The Choice of Oil

Early man used the first pigments to make cave paintings. His materials consisted of natural minerals and clays, and the colors produced included yellow ochre, raw umber, black and raw sienna. Most of these colors were created by the presence of iron or manganese in local clay. Later, natural plant materials such as indigo and madder were used.

By the 15th century, oil paints, using vegetable oils as the medium, replaced egg tempera as the most common paint. The oil does not dry but rather is cross-linked where there are carbon-carbon bonds in the oil. This process is made possible by oxidation created by oxygen in the air or by metal oxides. Early oil paints were extremely slow "drying" because natural oxidation is a very slow process. Artists who had previously used egg tempera were actually glad to have a slower drying material, so this was originally considered a good point. The retarded drying made corrections and alterations possible, whereas tempera was far less "adjustable." However, with the discovery of adding metal oxides like zinc or manganese, the process of hardening was speeded up.

Artists' materials have not changed a great deal since the second half of the 19th century. At that time artists mixed their own paints in a laborious technique involving the hand working of dry pigment powders with a variety of different oils, which were then ground with a mortar and pestle to a smooth consistency. As you might imagine, storage of this compound presented challenges, as did duplication of color and viscosity. Additionally, there appeared at this time specialists who would call themselves "colourmen." Their specialty was the mixing, duplicating and marketing of ready-made oil paints. They offered premixed colors or the artist could select a custom blend of colors made to order. Packaging was very interesting. After the paints were mixed, they were wrapped in pieces of pig's bladder and tied with thread. These "containers" were portable but were not practical for painting out-of-doors.

By the middle of the 19th century, materials began to change and to more resemble what we have today. In the 1870's and 1880's, a significant development was made--the introduction of the mechanical grinder and paint mills, which allowed for mass production of artists' colors. Also, there was an influx of manufactured pigments available from the chemical industry. These chemicals allowed the creation of bright colors; and along with the advent of the collapsible metal paint tube as a container, paints became easier to store, dispense and carry. Without portability, the Impressionism movement would never have come to be, since it was necessary to be in the field ready to capture that perfect light at a given moment and portability was, therefore, vital.

Ironically, all paint mediums--whether oils, acrylics, watercolors or pastels--use the same pigments. It is the binding medium that makes the pigment adhere to the painting surface. For oils the pigment is usually ground with linseed or poppy oil. Linseed oil is pressed from the seeds of the flax plant (the same plant from which linen canvas is created) and poppy oil from the seeds of the flower. Watercolors and gouache are mixed with gum arabic, which is a natural product derived from tropical trees. Casein paints use a binder processed from the curd of sour milk. Acrylics are a truly modern invention that uses a synthetic polymer as a binder.

All paint, regardless of the binder, consists of three components. First is the pigment, which is the actual natural material or a manufactured compound. It is what gives the depth and tone to the paint. Second is the medium (binder), which suspends the pigment particles and fixes them to the surface being painted (paper, wood, canvas, etc.). As stated, the binder can be either a natural oil, gum, synthetic or even milk. Third is the addition of certain substances that allow the manipulation of the consistency of the paint. These include turpentine, water, alcohol and other fluids that assist in altering and extending the pigment.

Unlike photography, hand-painted artworks can be enjoyed for centuries by many generations because of the differences in the pigments and other materials employed in painting. In addition to their long life, the pigments of oil and pastel painting are much richer and varied. This is one of the many reasons why a hand-painted artwork can be so much more "alive" than a photo. Oils have been treasured for centuries as the leading way to record and glorify people, places and events. Acrylics are the newest "kid on the block" and offer many advantages such as fast drying time, water cleanup and a nearly indestructible surface. (They can even withstand exterior display.) But no paint gives the luminosity and brilliance equal to oils. The translucency that is possible, along with the richness of tone and depth of color, is not to be duplicated with any other material.

If you are new to painting, oils offer a "forgiving" medium with which to work. If you are experienced in other material manipulation, oil paints offer a quality lacking in all others. And there is something for everyone. So, whether beginner or advanced, all artists should explore the possibilities and see what develops.

Oil Painting Organizations

The Oil Painters of America was founded in 1991 primarily "to focus attention on the lasting value of fine drawing, color, composition and the appreciation of light." The organization is dedicated to the preservation of representational art, and they provide a forum in which artists can display their art in regional and national competitions. For more information, see www.oilpaintersofamerica.com or E-mail: mail@oilpaintersofamerica.com. Write: Oil Painters of America, P.O. Box 2488, Crystal Lake, IL 60039-2488.

The National Oil and Acrylic Painters' Society was founded in 1991 for the purpose of "governing, administering and maintaining such activities as will provide a national forum and standard of excellence in which artists can fully express the media of oil and acrylic on canvas and panel." The primary objective is the annual national juried art exhibition and competition, and the society focuses on the emerging artist. For more information, see www.noaps.org or E-mail: admin@noaps.org. Write: The National Oil and Acrylic Painters' Society, P.O. Box 676, Osage Beach, MO 65065-0676.

The Daguerreotype

For ages, man has viewed objects and scenes and then wished to record his visions. Recording these visions first employed a laborious task employing both the hand and eye to create likenesses of what the artist saw. Then mechanical and optical devices were invented to help improve the accuracy of the record. The camera obscura evolved to become quite sophisticated, employing fine quality lenses and mirrors to cast sharp, clear images for artists to trace. But it took the Frenchman, Louis Jacques Mande Daguerre (born in Paris in 1787) to create the first commercially viable photograph.

Daguerre, a commercial artist in Paris, was also the creator and proprietor of a giant illusionistic theater called the Diorama. Patrons enjoyed huge paintings of scenes, lit in ways to recreate the changing light of day and changes in the weather, as well as the illusion of motion. Daguerre depended on his accurate representation of detail and perspective on a grand scale. And like many artists of the day, he employed the camera obscura as a tool to achieve the images he then traced in two dimensions. Is it any wonder that he was most interested when he learned of fellow Frenchman Joseph-Nicephore Niepce and his experiments with light-exposed plates that could be inked and printed? One such image, done of Niepce's studio in 1826, is recognized as the world's earliest existing "photograph." (See this photo at the University of Texas, Gernsheim Collection of the Humanities Research Center.) His method coupled pewter and resin, along with long exposures (often as long as eight hours for a single shot), to create an image burned onto the metal.

Daguerre began a partnership of research with Niepce that lasted until Niepce's death in 1833. It took Daguerre until 1837 to discover a system that worked successfully and was fast enough to be practical. Though the primary force in the development of the daguerreotype was to improve his commercial enterprise, all attempts to market the process failed. It was not until Daguerre's contact with respected French scientist Francois Arago that an enthusiastic response occurred. Through Arago's influence, the French government granted pensions to not only Daguerre but also the heirs of Niepce for the work done in the development of this extraordinary process. Soon thereafter, translations of the actual step-by-step methods were available worldwide and were considered France's gift to the world. As it turned out, the developer had very little to do with the process once his knowledge and methods were made public. He died in France in 1851.

The response to the daguerreotype was immediate as the world began a love affair with it. America, especially, was fascinated with the silver plate that lasted twenty years. Within a year of the initial instructional material publication, improvements had been made in lenses and chemistry of the process to the point that portraiture was possible in relatively short exposures. By 1843 the daguerreotype portrait industry had evolved; and even though still expensive, a miniature photo was no longer the exclusive realm of the painter or the very rich. For the equivalent of $2, a person's "phiz" could be captured on a thin piece of silver. The image was then framed and pressed into a fitted leather case. The rush for people to be photographed created a whirlwind of businesses related to photography - from materials to finished products.

For all its beauty, the daguerreotype had disadvantages. Viewing was difficult because the surface of the image had a mirror-like sheen. Because the image was affixed onto metal, it was heavy for its size and was also difficult to create in large sizes. Most images were around 2 x 3 inches, and each was a unique original with no negative for reproduction.

In all fairness, it should be explained that at the same time Daguerre was creating the processes for daguerreotype, English scientist William Fox Talbot was creating a paper-based imagery. Unlike Daguerre's crisp images on metal, Fox Talbot's process produced soft, painterly paper prints made in separate steps from their original negatives. It was this quality of reproductive capability that allowed Fox Talbot's method to eventually overtake Daguerre's plate methods. By the 1860's, most daguerreotypes, quick tintypes and imitation daguerreotypes had been eclipsed by the favored paper prints.

New Lamps for Brighter Light from Gagne

Gagne has announced the introduction of new lamps that are now used in all light box models. The lamps deliver up to 60% more lumens than those currently used by other manufacturers. This makes Porta-Trace Lightboxes and Light Tables even that much brighter--and ideal for use on thicker and darker paper. A light table or box is essential for viewing slides or transparencies of your work or for drawings. See Gagne's line of fine light boxes and projectors at www.gagneinc.com.

New Decorative Papers from Strathmore

Creative artists and crafters take note! Strathmore has introduced new Decorative Papers for distinctive expressions and communications. All are acid-free and lignin-free and measure 8.5" x 11". Petal Inclusion Paper comes in a pack of 20 sheets of "Assorted Colors"; Floral Inclusion Paper comes in a pack of 20 sheets of "Harvest Wheat"; Pastel Translucent Vellum comes in a pack of 25 "Assorted Colors"; Natural Translucent Vellum comes in a pack of 25 sheets of "Natural"; and Marble Paper comes in a pack of 24 "Assorted Colors." See your retailer; and ask participating retailers for Strathmore project sheets for new ideas to inspire you. See www.strathmoreartist.com.

Handmade Paper

The basics of papermaking as a process are neither expensive nor complicated. Extractions of slurry are gathered atop a screen or mold, and the sheets are gently removed from the mold and allowed to dry to form a sheet of soft, textured paper. Almost any organic plant material can be made into paper with a wide range of colors, textures and usability.

For at-home ease, blenders are perfect for grinding small bits of leaf matter, twigs, bark, grass, pine straw, wheat chaff, cotton and almost anything you can imagine. Each of these materials requires a bit of preparation and care in blending. Use small pieces and process the materials in small batches with lots of water in the blender container.

One favorite start-up papermaking material is recycled newspaper. There are no special tools/equipment required except some way to collect the slurry liquid and create a sheet. While newspaper will never yield a natural, light colored sheet of paper because of the printing inks, it nearly melts into useable slurry simply by soaking in water. Coloring agents can be added to easily create colored tones, and one of the easiest to use is Kool-Aid (unsweetened). The coloring agents are very strong and result in rich tones. For darker tones, use multiple packs; for lighter, pastel tones, use less powder. This is an inexpensive, unusual and fun art technique.

For artisans who want to accelerate past "fun" and get into the "art" of paper, there are several inexpensive and creative ways to jump right in. Using the same kitchen blender as mentioned above will allow you to use more sophisticated materials in your paper. One method of creating a base slurry into which found materials can be incorporated is to start with what are called "linters." These are sheets of pre-processed slurry that are made into sheets for easy transport, allowing the artist to re-hydrate them into fluid easily screened into a variety of new shapes and textures.

Chips of color can be added to this slurry in the form of natural materials (leaves, straw, bark, etc.) or by using scraps of artist's papers. Tear or cut them into small pieces and process them in the blender. Add this mixture in small amounts to the slurry for speckles of color or add lots for overall pastel tones. Starting with linters means that a higher quality paper will be possible and will yield results that can be easily duplicated. Often when natural materials are used, they are "one of-a-kind" mixes; and even though the results are exciting, they may not be easily replicated.

For really bizarre and unique papers, the use of copious amounts of naturals is ideal. Consider the quality of paper possible by including a lot of long thin blades of reed or dried grass or perhaps the inclusion of chopped pine straw. Short lengths of ribbon and metallic threads offer festive looks, and large chunky glitter or iridescent confetti create paper ideal for party invitations or special collage elements. There is no limit to the ways in which a basic slurry of cotton paper fiber can be altered and augmented to create papers unique to your needs and applications.

Molds can be purchased in a large range of sizes, and there are even molds to create the shapes needed to make handmade envelopes to match the paper. Simple shapes that, when dry, convert with a few folds into envelopes open another entire world to papermakers. Imagine the gifts, salable items and personal stationery one could create when both the paper and envelopes are designed and created by the artist!

To create molds of unusual dimensions, you might also use screening pulled tightly and stapled to wooden stretcher strips (as used with canvas painting). For quickie molds, many papermakers use shapes cut from plastic canvas. This material is easily cut with ordinary scissors into any shape. It can also be used without the need for a frame. Small plastic canvas shapes pulled through colored slurry and then laid over a larger sheet of freshly pulled slurry can add colored (and dimensional) shapes to the surface. This is ideal for collage artists who might wish to add texture in specific areas within their work or for craftsmen creating unique stationery items.

Laying a freshly pulled sheet of heavy paper over a dimensional object can create paper casts. Two Tips: For items you wish to "cast," you might want to coat them with cooking spray or a thin layer of petroleum jelly. This makes removal much easier when the paper is dry. Also, for intricate designs, lifting the paper away from the item while the paper is slightly damp will preserve more detail. Be sure to allow the item to dry completely before using.

Binders to hold the fibers together include commercially manufactured "gels" that will create a smooth, sturdy paper. Other items used by papermakers are household laundry starch, tapioca flour and potato starch. Remember that insect infestation is a problem with organics, so it might be wise to explore the commercial products available at your local art supply retailer. (See www.arttalk.com/retailers/index.htm.)

Bussing trays make perfect vats. Or for really large molds, contractor's cement mixing trays or wheelbarrow liners work very well. Children's plastic wading pools have also been used.

As you can see, papermaking can be fun, is inexpensive and can start an entirely new direction of creativity for the artist or craftsman. So dive in!

"Connections Past to Present" is the 2003 Adirondack theme exhibit at the Arts Center/Old Forge, NY, to open on May 24th. It will focus on the history of some communications systems in the Adirondacks with historically documented items about surveyors and their equipment, fire fighting and fire towers, emergency medical systems, the mail boats and the phone system. The art component will complement the display by providing an artistic interpretation of these artifacts. Both amateur and professional artists may enter this competition, and painting, pottery, sculpture, drawing, and mixed media are eligible. E-mail: arts@telenet.net or call 315.369.6411. Deadline: March 14.

Communications Arts invites you to enter your work in the "44th Annual Illustration and Photography Competitions." Selected award-winning pieces will appear in Communication Arts magazine, in either the July Illustration Annual or August Photography Annual. More than 71,000 copies of each will be in circulation worldwide. For submission guidelines, visit www.commarts.com/competition. Deadline: March 14.

"Oil Painters of America West/Southwest Mountain Regional Juried Exhibition of Traditional Oils" will be hosted by the Waterhouse Gallery in Santa Barbara, CA, in July. The focus will be to select paintings that show the highest quality in drawing, color, and composition and to emphasize diversity in representational style and subject matter. Artists residing in AK, Alberta, AZ, British Columbia, CA, CO, HI, ID, MT, NV, NM, NW Territories, OR, Saskatchewan, UT, WA, WY and Yukon Territories are eligible. See www.oilpaintersofamerica.com/events2a.htm for info/entry. Deadline: March 26.

The Colored Pencil Society of America's 11th Annual International Juried Exhibition will be held at the City of Brea Gallery (CA) beginning July 19th. Both members and non-members may enter if age 18 and over. Work must be 100% colored pencil. See www.cpsa.org for information/entry form. Deadline: March 31.

The Creative Capital Foundation, founded in 1999, is a national nonprofit organization that supports individual artists pursuing innovative approaches to form and content in the visual, media and performing arts, as well as in emerging arts. Its model differs from those of traditional grantmakers in that the foundation commits to a long-term approach to working with artists. For more about CCF, see www.creative-capital.org.

Airbrush Workshops will be presented on April 12 at ARTtalk.com's Gallery at the Square in Beacon, NY. Robert Paschal, MFA, will teach "Basic and Intermediate Airbrush Techniques." If you have a desire to learn airbrushing or wish to brush up on your basic skills, here is an excellent opportunity. Tuition includes the use of equipment and all classroom supplies. Pre-registration is required, and seats are limited. Students have traveled from as far as MA, CT, MO, CA, PA, VA, MD, DE and NJ to take these classes, and their interests have included fine art, body makeup, nail art, auto graphics, wood carving, cake decorating, interior decorating, mural painting, and more. Beacon is only 60 miles north of Manhattan, can be reached by Met North, and is 20 minutes from Stewart International Airport in Newburgh, NY. For further information, see www.arttalk.com/workshop/workshop.htm or call 845.831-4458.

Al Hirschfeld 1903-2003

Al Hirschfeld, an American icon renowned for his popular caricatures of people in the performing arts, passed away recently at his home in Manhattan. Continuing to work until the day before he died at age 99, Hirschfeld drew for many publications, most notably The New York Times. His work represents a chronicle of the performing arts and part of New York's cultural landscape. But his playful portraits also included stars of film, television, opera and dance and were loved by everyone. It is said he grew old, but never up. His view of the world around him, particularly the American theater, was as fresh and joyous at the end as ever.

Born in St. Louis, Hirschfeld moved to Manhattan with his family in 1914. His first theater drawing appeared in newsprint in 1926, marking the beginning of his masterful reign over New York's cultural realm. His linear style, the bare essentials of a character created with minimal strokes, helped create for him one of the most remarkable artistic careers in history. He studied art in New York, worked for Samuel Goldwyn Studios, moved to Selznick Pictures, and by 1921 (age 17) became their art director. After setting up a private studio, Selznick went bankrupt. In 1924 Hirschfeld went to Paris to study painting, sculpture and drawing. Upon his return, a drawing was published in the New York Herald Tribune and within two years his theatrical drawings were appearing in five different papers including the Times (where he worked until his death).

Hirschfeld's simple "shorthand" technique was always balanced by the fluidity and grace of his line. His ability to find just the right line, just the right composition, resulted in pure perfection; and the way he captured a personality was magical. Once compared to the dancing of Fred Astaire, his work was called "effortless, lighter than air."

And for many, the "game" of eagerly hunting for NINA is over. In 1945 Hirschfeld began "hiding" his daughter's name in his drawings as a family joke. "NINA" showed up in the folds of a dress, in hair, etc. When he stopped after a few weeks and was deluged with letters, he put it back forever. If the name were included more than once (and sometimes there were six), he would put the number next to his signature.

With his artworks appearing in dozens of publications, as well as on book covers, postage stamps, posters and even the Internet, Hirschfeld thrived on work, not accolades. However, he received due recognition for his accomplishments. In 1984 he received a special Tony Award for lifetime achievement. In 1997 he was designated a "Living Landmark" by the New York Landmarks Conservancy. In 2001, the Museum of the City of New York designated him an "Our Town Treasure." Just before his death, it was announced that he had been elected to the American Academy of Arts and Letters and that he would be a National Medal of the Arts recipient this year. In addition, Hirschfeld's works are in the permanent collections of several major institutions, and a 1996 documentary, "The Line King: The Al Hirschfeld Story," was nominated for an Academy Award. On June 21st the Martin Beck Theater in Manhattan will be renamed the Al Hirschfeld Theater.

A funeral service to celebrate the life and work of Al Hirschfeld was filled to capacity by a cross-section of the arts community. Eulogies were given by fellow artist Jules Feiffer and many others.

"He was a dancer with a pen...All his drawings have incredible movement."--Tommy Tune. He will be missed.

Airbrush

Painting Acrylics on Canvas

There are several reasons why airbrush artists like to paint on canvas: size, ease of storage, and durability, among others. You can work much larger with canvas than with any other support. Even the largest hardboard is only 4 x 10 feet, whereas canvas can be almost limitless in size. Unlike some other supports, canvas can be conveniently rolled for storage both before and after it has been painted. Once properly prepared, it provides a very durable surface with many years of life. For the airbrush artist, there is no more suitable paint for use on canvas than artists' acrylic colors. These are easily thinned for spraying, dry very quickly for masking, are easy to clean from the airbrush, are low in toxicity and waterproof.

Following are some tips for airbrushing acrylics on a canvas surface:

1. Acrylic paints must be thinned to a consistency conducive to spraying, such as that of ink. Note that some acrylics come in a thinner consistency than others. Tube colors are fairly thick, while jar colors can be poured. But no matter how they come, they must still be thinned to some extent. Thinning agents are available from certain manufacturers. A common formula for an acrylic thinning agent is 50% water and 50% poured gloss medium. Mix these together in a container and use for reduction. Store thinned acrylics in an airtight container so they don't dry out.
2. The airbrush painter utilizes many masking techniques when working on canvas. And to get a good bond between self-adhering stencil materials, e.g., tape or frisket film, and the canvas surface, pressure must be applied. As a result, canvas can become stretched or bag out. To prevent this, some artists stretch canvas over a smooth sheet of plywood attached to canvas stretchers to keep it rigid. Then stencil materials can be applied to the canvas surface with burnishers or other tools to ensure tight adhesion and no bagging out of the canvas. The canvas remains stretched over the plywood armature or other smooth backing board such as Masonite throughout the entire painting process, including varnishing. When the painting is dry, the canvas is removed from the armature and easily re-stretched on canvas stretchers.
3. Acrylic paint tends to dry on the tip of the airbrush, and you can see this paint buildup that results in clogging. Use a small, stiff, flat bristle brush with airbrush cleaner to periodically clean the air cap. When working properly, the airbrush produces a naturally round spray. You will be able to tell when paint buildup is beginning because the shape of the spray will start to change.
4. Most airbrush artists work with acrylics on a gessoed surface. Gesso is not as absorbent as paper, and caution should be taken while building up to opaqueness. Slowly apply the paint with overlapping passes, allowing it to dry between sprays. Otherwise, the paint may run or the air pressure from the airbrush may blow it onto the work surface in undesirable places.
5. Acrylics are waterproof, permanent and will not fade. Therefore, they can be exhibited without protection by glass when painted on canvas (or any gessoed surface). However, because acrylic paints can be marred or damaged and thus be difficult to repair, paintings must be coated with either an acrylic- or petroleum-based varnish. This coating will also provide protection from environmental contaminants.

Some airbrush paintings are developed totally in airbrush technique, but most are done in a combination of techniques, incorporating anything from paintbrush to roller to silkscreen to sponge. All can work well together without distraction when done in acrylics.

Confirmation/Appointments Made--The U.S. Senate has unanimously confirmed Dana Gioia as the ninth Chairman of the National Endowment for the Arts. And President Bush has nominated four individuals to serve on the National Council on the Arts, including painter Makoto Fujimura and artist/illustrator Jerry Pinkney. Upon confirmation by a Senate committee, the council members will serve six-year terms.

Lights Go Up on van Gogh--"Vincent in Brixton," a drama by Nicholas Wright, opens at the Golden Theatre in Manhattan on March 6th. The play, based on true facts, focuses on the time a young van Gogh lived in England and stars Jochum ten Haaf as the painter. Tickets are available through Telecharge.

Milestone Reached--Artist and illustrator, as well as the widow of the painter Milton Avery, Sally Michel Avery died recently at the age of 100. Her work is included in the permanent collections of major art museums, and an exhibition of her work will open on April 12th at the Katharina Rich Perlow Gallery in Manhattan.

Lawsuit Filed--Sotheby's has filed suit against Pop singer Michael Jackson's production company. After successfully bidding for two paintings in October, the company failed to pay because the paintings "no longer fit into his collection."

Exhibitions:

Los Angeles, CA -- Los Angeles County Museum of art -- "Sargent and Italy" explores the unique relationship between one of the best-known American artists and Italy. The exhibit, which complements important works in LACMA's permanent collection, consists of more than 75 paintings. Through May 11.

Philadelphia, PA -- Philadelphia Museum of Art -- "Degas and the Dance" features more than 140 works that explore his fascination with 19th century ballet. Costume designs, stage sets, and photos of dancers are also included to provide added immediacy and context. Through May 11.

St. Louis, MO -- Saint Louis Art Museum -- "Painted Prints -- The Revelation of Color in Northern Renaissance and Baroque Engravings, Etchings and Woodcuts" features over 100 examples of German and Netherlandish painted prints and provides the opportunity to explore the questions these embellished prints raise. On view for the first time in the U.S. is a colored version of Durer's "Triumphal Arch," a 12-foot-high composite of 192 prints, as well as images by father and son print colorists Hans and Georg Mack and others. Through May 18.

Long Island City, Queens, NY -- MoMA -- "Matisse Picasso" is the first exhibition dedicated to the lifelong friendship and rivalry between two of the most important artists of the first half of the twentieth century. It features 138 masterpieces displayed side-by-side from major international public and private collections that rarely travel and that have never before been seen together. Admission to the museum is by timed ticket. Through May 19.

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Copyright ARTtalk Vol. 13 No. 5 -- March 2003