ASTM Standards

Founded in 1898, ASTM International is a non-profit organization that provides a worldwide forum for the development and publication of voluntary standards for materials, products, systems and services. Membership consists of 30,000 individuals from 100 nations, and the members of ASTM represent the producers, users, consumers and representatives of government and academia. Over 130 industries are included and the ASTM standards serve as the basis for manufacturing, procurement and regulatory activities. Once known as the American Society for Testing and Materials, ASTM International provides standards that are accepted and used in research and development, product testing, and quality control around the globe. These standards relate to hundreds of types of materials, products and services.

For art materials, ASTM standards have made a huge difference in the way we view and handle materials. Safety guidelines supplied by ASTM now make it easy to select products that are both personally and environmentally safer. Their guidelines on products with hazards to humans and the environment make it easier to use these materials successfully and safely.

But just how does a product achieve ASTM rating and who develops the ASTM standards? Products are reviewed through committees consisting of manufacturers, consumers, government representatives and conservators, with each obtaining a rating. The ratings and criteria are developed by these groups of professionals to insure a varied and unbiased consensus of research and testing.

New regulations are rarely welcome or easy to implement. However, they are much more acceptable when they result from successful negotiation. ASTM provides an ideal forum that allows manufacturers of artists' materials to participate in the resolution of labeling issues. All points of view on any given product are weighed by a specially appointed committee and structured to work to form guidelines and regulations that are acceptable to everyone. ASTM Standard D 4236, Practice for Labeling Art Materials for Chronic Health Hazards, was the result of this. It is substantial enough to please even federal lawmakers while offering the consumer true, valuable information on any covered product.

In November 1988, the President of the United States signed into law the Labeling of Hazardous Art Materials Act (LHAMA). By doing so, ASTM D 4236 became compulsory for manufacturers or importers of any material marketed as suitable for the creation of visual or graphic art.

Some art materials do contain components that are known to have potential for toxicity. These include various solvents, some pigments, glazes, drying agents and modeling compounds. Because these materials are used not only by trained professionals and mature art practitioners but also children who might not understand the gravity of the hazardous compounds, labeling was needed. Also, classroom use often entailed closed spaces and poor ventilation, making otherwise "safe" materials anything but safe. Investigators found that some sort of labeling to insure safe use of materials was needed.

Now law requires art material labels to carry a warning statement about chronic health considerations, list the ingredients causing those hazards and provide directions for safe use of the product. Another key piece of information to be found on the label is a source for additional information. A phone number of a person responsible for placing the product on the market is required.

Additional testing and subcommittee work was done to develop test methods, definitions, classification, recommended practices and specifications for artists' paints and components. Now, however, after some shifting of government requirements, new standards were set: one for quality attributes of artists' paints and the other to address chronic hazard labeling.

Today the ASTM works through its mission statement to provide the value, strength and respect of marketplace consensus and to be the foremost developer and provider of voluntary standards, related technical information and services having internationally recognized quality and applicability that (1) promote public health and safety and the overall quality of life, (2) contribute to the reliability of materials, products, systems and services, and (3) facilitate national, regional and international commerce.

The goal of ASTM is to provide the optimum environment and support for technical committees to develop needed standards and related information. ASTM strives to provide products and services in a timely manner to meet current needs and works to strengthen both national and international acceptance and use of ASTM products.

You might be curious about how this organization is funded. Funding for ASTM comes primarily through the sale of publications, primarily from standards (roughly 75%). It is not a governmentally funded operation but is self-supported. Additional funds come through fees and standard related-programs.

So the very next time you go to the art supplier in your area, look for the seals and labeling that mark a product ASTM tested, both for quality and components. ASTM International has done much to give artists information with which to work. Everything from quality appraisals to toxicity is now labeled, along with information for further delineation of hazards and dangers. ASTM gives us the means to choose correctly; all we have to do is use it.

National Watercolor Society 83rd Annual Exhibition - Brea Civic and Cultural Center, Brea, CA - Open to all artists. Paintings must be primarily water-based media on a paper surface and unvarnished. Over $20,000 in awards. Call 800.738.0421 for prospectus; www.nws-online.org. Slide Deadline: June 23.

3rd Annual Plein Air Painting Competition/Exhibit - The Cedarburg Artists Guild, Cedarburg, WI - June 20-29 - Local and regional artists are invited to capture fresh images of the area's natural beauty and history throughout Cedarburg's Historic District. Cash prizes. See www.cedarburgfestivals.org/pleinairnews.html or call 800-237-2874. 24th National Print Exhibition 2003 - Silvermine Guild Arts Center, New Canaan, CT - All original prints completed since Jan. 1, 2001, are eligible. Art must be hand-pulled and generated on stone or plate using printing process. Juror: Joni Weyl. Awards. See www.silvermineart.org or call 203-966-9700. Slide Deadline: June 30.

30th Annual Open Exhibition for "Pastels Only" - Pastel Society of America - National Arts Club, New York, NY - Open to all artists. Original soft pastels only, all subjects and styles. Cash prizes. See www.pastelsocietyofamerica.org or call 212-533-6931. Deadline: July 10.

Dia:Beacon - Public Opening: Sunday, May 19 - Beacon, NY - The Dia Art Foundation has announced completion of their new 240,000 square foot gallery space named Dia:Beacon. It is located on 31 acres on the banks of the Hudson River, approximately 60 miles north of Manhattan. The International Paper Company donated the former Nabisco printing plant, which will house Dia's renowned but rarely seen collection of contemporary art. Comprised of three buildings and a train shed conjoined into a single structure, the facility maintains the character of the original structure with high ceilings and more than 34,000 square feet of skylights. Each gallery is devoted to work by a single artist and is designed to fulfill the particular needs of the art it contains. Among those artists exhibited are Louise Bourgeois, Walter De Maria, Dan Flavin, Donald Judd, Agnes Martin, Gerhard Richter, Richard Serra and Andy Warhol. Dia:Beacon has been named the Riggio Galleries in honor of Louise and Leonard Riggio in recognition of their generous donation to the new museum. For further information, call 845-440-0100; info@diaart.org; www.diaart.org.

International Bead Expo - May 14-18 - Miami, FL - Bead Expo 2003 celebrates 40,000 years of beads, adornment and fashion and offers the International Bead Bazaar (open to the public May 16-18), glass beadmaking demos, and five educational lectures that are free and open to the public. The keynote lecture is "Beads Woven into the Tapestry of History" by Peter Francis, Jr. In addition, there are 75 paid workshops by internationally known instructors. See www.beadexpo.com; 800-732-6881

6th Annual International Exposition of Sculpture Objects &

Functional Art - May 28 June 1 - New York, NY - Approximately 50 international art dealers will exhibit the finest in contemporary decorative art and design. The lecture series features presentations by artists, curators and collectors and is free to attendees. A special exhibition features a complete, historically significant Wharton Esherick environment with built-in units, freestanding furniture, lighting and iconic objects from the modern master. www.sofaexpo.com.

Understanding Artists' Tools: Curves and Templates

Have you ever walked through an aisle at the art supply store and wondered what all those interesting curvy, swooping and swirling plastic and metal templates are used for? What is a French curve? An irregular curve? A flexible curve? Ellipse templates? Architectural templates? Well, now is your chance to find out just what they are and how they might assist you in any rendering.

French curves come in a variety of sizes and are usually made of translucent and very thin (about .08" thick) plastic. As you might assume, their purpose is to assist in drawing curves. With a set of French curves, you will be able to re-create virtually any curve in a perfect and proportioned arc. The templates are designed to be used for both outside and inside curves and often include a variety of sizes. These come in handy when drawing mechanical objects where symmetrical smoothness is required.

Irregular curves are made of transparent plastic and often have double edges to facilitate ink work. The double edge elevates above the ink line so that there is less likelihood of smearing. Within the body shape of the irregular curve templates there is often a collection of smaller shapes that can be utilized for many projects. These templates are used most often when the perspective being drawn or the object being rendered is not symmetrical along its curved edges.

A flexible curve is a unique tool that is adjustable to any curve or contour. It is constructed of lead wrapped in steel ribbons, encased in flexible plastic. The lead is easily adjusted to conform to a desired shape that will hold until re-formed. This tool has an inking edge to elevate it slightly above the paper, enabling an ink line to be drawn without fear of distortion or smearing.

Ellipse templates--usually made of thin, translucent, flexible plastic--come in several sizes. Each includes a collection of slots cut at various degrees (usually 15, 30, 45, 60 degrees plus more). Ellipse shapes can be drawn with ease in proper proportions and alignment. There are also sets that include several ellipse configurations to cover every need.

Architectural templates are set up on a specific scale, usually 1/4-inch equaling one foot. Included are openings that mimic a variety of square, rectangle, domed and round shapes useful in creating architectural renderings. These sets usually include directional arrows, "N" to indicate northern elevation and shapes that represent fixtures/doorways/windows, as well as other useful adjustable curves. These are indispensable when creating floor plan drawings, room renovation ideas and reproductions of current structures. One sheet or sets of sheets are available in transparent plastic for the best positioning and visibility.

So remember these templates and how they can help you. They're fun and easy to use.

New Panels from Ampersand

Ampersand's Claybord, Gessobord and Hardbord are now available with a 2" support frame. These gallery-ready, museum-quality panels offer support and presentation all in one. See www.ampersandart.com for Ampersand's line of products, including a handy chart to determine which panel(s) is best for which media. You'll find that acrylics, airbrush, calligraphy, casein, egg tempera, encaustic, gouache, graphite and colored pencils, inks, markers, oils and oil sticks, pastels, scratchboard, and watercolors are all ideally suited for Ampersand boards!

Exclusive New Products from Jacquard

Available from Jacquard Products are three new products. Dorland's Wax Medium is now manufactured and distributed by Jacquard. Dorland's has long been recognized as the premier wax-base artist's painting medium because of its translucency, compatibility and permanence. It permits light to penetrate the painted surface, infusing colors with a luminosity and clarity not possible with other mediums. Other recent additions to the Jacquard line include Marbling Color in 18 colors for paper and fabric and Versatex Screen Printing Inks in 42 colors that are ideal for paper and fabric. See more on Marbling Color in the next issue of ARTtalk. 

New Canvas Boards from Fredrix

The new Fredrix Archival Canvas Boards are professional grade and constructed throughout using the highest quality non-acidic archival materials. The tempered hardboard core will not warp or rot. Mounted with acid-free adhesive, the painting surface is the same medium-texture, 100% cotton duck used on Fredrix' finest pre-stretched canvas. Grounded with a proprietary formula of acrylic-titanium gesso primer, the boards are suitable for oil or acrylic painting. And they carry the Fredrix Archival Seal of Quality, which means this product will stand the test of time. Available in 8 x 10, 9 x 12, 11 x 14, 12 x 16, 16 x 20, and 20 x 24 inches.

Ask for the above products at your local art supply store--and please support ARTtalk by purchasing art materials manufactured/distributed by those advertisers who bring you ARTtalk each month!

Louise Bourgeois (1911-  )

Born in France on Christmas Eve 1911, Louise Bourgeois is today considered one of the most important living American artists. Over the past 50 years she has become a significant presence as a sculptor and a printmaker.

Bourgeois was the middle child born between two siblings and was raised by a father that encouraged her to create herself as both a woman and an intellectual. By age twelve, Bourgeois was drawing and maintaining detailed journals. Her father instilled the importance of both education and strong family values. In contradiction, he created confusion; at the same time that he preached values, he carried on a long-time affair with the family tutor. This double standard became a central theme for her work--"Everything I create comes from something personal; some memory or personal experience." Bourgeois's parents owned a tapestry restoration business, and the tools of their trade also made a psychological impact on her as a child (needles, bobbins, etc.). These images are recurring images in her sculpture, along with other forms that project her personal iconography.

Although Bourgeois's formal training began in mathematics, in the 1930's she became a studio assistant to Miro, studied painting with Ferdinand Leger in 1935, and in 1938 moved to New York. Within a year she married art historian Robert Goldwater with whom she had three children. It was during this time that she began to work in engraving and sculpture. She was greatly influenced by the Surrealists as they immigrated to the United States and began to incorporate expressionistic and abstract/organic shapes in her work. Works from this period, while today are accepted as classic, were for their time quite innovative.

During the 1940's and 1950's Bourgeois was an important force during the rise of the American Abstract Expressionists. Well into the 1960's and 1970's, her work was an important part of the feminist movement. She has been called everything from a Minimalist to an "eccentric abstractionist" (by art historian Lucy Lippard). She is now recognized as a true twentieth century pioneer of American Surrealism but has over the years worked in various materials and styles.

Bourgeois's work incorporates the use of found objects, using everything from glass, mirrors and steel to wood and marble, sometimes together in the same work. Often considered installations, some works are monumental in scale and are often large enough to fill a large exhibit area. And as her work has evolved through the years, it has always held a common thread and always is very personal, with metaphorical meanings for the artist.

Most recent works are considered "cells" (her own name for the installations) and deal with her artistic expression of psychological and intellectual states, primarily feelings of pain. As a result, the viewer sees into a narrative scene revolving around relationships of the symbolic objects to one another. Repeated use of certain forms is still evident in her work, as in earlier times, along with found objects.

Accolades of praise have been heaped on this deserving artist. In 1977 she received an honorary degree from Yale and was awarded an Achievement Visual Arts Award by the Woman's Caucus for the Arts in 1980. She was recognized in 1982 with an exhibit at the Museum of Modern Art in New York City, taking her from her previous "woman artist" status to that of artistic star. This was the first time a woman artist had been honored with a retrospective at the MoMA. Throughout her life, she has had exhibitions in the most prestigious museums in Europe, the United States, Mexico and Japan. In 1999 she was awarded the Golden Lion at the Venice Biennale for excellence in her field. In 2000 the Tate Modern opened with three of her large-scale works.

Still working at age 91, Louise Bourgeois continues to contribute works of importance, to write and to offer interviews to share her vision and motivations.

Glass 101 - Fusing and Slumping

The colors and dimensions of glass forming make it a thrilling and exciting medium for any artist who is willing to explore it as a creative media. There are many safety issues, and learning from a professional glass expert is always a good idea, but there are texts and guidance references that can help you understand the principles and procedures of glass forming. With a little understanding of the concepts, glass is a very achievable goal, even for the urban artist. Since glass does not melt or harden at a single temperature, but instead gradually softens and hardens as the temperatures change, it is best to take it slow and easy in your initial exposure to glass creating.

Probably the most expedient and fast track of all glass-forming methods is glass fusing. It is a method of forming in which glasses of similar melting temperatures are warmed slowly to a degree that will accommodate slight melting. This temperature is around 1400 to 1500 degrees F. Temperatures lower than 1400 are insufficient to fuse the glass together, and total bonding may not occur. Glass choice is a vital issue in this equation.

Not all glass will melt or fuse at the same temperature. There are several grades of glass, and working within similar melting ranges will insure a higher degree of success. Many artists want to use scrap window glass to practice fusing and slumping (actual forming of shapes with molds achieved when the glass is hot enough to be malleable.) Glass composition is the issue in even, thorough melting. Although composed mainly of silica, glass has other components that change the melting range. Use of glass specific to the purpose intended is the best way to insure success. All glass manufacturers are able to give you melting/firing ranges along with color and shape selections through catalog information or Internet research.

The shapes of glass you decide to use in your work might include sheets cut to shape, pre-formed shapes created by the manufacturer, rods or crumbles. Each has a proper application. Sheets and pre-formed shapes are great as the basis for designs. Rods and crumbles (broken scraps you can also create yourself, thereby eliminating nearly all waste) add topical color and texture to your shapes. Also available is diachronic glass, metallic surfaces that shimmer and have the look of gold, silver and other metallic jewel tones.

Special fusing kilns, small and affordable, are available from several manufacturers and can be safely operated within the confines of a home or apartment (with proper safety considerations). This makes glass fusion and small slumping work possible for almost anyone interested.

So if you are ready for a "hot" artistic media, consider glasswork. The result--colors, designs and appeal--of the work you do will be its own reward.

Glass Association

The Art Glass Association is dedicated to the business of art glass and related supplies. Membership is open to a studio, retailer, wholesaler/distributor, manufacturer/rep, and publisher; and now consumer affiliate memberships are also available. For further information about the Association and their new "Art of Glass--A Juried Show," see www.artglassassociation.com or write: Art Glass Association, 1100-H Brandywine Blvd., P.O. Box 3388, Zanesville, OH 43702-3388.

Spraying Mediums - Part 1

Beginning airbrush students often inquire whether they can spray on particular items with an airbrush. The answer is that you can spray on any object. (If you use a brush to paint an object, you can also use an airbrush.) But a more appropriate question would be "What type of paint can I spray through the airbrush?" The fact is that all paints can be sprayed as long as they are thinned to a compatible consistency: artists' acrylics on canvas, automotive paints for motorcycle/auto custom painting, industrial enamels/urethanes on sculpture, liquefied watercolors for photo retouching, ceramic glazes on pottery, etc.

The following information will answer some of the frequently asked questions regarding various paints and their suitability for airbrushing. When spraying paints, be sure to use common sense--health and safety precautions should be taken. This includes adequate ventilation and the wearing of an appropriate facemask to prevent the inhalation of paint spray.

1. Airbrush Colors. A variety of paints fall into this category, but the common denominator is that they are already of a consistency compatible with the airbrush and are water-based. In most cases these paints are designed for use on paper surfaces, acetate and Mylar or for photo retouching. Most, but not all, are water-resistant when dry even though they should be displayed under glass for protection. Although some are called acrylic paints, they should not be confused with artist acrylic colors because they do not have the durability and not all are colorfast. These paints are available both opaque and transparent and come in amounts as small as one ounce.

2. Inks, Dyes and Liquefied Watercolors. These materials are the consistency of water, are very easy to spray and rarely clog the airbrush. They come both opaque and transparent, are used strictly on paper surfaces, can be used for photo retouching, and come in small amounts of 1-2 ounces. Some even come conveniently in jars that fit onto the airbrush. One drawback, however, is that they can fade if left in direct sunlight. The colors are extremely radiant and highly recommended for basic students because they are the easiest with which to work.

3. Watercolors and Gouache. Artist watercolors are water-soluble, transparent, suitable for working on paper surfaces only and do not dry waterproof. A work of art done with this medium, therefore, must be covered with glass. These are available in tubes and blocks and both may be used for airbrushing after thinning. They are easily cleaned from the airbrush with airbrush cleaner and usually do not clog the tip. Gouache, on the other hand, is an opaque watercolor, used in the same way as standard watercolors on the same surfaces and has been a favorite of illustrators for years. It has all the characteristics of watercolors with the added advantage of being opaque.

4. Artist Acrylic Colors. These paints are the favorite of fine artists working on canvas. They must be thinned with water for spraying and, when dry, are waterproof. Acrylics are extremely flexible, have great adhesion, are fast drying and easy to clean from the airbrush, thus allowing the artist to work quickly.

5. Oil Paints. Oil paints, of course, are solvent-based and must be thinned with a solvent such as turpentine. Therefore, these are very toxic when sprayed and good health and safety precautions are a given. Unlike acrylics, they take a long time to dry, which means they aren't often used in airbrush technique. But, when dry, they are extremely durable and radiant colors and works can be displayed after varnishing.

Next month in Part 2 we will continue our exploration of mediums that are sprayed with the airbrush.

Advanced Airbrush Workshop Offered

ARTtalk.com's Gallery at the Square in Beacon, NY, is very pleased to announce that renowned author/artist Pamela Shanteau will teach a two-day workshop the weekend of July 12-13. This class will encompass advanced airbrush techniques and trigger control methods that will enhance airbrushing skills. Students will learn how to render special effects such as chrome, fur, ripping metal, wood grains, clouds, water, fire and more from this experienced professional. Then students will complete a painting using their newly learned techniques.

This workshop is not for beginners but for students who have airbrushing experience. Pre-registration is required and seating is limited to 12. The fee covers the use of equipment and all materials used in class. For further information/registration, see www.arttalk.com/workshop/workshop.htm or call 845.831.4458. Don't miss this special opportunity!

Winner Announced--Danish architect Jorn Utzon has been chosen as the 2003 Laureate of the Pritzker Architecture Prize, which marks its 25th anniversary this year. Now retired, Utzon designed what has arguably become the most famous building in the world, the Sydney Opera House in Australia.

New Work Installed--The National Gallery of Art has removed a long-standing Miro tapestry from the building's atrium and replaced it with Ellsworth Kelly's "Color Panels for a Large Wall" (1978). Only the second work to adorn the huge wall, it consists of 18 rectangular monochrome canvases that were reconfigured for the space and is on long-term loan from the artist.

Director Named--It has been announced that Willard Holmes has been appointed Director of the Wadsworth Museum of Art in Hartford, CT. Holmes was most recently Deputy Director and COO of the Whitney Museum of American Art in New York City.

Biennale Exhibitions Planned--At the 50th International Art Exhibition in Venice in June, more than 350 artists will address "the world and its dilemmas" in the exhibition "Dreams and Conflicts." In addition, thirty-two countries are building national pavilions and top curators will create ten separate pavilions for exhibitions of artworks, all to be included within the Biennale.

Appointment Made--The National Endowment for the Arts has announced the appointment of Felicia K. Knight as Director of Communications. Knight held a similar position for U. S. Senator Susan M. Collins (R-ME) and is the recipient of awards and honors for broadcasting.

Memorial Competition Launched--A competition to design a World Trade Center memorial has been launched and will be open to anyone worldwide regardless of professional credentials. A jury will select the winning design.

Exhibitions

Napa, CA -- COPIA: American Center for Wine, Food & the Arts -- Icing on the Cake showcases major works by six of America's finest cake artists, each working in his or her unique style. Inspired by architecture, furnishings, animation, fashion and the artists' own fantastic imaginations, these confectionary creations promise to delight and surprise. Through June 3. Also, on May 10 or 11 at 1:00 pm bring your memories and watercolors--and grandmothers, mothers and children--for Mother's Day: Memoirs & Watercolors. The two-part program will include painting in Copia's inspiring gardens and writing and sharing memories of motherhood through short descriptions or poems. Materials fee at the door.

New York, NY -- Metropolitan Museum of Art -- Roy Lichtenstein on the Roof features six sculptures by the celebrated American artist in the Roof Garden. It highlights brightly painted or patinated bronze and fabricated aluminum sculptures created in the 1990's, including Brushstrokes, House III, Galatea, Brushstroke Nude, Endless Drip, and Coup de Chapeau. Through Nov. 2, weather permitting.

Binghamton, NY -- Corning Museum of Glass -- Robert Willson: A Texan in Venice continues the museum's ongoing exploration into Venice's role in glassmaking history. Willson (1912-2000) is considered an important figure in the American Studio Glass movement, was one of the few Americans working in hot glass outside industry in the 1950's, and was one of the first American artists to work on Murano. Opens May 15 through October 26.

Lowell, MA -- The New England Quilt Museum -- Wallflowers features 35 floral quilts by six artists who are known for their quilts that interpret the beauty and joy of nature. The exhibit also explores the different techniques used by each artist and features a re-created artist studio showing a quilt in progress. Through June 15.

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Copyright ARTtalk Vol. 13 No. 7 -- May 2003