Professional Presentation--A Fresh Perspective

You don't have to be a professional designer or framer to benefit from learning ways to economically and professionally present your artworks for exhibit and/or sale. With an understanding of the basic materials and techniques, anyone can successfully mat and frame an art piece.

The most important element in the package is the artwork, the basis for all other elements that constitute a cohesive presentation. The style of the artwork is the first factor to help one choose those presentation components. If your work is contemporary, abstract and energetic, the choices for framing and matting it would vary greatly as opposed to framing and matting a traditional, Western or portrait work, for instance.

Regardless of painting style, for fast, economical color coordination, matting choices can create a visual harmony that greatly enhances the art piece being framed. A good rule of thumb is to choose exact shades used in the artwork. In the case of a double mat, the color chosen for the widest border mat (the top) may be any tone that is dominant in the art. For example, a shoreline scene with lots of soft beige/sand earth tones might look best if the top mat were one near those shades. The narrow strip of mat that shows beneath the top mat, the bottom mat, is often a darker tone or a tone that is important in the artwork but not dominant. Again, in a shoreline scene, a tone from the sea grasses, sunset hues, or other secondary color might be a good choice.

The artwork should be matted and framed for the sake of the artwork. At no time is it wise to select mat colors to match the sofa or other decor. Unless those tones are also present in the artwork, this is a compromise that will never look right.

One temptation for artists is to use materials that are at hand, perhaps selecting a mat color that is not complementary to a work or using a frame that does not match the style of the artwork. Making selections specific to each individual artwork is vital to the best possible presentation. Consider that the person who sees your work at any given exhibition or sale may get one chance to evaluate your work. Wouldn't you want it to look its best? If you have used recycled materials or have not matched the look and feel of a work and its framing/matting, you may lose not only that sales opportunity, but also future contacts with this client.

This "rule" is equally true for both the matting and the framing chosen for any artwork. If you want it to look its best, fresh molding should be selected. The style of a work should dictate the style of molding. Heavy, wide frames are seldom used with contemporary works. Widths of frames, as dictated by current design trends, are often moderate to wide profiles (the shape of the frame). Miniature works often assume greater importance when the artist selects a "museum" appearance in presentation - a tiny artwork, with wide mats and a wide frame. Many of the works seen in museums have massive frames compared to the size of the artwork, often with gold leaf or heavily tooled or carved surfaces. But many styles of work would look out of place in an ornate gold frame.

Contemporary western or landscape works usually benefit from wood-toned frames, tones that complement the actual artwork itself. Artists can easily make their own frames by using some inexpensive carpentry tools and investing a small amount of time and energy. You will need a miter box and a miter saw to cut your molding. You will also need decorative wood molding, a good measuring tool (tape or steel ruler), glue, hammer, small brads (headless nails) and a corner clamp (available at art supply stores).

Molding can sometimes be purchased at hardware and lumber supply centers, but finding pre-finished, decorative molding is often difficult. Purchasing unfinished molding means the artist will need to paint, stain, distress or otherwise color the frame, or perhaps use a clear varnish sealer, but that is the only option in most areas of the U.S.

Measuring the stick of molding should be done accurately. Both long lengths of molding must be the same exact length. Both short lengths should be the same length as well; otherwise, you will not be able to create a perfectly "square" frame. After cutting the four pieces of the frame, glue the cut ends of one long stick and one short piece of molding. Place the two pieces of moldingin a clamp and then nail the corner together, creating an "L" shape - one long, one short piece. Allow to dry in the clamp, and then proceed to the other "L" shape. When both are dry, clamp, glue and nail the last two corners. Allow to dry and then continue with the framing project.

Finish the framing with a backing of foam board (low acid and safer than corrugated). Set a clean piece of glass or Plexiglas over the artwork, set the package into the frame and secure with brads and a tack hammer or point driver. Cover the back with a dust cover and attach a hanging wire.

Halloween Face Painting

Halloween and the parties that go along with that wonderful time of year almost always bring to mind fantasy creatures and costumes. One aspect of that colorful celebration is face painting. Young people love to experiment with the colors and designs that help to create the look they want for their costuming.

Face paints come in several forms. Sets and kits can be found at all art material retailers this time of year. These kits often include a set of basic colors (non-toxic) and full instructions on how to achieve different looks. Some are water-based cosmetics, but all wash off easily. The paints are easy to work with, performing similarly to watercolor. Add water to soften the paint if needed, and apply with a brush or fingertip. Storage of remaining paints is easy, too. Simply allow the pans to dry, cap the bottles and store away from moisture.

Individual colors are also available. These tend to be larger quantities and offer more color choices than the pre-packaged sets and kits. These colors often come in squeeze bottles. Should the bottle dry out, simply add water to reconstitute the paint to its original consistency. Larger sizes allow for extra experimentation. Once youngsters get started with face painting, they love it.

There are many books of face designs andideas in art material store book departments. Some are suited very well for juvenile applications and offer countless spins on traditional themes. Along with photographs, detailed step-by-step instructions will help you create the perfect look for your need.

Here is one simple project that doesn't even require a photo to follow.

Happy Clown Face

Using white face paint, cover the entire face area, leaving two round areas open high on the cheeks and the end of the nose and eyelid areas bare. Smooth the white until it is even and no skin tone shows through. Apply two red circles in the open areas high on the cheeks, trying to keep the shape as near a perfect circle as possible. Cover the end of the nose with red too, trying to keep the color in a round shape as well. Above the eyes, apply bright blue or green from the eyelids to the eyebrows. This automatically makes the eyes look wide open - that surprised look so much a part of a clown's expressions. More lines, maybe black or yellow, might be added from the center of the eye down the cheeks. Apply red to resemble a huge smile, enlarging the lip area, and ending in circle shapes at the corners of the painted mouth. Wear a hat to which red yarn has been sewn or glued to resemble wild red hair and you are all set with your face!

Strathmore Kids Art Contest

To enter Strathmore's Kids Art Contest, submit an original drawing or craft project using Strathmore Kids Series Paper(s). The artwork must have a holiday theme.

--All entries will be judged on creativity, style, expression and use of paper. You may enter as many times as you like. Entries will not be returned, and there is no entry fee.

--Submission of entry constitutes agreement that Strathmore can reproduce artwork for promotional use. Full credit will be given to the submitter.

--Include original artwork, artist's name, age, address, phone number, paper used, and title of piece.

--Prizes will be awarded to each winner in each age category: 5-7, 8-10, and 11-13. 1st: $500 U.S. Savings Bond; 2nd: Backpack filled with art supplies; 5-3rd place winners: 35mm camera and art papers; 10 honorable mentions: Frisbee and art papers.

--Mail to: Kids Art Contest #35, Strathmore Artist Papers, 39 South Broad St., Westfield, MA 01085. Deadline: January 31, 2002.

See www.strathmoreartist.com.

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

Children's Museums

Museum of Children's Art (MOCHA), Oakland, CA--Then and Now (Again)--The work of children's book illustrators includes provocative pairings of original illustrations with artwork from their childhoods. Featuring new artists and extraordinary children's literature, this exhibit returns from an enormously successful run a year ago. Artist Reception: Oct. 6, 5:30-7p.m. Through December 31.

Capital Children's Museum, Washington, D.C.--Maze of Illusions!--This winding labyrinth contains more than 700 square feet of fun for kids of all ages. The unique maze encourages youngsters to explore the world of optics, perception, light and color as they weave their way through 20 different optical illusions.

The Children's Museum of Indianapolis, IN--Several Halloween themed events are being offered during October: ARAMARK's Feast with the Witches, Trick or Treat Theater, and Terrifying Tales. Call the Haunted House Hot Line at (317) 334-3322 (press "4") for more information. Visit the Haunted House website at www.childrensmuseum.org to enjoy all kinds of Halloween fun including a virtual tour of this year's house.

Color Composition Quickie

Color blending is both a thrilling and often challenging aspect of painting. There are so many premixed colors available, the mind becomes overwhelmed with choices and bogged into thinking color experience is unnecessary. But, if you understand a couple simple concepts, blending becomes a joy rather than a fearful experience.

A quick basic overview of color composition is pretty easy to grasp. Primary colors, those not combined with others, are those that stand as the basis for the "color wheel." They include a clear red, clear blue and clear yellow. Analogous colors are those colors next to one another on the color wheel, and they are closely related in hue. Colors that occupy opposite positions on the color wheel are called complementary colors. They are the colors most often used to enrich, tone and strengthen one another.For instance, red and green are complements. If you have a "hot" red that you wish to tone slightly to take the edge off its brightness, yet not obliterate the tone, use its complement, green, to tone it down. Use the complements sparingly, as their strength can overtake the original tone. This complementary relationship and application holds true with all colors on the color wheel. Each color has a complement that can tone or enhance.

One of the most sought after tones is that of human skin. Creating flesh tones, because of their variety from subject to subject, without even taking into consideration the fact that facial tone changes from place to place on a single subject, can be daunting. One successful combination is cadmium red light and cadmium green light mixed in even proportions. This combination yields a rich brown that, when mixed with white, can produce most natural skin tones. Increasing the red in the mix gives a rosier tone, while increasing green gives an olive tone. Some yellow can be added very carefully to replicate a sallow tone. Always consider using deeper shades of the basic tone for shading and detail.

Landscape painters often want to create original tones,really jazzy, personal "statement" tones. One such color can be the greens created by mixing cadmium yellow with black (lamp, jet, almost any will create a fabulous tone). By mixing greens, or any tones, you are able to create the precise look you desire, while establishing a look that may become your signature.

One of the best ways to understand color relationships is to accept the challenge of creating a color wheel using only primary colors. The time is a good investment. You will learn much about how colors interact and perform and will be able to control the tone of your work. Some artists mix all of their tones. Maybe that could be your ultimate goal!

AMACO has introduced two new Friendly Plastic 3-Packs and a new Clay Roller. The new Checkerboard 3-pack of 7" Friendly Plastic includes silver, black and mother-of-pearl, while Caribbean includes teal, royal blue, and mother-of-pearl/black. These packs are a great way for consumers to try Friendly Plastic and create something special using pre-selected color-coordinated strips. This non-toxic plastic can be used alone as an accent to picture frames, jewelry findings, memory books, and centerpieces. It is modeled by softening the designer sticks in warm water and is then shaped by hand, craft tools or any household object. When it cools, it becomes hard again.

The new Clay Roller is designed for use with polymer clay. This handy portable roller is perfect for working at home or while traveling. It rolls clay into flat, smooth sheets while also conditioning the clay. Made in the U.S., the Clay Roller is an 8" solid acrylic rod with a non-stick surface that wipes clean with alcohol for easy clean-up. In addition, polymer clay is easily conditioned with the Clay Roller. By cutting the clay into ¬" slices and using the roller to compress and flatten the slice to a thickness of 1/8" and folding the sheet to repeat the process, the clay will become soft and pliable.

Painting Floral Botanicals from NORTH LIGHT BOOKS teaches readers how to achieve a unique look with bottled acrylic paints that can be thinned with water to give a layered, translucent watercolor effect. Simple painting techniques are carefully explained; then author Michelle Temares leads into eight step-by-step projects with a variety of floral subjects, including wildflowers, flowering herbs, bulb flowers, garden flowers and other favorite botanical subjects. Readers will also learn how to accurately render leaves and stems, paint borders and add an antiqued look, and mat and frame finished artwork. Materials lists, color charts and patterns accompany each project.

Stained Glass Primer

Elegant and dynamic or simple and playful, stained glass is a craft of precision and delicacy. The materials needed to complete a project are fairly basic and most are available through art material retailers and stained glass centers. Those tools would include glass in a variety of colors depending on your project, a glass cutter, a pattern or plan, a soldering gun and lead caning, wire cuttersand safety glasses. Optional items might include a glass-sanding tool to smooth irregular cuts for a better fit and a small glass-firing kiln if you desire to experiment with glass fusion. The same glass used for stained glass can be slumped or fused to form many decorative items and jewelry accessories.

The glass used for stained glass work is sold in a number of different ways. Art material retailers often sell very useful packages or boxes of mixed scrap. This glass will most likely be of different thickness, with a variety of colors and textures included. The most economical packages consist of opaque and slightly translucent glass shards, from medium to small in size. More expensive packages might contain a bit of metallic or diachronic glass (highly metallic, often luminous finishes). Glass purchased in larger sheets, from decorative glass dealers, is best for larger projects, as the thickness of this material is more uniform and, therefore, easier to work into any given pattern.

The use of clear, translucent and opaque glass, all on the same project, is very often a fast way to imply depth and dimension in a given scene. One way to do a layout that will provide a pleasing use of color and pattern is to use color copies of the glass, made carefully with your home scanner or at a public copy machine. Then cut the shapes out and lay out the design using the color copies. This will allow any changes in placement without first cutting the glass. For beginners, this practice is highly recommended because it will prevent unnecessary loss of materials and time/energy/determination.

An interesting subject, glass cutters vary from the least expensive straight "stick" glass cutter to fancy swivel-head models. Stick cutters work very well for longer, straight-line cutting. In fact, many "old timer" glass workers swear by their simple, inexpensive cutter because it is so straightforward to use. When the designs you want to replicate involve curved lines, the swivel-head cutter moves quickly and easily to capture those curves with a minimum of effort and a high degree of accuracy.

Regardless of your choice of cutters, remember to use a light hand when scoring the glass because this will make the edges of the cuts cleaner. Even though it seems less logical, the light score will create a line that is far less likely to break away unevenly. Light scores also create fewer glass shards or splinters when the glass is broken, which reduces the chance of nicks.

Speaking of nicks, you need to anticipate that you will get many tiny finger cuts, even with the utmost care. As a buffer, many glass workers use strips of "molesole" on their fingertips during the cutting and layout stages to prevent cuts. This material is actually designed to prevent blisters on the feet and is highly touted by runners. But, in this case, small strips can be applied around the ends of the fingers to provide primitive, yet effective protection. As time passes, skill levels and confidence in handling glass make such precautions less necessary. Use of safety glasses is a necessity so that no splinters get into your eyes.

Cut all glass shapes and colors before beginning to assemble your design. This ensures that enough material will be on hand for all tones and colors to match from the start to the finish of the project. Bunch cutting also gives you an opportunity to cut repetitiously, building skill and learning from each cut. Granted, cutting is less glamorous than the actual "building" of a project, but it is perhaps the most important element in the compilation. Without good cuts, without pieces of precision shaped glass, the project will flounder.

A small soldering gun and solder are required to join the strips of leading between the glass pattern pieces. Care must be exercised to prevent too much heat from coming in contact with the glass. The solder used is a type that contains a self-flux, simplifying each join. Simply touch the solder to the hot gun tip and allow the liquid to flow onto the abutment. Cool before moving. Narrow strips of copper foil can be used on curving edges and bowed shapes like lampshades. The copper will adhere to the solder and allow a solid solder flow between pieces of glass. This may be a bit more involved, but very effective and necessary for some shapes.

As mentioned above, the same glass used for stained glass work can be manipulated in other ways. Glass tiles and mosaics are very popular today, and both can be created from scrap stained glass material. Use an adhesive designed for ceramic tile or special glass adhesive and a grout that contains acrylic so that it will remain clean and bright. Steppingstones can also be created using glass shards and shapes. Molds and forms can be purchased at building supply centers to assist in the formation of these stones.

Two websites that offer great patterns, materials, tips and expertise are: www.justglass.org and www.stainedglasswarehouse.com.

Airbrush Spray

The spray of paint emitted by the airbrush is what gives this tool its distinctive characteristic. Sprayed paint results from the atomization, or mixing with air, of paint. The air is the vehicle that carries the paint to the work surface. And when the paint lands on the surface, it is in the form of extremely tiny droplets. Unlike the results from a paintbrush, sprayed paint is very uniform.

In the realm of airbrush, different types produce different sprays. The internal mix airbrush, whether dual or single action, provides the finest of sprays. The professional airbrushes used by illustrators, photo-retouchers and painters that wish to achieve a photographic image produce the softest sprays. Internal mix airbrushes that are designed for T-shirt painting and industrial work provide a coarse spray, and the look is not as photographic.

External mix airbrushes, those in which the paint is atomized outside the tip of the airbrush, produce a very coarse spray, and the dots of the mist are visible. These airbrushes are used to a great extent in hobby, craft, and industrial work, where a fine spray is not required. However, with the internal mix brush, an adjustment to the air pressure can result in a coarse spray if desired. This is called stippling technique. You simply cut the air pressure from the compressor or air source to the airbrush to 1 or 2 psi (pounds per square inch.)

A line, a dot, or a mist of paint can be produced with airbrush spray. This is determined by the distance the airbrush is held from the work surface along with the volume of paint sprayed. Very close with little paint results in a thin line when moving your hand. Far away results in only a mist of paint that, if sprayed around a stencil or frisket, will create an image. Proper control of the spray accounts for fifty percent of success in airbrush technique. TIP: Always be cautious of overspray, the drift of paint above and beyond the intended direction of the paint; you don't want it to appear where it is not desired.

To capture the overspray and work in a clean environment, it is advisable to always wear a mask and to use a spray booth, if possible. Artograph manufactures a complete line of spray booths to meet the needs of all artists and crafters. The Model 836 Airbrush Spray System simply mounts onto the back of a drawing table or work surface and performs as a backstop to draw in and trap most overspray and fumes from airbrushes and aerosols. The optional adjustable overhead color-corrected lamp illuminates the work surface. The Model 1520H Economy Spray System is perfect for trapping any type of aerosol or sprayed materials and will accommodate many flat materials or 3-D objects such as small parts, models or craft items. The Model 2025 Graphic Art Spray System is designed for the busy design studio, work area, or classroom where spray materials are used frequently. And the Model 20E Hobby Spray System is designed especially for the crafter, hobbyist and artist. Your retailer can help you to determine which spray system best suits your needs.

Auction Planned--On November 6th Christies-New York will auction a collection of paintings and sculptures to benefit the United Nations Children's Fund (UNICEF). Estimated to be worth $40 million, artists include Miro, Picasso, Leger and others.

Painting Reclaimed--A Norman Rockwell painting commissioned by the Coca Cola Co. 70 years ago for a calendar has been found and purchased by the company. The calendar with "The Barefoot Boy" was the company's most popular. The whereabouts of three of six Rockwell-commissioned paintings is unknown.

Tapestries Unveiled--Thirty-six tapestries measuring 7 ft. wide by 20 ft. high were recently unveiled in Belgium. Designed by California artist John Nava and produced by Belgian artisans, the works depict 135 saints and other figures and will be installed in LA's Our Lady of the Angels Cathedral, scheduled to open in Sept. 2002.

Sculpture Installed--The Percent for Art program in Portland, OR, has installed seven major pieces, bringing the city's outdoor public art count to well over 100 works. Four were installed along the waterfront, two at a renovated baseball park, and one at the Metropolitan Exposition Center.

Halloween Fun Planned--The annual Jack-o-Lantern Spectacular will be held Oct. 11-31 from 6-11 p.m. at the Roger Williams Park Zoo in Providence, RI. A team of over 30 professional pumpkin carvers spent 6 weeks creating their intricate artistry on 5,000 pumpkins totaling 150,000 pounds in all. The illuminated pumpkins, with ornate lighting effects and musical themes, will be on display throughout a 3-acre woodland trail. Additional special activities are scheduled for October 11, 18, 25, and 31. The Library of Congress has named this event a national "Local Legacy." Call (401) 785-3510 or go to www.rwpzoo.org.

Expo Coming---The sixth International Exposition of Sculpture Objects & Functional Art, SOFA Chicago 2001, returns to the Navy Pier from October 5-7. Eighty-six select international art dealers will exhibit the innovative work of major artists and stylistic movements in the decorative and fine arts.

Festival Scheduled--The Sugarloaf Crafts Festival will be held October 26-28 at the Fort Washington Expo Center in Fort Washington, PA. The works of 375 artisans will be displayed; demos include papermaking, "sculptooning," woodturning, weaving, iron forging, wheel-thrown pottery, glassblowing, and more.

Holiday Show Planned--The Reading-Berks Guild of Craftsmen's 2001 Holiday Craft Show will be held Nov. 3-4 at the Berks-Lehigh Campus, Penn State U., Reading, PA. Attendees have the opportunity to view and purchase top quality traditional and contemporary crafts from juried artisans.

Western Art Offered--The Celebration of Western Art will be held at the Grand National Rodeo, Horse, and Stock Show at The Cow Palace, San Francisco from Oct. 26 Nov. 4. Juried paintings, sculpture and photographs will be presented for sale in a gallery adjacent to the main arena.

Exhibitions

Baltimore Museum of Art, MD--Picasso: Portrait and Figure--Picasso's in-depth study of the human figure and his ability to capture the creative intelligence of his portrait sitters are reflected in drawings and prints, including a striking pen and ink self-portrait, a rare etching of his mistress, and a remarkable gouache of Leo Stein. Through Oct. 28. Opening Nov. 14 through Feb. 3 is Picasso: Cubism to Classicism, which surveys Picasso's exploration of cubism and his return to classicism through a series of rarely seen drawings.

Phoenix Art Museum, AZ--Gold Fever--From intricate gold lace and embroidery on men's 17th century gauntlets to Gucci's gold leather coat from fall 2000, the objects in this exhibition give evidence to gold's display of power and status in politics, religion, and sexual allure. Through Nov. 11.

Museum of Fine Arts, Boston, MA--A Studio of Her Own: Women Artists in Boston 1870-1940--Presented are over 80 of the finest paintings, sculpture, and decorative arts created by women at the turn of the last century. Included are works by over 40 artists at all levels of fame. Through Dec. 2.

The Detroit Institute of Arts, MI--Artists Take on Detroit: Projects for the Tri-Centennial--In recognition of Detroit's tri-centennial year, the Institute has asked 14 artists to create installations taking the city as the theme. The 11 projects incorporate video and still photography, text and sound, and sculpture in a wide variety of materials. Through Dec. 31.

Corcoran Museum, Washington, D.C.--In Response to Place: Photographs of the Nature Conservancy's Last Great Places--In observance of the Conservancy's 50th anniversary, photographs explore the complex relationship between the natural world and human beings. Featured are 130 photographs by twelve well-known contemporary artists who were commissioned to work in the Conservancy's "Last Great Places," biologically rich lands and waters around the world. Through Dec. 31.

October Birthdays
  4    Frederick Remington
12    Al Held
22    Robert Rauschenberg
25    Pablo Picasso
27    Roy Lichtenstein
30    Alfred Sisley

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Copyright ARTtalk Vol. 11 No. 12 -- October 2001