Packaged Pastel Sets

Pastels are one of the most remarkable art materials available to artists today. Although they resemble chalk, they are actually very finely ground powdered pigments held together with tiny amounts of kaolin (clay). What they resemble most is a stick of straight pigment, pressed together with only enough binder to hold a form. Colorants used can be minerals and compounds from nature, materials much like those used by early painters, or manmade chemicals that offer a wider spectrum of color. Iron-rich clays are one source of oranges, browns and yellows. Dry pigments used for fabric and paper dying can also be added to talc to achieve the bright contemporary tones so popular with landscape and portrait artists.

It is possible to make and use your own handmade pastels. And while there are many recipes for experimentation, the following one yields some great results:

Start by boiling 1/4 cup of oatmeal in a quart of water for about five minutes. Strain the oats well and use the oat water to make "dough" from powdered tempera and talc-only baby powder. A good starting point is « cup of talc, 2 tablespoons of pigment and 1 teaspoon of oat water. Divide this color into two or three parts and add different amounts of white tempera to create pastels. Roll into coils about the thickness of pencils and allow to dry. Note: There is a somewhat fine line in the amount of oat "binder" needed to create a good pastel. Too little oat "glue" and the pastel will crumble, but too much and the pastel will be too rigid to create a soft, powdery line.

Pastels can be purchased as individual sticks, either round or square, and in sets. Packaged sets offer an artist a start-up opportunity for less expense than purchasing individual pieces. But another reason the purchase of a set makes good sense is the alignment of colors given. Landscape tones and portrait tones are often grouped together in hues and values that work very well together. This teaming of colors saves the artist time and frustration by offering related and complementary colors. Master sets can also include a wide color collection for more basic and general applications. Variety sets can include 12, 48, 60, or 96 and even as many as 185 different colors.

A landscape set would usually include a variety of natural tones, i.e., those found in most woodland or outdoor scenes. These tones include rich browns, golds and neutrals along with some highlight hues such as soft green and perhaps an accent tone like red, yellow or orange. The sets are designed to mimic the gentle gradations of tones found in nature, so there are fewer bright or vivid tones. Sets include from 12 to 50 sticks, with the larger sets offering the widest range of related tones.

Portrait pastel sets include a range of tones that are used to capture lifelike skin tones, natural hair color and complementary accent tones. Since the tone of skin varies with every individual, the flesh, beige and "tanned" tones are all included along with soft golds, greens and even violets to use as naturalizing tones to replicate the subject's actual coloration. Sets vary widely in tones from manufacturer to manufacturer and are available in 12 to 50 tones per box.

As an artist begins to collect more and more sets of colors and adds a few individual tones to that collection, storage becomes a challenge. The packaging of the sets usually includes a divided tray with a lid. But as one accumulates more and more sticks in an ever-enlarging spectrum of colors, it might be good to consider the purchase of a storage box or chest. Without such a box or chest, migration of color will occur because the sticks share dust as they touch. Several are available and each offers the benefit of removable trays for quick access during your work and neat, nesting of the trays for long-term storage. Wooden storage units have pullout drawers that can be laid out by tone and hue in a rainbow effect. The quality of pastels varies. Student grade sets are very inexpensive but lack the permanence and lightfastness of professional grade material. If you are doing quick studies, student grade pastels will help you learn to handle the media and become proficient at blending, highlighting and all other aspects of landscape, portrait or general study works. But if you are able to purchase professional grade materials, the work you do will be richer and more vibrant for years to come.

Keep it Clean Tip: As the artist uses pastels, very often with smudgy fingertips, sticks pick up the residue of other colors. Clean sticks insure neat, precise color application. One quick and easy way to clean pastel sticks is to rub gently with a small scrap of chamois. Another way is to store loose sticks in dry, white rice. The slight abrasion of the rice against the sticks keeps them clean. Many portrait artists use this method to keep their broken or small pieces of pastel clean and ready for use. They also store their most often used sticks this way to insure a clean, unadulterated line.

So, whether round or square, individual sticks or packaged set, pastels offer an expedient way to let your expressive nature blossom. Browse the shelves at your local art material supplier and check out the offerings. And be sure to get a pad of pastel papers, now available in several tones.

Valentine's Day Project

Valentine's Day always brings to mind the image of colorful greeting cards and sweet treats by the basketful. So, why not use cards and candy together to create original messages and special gifts for everyone that is special to you? The following ideas are designed to get you started, but there are dozens of other projects that could spring from these exercises. The materials are simple and easily gathered and the results are one-of-a-kind, just like the people to whom they are given.

Card Ideas: Use folded note cards onto which you have drawn, painted or stamped heart shapes; then glue on small candy conversation hearts to relay special messages. Although these will no longer be edible, they look good and offer great colors and textures. To include edible goodies, simply create your handmade greeting card with your personal message, and then place the treats is a snack-sized zip plastic bag for two gifts in one--card and candy.

Topiary: For that special teacher, grandparent or parent, how about making a Valentine's Day topiary? You will need to gather a twig about 12 inches long, red card stock or construction paper (you could also use a bright red composition folder or any other heavyweight paper), Elmer's glue (large size), scissors, a small red or white drink cup (like a bathroom sip cup) with pebbles to fill it to the top, and ballpoint or felt tip pen.

Fill the bottom of the small cup with glue to a level of about «". Add pebbles and stir to coat them well. Add more pebbles and glue, stirring after each addition until the cup is full of coated stones. Insert the twig into the wet, glue-coated pebbles and allow it to stand and dry in an upright position.

On scrap paper, create a heart template from which you can cut heart shapes. Use the red paper of your choice. Trace around the heart shape and cut with scissors three identical shapes. Write any message you wish on the hearts. Fold each heart in half, top to bottom. When the twig base is completely dry, begin to create the heart topiary by gluing the folded hearts together around the top of the twig to form a heart-shaped ball. It helps to glue the outer side of all hearts together. Then slip it onto the top of the twig with ample glue to hold it in place.

To make this project more ornate, you can cover any card stock with metallic papers, glitter or stickers. You might dangle small wrapped candies from the edges of the hearts for a special edible addition to your project, or leave a small amount of space at the top of the cup to fill with wrapped candies. What a special treat. Happy Valentine's Day!

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

Best Illustrated Books

The New York Times has announced the Book Review's annual choices of the 10 best illustrated children's books of 2002: Close Your Eyes, Frances Foster/Farrar, Straus & Giroux (Ages 2-5); Hondo & Fabian, Holt (Ages 2-5); Dog Food, Arthur A. Levine/Scholastic (All ages); This Little Chick, Candlewick (Ages 2-5); The First Thing My Mama Told Me, Harcourt (Ages 4-8); Stars in the Darkness, Chronicle (Ages 4-8); Yellow Umbrella, Kane/Miller (Ages 4 and up); The Last Resort, Creative Editions (Ages 9 and up); Knick-Knack Paddywhack!, Dutton (Ages 4 and up); and I Stink!, Joanna Cotler/Harper Collins (Ages 4-8).

Center for Children's Illustrated Literature

The National Center for Children's Illustrated Literature in Abilene, TX, was established in 2000. Currently on exhibit is "The Crews Family: Donald Crews, Ann Jonas, and Nina Crews." Also, nine exhibits are currently touring the U.S. and are available to be rented and displayed in museums. The NCCIL's new web site at www.nccil.org includes exhibit and museum information, an activity for children, and a section for teachers that includes conference dates, school tours, art activities for the classroom, and a place to join the mailing list to receive updates about activities and special events.

Exhibitions at CMOM

The Children's Museum of Manhattan (NY) presents "Art Inside Out" through September. This exhibit takes you behind the scenes with three contemporary artists: Elizabeth Murray, William Wegman and Fred Wilson. Over 70 original works of art are on display and over 40 interactive stations illuminate the ideas and processes behind the creation of each artist's work. Children will experiment with color, composition, sound and props to make their own works of art. Ages 6 and up. And the exhibition, "Chagall for Children," is centered on the work of this renowned artist. Children will discover art through the senses with more than a dozen vivid interactive creation stations to explore. All ages. This exhibition was developed by the Kohn Children's Museum in Wilmette, IL.

Youth Art Month: March

Youth Art Month was created in 1961 by a non-profit association of art and craft materials manufacturers in cooperation with the National Art Educators Association. It is observed each March to emphasize the value of art education for all children and to encourage support for quality school art programs. Anyone can start an observance, and in most states and local areas, art educators organize observances and seek the support of others in their schools and communities. To obtain the name and address of your state Chairperson, contact the Council for Art Education: 781.293.4100; e-mail: cherylmlee@acminet.org.

Art Materials

Artool Products Company has announced the availability two new freehand airbrush templates: HOBBY MASK and Curse of Skullmaster Series by Craig Fraser. HOBBY MASK is a new clear adhesive airbrushing film, that is solvent-proof and can adhere to irregular and odd contours. It is the only product of its kind and is especially suited for model making applications, such as scale autos, RC car bodies, camouflage, armor patterns, weathering accents, racing stripes, modern geometric designs and nearly any airbrush or paint masking application. HOBBY MASK comes in a 6" x 10 yd. roll and is available now at your favorite model and hobby outlet.

Designed by renowned airbrush artist Craig Fraser, Curse of Skull Master is a totally new and fiendish addition to the ever-popular Artool stable of skull designs. Like all Artool Freehand Templates, the Curse of Skull Master Series is precision laser-cut, made from the same indestructible space-age polymer, and is designed to be entirely interactive with all other Artool templates. And, as always, these new Skull Master templates are completely solvent-proof for easy cleanup and can be used with either water-based or solvent-based paints. Curse of Skull Masters are sold individually or can be purchased as a set. They include: "Petting Zoo," "Evil Horde," "Buccaneer," "Voo Doo," "Bonz II," and "All Five." Ask for these now at your favorite art supply retailer.

For a complete listing of the Artool Products Company catalog on the Web, go to www.artoolproducts.com.

In the Spotlight: General Pencil Company
Sharp, Sharper, Sharpest

Today it is an easy thing to sharpen a pencil. There are many styles of sharpeners, hand and electric, to assist us in this simple task. But before 1870, when the mass production of pencils with round leads began, sharpening was usually done by whittling with a knife blade. If you explore the history of pencil sharpeners, a fascinating array of ingenious tools appears. The earliest of these revolved the pencil rather than the cutting blades and made an even tip nearly impossible. They also wasted a lot of pencil in a time when pencils were near-precious commodities. Later models (as early as 1900) revolved disks that abraded the pencil for a more uniform result. Some of the elaborate machines of this time were costly; $10 in 1900 was a lot of money, especially when the average sharpener cost about $2. Some were as large as a shoebox and weighed up to 10 pounds. Things have surely changed!

With the onset of mechanical pencils and their permanently pointed leads, sharpeners declined in use. However, with an electric sharpener on every desk today, it is the artist who most often selects a hand sharpener for his/her needs, and cutters can be selected with a specific need in mind. There is easy control with a rotary crank sharpener and even more control with a manual hand cutter.

Many pencil artists use a small canister style sharpener that collects the trimmings for easy disposal. The blade in this style of sharpener is usually the size of most drawing pencils and will not accommodate larger sizes. There are styles that can trim both regular-sized round and hexagon-barreled pencils with a special orifice for each. The newest item, by General Pencil Co., is an ingenious sharpener that brings a chisel point to a flat drawing/carpenter's pencil or charcoal, Prisma stick, etc. It creates a wide, smooth lead surface by clicking the end of the pencil past razor-sharp blades. Fast, easy and very precise, this is a grand sharpener for wide lead pencils, pastels and much more. General Pencil also offers an ingenious "3 in 1" snap-lidded sharpener with slots that sharpen a variety of different pencil diameters. It also features catch cups with each side of the sharpener.

The purist often selects a simple pocket sharpener, one that provides a housing for the blades without a crumb catcher. This type of cutter is inexpensive and, therefore, can be easily replaced when the blade begins to drag and give imperfect trims.

And therein lies the real issue. Sharp blades will give a quality pencil a clean cut. A clean cut yields a smooth lead tip and a clean wood surface. Sharp blades will do both and will save lead and colored cores rather than "eat" them. Is it time to replace your sharpener?

Pencils that work best with small pocket style or canister cutters include all soft-leaded pencils. That group might include quality drawing pencils in the softest ranges and any colored pencil, charcoal or conte pencil. These pencils wear quickly, but less lead or color core is lost if frequent sharpening is done to renew the points. Hand-crank manual models are great for student grade pencils, but they do tend to use more pencil per sharpening than the hand sharpeners. Avoid pushing the pencil too hard into the blade device. Let the point evolve with gentle pressure.

The General Pencil Co. manufactures General's charcoal, layout, and flat sketching pencils; Kimberly drawing multi-chrome pencils; Color-tex colored pencils; Pastel pencils; Willow charcoal; Masters brush cleaner and Artist hand soap; Kiss Off stain remover (think oil paint), FACTIS erasers and Plasti-Pastel Erasable Plastic Crayons; and Compressed charcoal. A Drawing kit, watercolor pencil kits, Artists Survival Kit and more are also available. See your local retailer for these fine products; and for interesting photos and descriptions of the pencil-making process, visit General Pencil at www.generalpencil.com.

Gallery/Museum Tour

One sure cure for the winter doldrums is a gallery or museum tour; and, while viewing art can be a solitary activity, it is lots more fun when done in groups. There is more interaction about the style and execution of the art being viewed when more than one set of eyes is studying it. And fresh perspectives help us see more than we might alone. Following are several ways to experience as seen through your eyes and those of others.

Whether a church group, neighborhood friends or fellow artists, gathering a carload of people together and driving to a gallery or museum can in itself be a rewarding experience. Plan a light lunch as the finish to the viewing and you have made it a perfect day of culture, friends and communing with extraordinary talent.

To get the event started, you might call a few friends and invite them. If you have a van, the group could be large, but four in the family car is a great beginning. Call the museum or galleries and see about joining in a guided tour of any special exhibits that might be scheduled. Find out the costs, if any, and be sure everyone is aware of that fee. (If plans include lunch, be sure all are aware of that, too). To be sure everyone has his/her home duties in order, set up a schedule with start time, travel time, viewing estimate, mealtime (if applicable) and return time. Be sure to have studied the most direct route and have it firmly in mind. If the route is new to you, designate a navigator to assist in locating turns and route changes.http://www.mat-cutters-for-artists-and-picture-framers.com/

Gallery tours are usually free and are set up to help you experience the new work that venue has to offer. Many new and emerging artists can be viewed in this environment. Museums offer free tours but often have admission fees. Museum tours are usually set up for larger groups, but smaller ones can join in with other planned tours and enjoy the benefit of little known facts about the artists, their work and the museum itself. The trend today is to use the audio tours for special exhibitions. The fee for such equipment is low and well worth the expense. You will hear many details that are not documented in any other way: neat tidbits about the artist, his/her work or the period of time when the work was created.

Once at the gallery or museum, be sure to set up a departure time and be sure everyone in the group is aware of that time. It is likely that the group will split up after a guided tour to view the material separately or review works that made an impact. Be generous, giving plenty of time for the entire exhibit.

Lunch, should it be part of the plan, is a perfect time to discuss the art viewed. Points of view about the style of the work, the technique, the emotion and the energy of the artwork make for great conversation. It is possible to learn an entirely new perspective just by discussing and critiquing the exhibit. No two people see art in the exact same way, so discussion of the works can be exciting and educational. You might choose to discuss favorite pieces and why they were your favorites; or maybe least favorites and why, or newly discovered facts about the works or the artists. The discussion could be set up as a second gathering to lengthen the experience.

Artists often like to create their own works of art influenced by the art they saw at the exhibit. Challenge one another to do a special work in a media of his/her choosing and see what neat things come out of the experience. Even those who do not usually do creative work can join in by trying their hand at sketches, drawings, collage, quilting, cross-stitch, garment design, etc. A second gathering to share these creations would be needed, but that is a good way to interact in a creative way. If a specific work was influential, be sure to bring a picture of the original art piece so everyone can compare the museum art with the inspired creation. There are lots of ways to make this a neat time for all. Remember, talent is less important than the inspiration and creativity the art might draw out. Have fun with this.

Photos taken of the group on tour, at lunch and during the discussion are great souvenirs. Along with the gathering to share the created works, they make a neat "scrapbook" of the event (and one of many more to come). Become bolder and do things a little out of the ordinary. Perhaps include an alternative space exhibit or a warehouse gallery tour to see the artists in action.

But whatever you do, consider organizing a group tour/trip and see how much fun it can be. Visit a gallery near your home, in a town close by or in a city far away. It doesn't add a lot to the planning to include a bus rental for a larger group, and charter services can accommodate groups of all sizes. The sky's the limit here.

Common Airbrush Questions

Throughout the years in classrooms, by letter and via e-mail, beginning students and those just curious have asked a variety of questions about some of the more fundamental aspects of airbrush equipment and techniques. Inquiries have been answered as basic as what an airbrush is to the more complex aspects of air pressure and how it relates to airbrushing. Following are a few such questions/answers:

What is an airbrush? An airbrush is a small pen-shaped tool that sprays fluids in a precise, controlled manner.

How does an airbrush work? Pressurized air (from a compressor, pressurized gas tank or propellant can) is forced through the airbrush, causing a vacuum that draws the paint into a stream of air. The air and paint are thoroughly mixed or atomized and then sprayed out.

How do you select an airbrush? The best airbrush for you is dependent upon the desired application (fine art, mural painting, illustration, hobbies and crafts, fingernails and makeup, ceramics and sculpture, etc.) and/or your budget. Most artists today use single- or dual-action internal-mix airbrushes because they produce the finest sprays. All airbrushes can be used for all applications, but some are more suited to specific applications than others. For example, if you work large and need a large paint reservoir, then an airbrush that is adaptable to a jar is necessary. On the other hand, if you work on objects where minimal amounts of paint are used, e.g., photo retouching, then a slotted gravity feed airbrush is the best choice. The various types of airbrushes--side feed, gravity feed, and bottom feed--are available from all manufacturers in student to professional grades with corresponding prices. Your retailer will be happy to assist you in making the best choice to meet your needs.

What types of paints can be sprayed through an airbrush? Most, if not all, paints can be airbrushed. However, it is very important to reduce or thin paints to a viscosity no thicker than milk so that they are fluid enough to be sprayed. For example, artist acrylic colors are thinned with water and oil paints are thinned with oil mediums before spraying.

What surfaces can be airbrushed upon? All surfaces are compatible with airbrushing in the same way that all surfaces can be painted with a paintbrush. Key here is compatibility of the paint with the particular surface, which is dependent upon proper preparation of the surface. For example, canvas must be gessoed and aluminum must be primed prior to being painted with acrylics and lacquer, respectively. (See www.pamelashanteau.com.)

If you use an airbrush, must it be used for every aspect of your work? Definitely not! Most artists who employ the airbrush in their artwork also use other types of paint applications, from paintbrushes to photo silkscreens to palette knives to digital prints. Don't feel that you have to spray in eyelashes when you should be using a 00 sable paintbrush!

Most people are introduced to the airbrush out of curiosity and initially experience sometimes frustrating periods of trial and error while learning. So any information that can be obtained will be of great help. One source is AirbrushTalk, an e-newsletter published six times a year (subscribe FREE online at www.airbrushtalk.com); another source is workshops such as those offered at the Art Methods & Materials Show held annually in October in Pasadena, CA (. And the new book, The Ultimate Airbrush Handbook (Watson-Guptill Publications) by Pamela Shanteau with Donn Shanteau, is a treasure-trove of useful information. Included are chapters on choosing equipment and supplies; operating the airbrush; developing images; textiles; murals and signs; body and fingernail art; scale models and crafts; fine art and illustration; and automotive airbrushing. Readers will also find tips and how-tos from highly respected professionals in various airbrush genres, including Tom Grossman, Lindy Brown, A. D. Cook, Kirk Lybecker, Andrea Mistretta, Robert Anderson, and others.

Mural to be Restored--In celebration of spending 150 years promoting diversity and culture in New York City, the YMCA of Greater New York has announced plans to restore one of the city's most important pieces of African-American art. The 69- year-old mural, "Evolution of Negro Dance" by Aaron Douglas, is over 6 feet high and 15 feet wide and is displayed on a wall of the landmark building. Completion is expected by the end of the year.

Sculpture Project Approved--The Central Park Conservancy has approved a project proposed by Bulgarian-born artist Christo and his wife, Jeanne-Claude. "The Gates" project for Central Park would entail 16-foot-high gates with free hanging saffron-colored translucent fabric panels that follow the edges of the walkways. It would remain for 14 days during February-March 2005, after which the 7,500 gates spread over approximately 23 miles would be removed and the materials recycled. Several other groups must now give their approval.

Paintings Returned--Two paintings by J. M. W. Turner have been returned to the Tate Gallery in London. In 1994 the two paintings were stolen from an exhibition in Frankfurt, Germany, along with a painting by Caspar David Friedrich, which has not yet been recovered.

Museums Fall Victim--Funding problems, along with the lackluster economy, have resulted in the Guggenheim Foundation announcing its withdrawal of a proposal to build a new museum in lower Manhattan. In addition, the Guggenheim Las Vegas museum closed its doors in January.

Numerals for Manhattan--Beginning February 3rd, brightly colored aluminum numerals by the painter Robert Indiana will appear along Park Avenue from 60th to 70th St. Sponsored by two Manhattan galleries--C&M Arts and Paul Kasmin (that will also have corresponding exhibitions)--the sculptures will remain until May 3rd.

Exhibitions

Washington, D.C.--National Gallery of Art--"Drawing on America's Past--Folk Art, Modernism and the Index of American Design" commemorates the 60th anniversary of the acquisition of the Index of American Design, one of the most highly regarded of the New Deal art projects. Presented are approximately 80 of the finest watercolor renderings from the Index along with a selection of approximately 37 of the original artifacts they represent, including quilts, weathervanes, toys, carousel animals, stoneware, and cigar-store figures. Through March 2.

Portland, OR--Portland Art Museum--"Paris to Portland--Impressionists and Post-Impressionist Masters in Portland Collection"--On the occasion of its 110th Anniversary, the Museum has organized an impressive survey of Impressionist and Post-Impressionist masters drawn from distinguished private collections. Included are paintings by Pissarro, Cézanne, Toulouse-Lautrec, Bonnard, and more, many of which have never before been seen in public. Through March 23.

New Orleans, LA--New Orleans Museum of Art--"Frederick J. Brown: Portraits in Jazz, Blues, and Other Icons" features 40 paintings that showcase the impact of seminal artist Frederick J. Brown on American portraiture and figuration. Included are evocative portraits of Ornette Coleman, Thelonius Monk and other jazz giants. Through March 30.

Baltimore, MD--Baltimore Museum of Art--"A Grand Legacy--Five Centuries of European Art" - The museum's distinguished collection of 15th- through 19th-century European art has returned to the opulent new galleries of the Jacobs Wing in a dramatic reinstallation. Featured are "Rinaldo and Armida," one of the world's finest paintings by Sir Anthony van Dyck, as well as masterpieces by Frans Hals, Rembrandt van Rijn, Jean Baptiste Simeon Chardin and Louise Elisabeth Vigee-Lebrun. The galleries also showcase a superlative collection of 19th-century French sculpture by Auguste Rodin.

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Copyright ARTtalk Vol. 13 No. 4 -- February 2003