Hand-Cut Specialty Mats

Specialty matting can make a work of art really exceptional. It is usually difficult to find anything ready-made that is exciting or unique. So consider cutting specialty mats, unique shapes, yourself. Only one tool is needed, although there are many items on the market that will assist you if you find specialty mats are something you like doing. If you have a stencil knife with a new, sharp blade, you have the tool that most professionals use to cut their specialty windows. It takes practice, but with a little time and patience, you can cut those neat shapes that make the professional framer's work so dramatic.

There are several brands of hand-held mat cutters that assist you by holding the blade at a pre-determined angle, thereby keeping the bevel of the shape exact. This is a real advantage to the beginner, because it is difficult to cut through the mat and maintain the same angle throughout the entire design. Even though it is not a "snap," it is possible to cut a very acceptable mat with the simple blade and handle of a stick-style stencil knife.

As a start-up exercise and to learn how to hold the handle and manipulate the blade, cut several softly curving lines with the blade held at an angle of roughly 45 degrees to the top of the mat, leaning the handle away from the line. Turn the mat l80 degrees and then follow the original cuts, again holding the blade at a 45-degree angle and the handle away from the previous cut. What you will cut away is the equivalent of a V-groove, and this is a good way to learn knife control. Repeat this exercise until you feel confident.

The second step in the progression is to draw and then cut an irregular window shape. Draw and cut from the top of the mat. Use care with the top surface of the mat because it is easily scuffed, dented and soiled. Hold the knife at the same 45-degree angle (handle pointed away from the opening) and cut the shape out. These windows do not have to be large. Practice is the important point.

When you feel confident about your skill level in holding a continuous bevel angle, direction and pressure used to cut cleanly, begin to cut more intricate or unusual shapes. With time you will be doing them without difficulty. But take this into consideration: Once your family and friends realize that you have this new skill, you might be bombarded with requests.

Making your artwork presentation uniquely yours is a satisfying and rewarding experience. Matting is one of many ways to accomplish this, and specialty windows are not only fun to do, but also quite dramatic when completed.

New Deep Cradle and Project Book Series from Ampersand

Ampersand's new Deep Cradle Panels offer support and presentation all in one. These gallery-ready museum panels come with a 2" birch plywood cradle attached flush with the back edge of the panel. Deep Cradle panels are available in up to nine sizes on four of Ampersand's unique surfaces: Claybord, Claybord Textured, Gessobord and Hardbord.

I Love My Pets! Pet Portraiture Made Easy by Sally Maxwell covers the ins and outs of creating life-like pet portraits in the scratchboard medium using Claybord Black. The booklet contains 5 step-by-step projects in full-color, including patterns that can be easily transferred with chalk. Transform a portrait of your pet into a work of art or personalize one for a friend or relative! Sally's Flower Garden Alphabet covers the ins and outs of creating decorative letters in scratchboard using Claybord Black. This booklet comes complete with 26 patterns and full color step-by-step illustrations for a colorful floral alphabet project series. Both books are ideal for quick and affordable classroom projects, and optional color may be added using the vibrant new Claybord Inks. See your local art supply dealer for availability. www.ampersandart.com.

PRIMAcryl from Schmincke

PRIMAcryl, the pasty premium acrylic color from Schmincke, covers a rich and balanced range of 84 fine tones produced according to new formulations. The PRIMAcryl Fluid range comprises 24 identical tones in a premium thin-bodied consistency. It goes without saying that the same finest artists' pigments are used in the same maximum concentrations in both mediums, which lends the tones an unusually intensive brilliance and a strikingly expressive character. The very highest light-fastness values of 4-5 stars for all colors and a uniformly silky-mat surface throughout all tones are the hallmarks of these premium colors. The newly developed individual formulae, on the basis of high-quality pure acrylate binder systems, guarantee the very best quality in terms of durability and stability, too. PRIMAcryl and PRIMAcryl Fluid possess excellent spraying properties and can be applied with an air gun of 0.2mm in diameter; gold and silver tones require a nozzle diameter of 0.5mm on account of the pigments involved.

Art Boards - Cradled Wood Artist Panels

Art Boards 1" Cradled Wood Artist Panel has a double-thick construction. The wood cradle on the back acts as a brace for extra support. The cradle provides a convenient lip for hanging and increases structural integrity.

The natural maple cradled wood artist panel has 10 separate layers of hardwood. They are glued in alternating directions with waterproof glue. The artist panel's painting surface is made of 100% natural maple hardwood. The wood panel's cradled back is architecturally engineered for structural compatibility with the painting surface. The cradled back bracing is made from the same core material as the front of the artist panel, making it extremely rigid and stable.

The surface of the painting panel is meticulously sanded and ready for artists to apply their ground of choice. It is the ideal support for Art Boards Acrylic Panel Gesso, which is an acrylic gesso that performs much like traditional gesso. The Cradled Natural Maple Art Panel is perfect for all painting mediums including traditional egg tempera, encaustics, fresco, oil and acrylic paints. Artists are also using them for collage and as a backboard support for making mosaics.

Art Boards makes cradled maple art panels in 14 stock sizes and makes Custom size Cradled Art Panels as large as 48" x 96". 

Remarkable Rembrandt 1606-1669

Rembrandt Harmenszoon van Rijn, the artist we know as simply Rembrandt, is revered as the master of Western Art. In his career he created over 600 paintings and about 2,000 drawings and etchings. (Many others have been lost through the years.) With these numbers, he is one of the most prolific artists in history. The variety of subjects is amazing; biblical subjects, portraits, nudes, landscapes, everyday scenes, birds, animals historical and mythological figures are all found in his body of work.

Rembrandt was born in Leiden, The Netherlands, on July 15, 1606, the son of a well-to-do grain miller. Although he attended the University of Leiden, the study bored him. He dropped out to study art and undertook a three-year apprenticeship to a local master painter, Jacob van Swanenburgh. This gave him his technical background. He studied art in Amsterdam for six months with Pieter Lastman (known for his historical works) at the end of which he had mastered his lessons and returned to Leiden. At 22, he was confident enough to take students, and while this gave him a good existence, he moved back to Amsterdam in 1631. In 1634 Rembrandt married the wealthy cousin of a successful art dealer, Saskia van Ulyenburgh. This alliance would help build his career and served to introduce Rembrandt to wealthy patrons who commissioned portraits. All his work was highly prized, thereby providing him a good living. He purchased a huge home and filled it with many famous pieces of art.

While Rembrandt's career was a grand success, his personal life was marked by tragedy. Of his and Saskia's four children born between 1635 and 1641, only one survived infancy (Titus) and Saskia herself died in 1642. Hendrickje Stoffels, who was employed as the family housekeeper about 1649, eventually became his common-law wife and is the model for many of his paintings.

Despite the demand for his work, his constant borage of students who clamored to study under his masterful tutelage and his financial success as an art dealer, Rembrandt's lifestyle was above even those means and he was forced to declare bankruptcy in 1656. The organization of his art collection, offered at auction to help pay his debts, showed the immensity of his interests. There were Flemish and Italian paintings, Dutch works, art from the Far East, armor and weapons. But, in spite of the fact that all were sold (including his opulent home), it did not dissolve his debt.

It seemed that nothing financial could deter Rembrandt from his creative avenues. He weathered many storms of business and investments, and only the loss of his second wife (Hendrickje) in 1663 and his child (Titus) in 1668 could weaken his resolve to live and work. Rembrandt died a year later, survived by his and Hendrickje's only child, Cornelia.

Historians divide Rembrandt's work into three distinct segments. First, in the early years, his work was extremely prolific. He created over 600 paintings and an enormous number of drawings and etchings. His style in this period was dramatic, with complex compositions and dynamic contrasts of light and dark, which make his style so riveting.

The middle period of Rembrandt's art includes many biblical scenes and serene landscapes. Around 1640 the work began to reflect a more classic style and spirit. His work was "quieter," though no less masterful. It has been suggested that this style change was brought about by influence from Italian painters of the time.

Rembrandt's last period, the time when his work was greatest, was during the last two decades of his life. Rather than works that exude drama, splendor and detail, his later works are concerned more with mood and spiritual qualities. His brushstrokes became bolder, and his palette grew to include rich tones previously missing. There is an almost abstract quality to these paintings. Gone was his interest in narrative works, for this period is one in which he concentrated on the psychological elements of a scene.

Rembrandt's graphic work, drawings and etchings represent a huge volume of work. Most of these were done as finished works, yet few are signed. It seems they were made for his private use. The drawings were done in black or red chalk in his early years, but late in his career, his favorite drawing medium became pen and black ink on white paper. With an economy of line, he was able to relate strong emotion and maximum expression.

At his death, Rembrandt's career had spanned only five decades, but the volume of work is staggering. More self-portraits than any other artist (over 60), 600 paintings, 400 etchings and over 1600 drawings have survived; and there is every possibility that hundreds more artworks have been lost through time. Rembrandt's work has had more influence on artists than almost any other single individual.

Rembrandt on View

Rembrandt's Journey: Painter-Draftsman-Etcher opens October 26 at the Museum of Fine Arts, Boston. This ambitious in-depth survey, featuring major international loans, consists of 22 paintings and oil sketches, 35 drawings and 160 etchings and copper etching plates. This exhibition examines Rembrandt's most expressive etchings in the context of his paintings and drawings. Rather than follow a strictly chronological survey, the exhibit and accompanying catalogue are arranged according to themes that Rembrandt returned to again and again over time. Through January 18.

Lunchtime Art

Do you like to do unusual art projects? Do you like bright colors and textures? Do you have a favorite color, character or animal? Well here is a great rainy day activity that could make you stand out on your way to school, on the bus, in the halls and in the lunchroom. Why not decorate your lunch bags with neat designs, colors and textures? You could set a new trend... original designer sacks.

All you need to collect to be ready for this fun afternoon art activity is a stack of lunch bags, markers, colored pens, stamps, stickers, ink, crayons, acrylic paints and brushes, or any media you like to work in. Dry or water media is recommended.

One theme might be to use stamps or stickers with colored borders or background tones applied before the stamp or sticker is applied. You could paint or use markers to create a "frame" around your favorite designs or shapes and then fill in around your design with more marker or paint colors.

If you are looking for a bit more challenge, draw and paint flowers, animals, cartoons or other designs on the bags. For ideas, look through your favorite books or magazines or use photographs from any trips you and your family have made. How about favorite foods? Pizzas, burgers, hot dogs, ice cream cones, sundaes, pancakes, cookies and milk.... You get the idea.

To establish a "series" of bags with similar background colors, set out several bags in a row. Apply color in a sweep over all the bags at one time. Then add embellishments such as ink drawings, stamped images or stickers. This technique of doing a series of bags that are similar is really great for abstract designs and swatches of bright color. Add black lines around the patches of color and the design looks like a stained glass window. If you like nature, you might make leaf prints as your design. Simply paint the back side (the rough side) of an interesting leaf, blot off excess paint, and then press it firmly and evenly against the sack. The veins in the leaf and the outer edges will print out the shape and textures of the leaf.

You can add to the creativity if you start with a colored bag. Gift-wrap bags that are actually colored lunch sacks come in lots of colors and make a great starting point for this project. They are available at many art supply centers. Stickers and stamps do especially well on this type of bag. How about a blue bag with stick-on stars? Or a red bag with white and blue flowers?

Be the envy of everyone at lunch. Collect some sacks and art materials and have some fun.

Crayola Celebrates

This year Crayola celebrates its 100th birthday. Beginning in February, the ART-rageous Adventure tour bus visited venues and schools in 25 cities nationwide on its way back home to Easton, PA, for the year-end 100th birthday bash on October 11.

New from Crayola are erasable 8-count Twistables Crayons. These are encased in a break-resistant plastic barrel with an eraser for each color, so changes or corrections can be made any time to artworks. No messy sharpening or peeling is necessary. And the new Crayola Rainbow Twistables Crayons offer a more sophisticated way to color. They are fun to use and deliver loads of color with four colors per crayon. Ages 4 and up.

Varnish - Should You or Should You Not?

Varnish for paintings is a solution of either natural or synthetic resin dissolved in water or solvent that is used as a protective coating on a finished painting. Varnishes are applied to paintings to help protect them from damage from environmental soils and/or damage by incidental contact and light abrasion. Depending on the composition of the varnish, it dries to differing degrees of hardness and with different amounts of gloss. Varnishes give a painting a uniform sheen, making varnishes invaluable to even out a finished work that dries with varied surface gloss. Varnishes not only protect and bring about a uniform surface quality, but they also intensify the paint colors that might have changed during the drying process. Some also offer UV protection.

Several mediums benefit from such topical protection. Oil, alkyd, casein and acrylic paintings should be varnished as soon as they are completely dry. In the case of oil paintings, that can be a much longer time than one might think. It can take oil paintings as long as six months to dry, depending on the conditions in which they are stored and the method of paint application. Thick paint takes as long as one year to dry completely. A painting created with glazes (light layers of color, each allowed to dry before the succeeding layer is added) will dry faster than one with thickly applied surfaces. Glazed works can be varnished in weeks rather than months. Tempera paintings can be coated with a light application of varnish. This helps hold the dry surface and prevent smudges or cracking. The changes in surface sheen are acceptable if your style and work allow for them.

What happens if you varnish a painting too soon, before it is thoroughly dry? The first aberration might be cracking of the surface. Restoration experts suggest that although the painting might be at risk of cracking, leaving an oil exposed and unprotected for over six months is more hazardous. The grime and dirt collected in that time could dramatically shorten the life of the painting. Alkyd paintings take only two to three months to dry thoroughly and should, at that time, be coated with an appropriate varnish surface. Acrylic, casein and egg tempera paintings can be (and should be) varnished as soon as they are thoroughly dry, usually about one week.

How are varnishes applied? Select a dry day for your varnishing activities. Moisture can cause a milky surface to appear as the varnish dries. Keep the area dust-free because any lint or foreign matter that is allowed to contact the tacky surface will become a part of that surface. Clean the surface of the painting with a soft cloth, being careful to leave no lint or dust. With your selected varnish ready, thin with appropriate solvent when needed. Some experimentation might be needed to get just the right mix.

Pour a small amount of varnish into a small jar or dish. Refill the container often rather than putting out an excessive amount. That will help keep the solution in suspension and not evaporate. Apply with a thin even coat. If one coat does not offer the coating desired, add another layer. Several thin layers are preferred instead of heavy applications.

Dip the brush into the varnish and drain excess against the edge of the container. With the painting in a flat position, start in one corner, an area of about eight inches square. Put on strokes in one direction and then cross over with another coat. Only then should you move to another section and repeat the process, being sure to feather the edges so the "squares" of varnish do not show. Check the surface against a light source. Be sure to coat the entire surface. Work as quickly as you can, but be cautious.

After the varnish job is complete and has been allowed to dry for about 10 minutes, the artwork can be set in an upright position to dry thoroughly. Again, do not allow dust or lint to filter onto the surface, as it will permanently adhere.

The next day, check the surface for evenness. If there are areas of dry, low sheen, recoat the entire surface using the same technique as above. It can take as many as three coats to insure an even appearance.

Water vapor and moisture are "death" to varnish surfaces. They become trapped within the layers of varnish and cause bluish, cloudy areas called "bloom." To prevent this condition in your varnish coats, do not allow the varnish, the brushes or the containers to come in contact with moisture. Varnish on dry days and away from any water source.

Spray varnishes make even distribution simpler, but with them come special safety considerations. Always have adequate ventilation and use a respirator and eye protection. Because the spray varnishes are thinned with liquid solvents, they dry thinner and more rapidly, but may require three coats to get the uniform coverage you desire.

Polymer varnishes are designed for use with water cleanup and are applied over acrylic, watercolor and other aqua media works. Resin- and solvent-based varnishes work best with oils, alkyd and casein works. Select the varnish best suited to the media you work in and use it for dramatic intensity of color, uniform sheen (matte, gloss or even extra high gloss) as well as protection from mild abrasion. Also investigate the varnishes that offer not only these qualities, but also the possibility of limited UV protection.

Considering all the attributes of varnishes, isn't it time you did a little R&D? Try a finish or two and see what a difference they can make in your work.

Painting on Canvas

Prior to the development of the middle class, painters worked primarily for the State or for religious institutions. Their works of art were usually executed on rigid surfaces such as wood panels or walls of buildings for murals. With the increased demand for paintings from the private sector, canvas became the preferred substrate upon which to work when easel painting.

Canvas gave the artist several advantages over rigid surfaces of the time. For one, it was more portable, and it could be rolled up for storage and shipping. The artist could work larger than on the traditional panel, where there would be seams to deal with or to work into the composition. Also, canvas weighed much less than wooden panels of the same size.

Most airbrush artists today who work on canvas use linen, cotton or synthetic canvas that is available either in rolls or pre-stretched by the manufacturer. These are available either raw or primed with gesso. The primer provides a surface that is designed for paint to adhere. It also works as a buffer zone between the canvas fiber and the oils/solvents of some types of paint that can "attack" the canvas and cause either chemical deterioration or rot. After the painting is completed, it is normally sealed and coated with clear varnish, which protects the painting from damage that occurs from handling, dirt or the environment.

Most--but not all--airbrush artists that work on canvas prefer a smooth gessoed surface, and the smoother the better, since paint applied by airbrush has no brush strokes or texture. To achieve a smooth surface, they may start out with portrait canvas that has a tight weave without flaws. This can be purchased pre-gessoed, with the gesso applied at the factory by machine for an extremely smooth surface. Other artists may want to develop their own particular surface by gessoing raw canvas and sanding it to the desired smoothness. For airbrush artists, the smooth-surfaced canvas allows for better adhesion of frisket film, canvas frisket, tapes, and self-adhering stencils used in the development of a painting.

Generally, airbrush paintings on canvas are executed with acrylic artist colors. The reasons for this are: (1) It is easy to thin acrylic paint with water for spraying. (2) Acrylic paint is cleaned from airbrushes without the use of solvents; water-based airbrush cleaners or commercial glass cleaners are ideal for this purpose. (3) Since there are no solvents in acrylic paints, they are lower in toxicity when sprayed as opposed to oil-based paints.

Once a painting is completed, it should always be varnished for protection. This can be accomplished by applying the varnish with a paintbrush (which will leave brush strokes); with a paint pad, which gives a non-textured and even finish; or by spraying, which will give an undetectable coating.

After a canvas is properly primed with gesso, painted with acrylic paints, and varnished for protection, it can be displayed with confidence of longevity and need not be covered with glass or protective plastic for exhibition. And it can conveniently be rolled for storage/shipping to shows. Learning to stretch your own canvas is traditionally part of the painting experience. You can find complete instructions at http://www.paintingtalk.com/canvas.htm.

Collection Acquired--The Library of Congress has announced the acquisition of more than 30,000 original political cartoons, comic strips, animation cels and illustrators' drawings from the world-class collection of award-winning political cartoonist J. Arthur Wood Jr. A portion was donated and the balance was made possible in part by a generous contribution. Many items have been included in major museum exhibitions and historical publications.

Workshops Offered--The Folk Art Institute of the American Folk Art Museum, New York City, is offering workshops for the fall semester. Reservations are required. For a complete schedule, call 212.265.1040, Ext. 105.

Grants Announced--The Arts Endowment has announced $1.5 million in grants in the Resources for Change: Technology category. Awards were made to 13 non-profit organizations to help develop distinctive ways of using new technology to advance the arts and better serve the public. Included among the recipients were the Berkeley Art Museum and Pacific Film Archive and the Whitney Museum of Art.

Craft Show Scheduled--The 27th Annual Philadelphia Museum of Art Craft Show will be held Nov. 13-16 at the Pennsylvania Convention Center. See the best of contemporary American craft in clay, fiber, metal and wood, as well as wearables and jewelry by 190 artists from across the country. Admission. 215.684.7930.

Internet Portal Launched--The American Association of Museums has launched the Nazi-Era Provenance Internet Portal, a central registry of objects in U.S. museums that could have changed hands in Continental Europe during the Nazi era, 1933-1945--www.nepip.org. A person seeking a missing object can search by artist's name, nationality of artist, title or keywords, among other options.

Arts Festivals Abound--Two Paradise City Arts Festivals will be held this fall in Massachusetts. From Oct. 11-13 the 3-County Fairgrounds in Northampton will offer works from 270 juried exhibitors, art activities for kids, live music, delicious food, a landscaped Sculpture Garden and more. From Nov. 21-23 the Royal Plaza Trade Center in Marlborough will offer the largest show of museum quality art and craft in the Boston area with 175 juried exhibitors from 24 states. 800.511.9725.

Exhibitions

The Art Institute of Chicago -- Chicago, IL -- Manet and the Sea opens October 20. Using Manet's sea pictures as a point of departure, this exhibition aims to trace the complex interactions that link the artist with his predecessors and with his successors. Included are approximately 100 objects--paintings, watercolors and drawings--from 60 public and private collections on sea-related themes by a variety of artists with differing ambitions. Through January 19. Travels to Philadelphia Museum of Art in February.

Portland Art Museum -- Portland, OR -- Opening Oct. 11, The Triumph of French Painting--17th Century Masterpieces from the Museums of FRAME (French Regional and American Museum Exchange) includes 41 stellar works that present the very highest level of work from a century when painting emerged as one of the splendors of French culture. The best-known French painters of the age, such as Georges de La Tour and Nicolas Poussin, are represented along with other extraordinary masters who brought France to artistic preeminence in Europe. Through January 5. Travels to Birmingham Museum of Art in January.

Kingston, NY -- Kingston Sculpture Biennial -- The fifth biennial comprises works by more than 60 artists--from established artists that include Ursula von Rydingsvard, Mark di Suvero, Sol LeWitt and Jim Clark, to emerging artists to discover that include Jamie Hamilton, Ashley Kyber, Myung-Jin Choi and Jesse Meyer. Works are displayed throughout the city, connecting the three business districts of Uptown, Midtown and Rondout, as well as the Hudson River Waterfront. Maps are available at the Kingston Heritage area Visitors Center, 20 Broadway, 845.331.7517. Through October 31.

Norton Simon Museum -- Pasadena, CA -- Treasures from the Himalayas: Sacred Images from Tibet, Nepal and Northern India celebrates the Museum's renowned collection of artworks. Approximately 20 masterpieces from the permanent collection will be on view, including sculpture, paintings and wooden book covers. A highlight is a stunning gilt bronze image of the Buddhist goddess Tara, the largest Himalayan bronze in the collection. A recently donated fourteenth century plaque from Tibet will also be featured. Through October 27.

AIRBRUSH WORKSHOPS ARTtalk.com Gallery at the Square, Beacon, NY Two-Day Advanced Airbrush Workshop Saturday & Sunday, Oct. 4-5 Instructor: Pamela Shanteau 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 or call 845.831.4458

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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Copyright ARTtalk Vol. 13 No. 12 -- October 2003