Paper

The Versatility of Paper

All it takes is a trip to any arts and crafts supply center to find that there are dozens of choices in the decorative paper lines. Their colors are breathtaking and the variety of surface textures is boggling. Designer sheets include images for a variety of specific uses as well as abstract shapes and figures. Everything from domestic and imported handmade papers with actual plant inclusions to those created with artistic methods like batik and random block printing can be found.

In the area of naturalists' papers, the variety of sheets that have plant material included and visible in their textural makeup include bamboo leaves, rose and other flower petals, exotic grasses and even spices and tea leaves. These papers usually have a more robust surface texture and lend themselves ideally to collage work, inclusion in dimensional works such as augmentation of works on canvas, or use as folded-paper sculpture. They often come in an array of colors that makes them very versatile in card-making and collage artwork. Their body is most often heavier than other papers, and for this reason they can even be used to create lampshades and gift boxes.

As a textural element, papers have a lot to offer. The surface of some papers is embossed with realistic textures that mimic lizard and alligator skins, fallen leaves, woven basket surfaces and many more. These more bold textured sheets are ideal for creating gift and household accessories such as album covers, lampshades, portfolio and report covers and even picture frames and desk sets. (See the project notes below.)

In contrast to the heavy-bodied, thicker sheets is a variety of lightweight, more "romantic" papers. These include vellums in solids and prints (often including metallic inks), feathery sheets made in Japan of special plant fibers, and thin vividly toned sheets that include visible fibers yet remain thin and delicate. These sheets are great as gift-wrapping, are wonderful additions to collage works and give the card-maker the option of a translucent layer for her work. When vellum is used over a vivid color of art paper, e.g., as the cover of a greeting card, the tone of the original paper softens, but the interior of the card will remain vivid and expressive. Even office reports made up of items including color-coordinated papers and vellums get noticed, as they deliver a real punch. Thin fibrous papers can be used as overlays on jewel tones or pastels, giving a light, airy look and feel to the project.

In the areas of metallic inks and shiny surfaces, there are many printed sheets that use these inks as accents as well as full metallic sheets in a wide range of colors. Printed designs that use metallics in their makeup seem to have a "living" surface. They reflect light from the metallic designs while holding our attention with the other colors and shapes used in the printed patterns. Japanese papermakers create very intricate patterns and designs, full of line work in many colors. They often employ as many as 20 colors on a single sheet. These printed sheets make gorgeous gift-wrapping, delicate lampshades and candle house covers, great origami material, perfect greeting card inclusions, picture frame covers and lots more. Solid metallic sheets have a near-mirror sheen and add real pizzazz to any item in which they are included. One useful application for solid metallic paper is in gift-wrapping and another is in origami. Although there are pre-cut, packaged sheets for origami, you can create original looks by choosing papers outside the limited selection created specifically for that purpose.

Solid colors of paper, in everything from jewel tones and pastels to natural colors, abound. They create a great basis from which to work: Create greeting cards from scratch, using any of the dynamic tones of solid paper (in a variety of textures) and lay over some wispy Japanese paper or vellum. Use solid tones for report covers, book covers, stationery sets, office and home accessories and more.

Decorative Project: Desk Calendar/Blotter

Materials needed: desk calendar or blotter pad, decorative papers, permanent glue (dry stick adhesive is ideal), solid or print paper to coordinate with decorative selection, ruler, and scissors

Remove calendar or blotter. Measure the width and height of the blotter/calendar pad side panels and cut decorative papers at least one inch larger on all sides. If paper selection is thin, back it with a stronger paper before attaching. Test the position by first folding under the one-inch allowance that will be tucked under the panel. Relieve bunching at the top and bottom of the panel by snipping a short cut and pulling the top and bottom allowance past the side panel. Remove, then generously apply adhesive to the top of the blotter side panels and on the paper, along the one-inch strip folded under the edge of the pad. Attach. Fold over and glue the one-inch allowance on top, bottom and outside edge. To finish the back side, use a decorative sheet (solid or printed) cut 1/2-inch smaller than the size of the calendar/blotter holder. Glue down with adhesive. Replace calendar or blotter.

Additional decoration can be added in the form of painted lines (easily done with paint markers), stickers or stamped images. Here is a chance to let your creativity flow. Create personalized, unique home/office accessories and gifts easily and have tons of fun in the process.

National Watercolor Society 82nd Annual Exhibition -- Nov. 16 Jan 19, 2003. Muckenthaler Cultural Center, San Pedro, CA. Open to all artists. Paintings must be primarily water-based media on a paper surface and unvarnished. For prospectus, call 800.738.0421 or see www.nws-online.org. Slide Deadline: July 19.

Allied Artists of America 89th Annual Open Exhibition -- Nov. 9-26. The National Arts Club Galleries, New York City. Open to all artists: oil, watercolor, acrylic, pastel, graphics, and sculpture. For prospectus, send SASE to: Rhoda Yanow, 2 Korwell Circle, West Orange, NJ 07052.

Pushing Clay -- Oct. 29 - Dec. 7. U. of Southern Maine Art Gallery, Gorham, ME. Open to sculpture, functional, or nonfunctional forms that exemplify a personal vocabulary. For prospectus, e-mail: pushingclay@hotmail.com. Deadline: Aug. 1.

Create Your Own Summer Art Camp

Want to have a great summer this year? It's not too early to start planning your very own Summer Art Camp. It is very easy to organize, is tons of fun and can be very educational. All you need are two or three friends that can meet and do creative projects. There don't have to be any rules. Just have fun. One idea is for the activity at each session to be decided by one of the members. Rotate the decisions so everyone gets to be "in charge" and "artist of the day." The materials could be things like markers, colored pencils, chalk or pastels--things you already have. As for paper, do practice work on the backs of computer/printer rejects or buy an inexpensive sketchpad.

One great activity is to select an artist's work that you like. Go to the library or log onto the Internet and read about that artist. Share the information you read with the others, and they in turn can do the same. Consider checking out a book or downloading images done by your artist so that you can show examples of his art. On another day you could create a painting or drawing in his particular style. Use the same shapes, lines, colors or textures that the artist uses. You will have a lot of fun and learn how the artist created his works but will interpret them in your own way. This is a great way to learn how to create a style of your own.

Don't let a rainy afternoon get you down. Have everyone bring a favorite item and do sketches of the items in a set-up. Try drawing them from different positions or perhaps turn an item upside down and draw it. This is a method for learning to "see" what you are drawing, because you have to look at the item in an entirely different way.

One day you could do leaf prints by applying watercolor or acrylic lightly on the backs of leaves and pressing onto paper. Another day you could do T-shirt painting with any acrylic paints. Be wild and creative. You will be able to wear your original art. One day you could do polymer clay work and make jewelry, small trinket boxes or sculptural forms. (They harden in a regular oven to a permanent and beautiful finish). If you can get a Mom to help out, plan a group trip to a local art museum. There is nothing like seeing original art up close and personal.

So call some friends, plan on making art together, learn ways to express yourself and have a wonderful, creative time. What better way to spend part of your summer?

"Peter Rabbit's Garden" Comes to CMOM

The Smithsonian's multi-media exhibition on the literature and life of Beatrix Potter travels to the Children's Museum of Manhattan in New York City, opening on June 15. Nine exhibition areas include Introduction, Peter's Friends, A Victorian Childhood, Life in Nature, Mr. McGregor's Garden, The Tales of Beatrix Potter, In Beatrix Potter's Footsteps, The Storytelling Tree, and The Gallery. Many associated children's activities are scheduled such as Rabbit Eared Collage, Grass Seed Painting, and more. See www.cmom.org.

Book for Summer Fun

Spur kids' creativity and keep them busy all summer long with the fun, exciting and innovative games, crafts and activities found in Kids 1st Summer Crafts (Krause Publications). The projects are designed especially for children and are suitable for ages 5 and up.

Fun Sculpture

The Metropolitan Museum of Art (New York City) has mounted an open-air display of outstanding large-scale sculptures by Claes Oldenburg and Coosje van Bruggen in the Iris and B. Gerald Cantor Roof Garden through late fall. The sculptures range from an open safety pin and a garden trowel (each more than 21 feet tall) to an enormous handkerchief to a pair of painted cast aluminum blueberry pies a la mode--all never before exhibited in New York. Don't despair if you can't see the show in person; just visit www.metmuseum.org/explore/oldenburg/index.html to see a family feature that explores this fun exhibition.

Watercolor Technique Using Acrylics

The often-unrecognized versatility of acrylics can be proven when an artist decides to use them in ways not specific to their usual application. One of these ways is to use them in a more dilute form and to apply them as you would apply watercolor. There are several fluids that work well to change the opacity and density of acrylics, and each contributes to the variety of application techniques for which acrylics have come to be known.

When you look at it straightforwardly, water is the most immediate way in which to dilute acrylics. (Water should be distilled or filtered, as ordinary tap water introduces slight chemical content that may have long-term effects on color.) As is the case with any thinning or alteration, careful mixing is essential to uniformity and color control. The best method for mixing is to first use a flexible palette knife to blend ever-increasing amounts of water into the pigment. As the fluid nature of the paint increases and the water starts to soften the paint, a sturdy bristle brush makes an excellent mixing tool.

When you are working on large pieces, it is wise to keep a log of the preparation of each color. If you start with a blended tone prior to dilution, record the quantities of each color used so that future duplication will be easy. Care should be given to storage of diluted tones. Jars or containers with tight-fitting lids are suggested, and film canisters or baby food jars are favorites with some artists because they are readily available and can be used repeatedly. Note, however, that once diluted, acrylics do not hold well. Their composition begins to separate into distinct solid and fluid layers. After a few days, the two layers cannot be re-mixed.

Another method of dilution involves the addition of painting medium to the mix of water and pigment. This will insure a thicker, richer and often creamier texture. When working on lighter-weight papers, use of a medium offers a lower fluid content and helps lessen buckling. Additionally, acrylic painting medium will add sheen or matte the finish in a more uniform way than the use of water alone. Portions of water and medium should not exceed a 50/50 mix.

However, having made all the statements about homogeneous color blending, sometimes it is exciting and rewarding to use paint that is only partially mixed. Rather than a uniform color, try creating one that is less perfect. When you allow little "chips" and "shards" of color to be suspended within the mix, you create a texture and look that is impossible to achieve with any other application method. These chips of color can be also be created after a diluted, smooth color has been achieved by reintroducing a bit of original tone and then carefully breaking it into tiny segments within the mix.

Actual application of dilute acrylic paints can be done on canvas; however, most artists prefer watercolor paper. One tip is to use a heavy paper, one that is rigid and strong, with a smooth surface. You will find that the amount of water used to dilute some colors will be high, and a stronger paper--like one of the thick handmade papers by Fabriano or the varied weights and textures offered in the Strathmore line of watercolor sheets--is recommended. When compared to watercolor, diluted acrylics "settle" onto the surface texture of watercolor paper a bit differently. Where watercolor leaves a type of halo around each high spot on the paper, acrylic is a more even tone. This makes it especially well suited for renderings and large, flat planes of color. The application will be more even and uniform when thinned acrylic is used, and the dried art is also more permanent.

Use brushes that have soft bristles. The all-time favorite for both acrylic and watercolor is sable. The softness and load-charging capabilities of sable make it an excellent choice for diluted acrylics as well. Brushes with blends and synthetics that have very fine, tight, compact hairs also work well. For underpainting and study work, boar-bristle brushes do an excellent job and offer an unparalleled sturdiness. Some ox-hair and camel-hair brushes can be used for large washes and background layer application. Different widths and shapes of brushes can also help artists capture the exact look and texture they desire. Experiment with the effects that different brushes produce.

One of the most important reasons to use thinned acrylics instead of watercolors is the artist's ability to overlay colors without fear of washing off a previous layer or blending colors with an overlay. This is very useful to those doing sectional works such as architectural work, diagrams, landscape layouts and some contemporary works where layering is essential to achieve the desired dimensional effects.

Manufacturers of acrylic paints do not recommend use of their quality products in a heavily diluted form. Once the density and structure of their original product is altered, they cannot guarantee the results. However, it seems artists challenge the boundaries of any and all products/materials available. For this reason, diluted acrylic used as watercolor seems an appropriate material for experimentation. The results can be unique and the process rewarding. And for certain creative needs, thinned acrylic is the only material that will suffice.

Above all have fun and explore your creativity. Perhaps the new challenge of working with diluted acrylics applied to watercolor paper is just what you are seeking.

New Inkset/Colors from Genesis

Many artists today utilize the relatively new technology of giclée printing to create limited edition prints. With this process, original paintings, photos or transparencies are scanned or digitally photographed and then printed by a high-resolution inkjet printer onto canvas (or paper). Colors are brilliant and detail is razor-sharp. The print can be any size desired, and only the most archival, lightfast inks are used. Now artists nationwide are discovering the ultimate way to enhance their giclée prints--with Genesis new Inkset Clear Giclee Gloss Coating and Genesis Artist Colors.

AMACO has developed this clear sealant for inkjet prints that protects them and makes them water-resistant. (Because they are water-based, inkjet prints are vulnerable to smudging, smearing, and damage from exposure to liquids and other substances.) Non-toxic, odorless, acid-free and with UV inhibitors, Inkset even eliminates the need for glass when framing. Apply with a squeegee for a smooth surface or a paintbrush for a textured surface that will mimic the original painting. Because it is a heat-set medium that dries at 265 degrees F. like Genesis Artist Colors, Inkset allows the user total flexibility to decide when it will dry. The inkjet media surface chosen must simply be able to withstand this temperature.

After sealing the prints with Inkset, add contrast, highlights or shadows to the image with Genesis Artist Colors. Artists may now select from five new colors (Flake White, Paynes Gray, Cobalt Blue, Genesis Orange, and Sap Green) for a total of 88. See www.gogiclee.info and www.GenesisArtistColors.com.

In the Spotlight:
Alto's 4501 Mat Cutting System

Don't think you need to spend lots of money for a mat cutter that will give you dynamic results and ease of operation. There are several units that sell in the $100 range that perform very well and offer the novice/hobbyist/framer the capabilities to create perfect corners, straight bevels and even do specialty cuts. With a bit of practice you can learn to cut the same looks that the professionals cut and at a fraction of the cost.

When you choose Alto's 4501 System, you will be able to cut mat widths up to 6-3/8" in any length. Single, double and triple mats, inlays, complex corners, multiple openings, V-grooves and more are possible to achieve and are fully explained in the manual that is included with the unit. Constructed with laminate hardboard, aluminum and plastic parts, the 450l System has been engineered to give long-lasting, dependable results.

To begin each mat cutting project, you should first draw pencil lines on the back side of the mat you wish to cut. These lines should overlap at the corners. They indicate where the cut starts, where it will travel and where it ends. You use the cutting bar on either unit to assist you in drawing the cutting lines, thus guaranteeing straight, perfectly aligned borders.

To cut, the 4501 System uses an ergonomically designed cutter that is comfortable and easy to operate and creates 45 degree bevels automatically. With the cut indicator arrow in position at the top pencil line, pivot the grip so that the blade is all the way down (through the mat), then draw the grip towards the bottom line. Pivot the cutter away from the mat surface. This is cut one. After you complete a cut on each of the four sides of the window, you will have completed a single mat.

Troubleshooting tips might help until you are versed in the operation of the mat cutter. If the window does not fall away, there are usually two reasons. First is inadequate pressure. The second is cuts that start late or end early. To correct the pressure, simply press harder during the next cut or adjust the blade depth slightly. To eliminate hung corners, start your cut earlier and end it later. It may sound difficult, but it isn't. Within minutes you will be up and running--cutting like a pro!

There are three golden rules for all mat cutters to follow:

1. Always use a scrap of mat under the cut you are making to support the blade and create a clean, even cut.
2. All marking and cutting are done from the back side of the mat.
3. Measure twice - cut once. Care in measuring is essential to a perfect mat job.

See Alto's line of mat cutting systems and tools, mat boards, patterns, videos and books as well as an online introduction and demonstration at www.altosezmat.com.

The Craft of Woodturning

To watch the grain of wood come to life is one of the great joys of woodworking. Woodturning, the cutting or excavating of wood as it spins on a lathe, is one way to enjoy the look, feel and appeal of wood. It has become one of the most popular craft techniques, as artisans have expanded techniques to produce sophisticated pieces ranging from functional items such as salad bowls and vases to abstract sculptures. There are dozens of excellent books that can help you understand the principles and safety issues of woodturning and many sources for equipment and tools.

Two lessons seem worth learning early if you are interested in woodturning. First is to make an attempt to take instruction from a professional prior to diving into the task. There are many tips and suggestions that will help you from the very first efforts in turning and much knowledge to share. Second, is to read all you can find on the subject. Tips and ideas are shared in books and actual project guidelines that will assist you in materials selection and tool usage.

The basics of woodturning include a lathe, chisels and gouges, wood and a pattern or design. Lathes may be found at building supply centers and specialty woodworking shops and the tools are available at art supply retailers and woodworking supply centers. Some art supply centers offer a good selection of starter woods, but larger more exotic examples can be found at wood supply centers and specialty wood retailers.

Basic skills are often honed by creating smaller projects that are solid and have several surface cuts. Soft wood is a good choice for early projects because it offers less resistance and is easier to manipulate. Exotic woods are more costly and work well for projects that come after the initial learning curve.

The actual process starts with a flat-sided piece of wood. The first step is to remove the "squareness" of the shape and to form a cylinder. The cylinder is then ready to carve and excavate into a variety of depths to form a unique shape. Small holiday ornaments can be crafted in this manner. Gradual changes in the form of a cylinder, such as a stair spindle or chair rung, are more advanced, as they require a very controlled hand and steady pressure. But, even these items can be created with a minimum of practice and experimentation.

If there is a "golden rule" of turning, it might be to go slow and be cautious. You can always remove more wood, but you cannot put it back once it is shaved away. Have a plan in mind, perhaps even a template to guide your carving. Such templates are essential for the production of matching pieces.

Woodturning offers challenges and great rewards to anyone interested in its exploration. Remember general safety rules and use caution, but above all enjoy. (See "Exhibitions" below.)

Custom Painting--The Decoration of Vehicles

Today not only are cars and motorcycles custom painted, but so are snowmobiles, jet skis, four-wheelers, skateboards, surfboards, and bicycles-as well as the trailers they are transported on and the vehicles that pull them. This decoration is done primarily with the airbrush--by either spray painters who are artistic or artists who know how to use an airbrush and have learned to work with the materials required in custom painting.

With school coming to a close and art students looking for work, custom painting might be something to explore. If you know how to use an airbrush, learning how to paint on 3-D metal and plastic shapes is not that difficult. Here are some basic guidelines for airbrushing in the custom automotive field:

1. Surface Preparation: No matter if the surface is a motorcycle tank or a fender, it must be flawless before it can be decorated with artwork. Have a professional prepare the surface or have it supplied to you ready for painting. The process of preparing the surface can be laborious, and the artist is better off spending his energy on the artwork.
2. Paints: The types of paints used in the custom painting industry differ greatly from those used in the fine art field. Automotive paints, such as acrylic lacquers and polyurethanes, are commonly used. These are easy to spray, but high in toxicity (so it's wise to invest in a high-quality mask). They vary in drying times and are not compatible with all surfaces. Visit your art supply store or library and read up on automotive paints; stop by the automotive paint supplier to gather information; and pick the brain of the guy at the body shop to glean whatever information you can (perhaps in addition to pricing guidelines.)
3. Designs: Create a portfolio of artwork (as if you were making a gallery presentation) to show prospective customers your capabilities and creativity. Include in this portfolio designs specific to custom painting as well as other artwork. While visiting auto shops, show them your portfolio and leave a business card. A customer may just be looking for your style of work.
4. Clear Coating: It is the clear coating that really brings the final project together. And, as with preparation, this should be left in the hands of the professional. If you decide to do this yourself, remember that sanding between clear coat applications is what removes any paint ridges created when developing the image with stencils or tape.

Today many custom automotive painters go on to become gallery artists, while others trained as gallery artists discover that their forte is custom painting--developing original artwork on three-dimensional surfaces. But the bottom line is that custom automotive painting is not done with a paintbrush--the airbrush is the star in this genre.

Honorees Announced

Airbrush Action magazine has named the recipients of the eighth annual Varga Awards. Included are super-realist painter/sculptor Audrey Flack, painter/movie concept artist Marc Gabbana, designer/illustrator Dennis Mukai, master painter of shadow and illumination Jack Radetsky, and fantasy painter/illustrator Luis Royo.

Spring Auction Results In

--Christie's auction of Impressionist and modern art was highly successful with sales totaling over $97 million. A work by Brancusi set a record for sculpture at auction with a bid of $18.1 million.

--Sotheby's sale of Impressionist and modern art had sales totaling in the middle of its estimate. Top bid went to Cézanne's "Pitcher and Plate of Pears" for $16.7 million.

--At Phillips' sale of contemporary art, sales totaled just above the low estimate. Bacon's "Study for Portrait of Henrietta Moraes" received the top bid of $6.7 million.

--Christie's sale of Postwar and contemporary art broke records for 15 artists. Top sellers were a Basquiat for $5.5 million, a record for the artist, and a Dubuffet that brought $4.7 million.

Gifts on View--Long-time supporters of the San Francisco Museum of Modern Art recently gifted the museum with six paintings by Frank Stella. Impressed by their generosity, the artist also donated a work. A 17 x 14 ft. painting completed in 2001 titled "The Duel (Der Zweikampf) F" is also now on view.

Honors Bestowed

--Famed architect Frank O. Gehry has won the Gold Medal for Architecture awarded every six years by the American Academy of Arts and Letters.

--Late actress Audrey Hepburn, a former global ambassador for UNICEF, was celebrated recently with the unveiling of a new permanent sculpture in the public plaza outside UNICEF headquarters in New York City. "The Spirit of Audrey," a seven-foot-tall bronze sculpture was created by John Kennedy and seeks to convey the unique bond between an adult and a child.

--Among the five senior fellows named by the National Arts Journalism Program is Elizabeth Kendall, author and adjunct professor at Bard College. She will receive a stipend for her project, a photo-text panorama of female American artists.

"Golden" Egg Sells at Auction--A Russian Imperial Faberge Easter egg has sold at auction for almost $9.6 million. The Winter Egg is embellished with more than 3,000 diamonds and contains a basket of spring flowers symbolizing the rebirth and seasonal change associated with Easter.

Exhibitions

Washington, D.C. -- Renwick Gallery -- "Woodturning Since 1930" includes 130 works that document six decades of woodturning in North America. The exhibition celebrates the variety and beauty of turned wooden objects while providing the first critical history of the craft. Through July 14.

Kansas City, MO -- Nelson-Atkins Museum of Art -- "Eternal Egypt: Masterworks of Ancient Art from the British Museum" includes 144 objects that paint an intriguing portrait of Ancient Egypt and the lives and beliefs of its people, including pharaohs. Through July 7.

Brooklyn, NY -- Brooklyn Museum of Art -- "Star Wars--The Magic of Myth" encompasses two floors and includes more objects than were seen at any of the previous six venues. Included are over 30 costumed mannequins, 35 models, and 50 concept drawings, storyboards, and paintings produced by the artists of Lucasfilm. Through July 7.

Napa, CA -- COPIA: The American Center for Wine, Food & The Arts -- "The Artful Teapot: Twentieth-Century Expressions from the Kamm Collection" examines the form of the teapot, a cultural icon and inventive vehicle for artistic expression throughout the twentieth century. Two hundred fifty objects include interpretations of teapots by painters Roy Lichtenstein and David Hockney, as well as works by 100 other sculptors, ceramists, and painters. Through September 2.

SIGN UP - FREE ARTtalk e-Newsletter©
Search all of ARTtalk!!

Copyright ARTtalk Vol. 12 No. 8 -- June 2002