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Watercolor
Watercolor Painting - Sponging A to ZSponges are a valuable tool in the artist's studio, as they are used in many applications and disciplines. Potters use them to clean the surface of a freshly thrown pot, to smooth the surface and remove excess slip or water, and to remove excess glaze from the bottom of vessels as well as other details. Charcoal and pastel artists use them as "erasers" to smooth away excess powdered pigment from their work and to soften harsh areas. Of course, general cleanup and maintenance includes sponges for almost any studio or workspace situation. But perhaps one of the most valuable areas of artistic application for sponges is in watercolor painting. From the start of set-up and preparation, sponges are indispensable to the watercolorist. Once a sheet of watercolor paper is mounted either with tape to a board or with one of the wraparound, clamp-style paper stretchers, water is required to soften the paper, opening the surface to accept initial washes. This step can be accomplished with any type of sponge: natural or synthetic. All that is required is a very clean sponge. Maintenance should include thorough washing in warm, soapy water to remove debris and keep it subtle and receptive. Once paint is allowed to dry in the sponge, its character is altered and its ability to absorb is compromised. Sponges, however, should not be soaked in solvents, but soaking and rinsing with soap and water is safe for all. Allow your clean sponge to dry before storing. Initial soaking of watercolor paper is best accomplished with a large, thirsty sponge that can be charged with lots of water. Once the first "bath" is applied, let it set for a couple of minutes in a flat position to allow penetration. Bathtub soaking is sometimes preferred for very dense or heavy papers, but with patience, repeated sponging can evenly and thoroughly soak any paper. Once the initial water is applied and has been allowed to penetrate, use your squeezed-dry sponge to pick up any pools on the paper. Gently pat the surface without scrubbing. Allow the paper to rest before starting work, but do not let it dry. If there is an interruption between dampening and painting, cover the work surface with a sheet of plastic. This will put the paper "on hold." During painting, sponges can be used in a variety of ways. One of the first uses is as a pick-up tool for excess fluid watercolor. A clean, squeezed-dry sponge can wick an amazing amount of suspended pigment from a paper surface. As long as the painted area is wet, a sponge can lift color from the surface. The wetter the surface, the cleaner the removal will be. Once the paint begins to set into the paper, less pigment can be lifted away. In extreme cases, gentle scrubbing is possible, but care should be used. The surface of the paper will begin to release fibers; and the altered area will collect and hold more pigment once repainted, looking darker than the surrounding painted surface.
Blotting with a sharp sponge edge can create distinct lines and areas of dramatic light. Again, cutting through wet areas rather than slightly damp areas will yield the sharpest lines. Small natural sponges with a firm texture achieve this result easily. Cut the sponges to any size and shape desired and store them in a section of your paint box or in a glass jar on your worktable, ready for instant retrieval. One small sponge can be used to create a variety of sponge "tools." Soft synthetic sponges (the type with tiny holes) are valuable pickup tools, too. They lift less pigment from the surface and are especially good for mingling background tones in skies or landscapes. The close-set, tiny air pockets of these sponges help lift some color, while they simultaneously blend the tones remaining on the paper. Synthetic sponges are not as good at total tone and pigment removal as natural sponges because they attract less pigment, thereby offering another look and "feel" to your art. During the application of watercolor, sponges (both natural and synthetic) can be used to create a wide range of looks. When a clump of natural sponge--one with a feathery, irregular surface--is charged with paint, it can be used to create foliage in landscapes, foreground textures and interest as well as tone-on-tone variety. By selecting a tone that is lighter than the surrounding painted areas, a chunk of sponge is great for quick and dramatic application of highlights. This same chunk can also be used to add texture in both light and dark tones. To bring life to floras, sponges can be used to apply paint in colors similar to underpainted areas, creating visual interest and a velvety texture. To create a sky or background of soft and mingled tones, use sponges rather than brushes to swipe color across a sheet of wet paper. The results are quickly achieved and set the stage for further subject development without a lot of brush underpainting. And sponges can be used to "sling" color onto a surface. Large drops will splash against the surface of the paper, either damp or dry. In abstract works, this will add texture and drama in a flash. Sponges can soften the edges of hard, linear areas and be used to blend dissimilar tones into a homogeneous color. It might take a bit of experimentation to learn control and the methods that work best for your style, but the time invested is well worth the results. So grab that sponge and have some fun!
The Arts and Crafts Movement Circa 1860-1900The Arts and Crafts Movement was brought about by an artistic revolt against the industrialization of Great Britain around 1860. Probably the best known of all English artists in the movement was William Morris, who was famous for the books he made but also was a painter, writer, stained glass artist and textile and wallpaper designer. His actions were the spearhead of the movement to resist the mass produced items of the period and return to the basic design and craftsmanship that individual artists could produce. Morris' desire was to reconnect the creator to his product, a concept that was being ignored in the 19th century rush for goods. In the United States and continental Europe, the period enjoyed varying degrees of favor, manifesting itself in architecture, furniture design, bookbinding, pottery, textiles and other crafts. By 1870, William Morris' company (Morris & Company) marketed their wallpaper designs throughout the United States, thus inspiring other artisans to create not only their own wallpapers, but also other items that corresponded with the same philosophy. The Arts & Crafts Movement also helped shape American architecture, specifically the Queen Anne Revival and American Colonial styles of a previous era. A diverse expression of styles and forms, regional and traditional crafts, furniture and architecture took on a mix of styles. Trend-setting architects of the period began to select English and locally made Arts & Crafts products for their affluent American homeowners who demanded the most stylish and fashionable items for their living areas. America's counterpart to England's William Morris was Gustav Stickley, whose furniture and architectural designs rapidly became the guide for the most discriminating clientele. In 1901 he created a magazine titled Craftsman that imparted strong influence in home and interior design for many years. With both Stickley and his fellow designer Frank Lloyd Wright, the designs of the furnishings were used not as an accent to the home, but were actually created by the architect in the same style. Thus they tied a home to its furnishings in a way not seen prior to this time. The American Arts & Crafts Movement was strongly influenced by the clean and economic lines of Japanese goods. Elements of the movement included clean lines, smooth surfaces and intersecting lines and forms. Furniture was more "connected" to its surroundings, rather than simply acquired to coordinate with it. Pottery was made with smooth, flowing topical designs and muted tones that echoed the same philosophy. Art glass was created with a design that was an extension of the line and elevation of the home. (Frank Lloyd Wright was famous for his use of stained glass in both interior and exterior spaces.) To quote William Morris: "Have nothing in your houses which you do not know to be useful or believe to be beautiful."--words we could live by today. New Projector Floor Stand from GagneGagne has introduced its all-new Floor Stand for Porta-Trace opaque projector models TraceMaster and TraceMaster Deluxe. It is also designed to be suitable for use with virtually any brand projector. The new stand allows for a more controlled projection from the 7 x 7 field of view projectors, giving up to a 20X enlargement of the original image being projected. Gagne's sturdy rugged tripod stand offers:
Visit www.gagneinc.com. New Acrylic Panel Gesso from Art BoardsArt Boards Acrylic Panel Gesso is unlike any other acrylic gesso.
Art Boards Acrylic Panel Gesso is specifically formulated for use on wood panels and panels mounted with canvas or paper. It is a ready-to-use premium ground that completely seals the surface and perfectly prepares the panel to accept paint.
Art Boards Panel Gesso is high in refined solids with a "triple-cream consistency." It spreads out quickly and evenly in thick or thin coats, giving complete coverage in a single application. The gesso covers easily without leaving obstructive brush marks or having to rework areas. It will also smooth out perfectly when applied with a knife or hold a desired texture if brushed and cross-brushed. The gesso needs no thinning, but when mixed with water or paint it disperses quickly and evenly. It dries fast without leaving air bubbles or producing cracks, and it is the best sanding gesso ever. With oil paints, it performs like an oil primer or traditional gesso. There is no beading when using water-based materials, and it takes watercolor as if it were paper. It also mixes well with casein paints. Pastels, charcoal, and pencil work and rework beautifully into the gesso surface. Art Boards Acrylic Panel Gesso is prepared in 4 oz., 8 oz., 16 oz., and 32 oz. containers. .
New Watercolor Journal BookIn Watercolor Journeys, you will learn to create watercolor sketches that capture the images you see, choose unique perspectives for your subjects, add depth and character to your paintings, and capture the movement and energy of the places you visit. Author Richard Schilling, an experienced painter and traveler, provides a delightful mix of insightful instruction, step-by-step demos and real-life journal samples that will make creating your own travel sketchbook an enriching experience. North Light Books, hardcover, 128 pages. In the Spotlight: Strathmore Artist Papers
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The 400 Series is designed for more accomplished artists. These papers have a superior sheet formation, harder surfaces and interesting textures, which work well with a wide variety of media and styles. 400 Series - Recycled consists of quality papers that contain over 50% recycled materials.
Drawing - Smooth, Medium - Both cream, Smooth is especially suited for line drawings, technical and finished art. Medium is ideal for illustrations and final drawings. These are suitable for any dry media, pen, ink and light washes. Recycled is bright white paper that contains 50% recycled materials and has a medium surface.
Sketch - This general-purpose sketch paper is intended for practice of technique and quick studies with any dry media. Recycled is general-purpose sketch paper that contains over 50% recycled materials.
Bristol - Smooth is ideally suited for detailed work with technical pen, airbrush, marker and other dry media plus light washes. Vellum is excellent for pencil, charcoal, and pastel as well as airbrush and light washes.
Watercolor - Cold Press - This heavyweight paper has a professional grade, cold press surface that is ideal for mastering watercolor techniques. Also available in blocks.
Pastel - Assorted Colors - This luxurious paper offers a subtle background ideal for oil pastel and is also suitable for soft and hard dry pastel drawings.
Artagain - Black - This deep, rich, acid-free sheet provides an ideal background for soft pastels. Artagain - Assorted Tints are fiber-enhanced sheets ideally suited for soft pastels and charcoal. Both contain over 50% recycled materials.
Calligraphy - These natural white sheets provide an ideal work surface for smooth ink flow and are suitable for use with felt or metal calligraphy nibs, pen and ink.
Layout - This is for drawings or finished comps and is suitable for pencil, pen and marker.
The 500 Series is Strathmore's highest quality paper, developed solely with the fine artist's needs in mind. This series is manufactured with cotton fiber for enhanced surface durability and longevity.
Drawing - Plate - This has a highly smooth finish and is especially suited for line drawings, technical and finished art. Made from 100% cotton, it endures repeated erasures and rework without feathering or bleeding.
Drawing - Medium - This natural white paper with a toothy finish is excellent for pencil, charcoal, pastel and oil pastel. Made from 100% cotton, it endures repeated erasures.
Charcoal - This 100% cotton sheet has a traditional laid pattern for precise shading with charcoal and pastel. It is available in white, black and 10 tints to create the right background mood.
Gemini Watercolor - A warm white sheet with a hard sized surface, this is great for reworking and color lifting. 100% cotton.
Bristol - Made with 100% cotton fiber, this comes in 2-ply, 3-ply and 4-ply weights and two surface textures. Medium has a light texture and is ideal for dry mediums like pencil, charcoal and pastel. Plate has a highly smooth surface for technical drawings and is great to use with marker, pen, ink and airbrush.
Imperial Watercolor - Harder sized, this provides greater water holdout for improved color lifting and blending. Random texture has a uniform performance. 100% cotton.
Aquarius II Watercolor - Ideal for field work, this buckle-resistant sheet is a unique blend of cotton and synthetic fibers.
Visit www.strathmoreartist.com for the complete Strathmore line.
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If there is one aspect of framing that is important, yet not well understood, it is mounting. There are many ways to mount artwork, be it a solid, three-dimensional item, an art piece done on good quality paper or perhaps done on inexpensive newsprint, an oriental ink drawing done on sheer rice paper or a rolled canvas. Because of the wide range of items that are considered art or at least "frameable," there are many methods that the at-home framer can use to mount (then display) his or her art collection.
When you have an art item on paper, one that is a ready-made size, you could simply put it behind glass, add a backing and use brads to hold the item in the frame. While this is done every day, it is not the best way to display a prized artwork on paper. When art is allowed to set against glass, there can be moisture buildup on the surface of the art and mildew can form. This happens anyplace there is moisture present (kitchens, bathrooms, pool houses or the beach house). Whenever possible, it is wise to use a mat around the art, thereby elevating the glass above the surface of the art. Even the thickness of a single mat can raise the glass over a print or original and protect it from damage caused by possible moisture buildup.
Fine art pieces, originals and limited edition prints are often handled in a special way. They should never be glued down, dry mounted or taped into position with office/packing tapes. Any adhesive that is allowed to contact the art will, in time, turn the paper brown and the adhesive will forever discolor the art. In extreme cases the adhesive is so strong that it can erode the paper completely, causing holes. The recommendation from museum curators and professional framers is to use a form of acid-free mounting. Any change in the art, anything that the artist did not do himself/herself is considered detrimental to the value of the art, so glue will certainly destroy the value of the art.
One of the easiest ways to accomplish mounting that is acid-free is to use special museum mounting materials that are available at all art supply centers. There are special corner pockets that will hold the art in place, yet do not allow any adhesive to make contact. And there are mounting strips that hold the art that, again, do not allow adhesive to touch the art. You can mount many pictures with boxes of either the corners or strips and they are not expensive. Just be sure that the art is held well and will not slip out of position when hung on the wall.
Don't be bashful. You can create a professional presentation that will be artwork-friendly and easy.
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Before visiting any of the following parks/gardens, it is recommended that you call for hours and special events.
Grounds for Sculpture
Hamilton, NJ
609-586-0616
Admission. Closed Mondays and major holidays.
New entryway arches admit visitors to 35 acres of beautifully landscaped gardens in which nearly 200 contemporary sculptures are sited. Included are new works by Magdalena Abakanowicz, Benbow Bullock, Ron Mehlman and Pat Musick. Seasonal exhibitions are on view in the Museum and Domestic Arts Buildings. In addition, there are many special events that include workshops, music, poetry and drama. The International Sculpture Center's first members' juried exhibition is scheduled for July 27 through September 28.
Storm King Art Center
Mountainville, NY
845-534-3115
Admission. Open through Nov. 15
This is considered to be one of the world's leading sculpture parks. It is comprised of 500 acres of pristine fields, hills, and woodlands that provide a unique and dramatic setting for more than 100 carefully sited sculptures by internationally acclaimed artists, such as David Smith, Isamu Noguchi and Louise Nevelson, among others. This season marks the final months of Grand Intuitions: Calder's Monumental Sculpture. New works include Mermaid by Roy Lichtenstein, Infinite Flight by Victor Contreras, Mozart's Birthday by Mark di Suvero, Three Elements by Ronald Bladen, and Operation for Mining, Elevating and Converting Underground Memories of a Fifth Season by Dennis Oppenheim.
The Art Museum
At Florida International U.
Martin Z. Margulies Sculpture Park
Miami, FL
305-348-2890
Free admission and open year-round.
The Martin Z. Margulies Sculpture Park displays 69 works in a variety of media distributed throughout the 26.5 acres of the FIU campus. Recognized nationally as one of the world's most important collections of sculpture and the largest on a university campus, it includes major pieces by Dubuffet, Miro, Nevelson, Noguchi and Serra.
Frederik Meijer Gardens & Sculpture Park
Grand Rapids, MI
616-957-1580
Admission -- Open year-round except Christmas and New Year's Day.
The 30-acre Meijer Sculpture Park contains the most comprehensive collection of outdoor sculpture in the Midwest. It features significant works of art within a variety of natural settings connected by waterways, meandering paths and quiet walkways. Works of over 25 renowned sculptors are featured, including new works by Juan Munoz, Hanneke Beaumont and Mimmi Paladino. This summer the Gardens have a distinguished visitor--an 18,000-pound bronze spider by Louise Bourgeois that stands four stories tall. The Gardens cover 125 acres with a new historical farm and an outdoor amphitheater. Many exhibits, events, programs, classes and lectures take place.
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When you use specific equipment or tools on a daily basis (such as a computer or an airbrush), you sometimes take basic information or knowledge for granted and forget that a novice may be full of questions. As an example, while examining an airbrush in an art supply store recently, a consumer inquired: "Which end does the paint come out of?" This is certainly a valid question for someone who has never before seen an airbrush up close, so here's a basic explanation of how this tool works.
The airbrush is similar to a pen--the blunt end is the handle and the pointed end is the tip. The paint comes out of the tip, and you hold onto the handle. At the very tip of the airbrush is the air cap, which covers and protects the paint tip. The back of the airbrush is covered with a handle, which--when removed--exposes the airbrush needle. The needle runs through the airbrush all the way to the front paint tip. It controls the flow of paint and is activated by the trigger, which is the button or lever located on top of the airbrush. When depressed, the trigger also turns on the air, which enters the airbrush through an air valve located at the bottom.
All airbrushes--whether single- or dual-action--operate on the same basic principle. Inside the body are two channels, one for paint and the other for air. The air channel is tapered and when compressed air rushes through, it speeds up and draws paint up through the paint channel and into the air stream, where it becomes spray. A tapered needle controls the volume of paint sprayed. In a single-action airbrush, the needle is preset to determine the volume and the trigger is simply depressed for paint. In the more sophisticated dual-action airbrush, the trigger is depressed for air and then drawn back to varying degrees to produce smaller or larger volumes of paint.
Paint enters the airbrush through one of two methods: gravity or siphon. The resultant spray of both is of the same quality. In the siphon-feed airbrush, the paint is contained in a cup or bottle that is attached to either the side or bottom of the airbrush. Air rushing through the brush draws the paint up and into the tip where it is mixed with the air or atomized. In gravity-feed models, the paint is contained in a cup or slot that is situated on top of the airbrush. The paint then drips into a reservoir at the tip of the airbrush where it mixes with air to become spray.
The airbrush is held and pointed like a pen. The difference, though, is you don't touch the paper with an airbrush and you are able to control the amount of ink that's applied.
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Museum on Holiday--The Brooklyn Museum of Art will be closed to the public from August 4-19. This measure will help to address the large gap in the Museum's operating budget for the fiscal year 2004. Please join them when they reopen on August 20.
Recipients Announced--The NEA has announced the 2003 recipients of the NEA National Heritage Fellowships, the country's highest honor in the folk and traditional arts. Sixteen awardees were chosen for their artistic excellence, authenticity and contributions to their field. The 2003 Bess Lomax Hawes Award went to Carmencristina Moreno, a Mexican-American singer, composer and teacher from Fresno, CA. See www.arts.endow.gov for more information.
Gallery Receives Gift--The Arthur M. Sackler Gallery of the Smithsonian Institution in Washington, D.C., is the recipient of the bequest of a peerless collection of Japanese prints assembled over 7 years by Robert O. Muller of Newtown, CT. The collection of over 4,000 prints is particularly rich in works by designers who adapted traditional, idealized print subjects. Watch for a planned exhibition.
Cartoonist Awards Given--The National Cartoonists Society has presented the 2003 Reuben Awards. Among other winners, the Outstanding Cartoonist of the Year award went to Matt Groening ("The Simpsons"); TV animation award went to Steve Hillenburg ("Spongebob Squarepants"); and Feature Animation award went to Chris Sanders ("Lilo and Stitch").
Milestone Reached--Felix de Weldon, sculptor of the renowned Marine Corp War Memorial (Arlington, VA) of marines raising the American flag on Iwo Jima, has died in Virginia at the age of 96. A prolific artist, he created more than 2,000 public sculptures.
Theft Suspects Arrested--Two Assistant Deputy Wardens and two Corrections Officers from Rikers Island have been indicted on grand larceny charges. They are accused of stealing a Salvador Dali sketch valued at $250,000 from the New York prison and replacing it with a fake in March.
Nominees Announced--The Tate-London has announced the finalists for the 20th annual Turner Prize. Included are Jake and Dinos Chapman for their sculptural installations and graphic works, Willie Doherty for film installations and photographic works, Anya Gallaccio for her innovative explorations of the tension between organic and traditional sculptural materials, and Grayson Perry for works that combine the traditions of fine and decorative arts. The winner of the approximate $44,000 prize will be announced on Dec. 7.
Exhibitions:
Houston, TX -- The Menil Collection/Museum of Fine Arts -- James Rosenquist: A Retrospective (a dual venue show) is the first comprehensive survey of the artist's work in all media since 1972. The Menil Collection features work from 1956 to 1969 (and one painting from 1999) in conjunction with the presentation of the artist's later work from 1970 to the present at the Museum of Fine Arts. The two installations together span more than four decades. Through August 17.
Brea, CA -- City of Brea Gallery -- 11th Annual International Art of the Colored Pencil Exhibition includes over 100 artworks juried from 1,000 pieces representing artists from the USA and foreign countries. Opens July 25 through Sept. 19.
Baltimore, MD -- Baltimore Museum of Art -- William Morris: The Reactionary Revolutionary includes 15 bold cotton prints and intricate woven woolens from its collection in a focus exhibition that explores the life, work and philosophy of Morris, founder of the Arts & Crafts movement. Through Sept. 20.
Los Angeles, CA -- Los Angeles County Museum of Art -- Old Masters, Impressionists, and Moderns: French Masterworks from the State Pushkin Museum, Moscow encompasses 76 works surveying 250 years of French painting, with 52 on view in the U.S. for the first time. Tickets required. Opens July 27 through Oct. 13.
Blue Mountain Lake, NY -- Adirondack Museum -- Summering in the Adirondacks: The Artists' Views includes images and artifacts of summer pastimes--boating, fishing, camping, places to go and stay, Ausable Chasm, High Falls Gorge, the High Peaks, hotels, lakes, and beautiful views, including masterworks from the museum's renowned painting collection. Places of the Spirit: Photographs of Sacred Spaces in the Adirondacks includes the work of four photographers commissioned during the summer of 2001 to visually respond to sacred sites--churches, synagogues, burial grounds, and other places of spirituality--within the Adirondack region. Through Oct. 13.
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ARTtalk.com Gallery at the Square Box 900 • 18 East Main St. Presents ARTtalk Workshops FOR THE EXPERIENCED: AND FOR THE NOVICE: Tuition for all above workshops includes the use of equipment and all materials used in class. Seating is limited, so sign up now! This is an opportunity not to be missed! For further information, see
www.arttalk.com/workshop/workshop.htm |
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The Art Institute Online is looking for graphic designers interested in learning additional skills, or in getting their bachelor's or associate's degree in graphic design. Make yourself more marketable in the graphic design industry. Click here to find out more. (http://quinst.com/clk/kittedatoukumushiigyo) |
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| • ARTtalk's Manufacturer Art Materials/Product Info. Center • |
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Copyright ARTtalk Vol. 13 No. 9 -- July 2003
Art Boards is dedicated to making the highest quality panel gesso for use on their complete line of archival painting supports. The gesso performs superbly on all rigid surfaces including wood panels, mounted raw and pre-primed canvas, and mounted drawing and printmaking papers. In fact, the gesso nearly disappears when laid down on paper, leaving the original texture of the paper.
Art Boards Panel Gesso has a classic traditional quality like no other modern acrylic gesso. It is specifically designed for use on rigid surfaces, not for flexible stretched canvas. Its balance is carefully formulated to have more refined dry solids and less acrylic polymers. This perfect balance produces a gesso surface that you can feel, one that allows for true interaction with the initial painting. It is not another non-absorbent acrylic gesso that paints just sit on. It performs like an oil primer or traditional gesso. When dry, the gesso is easily sanded and readily absorbent, creating a surface that is receptive and responsive with a warm and brilliant color.