Oil vs. Soft Pastel

Pastels--whether oil or soft--offer mediums that are blendable, reworkable and richly rewarding for beginning or seasoned artists. While there are striking differences between the two in texture, method of application, and "attachment" to the surface, there are enough similarities to make both either worthwhile experimental or full-time artistic material.

Oil pastel is somewhat unique in the realm of art materials. It is actually very similar to oil paint, but in stick form. Each stick has a creamy, velvet-smooth consistency and imparts a line that can be specific and sharp or used to cover an area that can be blended, smoothed, scratched through or layered on for extra texture. Oil pastels are dense, pigment-rich colors that can be layered to create virtually any color or combination of tones. Artists' grades are highly lightfast and suitable for any application. Overlay techniques work very well with oil pastel, as the surface never completely hardens and remains workable for weeks.

The substrate is usually quality paper, which absorbs some of the oil used to create the pastel. Pastel papers in a wide range of colors can be used, or other artist quality papers in rich tones can be used to create a more striking contrast or to build colors for more depth. Canvas and wood are also suitable for special projects. Added advantages to oil pastel include the facts that there is no health danger from inhaling dust and there is no need for a surface fixative. The only down side is that the surface is fragile and easily smudged. Care should be exhibited to protect the drawing until it is framed and under glass.

Pastels--oil and soft--are packed with wrappers around the sticks to keep them clean. Sets are available in round or square stick form, from 5 to 50 colors. Several manufacturers now offer new metallic oil pastel sets. These usually come in 10 to 25 colors and are best used to replicate metal and glass objects.

Traditional soft pastels are made of dry pigment and a natural binder that holds the dry "color" in stick form. They are also packaged in multi-colored packs, usually in 12 to 50 colors per set. Popular individual colors can be purchased when colors are exhausted.

The primary difference between oil and soft pastels is the quality of the line imparted. Soft pastel is a dry, powdery surface, similar to chalk. The dry color particles sit upon the surface and can easily be disturbed. For this reason, it is advisable that a fixative be used on a completed pastel when that work is done on paper. There are several methods for application of the fixative. One is a surface coverage, in which the fixative is sprayed directly onto the drawing. The second uses a saturation method in which the fixative is used to soak through the paper and then through the pastel, from the back side to the front of the drawing. The second is more "gripping" and is preferred by artists who feel a surface spray diminishes the subtleties of the line work.

When working with either oil pastel or soft pastel, some sort of sketch is needed to set the foundation for the finished work. This sketch is best done with a very light drawing in a basic tone in the same medium as the finished work - either oil or soft pastel. The color used should be only slightly different from the paper color, but in a tone that can easily be worked into the colors of the finished work.

With oil pastel application, a gradual layering is created, often building a thick, opaque and luscious finish. If softer tones and textures are desired, any oil medium or solvent can be used to thin the colors, spread the pigments and generally soften the surface of oil pastel. Use any soft artist's brush to smooth on the medium and mix right on the surface of the artwork. Near- watercolor softness can be achieved with a little practice for a look unequaled.

Soft pastel can be applied to any tone of high quality paper. The tooth of the paper helps hold the soft powder and the image created. Applied to the surface in strokes that build to create an image is the most prevalent technique used by artists. One striking technique is to apply short, defined lines placed on a diagonal plane. Smudge with fingertips, paper stumps or tortillons to create blends of color. Pick up excess pastel with a small scrap of chamois (ether dry or dampened) or use a white artist's eraser. Sharp contrasts are striking for landscape and still life work, but portraits are generally created on natural tones of medium-tooth paper. Fixative added through rather than over the drawings will help hold the soft surface in place until the work can be framed and placed under glass.

Proper storage of finished oil or soft pastel works prior to framing is important to hold and protect the art created. Slick surfaces such as sheets of vellum or any waxed surface (large sheets of stencil paper, for instance) make great barriers between the art and the storage folder. Less smearing or shift in particles is allowed. Avoid rolling the art, as there is considerable abrasion to the surface of the work, and unrolling the image can easily smear the design. Also avoid stacking either oil or soft pastel paintings in drawers and files or on worktables without a barrier between each work. Ideal storage is upright in a rigid file with separators between each item in the file.

Various Media

Spirit of America 2002 Art Competition Fredrix, an American manufacturer of fine artist canvas for over 133 years, invites you to capture the spirit of America by creating images that strive to embody the spirit of liberty, justice and freedom that is America. All paintings must be on Artist's Canvas, but may be painted in any medium. Any size is acceptable (16x20 or larger is preferred); however, all paintings will be evaluated from a 35mm slide. Entries will be pre-judged by a selection committee from Tara Materials, manufacturer of Fredrix Artist Canvas. Sandra Carpenter, Editor of The Artist's Magazine, will select the final award winners. Winners will receive cash prizes and free Fredrix merchandise totaling over $13,000, and winning entries will be published in the August 2002 issue of The Artist's Magazine. In addition to all entry fees ($10 per slide), Fredrix is donating $10,000 to the American Red Cross Disaster Relief Fund. For official entry rules/form, see your art supply dealer; these will also be posted at . Slide Deadline: March 31.

Oklahoma Art Guild Juried Art Show Spring 2002 at Kirkpatrick Galleries at the Omniplex in Oklahoma City, OK. All original 2- and 3-dimensional media. Juror: Gay Faulkenberry. Call 405.721.2394 or go to http://communities.msn.com/ArtistWilson/oklahomaartguild.msnw for info/entry forms. Deadline: Jan. 26.

Pastel

16th Annual International Open Exhibition, Pastel Society of the West Coast, Roseville, CA April 2 May 17. Soft pastel only. Juror: Madlyn C. Woolwich. For prospectus, send business SASE to: PSWC "Pastels USA," c/o Kathryn Higley, 828 Mikkelsen Dr., Auburn CA 95603. Slide Deadline: Feb. 8.

Sculpture

The Norman Rockwell Museum has issued a call for entries for New Digs for the Dog: Build a Better Doghouse for Snoopy. Artists and craftspeople working in all media are invited to submit proposals for the Museum's first exhibition of contemporary sculpture. Held in conjunction with Speak Softy and Carry a Beagle: The Art of Charles Schulz (through May 5), New Digs will inspire artists to create unique doghouses of their own design. Jurors: Jarvis Rockwell, Deborah Solomon and Paul Ivory. Call 413.298.4100, Ext. 208, or email: splunkett@nrm.org. Deadline: Jan. 11.

The Florida Outdoor Sculpture Competition sponsored by the Polk Museum of Art, Lakeland, FL Ten sculptures will be selected for a one-year exhibition along the Lemon St. Promenade from April 16 February 2003. Prospectus/Info: 863.688.7743, Ext. 286, or email: MPope@PolkMuseumofArt.org. Deadline: Jan. 31.

2002 International Sculpture Center Outstanding Student Achievement in Contemporary Sculpture Award - The sculpture departments of universities, colleges, and art schools, with current ISC Institutional/University Level Memberships, may submit up to five names of students currently enrolled in a sculpture program for the May 1, 2002 deadline. (Membership questions: 609.689.1051, Ext. 111; email: carol@sculpture.org)

Award winners will be included in a group exhibition at Grounds for Sculpture in Hamilton, NJ, from Sept. 29 Jan. 6, 2003. See www.sculpture.org for nomination form or additional info.

Watercolor

Louisiana Watercolor Society's 32nd Annual Show - June 8 28. Original watermedia on paper only. Juror: Stephen Quiller, AWS, NWS. For prospectus: #10 SASE to: S. Martin, 3109 Clifford Dr., Metairie, LA 70002 or email: lawatercolor@insideneworleans.com. Slide Deadline: Feb. 14.

Summer Internships

The National Gallery of Art is offering a variety of internships for the summer of 2002. Biweekly orientation sessions will introduce interns to the broad spectrum of museum work, and a Gallery curator or department head will direct projects. Go to www.nga.gov/education/interned.htm for more information. Application Deadline: Feb. 2.

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

Henry Moore (1898 - 1986)

Like so many of the great artists in history, Henry Moore's work was not readily accepted by either the public or the critics. In fact, it took decades for his work to find acclaim and afford him recognition. It was not until Moore's fifties and sixties that his work was highly sought and gigantic exhibitions were put on public display.

Born on July 30, 1898, in the small coal-mining town of Castleford, Yorkshire, England, Henry Spencer Moore was the seventh of eight children. His parents were determined that all of their children would have a proper education and thus avoid the labor of mine work and saw to it that he was enrolled in a proper educational environment.

From the start, Moore showed an interest in art, with his initial works done in wood and clay. It was during this first instruction that a specific teacher influenced him by broadening his knowledge of the art world and helped him form a conscious desire to be a sculptor. Miss Alice Gostick shared her enthusiasm and encouragement, creating an interest that remained a part of Moore for the remainder of his life. In 1910 he attained a "leaving certificate" (graduation diploma). At the urging of his parents, Moore became a student teacher and then a full-time instructor at the same school he had attended as a youth in Castleford.

When he was 16, the First World War began. To honor the students from his school that were marching off to war, Moore was asked to design and carve a relief, his first commissioned work. In 1917, at 18, he enlisted and was sent to France, but soon after was caught in a poisonous gas attack. Moore was sent back home to recover, after which he served the rest of a two-year enlistment by doing physical training instruction. He returned home more mature and eager to take charge of his own destiny.

Moore applied for and was awarded a grant so that he might become the first student of sculpture at Leeds School of Art in September, 1919. Great influences during this time included African carvings, Mexican sculpture and ancient American art. In 1921 he won a scholarship to the Sculpture School of the Royal College of Art in London and was there until 1924. For a period of 20 years, he stayed in the London area where he developed ideas, recording them in notebooks that still survive. These drawings were the foundations of many of the works Moore would later complete.

Early works were classified as romantic, with great connections to landscape and natural forms. A major turning point in Henry Moore's career occurred in 1928, as his remarkable talent was finally recognized when he received his first public commission. In this same year Moore had his first solo exhibition, followed by a second in 1931. In 1929, a marked change began to appear. His individual style employed what he called "truth to materials." At this point, little of his work was understood or appreciated, was considered revolutionary and was rejected by critics. "Primitivism and barbarism" were descriptions used to describe one of his first exhibited sculptures done in stone, 1929 Reclining Figure.

A sale was made to an American gallery, and in 1936 The Museum of Modern Art in New York purchased one of his sculptures, making it his first work on public display in America. This was the point at which he began to employ the rounded, sensuous shapes, undulating extensions and rounded indentations that again mimic the forms of nature. Mother and child themes were his favorite along with family groups, and his most enduring works depict reclining human forms.

Henry Moore married painter Irina Radetsky in 1929. In 1946 a daughter and only child, Mary, was born. During World War II, Moore had moved from London to a country cottage some 40 miles from the city, and over the next few years he worked to remodel it into his home and studios.

By the 1950's, Moore's reputation was flourishing, with his works widely collected in both Europe and America. Until this time, most works were done in wood or stone, but bronze, and later marble, began to be exhibited. His exhibition schedule had grown to an average of 40 exhibits per year, ranging from single-piece entries to huge shows. Much later, in 1972, 289 pieces were shown in Florence, Italy, and over 345,000 visitors viewed the exhibit in the four months it was on display. This exhibit set the standard for all future shows. In 1983 a large retrospective was exhibited at the Met in New York, and in 1986 a huge exhibit was staged in Hong Kong.

Henry Moore continued to work until his death in 1986, at the age of 88. In 1987 Moore was honored posthumously with an exhibit at the National Gallery of Modern Art in New Delhi, India.

Moore was a man who waited decades to be accepted, acknowledged and appreciated, but ended his career by being possibly the most important sculptor in history. Millions of people have seen and enjoyed his work, and many more millions will be able to do so because so many works are on public display.

Henry Moore, the first major retrospective of his work to appear in the U.S. in the past 20 years, is at the National Gallery of Art through January 27th. Approximately 165 full-scale bronzes, maquettes, carvings, plasters, and works on paper spanning Moore's entire career emphasize the artist's role as a sculptor and his involvement with surrealism and early abstract art. 

Stamping

Quick Stamping Ideas

There are many products available that make creating original, reusable, long-lasting stamps. Two of them are very easy and inexpensive to create and offer a wide range of applications.

The first, though not new, is the firm, rubber carving base material that can be easily carved into positive image masters. It resembles eraser material with very few, very small air holes and a surface firm enough to carve and hold very fine lines. Carving is most easily done with a lino carving handle and any of the gouges used for linoleum carving. This material is soft and easy to carve and does not dull the gouges as quickly as does linoleum.

Remember that the image you want to leave is the positive - the image you wish to print. Carving an outline of an item or object will yield a print of the area around the object rather than the object. While that is an interesting application, it is not usually the desired result. One tip is to draw the image onto sketch paper with watercolor; then transfer the image to be carved by pressing the drawing to the surface of the carving material and carefully dampening the back side of the paper. When completed, just ink the carving and stamp.

Another material that is fun to use is thin, sticky-backed foam. Simply cut shapes from the foam, peel off the paper backing and press the shape onto a block, spool, scrap of wooden dowel, printer's brayer or perhaps a small cube of balsa wood. Be sure to press firmly to bond it to the applicator. You are now ready to ink and stamp!

Bead Expo 2002

Recursos de Santa Fe will present the International Bead Expo in Santa Fe, NM, from March 6-10. When not shopping for beads from 160 international vendors, attendees can choose from among 65 workshops with nationally known artists, participate in a symposium on glass beads, see artist demos and educational programs, and take in Santa Fe's cultural ambiance. Admission to the Bead Bazaar is $5 at the door and is open to the public on Friday from noon to 8 p.m., Saturday from 10 a.m. to 6 p.m., and Sunday from 10 a.m. to 5 p.m. For further details, call 800.732.6881 or see www.beadexpo.com.

Scrapbook/Stamping Shows

A Memories Expo is one of the best places for stampers and scrapbookers to discover new products and ideas and to make new friends. The shows begin this year in Las Vegas from March 8-9 and then will be held in Chicago; Somerset, NJ; Columbus, OH; Denver; and Orlando. For more info, call 740.452.4541 or go to www.memoriesexpo.com.

Stretching Watercolor Paper

For decades, watercolorists have used simple yet effective ways to hold their saturated watercolor paper flat as it dries. The purpose for this "stretching" is to insure a flat, pillow-free surface on which to work and to allow the painting to dry flat for ease of mounting and framing. Some of the simple, direct methods of stretching include the use of tacks and different types of tape. Newer materials now exist to simplify the process, but many artists stand by their tried and true methods.

But before you can stretch a sheet, there are tips that will help insure success. Perhaps the most crucial step in proper paper stretching is the degree of soak given the paper. Some professionals prefer to "spot dampen" their paper, allowing a very specific control of wet-on-wet work. This can be accomplished by using a mist sprayer to saturate certain areas within the full sheet area. Sprayers that have a very light spray broadcast--those that spray very small droplets--work best.

Such sprayers can be purchased at art material supply stores. Mist methods also work very well for watercolor blocks, which cannot be totally immersed.

When overall, thorough dampening is desired, a deep soaking is considered the best idea. This total submersion affords the fastest and most fully saturated soak. Some care should be exercised, however. If paper is allowed to soak too long it can become fragile and is easily damaged. If not soaked long enough, it will resist stretching, may not be evenly "opened" to pigment and might not flatten smoothly. An average of 30 to 45 minutes usually works best for mid-weight papers. Really heavy papers may require a longer soak, so some experimentation will help. Warm water slightly speeds the saturation process, but avoid hot water.

Where to soak the paper is always a consideration. Obvious choices include the bathtub; but, in studio situations, other options might be needed. Special trays are available up to around 30" x 20". Alternatively, builders' supply outlets offer trays for mixing mortar or potting mixes, and these large trays are perfect for soaking sheets of watercolor paper. Some artists use small children's wading pools for full sheets or oversized papers.

Remember to allow the soaked paper to rest for a short time after removal from the water. Lift and hold the paper by the two top corners, which will shed excess surface water. Then lay the paper in a draft-free area to let the moisture even out. After about 10 minutes, the paper is ready to stretch.

One benefit of thorough soaking is the ease of paper sizing at that softened, pliable stage. It is very easy to size dampened paper and to create a feathered edge simply by pulling the wet paper into sections. For exact sizing, decide on the dimensions desired. Lay the dampened paper over a sharp edge, like that of a counter or desk. Gently pull the paper down, using the sharp edge as a cutting device. The result will be a straight tear and a soft-deckle edge.

Once the paper is evenly saturated, the stretching can begin. A board of some sort is required to which the thoroughly dampened paper can be attached. The old world purist's method is to tack the edges of the paper to a wooden board using thumbtacks. But, over time, the perimeter of the board begins to deteriorate. A more modern method is to attach the wet paper with gummed mounting tape (brown packaging tape), which grips the edges of the wet paper and holds it fast to the board. (Allow a 1" overlap on all sides of the paper to insure a good grip.) With the tape attached to the wet paper edge, simply moisten the dry side and stick it to the mounting board. This taping method works well on Masonite and wood. New specialty tapes are also available that are self-adhesive, clear and waterproof, yet capable of holding dampened paper. They are sold by the roll at art supply centers.

Perhaps the most interesting of the stretching methods are the new clamp and strip systems. These make fast work of preparation. Some of these boards employ a rigid plastic wrap-around edge that surrounds the outer border of the paper as it attaches to the backing board. The wraparound edge is held firmly in place with a second tap-in strip, easily and quickly assembled with a lightweight mallet. The hold is strong, facilitating all weights of paper up to 300 pound.

Other systems use a tap-in strip and slot along the outer edges of the mounting board. The paper is caught between the groove and the stretcher strip, thereby locking the paper in place. One advantage of this style of stretcher is that it goes on very quickly and holds weights up to 140 pound. This system allows for the efficient use of lighter weight papers.

Any of these stretching methods can also assist in flattening watercolors that have become buckled over time or those that were initially painted without some form of stretching device. To stretch a completed watercolor, mist the back side of the paper. Allow this mist to soak in, and then repeat. It may require as many as four or five mists, but the paper will slowly absorb the moisture and soften. It is then ready for stretching/flattening.

At this time of year, many people find themselves to be the proud new owners of an airbrush, perhaps received as a holiday gift. Following is a guide to get those recipients started in the right direction.

To familiarize new owners with the technique, all airbrushes come with basic instructions on how to hook them up and do fundamental exercises. Another place to find this information is online at www.airbrushtalk.com/learn.htm. But, in essence, all you really need to do is hook up the airbrush, get a jar of black ink and a pad of 2-ply Bristol white paper, and begin to spray.

Any surface or object that can be painted with a paintbrush can also be painted with an airbrush, plus many more. For example, it is hard to imagine someone painting an automobile or motorcycle tank with a paintbrush (see www.arttalk.com/galleryatthesquare/PamelaShanteau.htm).

Once you get a feel for the freehand spraying of dots and dashes, lines and soft gradations, it is natural to graduate to using stencils in the development of images. Found objects are a simple way of learning how to utilize stencils without having to make your own. Lace, paper doilies, stick-on lettering, screening or any object that will leave a specific shape or pattern when sprayed through can be used to develop a painting or wall decoration or a design on a piece of pottery or the scale pattern on a fishing lure or an illusion in an illustration, ad infinitum.

With the airbrush, it is just as easy to work on a three-dimensional surface as on a flat two-dimensional surface. Because you do not touch the surface, the paint is easily distributed all around an object (pottery, motorcycle tank, wood carving, sculpture, etc.). It is quickly and easily applied to all areas of the object's surface, but the original texture is retained.

For some artists, simple found object imagery is sufficient and as far as they wish to take airbrushing. For others, elaborate original stencil applications are required to develop defined imagery. In airbrush technique, frisket film--a material designed for the airbrush artist to make stencils--is utilized to fulfill this purpose. Designed primarily for flat artwork (illustration board, canvas, paper, aluminum, etc.), this adhesive-backed material is applied to the surface and cut out where areas are to be painted.

On a simple level, to paint a ball using frisket film: Draw a circle with a pencil; cover it with a transparent sheet of frisket film and carefully cut around the pencil line of the circle with a sharp stencil knife. This gives you two pieces of frisket--one that covers the ball and another that covers the background. Remove the background film and airbrush in some color; replace the cutout film and remove the piece covering the ball. Airbrush around the edge of the ball. When all frisket film is removed, it will resemble a ball in space.

Simply blocking the paint from reaching an area of the surface causes the definitive edge achieved by either stencils or frisket film. And because sprayed paint is so thin and delicate, there is no paint bleed underneath the stencil/frisket, and media dries much more quickly than when applied with a paintbrush.

Even though you may have been painting for years, it is best to become very familiar with how the airbrush works before you use it in creating artwork. Practice is key to success.

ARTtalk Airbrush Workshops Scheduled

ARTtalk will present three-hour hands-on workshops in airbrush technique at the Gallery at the Square in Beacon, NY, on February 1 and 2 (Friday and Saturday) with Robert Paschal, MFA. "Basic Airbrush Techniques" will be presented Friday evening and Saturday morning, and "Intermediate Airbrush Techniques" will be presented Saturday afternoon. For more details, go to www.arttalk.com/workshop/workshop.htm or call 845.831.4458.

Airbrush Tips

Look for monthly Airbrush Tips at http://arttalk.com/iwata/air-tip.htm see the new Airbrush Workshop Page at www.arttalk.com/workshop/workshop.htm and look for the new quarterly issue of AirbrushTalk.com at www.airbrushtalk.com on January 15th (where you can sign up for a free email subscription).

Mural Unveiled--The New York City MTA Arts for Transit program has saluted artist Jacob Lawrence with the unveiling of his New York In Transit glass mosaic mural at the Times Square subway station. This was scheduled to coincide with the Whitney Museum's opening of the most extensive retrospective of Lawrence's work ever presented, on view through February 3rd. The 6' x 36' mural is the centerpiece of the new elliptical BMT mezzanine at 42nd Street.

Awards Given--The International Association of Art Critics/USA has honored The Japan Society for the best museum show originating in New York: Yes, Yoko Ono. The William Kentridge exhibition was chosen as the best museum show originating outside New York City.

Museum Project Progresses--Work continues on renovations to the 300,000 square foot building on the Hudson River in Beacon, NY, that will become home to the Dia Center for the Arts in spring of 2003. Among the 16 artists who will have works featured, Robert Irwin has designed an area in the parking lot where nearly 100 cherry blossom and crab apple trees will be planted as part of a sculpture.

Design Winners Announced--The San Francisco MOMA Experimental Design Award inaugural winners include Thom Faulders, Donald Fortescue and Post Tool Design. All three winners build on a tradition of craft and exhibit a strong knowledge of the material native to their discipline--whether wood, typography and 2-dimensional composition or constituent elements of the build environment. The exhibition is on view through February 5.

Foundation to the Rescue--The Andrew W. Mellon Foundation has established a $50 million fund for museums, theaters, dance companies and other cultural institutions that have suffered as a result of terrorist attacks. Both large and small institutions are eligible, and public parks where crowds congregated afterward will also benefit from the fund.

New Gallery/Exhibit Opens--A new permanent exhibition has opened at the New York State Museum in Albany. Windows on New York encompasses 25,000 square feet and is devoted to popular culture, history, science and art and showcases the fully restored New York State Museum Carousel. Within the new gallery is the World Trade Center Memorial, featuring two tower forms suspended in two 20-ft.-high windows made up of more than 4,000 small bronzed squares--each representing an individual lost at the World Trade Center. See www.nysm.nysed.gov/.

January Birthdays:
  7    Albert Bierstadt
11    A. Sterling Calder
14    Berthe Morisot
19    Paul Cezanne
23    Edouard Manet

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Copyright ARTtalk Vol. 12 No. 3 -- January 2002