Fast Track to Creativity

Although acrylics were virtually unknown until the 1940's, they were discovered in the 1850's. Much refinement was done in the early 1900's, and in l928 a palette of colors was made available for commercial sale. From that moment on, painting was dramatically changed. No longer was the artist restricted by the bounds of oil work. Speed and intricacy could be accomplished with ease. But from the onset, acrylics were not well understood. Few know of their actual composition.

Understanding acrylic paint begins with a look at the paint's binder, which is actually an emulsion polymer. Acrylic polymer is an organic acrylic acid that is emulsified by the surfactants in water, making it both versatile and permanent when dry. This association with water has given some the idea that acrylic is water-soluble, but, in fact, water does not dissolve acrylic at all. It, instead, disperses the pigments with the aid of a surfactant. Without surfactants, the composition would resemble cheese, rather than a smooth, homogenous painting material.

Whether it is the ease of portability and set up, its application versatility, the water cleanup, the rapid drying, the avoidance of all petroleum solvents, the array of premixed colors or perhaps the speed with which one can work, contemporary acrylic painting is more popular now than ever. New colors, metallic components and mineral additions have added to the realm of applicability of acrylic paints, opening even wider the applications to which acrylic paints may be applied.

The two most popular reasons why artists select acrylics are their ease of use and the fact that the drying window is narrow. You can paint an area, and in mere moments paint over or detail that same spot. This speed of working makes it especially appealing to portrait artists. Since sittings are hard to schedule and clients are often unwilling to make repeated trips, acrylics speed the drying process to such an extent that portraits can often be done in just a few sittings.

Colors are very easily combined to create all new tones. Additionally, there are a good variety of premixed hues that make some mixing unnecessary. The purist might still want to create from basic tones, and with acrylic pigments, that mixing is simple. True tones in all shades are easy to find, making palette creation almost effortless. Rich earth tones round out the color selections for the artists as do the wide range of mediums, varnishes and components to be added directly to the paint. Each has specific application, yet each can offer a wide variety of results.

The function of medium is two-fold. It acts as a "conditioner" to help maintain the consistency of any given paint. Used as instructed, mediums also "stretch" the paint without changing the coverage capabilities of the color. Mediums are available in matte and gloss finishes, and those two can be mixed to create a semi-gloss finish as well. Mediums can also be used as a top coat over a finished work done on canvas or paper. It offers a degree of protection from the elements as well as an overall evenness of surface sheen. Avoid clouding by applying varnishes or medium lightly as a final coating.

Lastly, varnishes are available to protect the surface from UV assault and, as with the mediums mentioned above, to even the surface sheen of the completed, dry work. Many brands, available in a range of surface finishes, can be found at your local art materials store.

Brushes used with acrylics can be the same types used for oils, although special man-made fibers of supreme quality offer a good value, very dependable results and compatibility with all acrylic paints, gels, grounds and varnishes. These brushes will last as long as their sable or bristle counterparts. Easy to clean with either water or special brush cleaners, they do not require the conditioning of sable brush tips. Various brands offer different styles and brush hair colors, but their fine texture and superior quality make them an investment for the long haul. Caution: Avoid the use of hot water when cleaning brushes because the heat can mat the bristles.

Substrates that work well with acrylic are more varied than those for oil. Almost any paper of moderate to heavy weight can be used, as can Masonite, wood panels and Claybord, canvas board and stretched or unstretched canvas or other cloth. Because of acrylics' adhesion, they can even be painted on slippery finishes such as Mylar and other plastic-type finishes. Some acrylics are even formulated specifically for use on glass.

Special surface treatments are designed to offer an even wider scope of application. Knife or paint on a smooth, sandy ground for unique portrait work or perhaps for a flat, velvety appearance of any scene. Heavier textures of sand-like material are also available, premixed into mediums to replicate stone or other textures in original work. Heavy gels and texturing compounds (to which color can be added or upon which paint can be brushed after any textural underlayment is dry) offer other design elements. Like modeling pastes, these thick gels hold their shape, stand erect and can be built up for extreme texture without the frequent cracking of the pastes.

Undoubtedly, the cornerstone of acrylics is their versatility. Be it in mixing, application or surface to be painted, there is a way to make it happen with acrylic paints.

Websites with basic information:
www.allsands.com
www.paintersstudio.com
www.britannica.com

Kids' Korner

Funky Valentines and More!

Valentine's Day is a chance to let those around us know how important they are to us. What better way to do that than to give them a handmade, original Valentine greeting? There are lots of great, simple ideas that can start your creativity soaring!

One such idea is to paint a watercolor "inkspot image" printed greeting card. The materials needed are simple, the method easy and the results are dramatic. This same idea can be used for almost any season or special occasion.

Materials:

Watercolors, brushes, water jar with water, watercolor paper cut to 5-1/2" x 8-1/2" (see note) or packaged note cards, watercolor paper templates cut to 5-1/2" x 4-1/4", envelopes. Optional: metallic markers, glitter, confetti, stickers, colored pencils.

Be ready to start by gathering all of your supplies. This method is a quick-paced and exciting event, so you will need to have watercolor, templates, water and brushes within reach before you begin. This method is also one that is well suited to multiples, creating several cards with similar coloration at one time.

A couple of practice pieces might be a good idea. Fairly fluid but strong colors work best. Paint a design (red hearts for Valentine's Day!) on a template. This design will be altered in the "printing" step of this process, so most shapes will change. You are actually squeezing the paint between the two paper surfaces to create the new design.

After painting, immediately turn over the template and gently press it against the front of your folded greeting card. Gentle but even pressure usually works best and creates the most interesting image. With luck, there will be enough paint to do another card from the template. This second print from the first template is called an echo image. Softer and more delicate, it is sometimes the better of the two.

Further embellishment might include the addition of metallic lines with gold or silver paint pens. Or you might want to dazzle them with glitter and stickers. Colored pencils are great to add fine line details or to locate "hidden" shapes in the design, thereby creating your own form of "camouflage" art.

And when you are finished with the card, how about decorating the envelope to match? A coordinated look is created by adding a simple line of color along the edge of the envelope.

Imagine the possibilities!

NOTE: Fold the long length in half to form the card. Print and embellish on the front side with the fold to the left or at the top of your design. The size of 5-1/2" x 8-1/2" is exactly half of an 8-1/2" x 11" card stock sheet.

New Exhibition at CMOM

Where the Wild Things Are: Maurice Sendak in His Own Words and Pictures has opened at the Children's Museum of Manhattan in NYC. Featured are original texts and illustrations, music and photographs. Many of the images in this exhibit are facsimiles taken from the original at the Maurice Sendak Archives housed at the Rosenbach Museum and Library in Philadelphia. In addition, Celebrating 60 Years of Curious George--The Art of H. A. & Margret Rey may be viewed through March 3. Open Wed. through Sun. Admission.

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

New Color Book

Available from Starshell Press is The Story of van Gogh and Gauguin: A Color and Learn Book by Lisa Alexandra Frey. It features 14 reproductions of van Gogh and Gauguin's finest works, black and white outlines on each facing page, the story of the artists' friendship, and activities to delight and inform. 32pp., paperback.

Special Issue

The International Child Art Foundation (ICAF) has announced the publication of a special peace and healing issue of ChildArt magazine to help in the healing of our nation in this New Year. The January/March 2002 issue features a thoughtful collection of art created by children across America and around the world in response to 9/11. It is dedicated to the children of the victims of the terrorist attacks. ChildArt inspires children ages 8 to 80 to be more creative, imaginative, artistic and cooperative. Written for children ages 8 to 12, it is supplementary material for courses in art and world cultures. Subscribe online at www.icaf.org; or call 202.530.KIDS.

Kids' Guessing Game Online

New on the National Gallery of Art's website is Stella's "Jarama II." Here kids play a guessing game that involves a colorful, mixed media work of art by Frank Stella in the Gallery's collection. They look carefully for clues and try to discover what the artist is saying. www.nga.gov/kids/stella/stella1.htm.

Notable 2001 Books

Included among Smithsonian magazine's "Notable Books for Children, 2001" are the following for ages 1-6: First Number Book (Kingfisher); Winter Day Play: Activities, Crafts, and Games for Indoors and Out by Nancy F. Castaldo (Chicago Review Press); The Class Artist by G. Brian Karas (Harper-Collins); and Quilt Alphabet by Lesa Cline-Ransome (Holiday House).

Pottery--From Mud to Marvelous

When it comes to tactile manipulation and the pure joy of creating something from nothing, clay work is hard to beat. From the utilitarian objects we use every day to decorative "art objects," clay can be caressed into almost any structural form. For start-up, there are relatively low costs involved and much enjoyment to be had.

All that is needed to work in clay is the clay, glazes, a few tools and some sort of firing apparatus. Everything you need can be found at your local art supply store.

Clay is formulated from earth components and minerals to create a "plastic" material that is easy to form and will stand up to the drying and firing processes. Basically, there are three types or categories of clay: low-, medium- and high-fire, each requiring specific firing temperatures and glazes.

Low-fire clay requires the lowest firing temperatures, around 1500 degrees to 1800 degrees, to achieve rock-hard permanency. Low-fire clays come in a variety of colors, including white, off white, red and browns. It has the least resilience to abuse, but can be used very successfully for all aspects of clay work: functional, decorative and sculptural.

Earthenware is the clay in the middle firing range. The temperature required to fire it to permanency is around 2000 degrees. Minerals and additives to this clay usually create gentle earth tones when fired to a maturing temperature. Reds, browns, speckled or smooth, earthenware is the most popular type of clay, especially among beginners and intermediate potters. The consistency of the material makes it easy to form, either in hand work or wheel throwing. It usually yields a smooth surface with little or no pebbling or grit to show through the glaze.

Porcelain is often referred to as high-fire clay. It requires the highest firing range, around 2600 degrees. At that temperature, thin areas on forms (such as edges) begin to turn translucent. One well-known and revered characteristic of porcelain is its smooth, near-velvety feel. It is, however, this very smoothness (very fine grog or none at all) that makes it the most challenging clay to work with. But, the fired surface is unparalleled in quality and elegance.

Shaping the clay can be done on a potter's wheel or by hand. Many collectors consider a work done without the aid of a wheel to be more "aesthetic" and organic; and many artisans feel the same way and never opt for a wheel. There is a huge selection of hand tools to assist the artist in shaping, joining, texturing or otherwise manipulating the material.

Glazes for clay are the area where the craftsman and the professional potter/ceramicist take two different roads. The hobby potter will most likely buy his glazes in premixed batches, by the pint or in a smaller quantity. The professional will formulate special glazes to fit the clay and structure of his work. Despite the quantity difference, the glazes function in exactly the same way. By buying a pre-mixed glaze in a specific firing range, you are guaranteed a good fit to the clay, a smooth surface and a wonderfully luscious look to the finished piece.

Following the instructions as to application is essential--usually multiple coats brushed on to achieve a uniform thickness. Professionals create glazes in quantities large enough to dip their work, thus speeding the process; but, again, the results are very similar.

Surface decoration of pieces is possible in a number of ways. Underglaze pencils and crayons can be used to hand draw images that will show through a clear glaze. Overglaze chemicals can be purchased or simple metallic oxides can be combined with water to add instant and intense color on top of a glaze. During firing, the fluid glaze absorbs the colorants to make the drawings a permanent part of the surface.

Carving a clay form when it is in the "leather hard" stage of drying is another way to create great visual and tactile texture. Glazed or simply carved and fired, the unique and slightly three-dimensional look is very appealing.

The purchase of a kiln gives you more flexibility and the ability to work on a grand scale. Kiln firing chambers range from small jewelry kilns for small projects to very large-capacity models. The most expedient way to "get firing" is with a small counter-top model that can be used on a regular 220-volt household circuit. Larger models necessitate heavier wiring and pull higher amperage. Extra wiring may be needed to facilitate a kiln large enough for large pieces.

Amazing things can be done by developing decorative items that can be joined after firing, making it possible to use a small firing chamber to create larger finished pieces. Stacking or the use of epoxy to "weld" components together are but a couple of the techniques used by potters and ceramists who do not have a large kiln. Perhaps, initially, you might opt for another plan.

The joy of working with clay is well worth the investment in materials, but if the kiln represents a snag in your plan or if you live in a small apartment, don't despair. Kiln firing is often done at neighborhood craft centers or ceramic shops. These shops usually fire your work with others and charge by the piece, allowing you to do projects in a timely manner. Make some calls, take a class and get dirty!

Art Materials and Publications

Friendly Plastic 101 is a new project book published by Design Originals and available from American Art Clay Co. (AMACO). The 36-page, four-color book contains over 60 step-by-step projects plus helpful information on how to work with Friendly Plastic to create jewelry items, boxes, frames, and home accents. The book also features the new Griddle Method, along with a wide range of new projects and techniques. Friendly Plastic is a non-toxic plastic that can be used alone or combined with picture frames, jewelry findings, and other items. It is modeled by softening the designer sticks in warm water and then shaped by hand, craft tools, or any household object. When it cools, it becomes hard again.

The Artist's Illustrated Encyclopedia by Phil Metzger (North Light Books) features more than one thousand art definitions and descriptions. Including every art term, technique and material used by the practicing artist, this unique reference is packed with photographs, paintings, mini-demos, black and white diagrams and drawings for comprehensive explanation as well as sidebars and charts. 486pp., paperback.

Acrylic Landscape Painting Techniques by Hugh Greer (North Light Books) starts with 16 mini-demos that encourage artists to jump right in and follow step-by-step instructions for mastering techniques such as masking, splattering, underpainting, washes and more. They will also learn tips and tricks for rendering many elements of landscape including trees, flowers, roads and reflections. The second section of the book features five complete painting demos that challenge artists to exercise their new painting techniques through a variety of landscape subjects, as well as how to use acrylics as an effective base for other mediums. 128pp., hard cover.

The Art of Contemporary American Pottery by Kevin A. Hluch (Krause Publications) features 200 full-color photographs that feature the work of the country's best utilitarian potters. It serves as a reference and source for information about what makes a good pot, addresses both the aesthetic and philosophical issues, and serves as an informational tool in the marketing of works. 160pp., soft cover.

Batik Basics

Artistically created textures, brilliant colors and intricate designs are but a few of the recognized qualities of first-rate batik work. The textures are not dimensional, yet they catch and hold interest. Colors of all hues and intensities can be found in batik work. Designs as intricate as pointillism drawings or fine line renderings can also be created with a bit of experimentation and practice.

Materials used for batik are pretty basic: fabric onto which the design and dyes are rendered, wax (used as a "resist"), a heat source with which to melt the wax, brushes or other tools for applying the wax, and dyes of various colors. The art materials can be found at all art and craft material stores, and the fabrics can be purchased at craft centers and fabric retailers.

The most widely used fabric in batik is cotton because it accepts the wax that is used to delineate the design and is easily dyed. White fabric works best.

The dye most often selected for batik work comes in powder form, is easily mixed/stored/applied and dyes a variety of fiber contents.

The wax used can be ordinary paraffin, although many experienced batik artisans combine paraffin with beeswax for a wax that is a bit less brittle when dried. This softness reduces the number of cracks and craze lines in the batik work. This is especially important when the design you want to apply is intricate. If the wax cracks and breaks up the design, the overall effect is lost. But for more basic, simple designs, the craze lines are very appealing. Remember, too, that colored wax cubes, candle stubs or crayons can yield interesting colors in the crackle resist patterns.

Although wax can be melted in almost any metal container, it is wise to select one that is thermostatically controlled. Special wax melting palettes are available that contain small pans. Small amounts can be melted, dispensed into brushes, etc., and then returned to the controlled heat palette to retain fluidity. For larger projects, a double boiler or crockpot style low-heat melter might be the best choice.

The process of batik is a progression of dye applications, from light to dark. Apply liquid wax in the areas that are to remain white. Then dip the entire cloth into the lightest dye color in your design. Allow this to dry, then wax the areas you want to remain that lightest dyed color. (Now two colors are "frozen.") Repeat with all the colors you have selected, allowing each color to dry and then be waxed between each "dip."

Remove the wax by placing the rigid fabric between thick layers of newsprint or Kraft paper and then ironing. Display batik framed and under glass for longevity.

New Airbrush Book

Available this month from Watson-Guptill Publications is The Ultimate Airbrush Handbook by Pamela Shanteau. This unique publication addresses a wide range of applications in detail. Chapters explain airbrush "nuts and bolts," airbrush styles and types, air compressor requirements, trigger control explanations and exercises, studio and workshop necessities, and art material recommendations and explanations (masking, paints and periphery tools). The book takes readers on a tour of the beginner, intermediate and expert levels of airbrushing.

Each chapter features step-by-step instruction in the areas of body art and temporary tattoo application, crafting, scale models and figurine painting, textile airbrushing, interior decorative stenciling, commercial illustration, fine art and the demanding area of automotive airbrushing. Pamela also instructs on how to develop raw images in paintings, how to maintain your airbrushing equipment, the right set-ups for painting on-site and permanent studio requirements.

Joining Pamela are other airbrushing notables, including Robert Anderson, Lindy Brown, A. D. Cook, Tom Grossman, Sheri "The Mad Stencilist" Hoeger, Kirk Lybecker, Andrea Mistretta, Laura Morgan-Glass, Mark "The Shark" Rush, and Richard Sturdevant. Each of these artists shares his or her painting processes through detailed step-by-step explanations. See your retailer. www.pamelashanteau.com.

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 22 and 23 (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. All equipment and materials are supplied for use in class. For more information, go to www.arttalk.com/workshop/workshop.htm; email: arttalkworkshops@aol.com; 845.831.4458.

New Chair Appointed--Michael Hammond has been confirmed by the Senate as the new chairman of the National Endowment for the Arts. Hammond is a composer and dean at Rice University in Houston, TX.

Portrait Stirs Controversy--An oil portrait of Queen Elizabeth by Lucian Freud, grandson of Sigmund Freud, has been met with mixed reviews because of its "unflattering style." It will go on public view in Royal Treasures: A Golden Jubilee Celebration at the new Queen's Gallery in Buckingham Palace on May 22.

Sculpture Installed--The National Gallery of Art has completed the installation of Prinz Friedrich von Homburg, Ein Schauspiel, 3X, 1998-2001. This monumental outdoor work by Frank Stella is on view at the northeast corner of the Gallery's East Building.

Show Scheduled--The 14th Annual Works on Paper show is scheduled to be held Feb. 27 - March 3 in its original location--The Park Avenue Armory, New York City. A special preview on Feb. 27 from 6-9p.m. will benefit the Citizens' Committee for Children of New York. 212.777.5218.

Milestone Reached--The creator of the cartoon character Casper the Friendly Ghost has died in New York City at 83. Seymour V. Reit created the character in 1940, and comic books are still occasionally published.

WTC Memorial Reconsidered--New options are being considered by the FDNY after a planned memorial received criticism from firefighters. The statue design was based on a widely published photo taken on 9/11 that depicts three firefighters standing on a pile of rubble as they raise an American flag. However, the ethnicity of two of the original firefighters was changed from the original photo in order to be more symbolic. StudioEis in Brooklyn created the clay model, and the Tallix Art Foundry in Beacon, NY, was casting it. The 19-foot-high $180,000 bronze sculpture had been scheduled for installation in April at the MetroTech complex near the Fire Department of New York headquarters in downtown Brooklyn.

Olympic Competition Scheduled--The National Ice Carving Association is manager of the "Olympic Arts Festival Ice Carving Competition" in Provo, Utah, this month. Thirty teams from around the world will test their skills against the best carvers in the world for Olympic Gold. Two-person teams will be given ten blocks of crystal clear ice and have 17 hours to complete their masterpieces.

Finalists Announced--The shortlist for the biennial Hugo Boss Prize 2002 has been announced by the Solomon R. Guggenheim Foundation. Finalists hail from Belgium, Denmark, Japan, France, Korea and Albania. The winner will be selected and announced this fall, followed by an exhibition of the prize-winning artist's work to be presented in early 2003 at the Guggenheim Museum.

Black History Month Celebrated--The Walters Art Museum in Baltimore, MD, will host a number of programs that celebrate Black History Month, ranging from lectures and films to a free family festival. Tickets for these events may be purchased in advance. Visit www.thewalters.org or call 410.547.9000.

Exhibitions:

Ft. Lauderdale Museum of Art, FL -- From Fauvism to Impressionism: Albert Marquet at the Pompidou features 45 paintings and 20 works on paper from the largest and most distinguished repository of Marquet's works--the Centre Pompidou in Paris. Through April 7.

Freer Gallery of Art, Washington, D.C. -- The Potter's Brush: The Kenzan Style in Japanese Ceramics presents gallery founder Charles Lang Freer's entire ceramics collection for the first time. The Kenzan style incorporates images from literature, painting, crafts, and ceramics and continues to be a distinctive mode of Japanese ceramics today. Through Oct. 27. Also on view through March 31 is Whistler in Venice: The First Set of Etchings.

Museum of Fine Arts, Houston, TX -- The Smithsonian National Portrait Gallery is taking its most prized portrait on the road. George Washington: A National Treasure features the famous portrait of Washington by Gilbert Stuart. The cross-country tour begins in Houston on Feb. 15 through June 16 and then travels through 2004 to Las Vegas, Los Angeles, Seattle, Minneapolis, Oklahoma, Arkansas and New York City.

California Palace of the Legion of Honor, San Francisco, CA -- 18th Annual Bouquets to Art 2002, which opens March 12 and runs through March 15, will feature over 100 innovative floral arrangements created to complement the Legion's works of art, as well as lectures, a benefit drawing, a silent auction, and luncheons and teas available by reservation. The flowers and foliage are arranged to follow the form, line and color of the fine art displayed at the museum. 415.750.3504.

Museum of Fine Arts, Boston, MA -- Impressionist Still Life is the first major exhibition devoted to Impressionist still-life painting. Ninety spectacular works reveal the surprising innovations in late 19th century still life by such masters as Monet, Manet, Degas, Renoir, Cassatt, Courbet, Cezanne, van Gogh and Gauguin. Highlights include two still lifes by Monet never before seen in the U.S. and 15 works by Cezanne. Opens Feb. 17 through June 9.

February Birthdays:
  8    John Ruskin
11    William Talbot
17    Raphaelle Peale
18    Max Klinger
20    Elie Nadelman
22    Rembrandt Peale
24    Charles Le Brun

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Copyright ARTtalk Vol. 12 No. 4 -- February 2002