Mixing Oil Colors

Oil paints have been used for centuries and in the beginning were created individually by each artist. Earth pigments and minerals were ground and combined with thick oils (usually seed oils or sometimes animal fat). How fortunate we are to have at our fingertips a huge variety of brands and colors--mixed and ready to go. But if the tone you are seeking is not readily available, do not despair.

Mixing and blending colors is eventually necessary for most artists; and, although it can be challenging, mixing can be the easiest way to find that perfect tone. Individual color blending is also the most immediate way to achieve a personal palette. This group of created colors should coordinate with your style and genre and may even come to be associated synonymously with your work. Along with the benefits of personally created colors will come the opportunity to use these colors in unusual ways. Is it time to consider creating a special color or colors that will become your "signature"?

All manufacturers of oil paints offer a great selection of colors, from rich, pure pigment colors to slightly blended colors to heavily blended tones for special applications. The least "diluted" colors are referred to as primary colors and are those colors comprised of the purest pigments true to the tone they represent. Because primary colors are not altered with other color components, they are a great basis upon which to build your new colors. Secondary colors are colors blended by combining closely related pigment colors. Either of these groups is ready to be combined into possible new hues. Premixed, unusual tones are usually a combination of several hues and are difficult to use in color blending. This is especially true if repeat blending is desired because exact measurement of the tone base and additives is required.

Once an original tone is created, it is possible to soften the color by adding white. This broadens the usage possibilities and creates yet another "signature" color. The old school wouldn't suggest using black to deepen a color, but it often works very well. The new school suggests using the color complement (opposite color on the color wheel, e.g., red and green) to deepen a tone that is predominantly a primary color.

Keeping a log and record of your blended colors is a great idea. This log should be set up by manufacturer and should indicate color name, estimate of amounts of each tone used, medium used for softening/blending, a small sample of the finished color and any personal notes that you might need to replicate the color. Card files are great for recording this information; the cards are easily arranged by color (adding or subtracting colors over time) and can be removed for mixing/matching/comparing.

Certain colors are not only well suited to blending but can be used to create a basis for an entire genre of personal colors. Skin tones often become a stumbling block for artists. Nothing is sadder than a beautifully captured portrait diminished by skin tones that are not healthy and alive. This can be avoided by combining two simple colors, cadmium red light and cadmium green light, in equal amounts to create a rich dark brown that can be softened with white to achieve a dynamic skin basis. The degree of white and other subsidiary tones will create a glowing flesh tone and is easily repeatable. To this basic flesh tone mix, you can introduce a tiny bit more red for a ruddy coloration. Add a very small amount of cadmium yellow light or medium and you create a sallow skin tone. Add more green to the initial flesh tone and you create yet another useful skin tone. Many portrait artists keep on hand premixed colors in all of these families because any face has areas where the tone changes. One of the three mixes listed above might be just the ticket.

Combining black (lamp black or ivory black) with cadmium yellow is another hand-mixed color that is fun to create. The resulting tone of green is the picture of springtime and is very useful to landscape painters. If not for large areas, this bright, cheery tone makes an excellent highlight for any foliage.

The same is true for the combination of cobalt blue and cadmium yellow. The tone created is another bright green that leans to the blue and is again a wonderful tone for spring green landscape work.

Cadmium red, cadmium yellow and a tiny bit of blue yield a glorious orange just right for sunset or fall foliage paintings. Add a bit more blue and the tone dulls to a more pumpkin or sedate orange and is very useful in forest interior work, foregrounds and stones in open landscape scenes.

A covered palette allows mixed oil colors to stay soft and serviceable for several days or even weeks if the cover is tight. But for large-scale works or long-term use of specific colors, it is advisable to create a larger quantity of color. Storage can be in saved baby food jars (keep the lid and the jar threads clean for easy opening) or perhaps you might like to buy metal tubes in which to pack your "private label" colors. (Remember to name them and keep a record of how you mixed that special color). Open-ended tubes are available in most art material stores. Mailing labels are great for labeling your tubes. One tip is to roll the bottom of the tube tightly and do not trap air between the bottom of the tube and the store of paint.

Experimentation with the oils you might already have will get you started and give you a chance to explore many possibilities as well as be creative.

Pencil Drawing

While any pencil can be used to doodle, there can be so much more to drawing. When it comes to infinite degrees of rich darks and sharp delineation, pencil drawing can be very dramatic. The tools needed are simple, the cost is low and the results can be breathtaking.

Drawing pencils come in a wide range of tones. These tones are measured in increments to allow you to select the exact degree of richness you want. Everyone knows about No. 2 pencils. But did you know that there are up to 17 separate designations, 17 different degrees of softness/hardness in drawing pencils?

The very softest graphite core pencil is designated 6B and then steps down in softness to 2B and B before starting the "hard" designations. Although these leads are soft, they are manufactured in such a way as to be able to withstand heavy point pressure. The very hardest graphite lead is classified 9H.

To understand the hard/soft H/B designations is to be capable of creating a line or tone in the exact shade of dark/light desired. Exercises that teach the use of each of the designations might include the creation of a gradation chart. In the chart you create squares for each degree of dark. You might create a second set of squares, showing heavily and lightly applied graphite in each designation. You might use a stump or tortillon to smooth and enrich the surface, bringing each section to a high sheen and evenness.

In addition to "pencil" form, graphite sticks can also be of great benefit to the artist. These are pure graphite without any wood wrapping and usually come in either 1/4" x 3" or 1/4" x 1/2" x 3" sticks. They are especially good for large-scale works and fill-in and can be used for wide sweeping strokes. The edges and the flat sides of graphite sticks make them ideal for large-scale works or quickly done studies of action models. As in pencil designations, graphite sticks come in a range of hardness.

Surfaces onto which pencil and graphite sticks may be applied are almost endless. All papers of medium weight and heavier are ideal. Colored papers designated for pastel are also wonderful grounds for pencil work. Soft press watercolor paper is sturdy and works well with less defined pencil work. A soft surface that is workable and can stand up to erasure and reworking is the best possible ground.

Check out the new soft, black erasers especially designed for erasing graphite and pencil work.

So, is it time to experiment with or rediscover the joys of pencil work? Considering that they are compact, inexpensive and simple to master, it may well be.

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

--General Pencil has announced the new Carbon Drawing Pencil and #15 Charcoal Kit. General's Carbon Sketch Drawing Pencil produces jet-blacks like those of General's Charcoal, yet it remains as strong and smooth as the Kimberly graphite. Truly an enlightened pencil! Created by popular demand, General's #15 Charcoal Kit contains a complete assortment of rich black and white charcoal pencils, compressed charcoal, accessories, and a Carbon Sketch Drawing Pencil. www.GeneralPencil.com.

--American Art Clay Co. (AMACO) has published the latest edition of its Product Encyclopedia & Safety Manual as well as the new 2002 Catalog. The 44-page manual provides complete safety and use information for ceramic products and art materials in the classroom and studio. Also included are kiln firing guidelines, an AMACO glaze color chart, and contemporary studio information. This booklet answers questions about safety in the art room and ceramic studio and how you can offer completely safe ceramic programs to children, as well as adults.

AMACO's new 2002 Catalog displays AMACO's superior products and equipment, as well as showcases dozens of art pieces by artists and students throughout the country who use these products. The cover is a kaleidoscope of teapots created by student artists that were selected from those featured on an AMACO poster. The 2002 four-color catalog introduces products and equipment recently added to the extensive AMACO line and also features numerous popular AMACO high-fire glazes that have been reformulated to be AP Non-Toxic.

To receive a copy of the helpful and informative reference tool and/or the 2002 catalog, call or write AMACO, 4717 W. Sixteenth St., Indianapolis, IN 46222; 800.374.1600. www.amaco.com.

In the Spotlight:
Nicholson's Peerless Transparent Watercolor

Fearless Photo Tinting with Peerless

Imagine a product that gives you hundreds of intense colors that you can use to tint any black and white or toned photo. Sound interesting? Nicholson's Peerless Transparent Watercolor sheets offer just such richness and are very easy to use. Whether contemporary resin-coated photos, some computer generated images printed onto photo paper (not water-based papers) or black and white images copied (like Xerox) onto high quality stationary sheets, these colors are the best! Although matte finish works best, any surface quality can be tinted.

Get ready - Get set - Go! - For one of the most versatile watercolor experiences of your life. Peerless sheets are actually quality paper saturated with ultra strong transparent dyes. Even when thinned with water to create pastel tones, these colors offer an intensity that is unparalleled. Books of 15 colors or sealed packages of 40 sheets (totaling 55 different colors) are available so that you may select the set that works best for you. More than 200 colors are available in either liquid or sheet form and can be special ordered individually.

In addition to your color set, you will need a few simple supplies to make your photo tinting work the best possible experience. A couple of quality sable paint brushes--perhaps a No. "00" and a No. 1--would be great starters, but if you intend to cover larger areas, a wider flat brush is recommended. A small palette or watercolor pan is also a good idea so that you can create pastel and combination hues. Cotton buds (Q-tips), cotton balls and toothpicks to make very small cotton buds, and a soft cloth can also be used to apply color. Distilled water to dilute the colors is recommended.

The dye sheets are very intense and strong. If you use a brush (cotton bud, toothpick) directly on a sheet to draw up color, you will find the color overpowering. It is suggested that you snip off a small piece of the sheet of desired color and place that snip into the well of a watercolor pan. Add a few drops of distilled water and swirl the snippet of dye sheet to release the color. Application of this diluted color can be made with a brush, cotton bud, cloth or even sponge for general, textured or soft background tones.

For optimum results, use as little water as possible. Watery application makes it more difficult to achieve a soft edge and might dry unevenly.

Color sets come in a variety of combinations including special collections designed strictly for black and white photo retouch work. These tones, cool to warm, make minor repair of a surface defect much simpler than the traditional premixed fluid tones. Once again, because the tone intensity is governed by quantity of water and the amount of "dye" infused in the mix, you are in total control of the depth and richness of the retouch tone you create. Great variety and versatility for a job that has been a true challenge!

Create dynamic spot color in your photos, do overall coloration, but be forewarned. Peerless Watercolor tinting can be habit- forming!

Welcome to the Wonderful World of Nicholson's Peerless Transparent Watercolors!

Enameling On Metal--The Materials and Processes

With its glassy smoothness, brilliant colors, fine detail work and supreme elegance, enamel work is surely one of the most exquisite art forms. Most of us are familiar with the looks and beauty, but few of us know about the materials and processes used to create the jewelry and decorative items.

Enameling was practiced on the Isle of Cyprus in the 13th century BC. It was perfected and developed into a major industry in the Mediterranean area. Even with far less sophisticated foundry settings, the craftsmen were able to create dazzling jewelry and other ornaments. A crude fire, pulverized glass and minerals and a metal substrate were the tools they used to create magnificent items. The craftsmen of today have the advantage of modern materials and availability of tools specific to the craft. However, much of the general concept remains the same.

Generally, contemporary enamel work starts with a shape made of clean, bright copper. A huge variety of pre-cut shapes are available, as are bowls, dishes and trays; or original designs can be created by cutting sheet copper into the desired shape. Cutting can be done with a saw such as a jeweler's saw (with very fine teeth that provide a clean cut) or with metal shears. Once the shape or design is ready, edges are filed to remove any possible burrs. The surface is then cleaned to remove any grease, dirt or oxidation. Cleaning is an essential part of the process and insures a good bond between the enameling material and the copper base. Several powder or liquid products are manufactured to assist in the cleaning process. Cleaning should be done at the time the enameling process is to be complete, to insure the surface will hold the enameling material.

Other metals can also be enameled, such as silver or steel, but copper is the choice of most. This is usually because of the availability of copper in both shaped and sheet form and the fact that it is easy to cut into an original design.

The high gloss surface of enameled work is created by exposing porcelain enameling compounds to high heat. The colors are actually ground glass, powdered to a fine mesh size. This creates a powder that will melt evenly and be vitreous (bound to the support and melted to a smooth surface). Many lead-free colors are available, in sets or individually, plus combinations of colors can be mixed to create a personal palette. Storage is simple. Zip plastic bags or small vials/jars work well. Since the color you see is the color you get, clear containers make it fast and easy to choose a color. In addition to the ground colors, there are small chips and rods of opaque color that add impact and offer an expedient way to create unique surfaces.

Application of the powdered material is essentially a matter of laying on an area of color. For curved surfaces, a special liquid holding agent is available. When brushed on, it creates a wet surface that holds the powder in place. Chips and rods can be used to add more color. Simply lay them over the powder prior to firing in the kiln.

Although enameling can be done with a torch, control is difficult. Enameling kilns are not expensive and help achieve expected results. Small firing "chambers" consist of two pieces of ceramic (about 6" diameter) outfitted with a firing element in the lid. Cost of operation is similar to an electric iron but can achieve the temperatures needed to accomplish a full melt (1500 degrees). Larger, more expensive units made of stainless steel-encased firebrick can reach temperatures of over 2300 degrees and come equipped with a pyrometer to monitor the melting process. The firing chamber is around 8" by 9" with a height of 4" to 8". They also operate on 110 Volts with low usage costs.

Other tools that are very helpful with enameling include a firing fork, a sifter, scrolling tool, firing racks and trivets, copper tongs and, of course, safety goggles and heavy heatproof gloves. The firing fork is used to remove pieces from the firing chamber. It has long tines that slip beneath the hot copper base. A sifter is useful to remove any incidental oversized chips from the powdered glaze. A scrolling tool is used to swirl the liquid glass while the piece is still under the heating element. It consists of a long rod with an angled, sharpened tip that easily reaches into the heat of the chamber. Firing racks and trivets hold/elevate the piece while it is under the element. This allows heat to circulate under the form and evenly heat the copper and glass. They also make possible the removal of the finished piece at the perfect moment, because they allow the firing fork to slip under the work. Copper tongs are used to hold the cleaning material during the cleaning process. Safety goggles and heatproof gloves are essential to safety and should be used any time you are firing the kiln.

A new twist and final step with enameling is the use of patina finishes on the exposed copper surfaces of an enameled art piece. These patinas are chemicals that cause copper, brass and bronze to oxidize as they would naturally (given years of exposure). Almost instantly these surfaces are transformed into beautiful antique finishes.

Great websites to see enameled works include: www.kcEnamels.com, www.pinultimate.com; and check out the fine Russian enamel work available at www.Humdingerstx.com.

2002 Strathmore Art Contest

Strathmore Artist Papers has announced a Call for Entries for the 2002 Strathmore Art Contest. Original artwork must be created on Strathmore paper and cannot have won another major art contest. The subject is up to the entrant's discretion, and no stock photos or copyrighted images may be used or duplicated. Digital art must be created using the computer as a medium. All entries will be judged on the basis of creativity, style, expression and use of technique by a nationally renowned panel of artists. Categories include Student Artist, General Artist, and Digital Artist; and entrants must be at least 18 years of age.

Entries are to be submitted in the form of 35mm slides, and Digital artist entries must be printed on Strathmore Artist Ink Jet Paper. Enter as often as you like, but only one slide/print per entry is permitted, and there is no entry fee!

Cash prizes will be awarded to winners in all three categories: First Place: $1,500; Second Place: $1,000; Third Place: $500; and 5 Honorable Mentions: $50 each. Plus, the school of the first place winner in the Student category will receive a $500 art scholarship award.

You may download a copy of the entry form at www.strathmoreartist.com or call Customer Service toll free at 1-800-353-0375. For complete rules, see your retailer or the aforementioned website. All entries must be postmarked by September 1, 2002. So enter today!

The Artist's Magazine 19th Annual Art Competition

The Artist's Magazine has issued a Call for Entries for its 2002 Art Competition, which will recognize more than 250 finalists and award 45 major prizes. Open to both amateur and professional artists, there are five categories: Portrait, Landscape, Still Life, Experimental and Animal Art. Three winners and 15 honorable mentions in each category will receive cash prizes. Top award winners and honorable mentions will be showcased in the December 2002 issue of The Artist's Magazine. Entries are also being accepted in the Student/Beginner division, which is open to artists who have been painting for two years or less. All entries will be judged on concept, composition, draftsmanship, and adroit medium handling, and each genre also has its own criteria.

There is a $10 per slide entry fee and entries must be postmarked by May 1, 2002. For rules and entry form, send a self-addressed stamped envelope to: The Artist's Magazine's 2002 Art Competition, Attn: Terri Boes, 1507 Dana Avenue, Cincinnati, OH 45207. E-mail: competitions@fwpubs.com.

Airbrushing Transparent Watercolor--Block, Tube and Liquefied

Watercolor was the first type of paint to be used in the airbrush, and why not? Watercolor has all the necessary attributes--thinning with water to an appropriate consistency is easy; the tip of the airbrush isn't as readily clogged as with other paints; cleanup is quick and easy with soap and water; and after applied, it can be manipulated with various traditional watercolor techniques.

The three types of transparent watercolor are block, tube, and liquefied. Gouache, an opaque watercolor paint, will be discussed at another time.

Block watercolor is available in various sized hard, compressed blocks of pigment that is lathered with water into a liquid paint with a paintbrush. That paint is then transferred with a paintbrush from the watercolor block to the airbrush paint reservoir. This method is best used when only small amounts of paint are required, since to do otherwise would be highly impractical. The type of airbrush used, therefore, is one with a small paint reservoir such as a slotted gravity feed or the traditional side feed with a small color cup.

Tube watercolor is the most commonly used in watercolor technique, including with the airbrush. With many manufacturers and an unbelievable array of colors available, airbrushers prefer tube colors because you can mix a small amount of paint by squirting it into a small paper cup and adding water to meet the desired consistency. Then it is just poured into the airbrush paint reservoir. Because each color is mixed in a small, confined area, there is much less possibility of contaminating one color with another, which is easily done with a pan of block colors. Also, if the watercolor dries in the cup, it can be reconstituted with water.

Liquefied watercolor is pre-reduced to a consistency that is readily sprayable. Although water-soluble, those colors manufactured today are--in most cases--more like a dye, rather than a pigmented watercolor. These transparent watercolors are a preferred medium by illustrators because they are quick and convenient to use; and the colors are extremely radiant, although they may not be manufactured to the highest degree of permanence. Also, they may not be manipulated in lifting techniques or work well in a wet-in-wet situation.

Watercolors can be airbrushed onto numerous surfaces. Most absorbent paper surfaces--in addition to illustration boards, acetate, and photographs--are suitable. Since, when properly used, the airbrush does not overly wet the surface, there is little chance that the paper will buckle. However, it is recommended that you work on at least 2-ply paper; and if you are strictly airbrushing, the paper should not require stretching beforehand.

Masking techniques are very handy for the watercolorist using the airbrush, and there are different materials that can be used to make frisket/stencils, depending on the work surface. Frisket film, which is a self-adhesive transparent stenciling material, is generally cut directly on the surface. Therefore, you must use care not to cut through the frisket and into the paper. (Practice is highly recommended.) You must also insure that the adhesive quality of frisket and any other self-adhesive stencil material is compatible with the paper surface. It's best to test it on a corner before putting a full sheet down on the artwork.

Tape is also a handy stencil material. On paper surfaces, drafting tape is recommended because of its low-tack adhesive. Specialty tapes such as pin-striping tape or crepe paper tape (for doing curves) also come in handy.

Liquid frisket is used identically in airbrush technique as in traditional watercolor technique, i.e., to block out white areas of paper for highlights. This material, similar to rubber cement, is painted on with a paintbrush or applicator (and is notorious for ruining paint brushes). Once dry, which is quickly, it is painted over. After the paint has dried, the liquid frisket is removed by rubbing with a finger to uncover the intense white of the paper underneath. Do not use liquid frisket over an area already painted in watercolor, as it will remove the underlying paint as well.

Handheld stencils and templates, found objects, paper doilies, etc., can also be used in airbrushing your artwork.

Once the watercolor is complete, airbrushing a fixative or an acrylic varnish over top will provide protection. Because the surface is not touched by the airbrush as it is with a paintbrush, you need not be concerned with damaging the painting underneath.

The watercolorist has several different types of paintbrushes/tools in his studio for various applications, and the airbrush also has its place among them. Use a mop brush to do a wash and an airbrush to cast a shadow or create other unique effects not attainable with any other tool!

Additional Grants Announced--The Andrew W. Mellon Foundation has announced a second round of grants, totaling approximately $6.6 million, to be made from the special $50 million fund to assist NYC cultural and performing arts organizations, as well as public parks, that were directly affected by events of 9/11. Recipients include 29 museums and related organizations that are generally small to mid-sized. Also, the Andy Warhol Foundation for the Visual Arts has announced $600,000 in emergency grants for NYC arts groups below 14th St. Grants of $15,000 to $25,000 will go to 29 small to midsize visual arts organizations in lower Manhattan.

Stolen Painting Discovered--Postal employees at a postal center in Topeka, KS, recently opened an undeliverable package to discover a painting. Marc Chagall's 1914 gouache entitled "Study for 'Over Vitebsk'" was stolen in June from the Jewish Museum in Manhattan. Valued at over $1 million, the discovery has been deemed authentic.

Milestone for New Chairman--Michael P. Hammond, who only days before had assumed duties as the new chairman of the National Endowment for the Arts, has died in Washington, D.C. He was 69 and apparently died of natural causes.

Portrait Conference Scheduled--The American Society of Portrait Artists will present an international study conference on "The Contemporary Portrait" at the Metropolitan Museum of Art and the Hilton-New York from May 2-4. Demonstration, lecture and dialogue, as well as the International Portrait Competition and an Awards Dinner are on the bill. Call 1-800-622-7672; or go to www.ASOPA.com for more information.

Exhibitions:

New Orleans, LA -- Louisiana State Museum, The Presbytere -- A new permanent exhibition, Mardi Gras: It's Carnival Time in Louisiana, captures the essence of this event through rare artifacts, elaborate displays and imaginative technology. Five major themes are explored: History, Masking, Parades, Balls, and the Courir du Mardi Gras. Open Tues. through Sun. from 9am-5pm. http://lsm.crt.state.la.us/mgras/mardigras.htm.

Chicago, IL -- Chicago Cultural Center -- here is new york: a democracy of photographs is the first major venue for the exhibition outside of NYC. Included are more than 1,500 photos of powerful and poignant images taken by professional and amateur photographers relating directly to the 9/11 World Trade Center tragedy and its aftermath. Through March 30. www.hereisnewyork.org.

Hartford, CT -- Wadsworth Atheneum -- The Women's Committee celebrates the arrival of spring with the 21st Annual Festival of Fine Art and Flowers, Design for Entertaining, from April 4-7. Visitors will enjoy select works of art from the museum's collections which have been interpreted by imaginative floral arrangements, innovative table settings, and garden landscapes. Interesting special events have been planned each day to complement the visual experience. www.wadsworthfestival.org/flowers/.

New York, NY -- Whitney Museum of American Art -- The 2002 Biennial Exhibition opens March 7 and runs through May 26. In the largest Biennial since 1981, most of the museum will be taken over by the work of 113 artists and collaborative teams. For the first time, in conjunction with the Public Art Fund, several Biennial pieces will be presented in Central Park. For the second time, The Bucksbaum Award, the largest in the world given to support the work of a living artist, will be presented to an artist included in the exhibition. www.whitney.org/exhibition/biennial.shtml.

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Copyright ARTtalk Vol. 12 No. 5 -- March 2002