.com...the link between you, the visual artist, and the manufacturer of art materials.
Established 1990
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.com ...the link between you, the visual artist, and the manufacturer of art materials. Established 1990 |
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Canvas
Stretching CanvasPre-stretched canvases offer quick, ready-to-go surfaces upon which to paint. There is some surface quality selection among brands, but the foremost reason accomplished artists may opt to stretch their own canvas is surface quality, i.e., surface texture and topical priming. Ready-made canvas is usually a middle grade cotton fabric with a good quality topical layer of acrylic gesso. Some companies apply that medium by machine, some by hand and some by both. The surface is smooth, level and quite adequate for most works. But for a different quality surface--perhaps smoother or with a dramatic texture--one must consider stretching the canvas. And, although stretched canvas is available in myriad shapes and sizes, another advantage to doing your own stretching is the ability to make the finished painting in dimensions or shapes that may not be readily available. To stretch a canvas, you will need a total of four stretcher bars: top, bottom, left and right. Study canvas by the yard at the art supply center, making your selection from heavy duck, smooth synthetic, linen or even extra nubby burlap style fabrics. Buy at least six inches longer and wider than the finished canvas size you are creating. You will need this extra canvas to grip as you attach the fabric to the stretcher frame. Fastening the canvas to the stretcher bars can be done with a simple tack hammer and tacks or a staple gun (manual or electric). One piece of equipment you will find most useful is a pair of canvas pliers. They have a wide mouth and grip the canvas so that it can be pulled tightly across the frame. A framing square will help you get your corners perfectly square, but eyesight is often enough to judge the shape of the joined stretchers. Begin by joining the four sections of the stretcher. Be sure it is "square" by sliding them together and aligning them with the framing square or visually. Staple across the miter to hold the stretcher square. Lay the canvas over the top of the stretchers. Pull the center top fabric tightly over the edge of the top stretcher and staple (or tack) it in place. Pull the center bottom tightly over the bottom stretcher edge and staple. Repeat on the right and left sides. This will give you some idea of the amount of pulling needed to complete the task. Use the pliers to help get the canvas tight. The first four staples hold the canvas in place. Starting at the center top staple, pull the canvas and add staples, one every inch or so, from the center top to the right corner. Flip the project over, pull and staple the bottom edge, center to the right side. Repeat on the left and right sides. Then reverse the process, stapling from the center top to the left top, the center bottom to the left and then repeat with the sides. Corners are turned and stapled flat against the stretcher for a neat and smooth appearance. What you end up with is a tight canvas with an interesting texture and surface feel. And you will discover how wonderful it is to be in complete control of this element in painting.
Conceptual ArtWith its roots tied to minimalism, Conceptual Art was conceived out of a desire to shift traditional methods and materials toward less concrete forms and objects. It is described as being the movement that "dematerialized" art - meaning art that is not committed to long-lasting materials and forms. Until the 1960's, we saw art in terms of accepted and familiar themes. With Conceptual Art, in contrast, there is a struggle to find its own definition. What it is is less important than what it is made of or the way recognizable materials are "reassigned" to become art materials. The artist takes art from a function of intuition to one more involved with analysis and philosophy. In strict definition conceptual refers to concept or conception. In art it relates to images that are less perceptual (traditional subjects) and more mentally formulated. As an example, the rigidly formal art of ancient Egypt may be viewed as conceptual, where stark realism is perceptual (an artist's vision of the subject). Conceptual Art is created to convey an idea or a concept to the viewer without the limitations of traditional guidelines. It is created without regard to the value of the materials or the subject, be it in a painting, drawing or sculpture. Conceptual Art, more than any other, is created to stimulate comment and discussion among critics and patrons. Without such interaction, the movement really would have never existed. During the 1960's, artists were striving to create something new and exciting, based on their concepts. Without drawing from other movements for past styles, Conceptual Art results from the artists' interpretations and their desire that their work serve to share knowledge and not be an art object that is an end in itself. Examples of Conceptual Art include those works created for the moment, never intended to last. Sol LeWitt drew with graphite and painted a grid of 16 squares on a wall. By painting on a surface that was neither canvas nor paper (thereby not salable) LeWitt removed the emphasis and materiality of the objects painted, giving priority to his idea instead. "In conceptual art the idea or concept is the most important aspect of the work...all planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes the machine that makes the art." (Sol LeWitt, 1967)
Mel Bochner drew through soap film rubbed onto window glass. The result was not only temporary, but also again not created with prospects of longevity or sales. It could be recreated elsewhere, inexpensively and always temporary. Reaction was immediate and intense. Considered by many to be a revolt against modernism, open hostility erupted between the art community and critics. Little reference to Conceptual Art in accepted art history makes one think its impact was impotent. But, conceptualism was deliberately an art that was virtually impossible to be explained, let alone be appreciated. It was an attempt to break from the formality of art history and criticism. Attention was turned toward "making" and the materials used therein. The process was everything, with the result secondary (and often temporary). Much of the performance art of today and unusual works of visual art such as Earth Art fall squarely into conceptuality. Conceptual Art is created with the expressed purpose of being difficult to categorize. Artists create works that are deliberately impossible to classify according to the old system and that could not be placed in a museum or gallery. One American, Douglas Huebler (1924-1997) set himself a bit apart from other Conceptual artists by including photographs, self-portraits and documents, plus sculpture and installations about personal activities and family members in his work. This playful aspect of his work was less extreme and allowed more viewers to relate to his style. He also set out games and activities for the viewer. He wanted to involve people in his works rather than make a personal statement understood by him only. Through these experiences, he became a mentor to future conceptualists. Though often linked to Process Art, in which the act of making an object is more important than the eventual product, Conceptual Art carries this one step further. Claiming that the artistic concept, the creative thought, is more important than either the process or the product, the Conceptual Art movement strives to present a different premise. What is vital to Conceptual Art is an audience. Without interaction between these creations and viewers, the purpose of concept (perhaps even creative thought) is lost. Feedback is the reward to the Conceptual Artist, since many of these works are fugitive. Look around you for examples of Conceptual Art. Whenever creative thinkers use materials in unusual ways and by doing so redefine the purpose of that material, you see Conceptual Art. Earth Art, mentioned earlier, is an example of conceptuality that lives for long periods of time. It may be the supreme example of Conceptual Art because long after the artist's hand is finished, after his vision is created, earth formations continue to be altered by nature.
Because events are subject to change, please call ahead or confirm whenever possible. 8th Annual Art Methods & Materials Show Over 200 classes in virtually every medium and subject are being offered. Over 80 art materials manufacturers will exhibit their products, and there is a free live demonstration area, an Art Materials "Experience" Area to try products/tools, and the annual Painting Event, where you can make your mark by painting a square on the world's largest canvas mural. Special Event: "Plein Air Landscape Painting" workshop with master plein air painter Frank M. Serrano. For registration/further info, see www.artmethods.com or call 800.337-2106. Don't miss this unique opportunity! Around the Coyote Fall Art Festival This annual festival offers an opportunity to visit artist's studios in the Bucktown district as well as works selected for Curators Choice at the Thirteenth Floor Gallery. Over 60 studios and 11 galleries will be participating in various venues. The Coyote Kid's Corner will be Sept. 6 at Wicker Park and offer hands-on workshops. Film, dance and theater events are planned as well. 773.342.6777. www.aroundthecoyote.org. Wausau's Artrageous Weekend This three-event weekend includes the "Wausau Festival of Arts" (downtown), offering more than 100 exhibitors of ceramics, glass, painting, photography and sculpture; "Art in the Park" (Marathon Park) featuring paintings, photography, weaving, stained glass and pottery of exhibitors from throughout the U.S.; and the annual "Birds in Art" exhibit at the Leigh Yawkey Woodson Art Museum (through Nov. 9), which celebrates birds in nature with historic paintings, sculptures and works on paper. 715.845.7010. Takashi Murakami's Double Helix This exciting art installation features a series of bronze sculptures, two 30-foot balloons, 18 flags and specially designed wallpaper flooring for Plaza Street, as well as Murakami's public seating in the fashion of colorful mushrooms along the street. The Middle East Peace Quilt The Middle East Peace Quilt uses the creativity of 300 Jews, Palestinians and others mostly from the U.S. and Canada to depict their visions of peace in the Middle East and a shared future. Along with each quilt square comes the personal statement of the quilt maker. 212.662.2133
"Light Cycle" by Artist Cai Guo-Qiang To celebrate the 150th anniversary of Central Park, Cai Guo-Qiang has created "Light Cycle," a three-part pyrotechnic presentation that will illuminate the sky over the park. The spectacular 1,000-foot circle of light symbolizes the cycle of renewal. Recommended viewing locations: Sheep Meadow, the Great Lawn, Reservoir perimeter, North Meadow perimeter. Mayor Daley's Kids and Kites Festival 2003 This annual fall (and spring) event is a high-flying experience for all those who attend. Families are encouraged to bring their own special kites or construct and decorate their own with free kite-making kits. Free. 312.744-3315. Farnsworth Gallery Fall Art Festival This annual art fair presents weaving, wildlife art, stained glass, pottery, photography, metal sculpture and much more by local artists. 810.667.3632. Fall Crafts Park Avenue For its 19th year, Fall Crafts Park Avenue will bring together 175 celebrated craft artists from across the country to display and sell their one-of-a-kind contemporary works in ceramics, wood, paper and metal, wearable art, leather, exquisite glass, jewelry and more. 800.649.0279. Berkshire Fall Arts Festival Over 200 talented vendors will display their works of art. See live demos, listen to music and take a chairlift ride to the mountain summit as you view spectacular fall foliage. 413.528.2000. Naples Downtown Fall Art Festival & Sale The sale is Oct. 17-18 and the art show is Oct. 18-19. Traditional food and entertainment are also offered. 239.435.3742. New Orleans Fresh Arts Festival This annual festival celebrates art, music and food. More than 85 local, regional and national artists will display their work, some will conducts demos, and attendees will be invited to make some art of their own in hands-on participatory activities. 504.523.1465. Bayou City Art Festival Downtown Enjoy 300 artists representing 17 different media categories of art juried into this event in an outdoor gallery against the dramatic backdrop of Houston's skyscrapers. There's an interactive art area for kids, too, as well as music, food and drink.
GlazingCeramics can be decorated in several ways and at different times during the drying and firing process. Many potters and ceramists, especially those who create functional ware on a large scale, prefer to glaze their pieces when they are green and unbisqued. Others prefer to bisque fire and then glaze their pieces. Since there are special considerations for each one, seldom do you find a potter who does both. Green ware is nothing more than dried clay forms. These green pieces have been formed, either hand built, slip cast or thrown on a potter's wheel. They are trimmed with slender, sharp metal tools to reduce areas of excessive thickness such as the foot or base of a piece. Slip cast green ware trimming might consist of scraping seam marks or sanding off any unevenness with special abrasive pads or slender metal tools. Hand-built pieces are usually created in such a way that trimming is unnecessary because the thickness of all parts of the construction is controlled as it is built. For the ceramist who wishes to streamline her operation, the decision to glaze green ware means that there is only one firing: Glazed green ware is brought slowly through bisque temperatures through maturation. The time and firing costs are diminished considerably, since there is no loading and unloading of the bisque kiln and no second firing. The downside to this style of production is that the glaze "fit" and compatibility with the green clay is considerably different from that of bisque ware. Special formulas must be used to insure even glazes and proper adhesion to the finished ware. Potters and ceramists who elect to do bisque firing, though they invest more time and costs in their pieces, actually have more latitude in glaze and decoration choices. Underglaze pencils and crayons are one of the favorites used by potters because they work best on bisqued pottery. Special glaze applications such as sponging and stamping, controlled interaction of layers and more active glaze surfaces are easier to achieve with glazes applied to bisque ware. But, the deficit of time and fuel costs for the second firing is something to keep in mind. Airbrush glazing is one great way to apply finishes to bisque ware. The gentle building of layers insures gradations of unparalleled beauty and tone-on-tone techniques that are impossible to replicate in any other way. Clear glaze applied with airbrush over underglaze decoration--whether it be pencil, crayon or brushwork--is stunning and virtually insures the initial decoration will not be changed by a thick glaze. Brushing has long been a way to apply glazes and can develop rich, thick coats on either green ware or bisque ware. Although it takes a bit of skill to achieve evenness with brushed glazes, many potters swear by the technique. With so many methods of glaze application, one will surely be well suited to your style and work. New Book ReleasedThe Potter's Encyclopedia of Color, Form and Decoration by Neal French is a complete guide to shape and form, color and decoration. More than 700 individual glazes are vividly displayed with complete instructions for creating them. Photographs and illustrations of over 600 ceramic shapes and forms are featured. In addition, readers will learn about ceramic decoration such as agateware and sgraffito. Available this month from Krause Publications, 160 pages.
New Inks and Kits from AmpersandThe new Claybord Inks from Ampersand Art Supply were formulated for adding vibrant color to scratchboard without leaving an inky residue on black areas. On Claybord and other fine surfaces, these inks can be used for painting and drawing. Water-resistant and transparent, this new set includes six jewel tone colors in ½ oz. bottles. And these are perfect for the eight new designs of The Sally Maxwell Scratchboard Series--Creating with Claybord kits. Included in each kit are a pattern, 5" x 7" Claybord Black, scratch knife, plus instructions and techniques to complete the project. Choose from Yellow Rose, Sailboat, Hummingbird, Iris, Daisy, Morning Glory, and Hummingbird & Paintbrush. Or for a more advanced project, try The Art of Scratchboard, which comes complete with a 9 x 12" Claybord Black, scratch knife, pattern and an extensive booklet filled with useful instructions and tips. See www.ampersandart.com.
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Art Boards compromises nothing to accomplish their goal, which is to give the fine artist the best possible painting support to work on. With over 25 years of experience in custom furniture and architectural woodworking, they combine the best materials with the most advanced technology to produce the finest support system for painting and drawing.
The rigid ½-inch panel will always remain stable. The panel's inner core has three layers of aspen hardwood that are glued in alternating directions. Waterproof glue keeps each layer from expanding or contracting. The front and back veneer is made of natural maple hardwood, and the face veneer has no seams, voids or knots. The back of the artist panel has recessed dovetailed slots for easy hanging without the need for picture wire or framing.
The Natural Maple Uncradled Art Board is excellent for encaustic painting, as well as traditional egg tempera painting, oil painting and acrylic painting. All panels are meticulously sanded and ready for whichever painting ground the artist prefers to use. The wood panels are perfect for traditional gesso or acrylic gesso.
Since 1868--the time of van Gogh, Monet and Picasso--Fredrix has provided artists with unsurpassed quality and the broadest range of artist canvas available. The finest artist grade cottons, linens and blends are woven to rigid specifications, and coatings are specially formulated to complement, enhance, and protect the canvas fibers for long-term archival quality. All Fredrix pre-stretched canvases are mounted on stretcher bars made from kiln dried SPF grade wood and feature their unique interlocking tongue and groove design.
In addition to all types of Stretched Canvas (portrait, linen, cotton, Brush Strokes, Creative Edge, Gallerywrap, Heavy Duty, Ovals-Round-Convexo), you may choose from Roll Canvas (unprimed or acrylic primed cotton and linen, oil primed linen, Polyflax, print canvas to include Litho, Inkjet, Giclee, Mural and Serigraphic, and unprimed bulk rolls); stretcher strips; accessories from canvas pliers to turpentine; canvas pads; gesso brushes; palette knives; sizings and primings; an array of handcrafted easels, sketch boxes and palettes; the new Archival Canvas Boards; and floor cloths for the artist/crafter round out this extensive line of materials for the artist. And the unique Fredrix Stretch-Aire canvas stretching machine stretches sizes from 5" x 7" to 48" x 48".
A complete handbook from Fredrix, Beyond the Brush, includes history, types of canvas, how to choose your canvas, step-by-step instructions on mounting and priming and more. See your retailer for this fine line of artists' materials..
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It seems that everyone has thought about trying stamping at one time or another. Stampers can create simple items such as greeting cards, stationery, boxes, portfolios, book art and household decorative items. They often gravitate towards the unusual, including decorator items and articles of clothing. If you have a favorite substrate (wood, paper, leather or cloth), stamping can be used to decorate these surfaces in many ways, each of which are exciting and fun to do.
To create a great wooden plaque or to decorate the outside of any smooth, wooden box or tray, all that is required are the stamps with designs you like, permanent ink pads and permanent markers to fill in any areas of color that you might want. Begin by lightly sanding the wood surface with very fine sandpaper (or emery cloth) to remove any rough areas. The smoother the surface, the better the designs will transfer. Once the sanding is complete, use a tack cloth to remove all dust and sanding debris. This is a vital step. Any dust or debris on the surface will affect the finished design.
With a very smooth wooden surface, you may select and use stamps with any degree of detail. For a very dramatic look, use large, open shapes as backgrounds and then lay smaller designs over the top of the base decoration. You can also use a rough-textured sponge to "speckle" the surface and then press stamped designs over this base. Either of these gives a certain degree of dimension and lots of character to the finished work. Seal the surface for permanence.
Plaques (usually purchased with a finished edge) can be used to create a great background for other items such as decorative tiles, medallions or tokens or similar low-profile items. Create the background with a variety of textures in stamps. When the background is dry, seal the surface and then mount the items with an appropriate adhesive. If you desire, you can also use gold paint markers to decorate around the outer edges of the plaque.
Paper is by far the most popular surface upon which to stamp. Almost any paper can be stamped. If you use fine quality artists' papers, they have good body and structure and come in a huge selection of colors and textures. The versatility and ease of folding and manipulation makes paper an ideal material with which to make greeting cards for any occasion, gift-wrap and stationery and much more. One project that is always fun and can be used for every occasion from birthdays to weddings to "Thank You" notes is to additionally create an envelope. With stamped designs on the paper and envelope, you can easily create a matched set.
Personalized gift-wrap is always a treat to create. Select designs relating to things that the recipient enjoys. Use a length of paper (many artists papers come in oversized sheets or you can even use butcher paper) and several stamp pad colors. Begin by laying out the paper. Work from the center of the sheet out to the edges. Overlapping the designs and mixing the colors will help to create an interesting and unique sheet. Using stamped designs on plain gift boxes can eliminate the need for any gift-wrap at all. Just decorate a plain box lid and tie on a ribbon and bow. Nothing could be easier and you can trust that the recipient will notice the special packaging.
You can also stamp designs on the ribbon used to tie the box together. Metallic inks are especially neat for use on ribbons. Simply lay a length of ribbon over a covered work surface and stamp. Allow the designs to run over the edge of the ribbon for a "full" and plentiful look. Initials and letter stamps are great for this purpose.
Leather is another great material with which to experiment. Permanent ink stamp pads can be used to make the designs, and permanent markers can be used to color in shapes. Projects that are perfect for beginners include the stamping and designing of belts, purse flaps and, with care, leather sneakers. To stamp on a rounded shape such as a shoe, stuff the toe firmly with newspaper and roll the stamp carefully over the shape. Allow the base stamp designs to dry and then tone with permanent markers. Voila! -- Designer shoes everyone will envy.
Last but not least, fabrics offer a wide range of designing options. You can stamp fabrics that are cut to shape (like a vest front) with permanent ink. Use fabric markers to color in any shapes you desire and also use them to add dimension to the designs you select. Tracing just outside shapes with a freehand line makes the designs look more "original" and personalized. You can also use a stamp as a basis for additional drawing. Quilters use stamped designs to create original patterns on their quilt pieces and make their finished items unique. Pillow fronts are a great way to practice stamping/coloration/drawing techniques before plunging into a full quilt. And they make wonderful gifts once your practice session is finished.
Stamping is simple and satisfying. Whether you create works on paper, fabric or other materials, there is an image for every occasion, for every style, and for every person. Try a project today and see for yourself.
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Some seats are still available for ARTtalk.com's Basic and Intermediate Airbrush Workshops on September 13 with Robert Paschal and Advanced Airbrush Workshops on October 4-5 with Pamela Shanteau. These are held in Beacon, NY, only 50 miles north of New York City and easily accessible by Metro North or nearby Stewart International Airport. For more information/registration, go to www.arttalk.com/workshop/workshop.htm or call 845.831-4458. Don't miss this opportunity, and plan to visit the new Dia:Beacon museum of contemporary art while you're here!
Look for the new issue of AirbrushTalk on September 15. You won't want to miss a new "Cacy's Corner" with Michael Cacy, "Giving Dimension to Objects" by Janean S. Thompson and "The Alien Project" by Wes Hawkins. This bi-monthly e-newsletter is full of step-by-step techniques with colored photos and it is FREE! We ask only that you patronize our advertisers whenever possible. Subscribe at www.airbrushtalk.com and check out the archives, too.
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Museum to Close--The Terra Museum of American Art in Chicago will close in October 2004 after a series of six exhibits on early American modernism that will culminate in its final show, "Chicago Modern, the Pursuit of the New." However, 50 of the museum's most important paintings and a number of works on paper by artists such a John Singer Sargent, George Bellows, Arthur Dove and James McNeill Whistler will be on long-term loan to the Art Institute of Chicago.
New Director Named--Anne Litle Poulet has been named Director of The Frick Collection in New York City, effective Oct. 1. Curator Emerita of the MFA Boston, she will be responsible for the overall vision of the Collection, which includes the Frick Art Reference Library.
NEA Survey Results In--According to the National Endowment for the Arts 2002 Survey of Public Participation in the Arts, almost 4 percent of adults in the U.S. (81 million people) attended at least one arts activity during the year, an increase of 5 million from the previous poll conducted in 1992. About one-fourth of adults visited an art museum or gallery, 40 percent reported personally performing or creating art, and about five percent took an arts-related class. See www.nea.gov for more info.
WTC Memorial Competition Entries Set Record--The Lower Manhattan Development Corp. has announced that 5,200 submissions have been received from 62 nations and 49 states for the World Trade Center Site Memorial Competition, a record for an open design competition of its kind. The Memorial will honor the victims of the 1993 bombing of the WTC and the 9/11 attacks. A final design will be selected this fall. The LMDC has also announced a collaboration of architects to design the world's tallest building at the WTC site: Freedom Tower.
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AIRBRUSH WORKSHOPS ARTtalk.com FOR THE NOVICE... Basic Airbrush Techniques & Saturday, Sept. 13 ARTtalk.com Gallery at the Square, Beacon, NY Friday, Nov. 7 Portland, OR - TBA Instructor: Robert Paschal, MFAAND FOR THE EXPERIENCED... Two-Day Advanced Airbrush Workshop Saturday & Sunday, Oct. 4-5 ARTtalk.com Gallery at the Square, Beacon, NY Saturday & Sunday, Nov. 8-9 Portland, OR - TBA Instructor: Pamela ShanteauTuition 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. 11 -- September 2003
