How to Paint Clouds and Trees

Fluffy white, soft and fragile--So they look, but clouds can be a challenge to paint. Almost every medium has its own strong points for application in the painting of clouds and skies, and each offers great opportunities for growth as an artist.

If you prefer watercolor, fill a brush with color and lay it into a wet area to yield a softened overall tone. This tone can be pastel or vivid in nature. It can easily be applied in a lighter, softer tone at or near the horizon. Then deepen to a darker tone near the top of your painting. While the surface is still wet, blot out areas that will be representative of clouds once the work is finished. This blotting can be done with a soft cloth, crumpled paper toweling, chamois or sponge. Natural sponges do an especially good job of color removal, as they can be quickly rinsed and squeezed nearly dry and then used again. Sponges can also be lightly scrubbed over a strong paper surface to remove every trace of pigment. Lightweight papers may not hold up well to this "abuse" but can still be blotted for color pickup and then re-blotted for more pigment removal.

Blotting for color removal is the start of creating the actual clouds. The paints and shapes you add will define the dimensions--full of tone variety and shadow. Allow the background to dry; then lay in shadow tones to define the actual shape of the clouds. The white of the paper should be reserved for the lightest areas of the cloud shapes. Soften the shadows into the white shapes for a realistic look.

Oil painting of clouds and skies offers the option of flexibility in that the medium is very forgiving. Oil's slow drying time means you have countless opportunities to adjust, augment, and alter the shapes, shadows and reflected tones. This is perfect for the artist who loves to manipulate the medium to achieve the fullest potential. The use of underpainting to build tones that will glow through the finished cloud and sky areas is one of the most popular reasons to work in oil. The translucent glow through the obvious tone to the implied tone beneath adds to the painting's long-lasting appeal.

Start by washing in a warm glow over the entire sky. Over this tone layer light applications of the soft sky and cloud tones. Build layers to create a deep and velvety glow. Remember that the clouds are reflectors for all other tones in the work, even the earth tones of the landscape or the vivid tones of a cityscape. White reflects and is a wonderful area in the painting to draw the foreground, middle ground and background together.

The application of oil can be accomplished with traditional tools such as brushes and knives but can also be softened and "personalized" by using unconventional tools. Natural sponges hold up very well for use with oil colors and mediums. Odd tools like cotton buds and small scrap/rag cloths are also useful in moving, blending or removing color. They can also be used to add texture to areas, even to create a unique look. Try other materials for other effects, such as cheesecloth to lay on washes over the base warm glow. The texture of the threads will yield a distinctive "feel" to the finished piece.

Acrylics are a straightforward and spontaneous medium for painting almost any subject, and clouds/skies are no exception. The nature of acrylic with its fast drying capabilities means you can work an area quickly and then rework and add tones nearly immediately. Mixing tones to create a personal palette can be done right on the canvas or colors can be premixed and then applied.

Although underpainting is unnecessary, if you practice that technique, you will achieve a depth and richness to be envied. Allow a bit of a bright tone to peep through the overall sky color, suggesting the hidden secret under the sky, and you will build interest. The tone you use for underpainting could be a sunset red or orange. Although this sounds severe, allowing tiny portions of this tone to show will give an overall glow to the work--an unexplained source of light and warmth.

Once the overall tone is established, work in the areas of clouds. The initial shapes can be soft, but you will want to build to a more robust "thick" look, giving the shapes real dimension. Shadows are important and the same reflected colors mentioned in reference to oil painting. The glowing and reflections are essential to realistic clouds.

Once you have completed the painting, you might want to consider coating it with a varnish or medium. In the case of oil painting, there are several varnishes to consider, even some with UV protection to help preserve the colors. It is customary to do a final coating of some sort over oils because they often dry with an uneven surface quality. Dry areas and shiny areas need to be blended to a more uniform look. This is easily accomplished with one of the products designed for final coating of paintings. Acrylic mediums do essentially the same thing, offering a uniformity of surface sheen. They also give the surface a final protective coat, useful since the work is usually displayed without glass or other covering.

Whether you brush, knife, sponge or use another tool, there are limitless challenges and rewards to capturing skies and clouds in your paintings. Go outside, look up and paint!

Making Leaf Prints

Now that spring is here, we will all be spending more time outdoors. There will be lots of activities and things to do now that winter is fleeting. It is the perfect time of year to collect leaves for making leaf prints. These prints are colorful, textural and make wonderful matted and framed art objects, beautiful greeting cards or other paper art items.

Materials needed to create leaf prints include a collection of leaves, a sponge, brushes, a water cup, paper towels, watercolors, acrylic paints and a set of colored markers. Metallic markers add a bit of shimmer to the finished drawings as do metallic liquid acrylics like ink or airbrush paints. The paper you print on can be either white or colored, but it should be smooth. Any texture might interfere with the detail of the leaf.

Begin with an expedition to collect leaves. Choose those with heavy veins on the back side. It is the back side that will be colored to reveal textures and shapes that are absent on the top side. Once you have a collection of different shapes (perhaps several of the same shape in different sizes), do test prints to see what results you get. It is the leaves with the most texture and character that make the best prints, and they can be used several times. To change color, gently wash off the first color and apply the new tone.

Paints that work best are watercolors and acrylics. They are more transparent and can be thinned to a good working consistency. To apply color, gently brush on diluted paint. Gently work color into all textures, but avoid using color that is too wet; then blot with a paper towel or slightly dampened sponge. Your leaf is now ready to print.

Select the paper you want to print upon. Lift the leaf and then set it against the paper with the paint side down. Cover with a paper towel and gently press the surface. Two things will become apparent. If you used too much paint, the image will ooze out and distort your leaf pattern. If you used too little paint, the image will be very faint. A bit of experimentation is all it takes to learn just how to create the best leaf prints. Detail can be added with felt-tipped markers, fine marking pens or metallic markers.

Making cards is easy. To do this, make small prints, cut them out with fancy design scissors and glue them to the front of blank cards. Sets of these cards make great teacher gifts. Prints from leaves in your yard make great gifts for friends and family.

You could also create a flora journal of the plants in your neighborhood. So take a walk, gather leaves and make a few leaf print cards or a work of art.

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

Magazine Showcases Kids' Artwork

Stone Soup is a magazine that is printed bi-monthly and contains 48 pages of stories poems, book reviews and illustrations by young writers and artists ages 8 to 13. Since 1973 every cover of Stone Soup has featured children's art from around the world. To learn more and to see the Stone Soup Museum of Children's Art, go to www.stonesoup.com.

Interactive Museum Exhibition

Camels and Caravans: Daily Life In Ancient Israel at the Jewish Museum in Manhattan draws upon the museum's renowned collection of art and archaeology. Children and their families will take a journey back in time to the 1st century CE as they imagine what it was like to live in Jerusalem; prepare ancient recipes and dine in a reproduction of a Roman home; and then visit the marketplace where they can weave on a loom, try on ancient costumes and make an artifact to bring home. Through June 1, 2003.

Publications

Believe it or not, 16-year-old Ellie Schiedermayer has written Got Tape: Roll Out the Fun With Duct Tape! (Krause Publications). This creative book features more than 25 fun, kooky and unique projects made solely out of Duck Tape brand duct tape. Suitable for both children and adults, projects include a picture frame, purse, tie, postcards and even a skirt. Each project includes step-by-step instructions and detailed photos to insure stellar results. 48pp.

Exhibition of Illustrations

Each spring, professionals, scholars and educators in the field of children's literature gather in Bologna, Italy, to partake in the International Children's Book Fair, a showcase of books for children and young adults. A centerpiece of the event is an exhibition of original drawings and paintings by artists from countries throughout the world. A Trip Around the World: 10 Artists from the Bologna Children's Book Fair Illustrators Exhibition at the Art Institute of Chicago presents a selection from the fiction section by 10 artists from different countries. See interpretations of classics such as Moby Dick and Alice in Wonderland and laugh at the characters of Peter Pooter and Chester Chump. A selection of international children's picture books also will be available for close examination in the Family Room of the Kraft Center. Through October 6.

Presentation of Cross-Stitch

Stitchery artists create with thread what painters create with paint. The materials used in cross-stitch are simple: needle, embroidery floss, cloth and a pattern. The floss can be solid, variegated, slightly waxed or even metallic. The cloth is a special cotton material made of smooth thread and woven in a straight repetition of squares. Some linen material that is woven evenly, with straight vertical threads and perfectly overlapped horizontalthreads, can also be used for specific projects. Samplers are frequently done on linen.

After investing the time, energy and love into a fabric art piece, it is only fitting that it be mounted, framed and presented in such a way as to complement. Mounting often represents the biggest challenge. One tip would be to always use acid-free mounting materials when preparing cross-stitch for a frame. This lengthens the life of the art. If you mount it onto a "sticky board," be sure the adhesive is acid-free as well as the board behind the adhesive. Pull the edges of the cross-stitch tight from side to side and align the straight of the material along one edge. If you have ever seen a crooked fiber piece, you know how bad that can look.

You could also try the method the pros use--stretch the fabric (cotton or linen). The preparationis the same. Cut a piece of acid-free foam board to size. But because it has no sticky surface, you stretch it around the board and then pin on with dressmakers' pins. (The pins stay). Push the pins directly into the core of the foam board, placing one about every half inch. Pull the fabric snug as you pin into place.

The issue of whether to frame the piece with or without glass is a serious issue to the avid cross-stitch artist. Glass offers protection from everyday grit and grime, but does diminish some of the surface "life" of the work. Either way is acceptable, and it's simply a matter of choice.

Frames should be deep enough to hold the entire package - glass (if used), mounting board, fiber art and all folds around the fabric. It is always neat and professional to cover the back of the fabric with a dust cover.

Presentation is fun, gratifying and very cost effective. Be prepared to hear lots ofcompliments!

Tips:

--Remember to sign/date the work, making it part of your history.

--Wash the piece carefully in mild soap, allow to dry without wringing and press (from the back) with a pressing cloth and steam to remove any wrinkles. Washing also removes any residue that might discolor with time.

Obscure Printmaking Techniques: Chine Collé, Cliché-Verre and Criblé

While most everyone has heard of printmaking techniques such as etching, woodcut or monotype, there are several other printmaking methods that offer an even wider spectrum of artistic application. Three of these less recognized techniques include chine collé, cliché-verre and criblé.

Chine collé (sheen koh lay) is an especially interesting technique practiced by printmakers who include collage effects in their prints. It involves the application of thin, exotic, different colored oriental papers onto the printing surface, over which the printing process is completed. To do this, moisten both the support paper and all the pieces to be applied. Lightly dust the back of the collage (chine collé) papers with rice flour or other organic dry adhesive, and place them face down, adhesive side up, on the prepared, inked plate. Lower the moist support paper, face down, over the additions and run this "sandwich" through a printing press. The result is an image printed over the entire surface, including the applied decoratives and the support paper. There is the added benefit of super smooth, well bonded layers created by the pressure of the rollers on the press. The look is often breathtaking in its beauty and relative simplicity.

The types of papers that work best as chine collé additions include thin bark and twig sheets, which offer the added benefit of low-profile textures; unryu papers in a variety of textures and colors that are often transparent enough to blend with lower colors of applied paper; yusen, which are usually embellished with metallic inks; papyrus with its unique overlapping textures and color variances; or perhaps Chinese ceremonial joss papers, which are thin sheets of metallic foil pre-attached to thin pulp paper. Virtually any thin, fragile paper can be used. When extra thickness or body is used in the applied papers, an additional element of texture and body is created. Best results occur with thinner papers, but experimentation with mid to heavy weights of paper might yield a new look and feel to your work.

Cliché-verre (klee shay vair) is a photographic development process in which a negative is created on glass or some other transparent surface, which is then exposed to a light source using photographic paper. It is a method of printing very similar to that of any photographic process in which there is a light source that "burns" the image and chemicals to set the image. The resulting image will be the reverse of the original, so that the original blacked out areas, easily drawn onto the clear surface, are then white and ready for colorful embellishment when the photographic print is made. The finished print is ready to color with dyes, inks or other transparent media.

The real advantage to this method is that as many base prints as desired can be made from the original negative "plate." After the creation of these prints, they can be colored and embellished in many ways, allowing a very versatile and expressive medium. The results rival those created in lithography, yet there is but one master required to achieve multi-toned subjects because the colors are applied after the print is made. This also allows for a unique look for every print, should you so desire.

Color cliché-verre can be created by using color development techniques. Use transparent photo retouching dyes and inks on glass or acetate to make a "negative." It is necessary for the colors to be transparent, for if they were opaque, they would block the color transmission and cause blacked-out areas. This process involves the use of color opposites, those opposite one another on the color wheel, as in all photographic color negatives. Experimentation is the key here. It might take a bit of trial and error to discover the tones used to create the desired looks, but the resulting plate can be used over and over so there is a near limitless number of prints possible from a single master plate.

In either black and white or color, there is a degree of darkroom knowledge necessary for the completion of cliché-verre. It is fundamentally a photographic darkroom process in either case, but there are many books available to assist in this area. As long as you have access to darkroom equipment (or a friend who might assist) you are set for experimentation in this unique and dynamic media.

One of the early forms of wood block relief printmaking was called criblé (kree blay), where sharp pointed tools were stamped in the surface repeatedly to produce an image with tiny white dots. Metal objects, which are harder than the block material, can be impressed into the surface for texture. You can also use tools for leather stamping in this way by tapping the metal object into the wood block surface with a hammer or mallet. Imagine the possibilities! Everything from metal meat cleavers to pipes, rods and washers which can be pounded against the surface, from metal scraps hammered into the soft wood to nail heads and tips for fine detail, the sky is the limit here. With so many metal objects around you can create one-of-a-kind master plates that can be used repeatedly. Inking these blocks is exactly like any wood block print, although care should be taken to prevent the filling of small detail indentations.

With these lesser known techniques come many new creative avenues. If you have a block of wood, scraps of specialty papers or perhaps a darkroom for experimentation, you are "good to go."

Contemporary Sculpture at Chesterwood 2002 will be on exhibit in Stockbridge, MA, from June 28 Oct. 14. All entries must have been completed within the last four years, suitable for outdoor installation and viewer-safe. Guest curator is Thayer Tolles, Assoc. Curator, Dept. of American Paintings and Sculpture, Metropolitan Museum of Art, New York. (413) 298-3579; chesterwood@nthp.org. Deadline: April 15.

The 21st Annual Adirondacks National Exhibition of American Watercolors seeks entries for the show that runs from Aug. 24 through Sept. 29. There will be over $13,500 in cash and medallion awards and a color catalog of prizewinners will be published. The Artists Magazine ranks this show among the ten best competitive exhibitions of watercolor in the country. For a prospectus, send a #10 SASE to: Arts Center/Old Forge, Attn: "ANEAW," P. O. Box 1144, Old Forge, NY 13420. Deadline: May 10.

The American Academy of Equine Art 2002 Fall Open Juried Exhibition is open to all artists over the age of eighteen. All art must be original work depicting the horse in any setting. Categories include oil/acrylic, watercolor, pastels, drawings, and sculpture. The exhibit runs from Sept. 16 through Oct. 27 and will be held at the William G. Kenton Gallery at the International Museum of the Horse at the Kentucky Horse Park in Lexington, KY. For a prospectus, send a #10 SASE to: American Academy of Equine Art, 2516 Versailles Rd., Lexington, KY 40504; or go to www.aaea.net. Deadline: May 30.

The 16th Annual Arts for the Parks 2002 Art Competition is open to all artists. Landscape, wildlife, and/or history represented within areas governed by the National Park Service qualify. Flora, fauna and geography must be indigenous to the park depicted. Only original, two-dimensional art qualifies. Oil, watercolor, scratchboard, acrylic, gouache, alkyd, tempera, mixed media, pastel, pencil, pen and ink, and batik are accepted. $100,000 in total cash prizes will be awarded. To request an entry packet, send two first-class postage stamps plus a self-addressed mailing label only to: Arts for the Parks, Box 608, Jackson Hole, WY 83001 or go to www.artsfortheparks.com. Deadline: June 1.

The Surface Design Association presents "Hands-On," the 12th International Surface Design Conference from June 5-8. This international textile symposium will be hosted by the Kansas City Art Institute. Numerous exhibitions related to the conference theme and textiles in general will coincide with the conference, and the Commercial Vendor Expo will showcase the best-known manufacturers and distributors of textiles, dyes, pigments, supplies, books and major equipment used in the production of textiles. Those attending will be surface, fabric, and fashion designers as well as artists working in all textile-related media such as quilting, weaving, printing, dyeing, embroidery, and papermaking, and anyone interested in textiles. 816.802.3342; email: pverbeekcowart282@mac.com.

The Women's Studio Workshop's Summer Arts Institute schedule is now online. Find information on classes in printmaking, book arts, ceramics, papermaking, sculpture, encaustics and fiber arts, as well as registration and scholarship information. Visit www.wsworkshop.org. Call 845.658.9133.

Realistic Woodcarvings and The Airbrush

Woodcarvings have been painted throughout history. Today, the art and craft of carving wood is becoming increasingly popular as a hobby. And the airbrush has been brought into the realm of woodcarving primarily because of its ability to apply thin layers of paint with no brush strokes, which allows the fine details of intricate carving to remain prevalent. It is especially easy to paint objects, such as woodcarvings, that are in the round with the airbrush--which is simply a small spray gun that applies paint to an object without touching it.

No matter what type of wood is carved (soft wood such as pine or hard wood such as cherry), it can be painted. However, the wood should be cured so that no sap oozes over time and no checks or cracks appear after the carving is completed.

Upon completion, a woodcarving--no matter if it is the size of a carousel horse or that of a hummingbird--should be sealed before being painted. If the carver wishes to just clearcoat and protect the carving, he should spray on a clear wood sealant and then coat it with multiple coats of either clear lacquer or water-based acrylic or urethane. Make sure the clearcoat dries thoroughly between coats. If the object is to be painted opaquely, it is recommended that you first spray on a coat of white shellac to prevent the wood grain from showing and then paint colors over this white ground.

If you are a novice airbrusher, begin by practicing on paper. Dual action, internal mix airbrushes are preferred, and both gravity- and bottom-feed airbrushes are used. Learn how to trigger the brush--press down for air and then pull back to release paint. The further back you pull, the larger the volume of paint that is released. A rule of thumb to follow is to slowly build up the amount of paint on the surface by spraying overlapping passes of small amounts of paint. If too much paint is sprayed and the airbrush is held too close, an over-abundance of paint will either fill in detail or run on the work surface. Because woodcarvings have many high and low areas, use care when applying paint so that it does not puddle in low areas.

The airbrush can be used either freehand or with stencils and most use a combination of the two. Freehand airbrushing always gives the ability to develop a soft gradation, such as when you develop the green luminosity on the neck of a mallard. On the other hand, with stenciling techniques you develop an edge. This can be a sharp, exact edge by placing the stencil directly on the surface or a soft, muted edge by holding it off the surface as you airbrush. Five-mil acetate is great for handheld stencils. Merely score the acetate with a stencil knife in the shape you wish; bend it and it breaks away to leave a nice crisp edge to spray along. For self-adhering stencils, use frisket film or masking tape. The transparency of these materials makes it easy to cut out the areas you wish to paint. But remember to use stencils only where you want an exact edge.

Many woodcarvers prefer to use artist acrylic colors. These are easy to thin for spraying with a solution of 50% water and 50% gloss medium. Because they are water-soluble, they are low in toxicity and easy to clean from the airbrush with either airbrush or window cleaner. There are unlimited colors from which to choose, they are available in a multitude of thickness and can be used with both paintbrush and airbrush.

There are woodcarving clubs and associations throughout the U.S., and these are a great place to get started and to learn more about woodcarving; or do a search on the Internet. And by using the airbrush for painting and detailing, it will be difficult to detect your woodcarvings from the real thing!

World Artworks Created--The TransCultural Exchange has organized "The Coaster Project, Destination: The World" in which 99 artists have transcended geographic, political and cultural boundaries to stage 99 trans-global exhibitions, culminating in over 10,000 artworks freely given away around the globe. See www.transculturalexchange.com.

Academy Honored--The U. S. Postal Service has issued a new commemorative postage stamp saluting the establishment of the U. S. Military Academy at West Point and commemorating its bicentennial. Designed by Derry Noyes of Washington, D.C., the stamp features a color photo of the West Point coat of arms, which features the American bald eagle atop the U.S. shield. In addition, a commemorative silver dollar coin, designed by U. S. Mint sculptor and engraver James Farrell, features a cadet color guard in a parade exercise, with Washington Hall and the Cadet Chapel in the background. The reverse features the West Point Bicentennial logo and was designed by John Mercanti.

Milestone Reached--Award-winning animator Chuck Jones has died at the age of 89. In addition to Bugs Bunny and Daffy Duck, Jones helped bring to life many cartoon characters such as the Road Runner and his pursuer Wile E. Coyote as well as Pepe le Pew.

Memorial Dedicated--The six-month anniversary of the 9/11 terrorist attacks has been marked with the dedication of a temporary memorial. "The Sphere," a 5,000-pound steel and bronze sculpture by Fritz Koenig that was partially crushed on 9/11, has been dedicated in Battery Park near Ground Zero.

History Uncovered--A 1,900 year old mural has been uncovered by archaeologists in the rain forest of Guatemala. The "masterpiece" of extensive and well-preserved paintings provides rare insight into the society and religion of the Mayan civilization.

Artwork Unveiled--At a ceremony attended by state officials, artwork was unveiled on 13 C-5A Galaxy cargo jets from the New York Air National Guard's 105th Airlift Wing, based at Stewart International Airport in New Windsor, NY. To commemorate sacrifices of 9/11, the emblems of the NY Fire Department, Police Department and the Port Authority have been painted on the noses of the aircraft.

New Director Appointed--Neal Benezra has been appointed director of the San Francisco Museum of Modern Art. He previously held positions at the art Institute of Chicago and the Hirshhorn Museum.

Exhibitions:

Denver, CO -- Denver Art Museum -- China Meets the American Southwest: Pottery Designs and Traditions provides a fascinating look at traditions in pottery from opposite sides of the globe--Native American pieces from the museum's outstanding collection paired with ancient Chinese examples on loan from the Sze Hong Collection. More than 50 exceptional pieces will be on view to compare and contrast. Through May 28.

Baltimore, MD -- Baltimore Museum of Art -- Reflections of Sea and Light: Paintings and Watercolors by J. M. W. Turner from Tate is the first major exhibition of Turner's extraordinary vision of the sea (and its only U.S. venue). More than 100 watercolors, oil paintings, drawings and prints that follow 40 years of Turner's career as a painter are on exhibit, including many never-before-seen works. Through May 26.

Washington, DC -- Hirshhorn Museum and Sculpture Garden -- H. C. Westermann is a retrospective for this American sculptor that includes his images of houses, ships, towers, boxes, robots, coffins, surreal landscapes, and toy-like figurines that incorporate frequent references to war and death, consumer culture and art, and literature and film. Through May 12.

Washington, DC -- National Museum of Women in the Arts -- Places of Their Own: Emily Carr, Georgia O'Keeffe, and Frida Kahlo offers a rare opportunity for U.S. audiences to see Carr's sweeping, spirit-infused landscapes, O'Keeffe's varied exploration of the natural world, and Kahlo's self-portraits and lesser-known works. The 62 works on view will draw parallels in the art, careers and national identities of these three artists. Through May 12.

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Copyright ARTtalk Vol. 12 No. 6 -- April 2002