the many creative styles that are documented in dozens of books created by masters of the art.

Materials used in calligraphy vary almost as much as the styles created by calligraphers. The writing instruments, the papers, the inks, dyes and paints offer such a variety that, no matter the style, there are ample materials to capture your interest and hold it forever.

For centuries, feathers, twigs, fibrous roots and other handmade instruments were used to inscribe the symbols and letters of the time. With the advent of metal nibs, styles of lettering became more predictable and legible. A slow transition of sophistication began as writing and the education it exuded became symbols of status.

Today's writing/calligraphy instrument choices offer an enormous spectrum of opportunity. For start-up calligraphers, an inexpensive crow quill staff with metal nib, costing around $2, can offer a wonderful experience. A tiny leap to the next higher price range of holder and nibs opens new vistas of challenge. Dozens of tip sizes and "edge" shape are available to fit several holder lengths. It is possible to select nibs that give lines from tinier than 1/32 inch to 1/2 inch and even 1 inch. Sets of preferred sizes with handles are available for around $8, up to executive sets that retail for around $40. Many of the newer products include special gilt trim options and embossing powders to create three-dimensional effects.

The foundation of calligraphy is the material onto which the scribing is done. Almost any paper can be used as well as vellums, textures, and parchments. Historic scrolls of papyrus and lettering on fine cloth have been found in ancient tombs. Our choices are far less limited. Papers with smooth surfaces offer less interruption to the fluid line of the scriber, but even lightly textured surfaces such as watercolor papers and fine quality drawing papers add to the experience. Although the purist may prefer to select white smooth surfaced paper for projects, new colors of special lettering papers are now available. Soft tones of bone, pink, moss, gold and mottled eggshell offer new vistas of exploration, especially when colored inks or paints are used.

Practice paper with lines lightly scribed onto the surface allows for fluid application and control practice. Special reusable plastic sheets with precision-drawn lines as guides can be slipped beneath medium- to fine-weight papers so that proper alignment is guaranteed.

The ink used can be as varied as the nibs and papers chosen. New space-aged liquid acrylics, although not actually "inks," can be used in any nib that can be soaked to clean. While not recommended for bladder style calligraphy pens, the colors (including metallics) are breathtaking. In the area of Chinese calligraphy, the density and coverage of the ink (in brick form) is amazing. Traditional permanent inks are now available in new hues. Watercolor can be applied as ink when thinned--with brush in a lettering style or as a wash over any lettering done with permanent ink.

If fast track and instant gratification are your favorite things, consider the new family of calligraphy markers and pens that come in color-coordinated sets. These pens often have chisel tips made of strong nylon that not only dispense inks evenly, but also maintain sharp edges for long-lived, precise scribing. The beauty of this style of instrument is that it travels very well and can be used anywhere. Clean and ready to go, these pens are available in a wide range of tip shapes and colors and can be either permanent or water-soluble.

Armed with a "how-to" book of calligraphy alphabets, a calligraphy set of nibs and a pad of practice paper, you could be set for a relaxing and rewarding pastime. Imagine yourself sending original, hand-lettered greeting cards to all your friends or perhaps invitations or announcements! All the relaxation and satisfaction is but a step away. And that is only a small step from an in-home business of addressing and designing cards and announcements as an alternative source of income. Once your friends and family and professional organizations realize your talent, they will be anxious for you to design and complete projects for them.

A Primer: Paints for the Airbrusher

It's a fact that all paints can be sprayed through an airbrush--artist oil colors, automotive paints, industrial enamels, artist acrylic colors, ad infinitum. The paint of choice may require thinning to render it sprayable because an airbrush optimally sprays paint that is equivalent to the consistency of milk or thinner. As with any type of paint application, the paint used must be compatible with the surface onto which it will be applied.

The following information will answer some frequently asked questions regarding various paints and their suitability for airbrushing. Use caution in all instances of spraying paint--good common sense health and safety precautions must be taken. Be sure your workspace or studio is equipped with adequate ventilation, wear an appropriate face mask so that you do not inhale paint spray, etc.

1. Artist Acrylic Colors -- Acrylics are water-soluble, so thinning them to a sprayable consistency requires the addition of only water. These are low in toxicity--since there are no solvents, easy to clean up with just soap and water, and fast drying, so that you can work quickly (as opposed to oil colors). Even though acrylics are water-soluble, when dry they are waterproof, extremely flexible in thin or thick layers, durable, cleanable, and will adhere to virtually all surfaces.
2. Oil Paints -- As opposed to acrylics, artist oil colors are solvent-based and must be thinned with a solvent such as turpentine. Therefore, when sprayed, oil paints are inherently more toxic than acrylics. They take much longer to dry, making them a deterrent for use in artwork where stencils are required. The new Genesis Artist Oil Colors, though, can be dried on demand with a hair dryer, thus allowing you to mask over them without having tape or stencils touch wet oil paint.
3. Watercolor -- Like acrylics, watercolor is water-soluble, but the similarities end there. All watercolors are transparent, are suitable for working on paper surfaces only, do not dry waterproof, and, when exhibited, must be covered with glass. Nevertheless, watercolors are ideal for airbrush use since they thin quickly and evenly to the right consistency and are quick and easy to clean from the airbrush between color changes.
4. Gouache -- Also water-soluble, gouache is an opaque watercolor. Used extensively by illustrators and fine artists over the years, gouache has all the attributes of watercolor except that it can also be built up to opacity.
5. Inks -- In their natural state, inks (India ink, drawing ink, and writing ink) are perfect for airbrush spraying. They are the ideal consistency but, like watercolors, should be used only on paper surfaces. The permanency, lightfast, and fugitive qualities of inks are such that they may fade over time, particularly when applied in as thin a coat as is accomplished with an airbrush.
6. Dyes and Liquefied Watercolors -- These come in the consistency of inks and should be worked only on paper or acetate film. Dyes and liquefied watercolors are often used in the commercial art industry where the longevity of the paint is not a consideration, since dyes are susceptible to fading.
7. Fabric Paints -- Available either thick or in a thin sprayable consistency, fabric paints act pretty much like an acrylic and are designed solely for the purpose of painting on fabric. When applied with an airbrush, the texture of the cloth will not change. These paints must be heat-set for permanency and can be cleaned from the airbrush with just soap and water.
8. Automotive Paints -- A variety of automotive paints are available on the market that are used for both custom painting and for the painting of sculpture or murals on metal or plastic surfaces--acrylic lacquers, acrylic enamels, and polyurethane-based paints. Note that all of these are toxic, with some being more so than others. But the type of surface that can be achieved with these paints is nothing less than incredible. Imagine paintings on aluminum where the colors resemble the show-room newness of an automobile surface! As you might guess, special equipment and handling is required of these products. The potential user should investigate and learn everything there is to know about them and their safe handling. Automotive paints are ideal for use with an airbrush and should not be overlooked by the artist who requires that special type of machine-made surface.

The Internet is filled with information, tips and techniques for all types of paints. For more info, check out the art materials manufacturers located at: http://www.arttalk.com/advertiser.htm.

Ruling for Artists--A federal judge has ruled that street artists in New York City who display their works for sale in parks or on sidewalks do not require permits. The city, which in 1998 tried to begin regulating street artists, intends to appeal the ruling.

Stamps Released--The U.S. Postal Service has released two new commemorative stamps. The new American Treasures series was introduced when reproductions of four Amish quilts were commemorated on a pane of twenty 34-cent stamps "to honor a uniquely American art form." Nappanee artist Jeff Stillson designed a special pictorial cancellation. Also, actress Lucille Ball has been honored with the issuance of a new commemorative postage stamp based on a circa 1955 black and white photo. Derry Noyes was designer and art director for both stamps.

Art "To Go"--Art educator Ken Whyte of Saugerties, N.Y., has found a unique way to bring art to the people: a converted 24-foot bread delivery truck with lighting, carpet, and 40 feet of show space. When available, Whyte's "ArtVanGo" will be rented out to artists.

Exhibitions:

National Arboretum, New York, NY -- Asian Accent: Botanical Art on Silk is a unique juried exhibition of framed artwork and banners by members of Silk Painters International, Inc., which interprets botanical motifs on lustrous silk using brilliant dyes. Through Sept. 30.

Norton Simon Museum, Pasadena, CA -- The Chromatic Eye: New York Paintings and Prints from the 1960's is an exhibition devoted to the vitality and energy of the Post-Abstract Expressionist movement that developed in NYC during the 1960's. The exhibit celebrates 45 paintings and prints created by Helen Frankenthaler, Ellsworth Kelly, Kenneth Noland and Frank Stella. Through October 22.

National Gallery of Art, Washington, DC -- Jasper Johns: Prints from Four Decades focuses on Johns' printmaking, with works from 1960 through 2000. All of the print processes Johns has explored are represented alongside related embossings and lead reliefs. Numerous recent acquisitions, both special proofs of early prints and several of Johns' most recent works, are featured. Through October 7. Travels to Chicago and then Giverny.

New Orleans Museum of Art, LA -- Marc Chagall from New Orleans Collections celebrates NOMA's acquisition of two major works by the artist: "The White Lilacs" and "The Fables of La Fontaine." Other paintings, drawings, and prints are on loan from private collections. Through October 28.

Albany, New York -- Sculpture in the Streets features 20 life-size bronze sculptures by world-renowned artist J. Seward Johnson Jr. This public art show is designed as a walking tour through downtown Albany's historic district. Through mid-September.

September Birthdays:
12    Ben Shahn
16    Jean Arp
21    Hans Hartung
23    Paul Delvaux

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Copyright ARTtalk Vol. 11 No. 11 -- September 2001