Out With the Old -- Welcome the New

This time of year often brings a natural urge to dispel old ideas and outmoded ways and move towards a new direction. One's creativity may also require an update. Or perhaps it is the place where one creates that could stand some rethinking. When is the last time you saw the top of your worktable or thought about taking a class to familiarize yourself with a technique or perhaps learned a new discipline?

Many artists collect. What they collect can be anything--scraps of paper, metal, wood, old shoes, maps, or even hats. You never know when an item will be just the thing to include in your latest collage or sculpture. Some artists save canvases that were less than successful, with the thought that someday they will sand, re-gesso and refurbish them into fresh work surfaces. Clay artisans save pottery or sculpture that are not perfect in hopes of using them someday for a project, but who knows what or when? Fiber artists often keep scraps of hand-woven fabric and yarn with the hope that they will be useful. The idea here is that everyone has things they hang onto, things that may cause them subliminal agony or anxiety. It is said that every possession we have needs something from us. It needs to be stored, cleaned, polished, washed, etc., and that applies to all the tidbits of material we have tucked into every nook and cranny of our studio/workroom.

Now is the time! Cleaning up can be a rejuvenating and liberating experience. Throw away those things that have hung around for ages and you will be glad you did. Organize the shelves, cabinets, boxes and bins. You will be able to locate things more quickly and will be "in charge" rather than ruled by all your "stuff." Having a place for everything and seeing it in that place feels so good. It removes chaos and replaces it with serenity. Well, we can live and hope!

And when you have completed the cleanup/discarding/reorganizing, it will be time to replenish all the supplies you thought you had and now see that you don't. There is no greater reward after all your effort than to buy new paints, brushes, solvents, mediums, pencils or pastels--whatever you need. Many artists use the purchase of something new as a springboard for starting new work. And why not? You deserve it.

Equipment may need to be replaced. Worn out, non-functioning tools can be dangerous and, at the least, prevent you from doing your best work. If you have to wrestle with a tool, it hinders your progress. Now may be the time for some new studio goodies.

While you are organizing the materials you use to create, also consider organizing your tax records, receipts, business accounts and bank accounts for the end of yet another wonderful year. If you are prepared, tax time needn't be traumatic. One way to simplify your accounting is to keep a large manila envelope for each month's receipts, payments and statements. That way all the papers and info you need will be in one place. Keep your collection of monthly envelopes in a storage box, labeled and ready for long-term storage after you finish at tax time. This will be one less thing to do later. If the system works for you, buy 24 envelopes, 12 for this year and 12 for next.

Another tax tip is to calculate on a monthly basis. Keeping receipts for all business-related check purchases is something you are already aware of, but calculating and categorizing your cash expenditures is also important. You might be surprised how much cash you use for art materials in a given year. Keep a monthly record (along with receipts, where applicable) for totaling your annual business expenses.

Saving the best for last, the New Year seems to spark a need for resolutions or at least setting goals. Take an afternoon to think about where you are with your creativity. Walk through your studio, look at the quality of your work, review your portfolio and then do a bit of soul searching. Where do you want to go with art? And what will it take to get you there? Do you have everything you need to succeed or is something missing? Do you have a long-term plan? Where will you be in 5 years? 10 Years? What is your fantasy-dream-highest possible goal? How can you make it happen?

There are lots of questions you might ask yourself. Just take a bit of time to make a plan and if not long term, then short term will suffice. You may be surprised at the results you come up with. Maybe there is someone who would sponsor a solo show; or visit a location you have put off scouting for an exhibit. There is no better time than now. Make some calls. Do some investigation and talk to people about your art. One plan might be to make one call a week or two per month--whatever suits your style, but by all means do it. Tip: Don't call on your most desirable location first. Do a couple of trial presentations/promotions with other locations and then go to your first choice. By then you will be more confident and sure of ways to talk "up" your art and the exhibit you wish to have.

Let this season be a springboard for your creativity, the start or restart of promoting yourself and the beginning of many new and good things. Here's to the New Year!

Improved Projector Floor Stand from Artograph

The Artograph Projector Floor Stand now features a handy column key to provide even more support and to ensure that the legs maintain their proper position. This column key is simply inserted into a special hole located just above the collar of the lower leg assembly.

This sturdy stand replaces wobbly tables, ladders or carts by providing the artist with a lightweight, adjustable and portable stand. It makes it easy to accurately position the projected image from your projector onto a wall, easel, or other vertical surfaces.

The Projector Floor Stand accommodates all Artograph projectors, as well as many other opaque and slide projectors. It incorporates a 12" x 16" adjustable steel platform that allows for easy positioning. The platform may be rotated 360 degrees, tilted up to 15 degrees front to back and elevated up from 3-1/4' to 5' in height. The tripod base folds for easy storage.

Artograph is the manufacturer of a full line of opaque art projectors, light boxes and spray booths. See www.artograph.com.

Art Boards™ Round Art Panel has a natural maple hardwood painting surface. The maple face has a uniform tight grain that has the perfect tooth for Art Boards Acrylic Panel Gesso to adhere to as well as all other painting grounds. It is 3/4" thick with a recessed hanging slot in the back. It is the perfect round painting surface for the fine artist to paint on.

Art Boards™ Round Art Panel incorporates a dovetailed hanging slot in the back that enables the artist, or the buyer of the painting, to easily hang the circular art panel on the wall using a single nail or screw. The round painting panel hangs flush and snug without the need for picture hanging wire or a circular picture frame.

The circular wood painting support has a perfectly round edge with five layers of wood in its construction. The internal core consists of three layers of aspen hardwood. On the front and back of the panel is a natural maple hardwood veneer. Art Boards™ Round Art Panels are finely sanded and ready for glue sizing or panel gesso. They are truly the ideal painting support on which to paint a round painting.

Art Panels are made in 9 diameters: 6", 8", 10", 12", 16", 20", 24", 26", and 30". See www.art-boards.com.

Books for Artists

Stayin' Alive: Survival Tactics for the Visual Artist by Robin Hopper details survival strategies for developing a personal lifestyle as a creative artist. Hopper offers eight essential chapters artists will find invaluable, including establishing personal needs and expectations, learning to be businesslike, pricing and marketing, personal image development and promotion, legal and financial considerations, achieving visibility in the art world and photographing works of art. Personal stories for 19 full-time studio artists also provide advice. Krause Publications, 128 pages.

In Light Up Your Watercolors Layer by Layer, Linda Stevens Moyer shows painters how to create transparent watercolors with simple techniques and step-by-step mini-demos. She also provides advice on color theory and the basics of painting light and texture--the individual parts that make up the "language of light." North Light Books, 128 pages.

In Seeing the Light: An Artist's Guide, Betty Carr shares her time-tested secrets for capturing the awe-inspiring qualities of light on canvas. Artists of all levels will master light with exercises in watercolor and oils, 12 step-by-step demos, close-up painting details and keys for "seeing" light and true color. North Light Books, 144 pages.

Silkscreen

Simple silkscreen images can be created in all degrees of complexity, from simple basic shapes in vivid crayon colors to intricate pointillism-style images. These screens and their images can be created from simple paper masks to multi-screen/multi-colored presentations. The amount of detail is usually far less than natural scenes would depict. This is because of the difficulties of capturing tiny details using traditional methods. But, consider the fact that you can get sharp, clear photo image details easily if you use a photo emulsion two-step method to create your screens.

Photo emulsion silkscreens, simply, are screens that block the negative areas of a photograph and open to allow inks to penetrate the screen in areas of positive image. Think of it like a black and white photo. The black and gray areas will print and the white areas will be blocked.

To achieve a good photo emulsion screen, start with a sharp black and white photograph, one with strong contrasts of dark and light. You can use a color photo, but make a good quality black and white print of it first. After you have a sharp black and white image, go to a copy service or use your scanner to make a transparency. This transparency should have the richest blacks possible and commercial copy machines do a superior job. Request that the black and white copy be made in the color copier for the richest darks.

Once you have the transparency, you will need a silkscreen that is at least two inches larger on all sides than the image you want to duplicate. The screen should be made with a rather dense material so that the fine details of the photo will transmit through the screening process.

The photo emulsion process is completed in a two-step process. A kit includes a large bottle of emulsion and a bottle of sensitizer. Once the two are mixed, you must fill the screen and allow the fluid caught in the weave to dry completely in a totally dark place. Once the screen is dry, it is ready to be exposed. Each kit contains enough of both fluids to make several screens.

To expose the screen, set the screen on a flat surface. Center the transparency on the top of the screen and use a 250-watt light source just above the screen to "burn" the image into the emulsion. This process takes just a few minutes. Once the image is set in the emulsion (the clear areas of the transparency), it is time to wash the screen with water to remove the areas of the photo that were black. The resulting screen, once filled with ink or paint, will yield the image as seen in the black areas of the transparency.

If small areas of dark show on a test print in spots where they interfere with the image, you can use tape on the screen to cover those spots. This eliminates any accidental specks or spots that spoil the finished silkscreen.

A single image can be printed in different colors, thereby changing its appearance dramatically. Part of the image can be selected using a paper mask, allowing sections of the overall screen to be printed in a smaller size. This is especially good for the creation of greeting cards or post cards. Slightly overlapping two "pulls" of the screen, one in a lighter tone, creates a striking look. Just allow the first lighter toned image to dry completely and then pull a dark tone onto the print slightly moved from the position of the lighter tone. It looks like a type of shadow or echo print--very interesting and eye-catching.

There are many applications for a photo emulsion silkscreen image because of the detail you will be able to create. The materials are not expensive, are available at all art material dealers and come with complete directions. Consider trying this method if you have heretofore been hesitant to dive into silkscreening. You will love it!

Strathmore Art Contest 2004

A Call for Entries has been issued for Strathmore's Art Contest 2004. You must be at least 18 years old to enter in one of three categories: Student Artist, General Artist or Digital Artist. All entries must be original and created on Strathmore paper (including Ink Jet). Over $10,000 in prizes will be awarded to winners in all three categories, and the school of the first place winner in the Student category will receive a $500 art scholarship award. There is no entry fee, and a nationally renowned panel of artists will judge entries on the basis of creativity, style, expression and use of technique. Pick up a prospectus/entry form at participating retailers, download a copy at www.strathmoreartist.com or call Customer Service toll free at 1-800-353-0375. Entries must be postmarked by March 31.

Watercolor Exhibitions

--The Louisiana Watercolor Society 34th Annual International Exhibition will open June 5th at Bank One Center in New Orleans. The juried exhibition of original water-based media on paper is open to all. For a prospectus, see www.lwsart.org/lws/prospectus.htm. Slide Deadline: Jan. 27.

--The 28th Annual National Exhibition of Transparent Watercolors will be held May 1 Sept. 5 at the Elmhurst Art Museum, Elmhurst IL. It is open to residents of the U.S. and Canada who are 18 years or older working in transparent watercolor. Juror is Mel Stabin, NWS. Approximately $7,000 in monetary and merchandise awards will be given. Download a prospectus at www.watercolors.org. Slide Deadline: Feb. 2.

The Fields Project

A call for painters, photographers, sculptors, and earthwork/field sculptors has been issued for The Fields Project, where artists will interact with farmers and the land in the Rock River Valley surrounding Oregon, IL, from June 19-27. The scenic Valley--with its historical sites, sandstone outcroppings and typical Midwest farms--provides endless subject matter for artistic expression. Sculptors will have an opportunity to "paint with the land" by cutting/mowing flora on up to 15 acres. Equipment and manpower will be available for pre-designed and approved earthwork sculptures. There will be lodging and interaction with local farm families. Special events and an art show/sale are scheduled, as well as a student project. For further information: 815-732-2100; email info@artontherock.com; or go to www.artontherock.com. Entry Deadline: March 15.

Adhesives - A to Z

Imagine a world without adhesives. From pre-school age, where we learned about simple pastes or glue sticks, we have used adhesives in a wide variety of forms. We use them for a myriad of jobs from office work to woodwork and crafts to construction. Matching the right adhesive to the project is important for success and longevity of the job, but convenience and time often tempt us to be inventive about their applications.

The dictionary defines an adhesive as "a substance capable of holding materials together by surface attachment." Because of the varied uses of adhesives. They represent a multi-billion-dollar industry, with more than 750 companies producing products.

Evidence has been found that documents the use of adhesive substances as early as 4000 B.C. Burial sites of prehistoric tribes found food items buried with the deceased in broken pottery vessels that had been repaired with sticky resins from tree sap. Statues from Babylonian temples that have ivory eyeballs glued into place with tar-like glue show that the glue has held for almost 6,000 years. Paintings and murals from 1500-1000 B.C. depict wood-gluing operations. A casket removed from the tomb of King Tut shows the use of glue in its construction. About 200 B.C., written documentation of simple glue making and using was recorded.

From 1-500 A.D. the Romans and Greeks developed the art of veneering thin sections of wood together. From this art, the making of animal and fish glues was refined. Adhesives made of egg whites for attaching gold leaf and other natural adhesives from blood, bones, hide, milk, cheese, vegetables and grains were used for a variety of applications. The Romans were the first to add tar and beeswax to caulk the cracks in their wooden boats and ships.

Around 1000 A.D., Genghis Khan and his armies were enormously successful in battle because of the quality of their weapons. Their bows were made from laminated wood and bullhorn bonded with adhesives. In 1500-1700 A.D., famous furniture makers (Chippendale and Duncan Phyfe) used adhesives to construct their furniture, furniture that is still functional and treasured.

It was not until 1750 that the first commercial glue manufacturing plant was started. It was in Holland, manufacturing animal glue from hides. In that same year the first glue patent was issued in Britain for glue made from fish. Other patents were issued almost immediately for glues using animal hides, bones, starch, natural rubber and milk protein.

The industrial revolution brought about a virtual explosion of research and development in the adhesive market. In the early 1900's and through the 1940's, new plastics and rubber compounds were developed. Although adhesives have existed for about 6,000 years, most of the technology of adhesives has been developed in the last 100 years.

From the artists' standpoint, some of the more basic and simple adhesives are still the best. Bookbinders and creative paper artists use natural starch adhesives derived from grains such as rice, wheat, corn and potatoes as acid-free binding for paper to paper.

Starch is also used today in the manufacture of corrugated boxes, paper bags and wallpaper paste. Fabric manufacturing companies use starch as sizing in their textiles, and laundry companies use common starch in your shirts and jeans. So even though there are more complicated processes, simple is sometimes still the best.

Epoxies are complex chemical compounds that react as a two-part solution to form very hard and strong adhesives. Synthetic resins are the basis of these glues. When combined with a hardener (or catalyst) the resulting epoxy is impact resistant and flexible, making it very useful. This compound can also be combined with silica, clay, metal powders and fibers for further reinforcement and strength.

Hot-melt adhesives are polymers that are strong and solid at room temperature but become very liquid at elevated temperatures. It was not until the 1960's that temperature-reactive adhesives came into heavy use and availability. The primary industrial uses today include packaging and boxing everything from cereals and laundry detergent to frozen food and beer cartons. Hot melts are also used by the crafter and the home repairperson for fast, efficient repairs around the home.

Super space age adhesives include those made of polymer, silicone, and methacrylates (like acrylics). Cyanoacrylate (superglue) was discovered by accident at Eastman Chemical Company. The sticky residue, first thought to be a mistake, proved a nuisance when it accidentally glued microscope slides together. With further development, it was found to have exceptionally fast and strong capabilities.

Art materials that can be used as adhesives include nearly any of the acrylic products from paints to mediums to gels. Experimentation will help you to select the proper viscosity and "open time" for the projects you enjoy. Mediums and gels are great for attaching dimensional add-ons to your canvas and art panel paintings. Paper artists use mediums and paints to layer thin textures onto the surfaces of their handmade specialty papers.

Other products that are used by artists in their creative work include mucilage (used in printmaking to fill and block silkscreen fabric), glue sticks for quick and either temporary or permanent paper-to-paper attachments and archival polymer glues for card makers and book artists.

Note: Artists and craftspeople often use office quality materials in their work. For long-lasting strength, as well as the archival preservation of that art, it is unwise to use tapes and glues designed for non-art purposes. They do not last, often discolor and in time can destroy fine art by creating holes and perforations.

Tips for the Beginning Airbrusher

In many cases the beginning airbrusher is an accomplished artist accustomed to working in acrylics on canvas or automotive paint on metal surfaces or possibly ceramic glaze on pottery, for example. Because he already knows how to work with particular materials doesn't mean that he should use them while learning the basics of airbrush technique. A common error made by many new students during the learning process involves the selection of compatible materials (mediums, surfaces, stencil material).

It's best to start out with pre-reduced paint (such as Com-Art Airbrush Colors) and low-tack frisket film (such as FRISK) and to work on a durable sheet of paper (such as Strathmore 300 Series).

Mediums - Airbrush colors, inks and dyes are available in a consistency that is specially formulated for spraying with no need for further reduction, so the beginner should select one of these three. By doing so, you won't have to be concerned with paint reduction or clogging of the airbrush from paint that is too thick, which means less frustration and more time to practice. However, be aware that even low viscosity inks, dyes and airbrush colors that are left to dry in the airbrush will cause clogging. So be sure to flush out the airbrush with airbrush cleaner designed for water-soluble paints. And because all the recommended mediums for beginners are water soluble, they are easy to clean up and low in toxicity.

To clean, first spray the remaining medium through the airbrush until the paint reservoir is empty. Then pour the cleaner into the paint reservoir, which, depending on the style of the airbrush, could be a jar, color cup, or funnel. Spray cleaner through until all the paint is removed. Note that this process may require repeating for thorough cleaning.

Stencil Material - Frisket film is the most utilized stencil material in airbrush technique and is a self-adhering transparent film that is applied to the work surface. It is available in both sheets and larger rolls, with sheets adequate for the learning process. Two problems can arise when working with frisket film: (1) Because it contains adhesive, it is not compatible with all paper surfaces. When removed from paper, there is a possibility of tearing the surface, so the beginner should work on a durable sheet of paper. (2) Frisket is usually cut directly on the work surface and the beginner sometimes tends to use too much pressure, thus scoring the surface of the artwork in addition to the stencil. So practice cutting frisket film with a very sharp blade--which should be replaced often--and do not press down hard with the stencil knife. After a few attempts, cutting stencils with a "light hand" will come naturally. Also, because frisket film contains adhesive, do not leave it on the work surface too long. Once exposed to air, it tends to dry out and may become difficult or impossible to remove over time.

Surface - Paper is the appropriate surface to use when learning to airbrush. But it, too, can present problems if it does not suit the technique. The paper surface must be compatible with the frisket film, and the paper should have at least 50% rag content in order to eliminate tearing or picking upon removal of the film. Be sure to first test the frisket film on the paper.

The thickness of the paper is also important and should be at least 2-ply and 130 lb. The paper can be either hot (smooth) or cold (textured) press. You do not want the fluid to cause the paper to buckle, which will, in turn, distort the airbrush spray. Paper should also be extremely white. In airbrush technique, the artist utilizes the white of the paper for highlights and to control the lights and darks in paintings.

By using compatible materials in the learning process, you will eliminate much frustration and allow yourself to concentrate on the handling of the airbrush. Getting started in the right direction will help insure your satisfaction with airbrush technique as well as its continued use in applications in which you are proficient.

Airbrush Workshops Scheduled

ARTtalk/ARTtalk.com have announced a new date for airbrush workshops. Basic Airbrush Techniques and Intermediate Airbrush Techniques will be offered on Saturday, March 27, at the Bulldog Studios in Beacon, NY (60 miles north of New York City and home to DIA:Beacon). Instructor is Robert Paschal, MFA, and seating is limited. For further information, see www.arttalk.com/workshop/workshop.htm.

Capital Campaign Announced--Dia Art Foundation has announced the next phase of its capital campaign, with plans to raise $50 million, including $30 million for the renovation and endowment of DIA:Chelsea, the site of Dia's New York City exhibition program, and $20 million to bolster current endowments for DIA:Beacon and Dia's long-term projects. Dia:Chelsea is closed for renovation until 2006. (When visiting Dia's distinguished collection of contemporary art in Beacon, visit Fountain Square Antiques at 18 E. Main St. for a fine selection of art and antiques.)

New Standard Achieved--The ASTM process for a lightfastness standard for colored pencil began ten years ago. With the continuous involvement of the Colored Pencil Society of America (CPSA), research has culminated in the 2003 writing of ASTM D6901--Standard Specification for Artists' Colored Pencils. When companies comply with this brand new lightfast standard, colored pencils will be marked with Lightfastness I and II symbols, allowing artists to choose lightfast colors. Note that compliance is not mandatory.

Grants Soon Available--The Creative Capital Foundation will accept proposals for its 2004-5 grant cycle supporting work in the visual arts and film/video in the spring. Inquiry Forms will be available Feb. 16 on the foundation's website: www.creative-capital.org. The deadline for completed forms is March 15.

Prize Winner Announced--The winner of Britain's prestigious Turner Prize for contemporary art is Grayson Perry. The artist, who decorates ceramic vases with sometimes-controversial images and texts, received nearly $35,000.

Restoration Planned--The Federal government has awarded a $250,000 grant to complete ongoing restoration of Olana, the home of renowned landscape painter Frederic Church. The funding will restore six chimneys and the studio tower (1888), and Olana will match the grant.

NEA News--The National Endowment for the Arts has announced the awarding of 86 grants totaling $860,000 through the agency's Challenge America: Access to the Arts Fast Track Review grants. Organizations in 39 states and the District of Columbia will each receive $10,000 for projects that use the arts to address key community concerns.

Exhibitions:

Athens, GA -- Georgia Museum of Art -- Armin Landeck (1905-1984) is a major retrospective of prints that also features drawings, paintings and books illustrated by the American artist throughout his lengthy artistic career. In the 1930's Landeck joined forces with Martin Lewis to open the School of Printmakers in George Miller's 14th St. Studio in New York. Landeck's views of New York are among some of his most famous images. Through Feb. 8.

Dallas, TX -- Dallas Museum of Art -- Passion for Art: 100 Treasures 100 Years features one hundred of the greatest treasures from the museum's collections in celebration of its centennial. The visitor will encounter themes that explore ideas, forms and functions that cut across time and cultures: Landscapes, Geometry, Body, Mask, At Home, Machine, Luxury, Music and Dance, Mortality, Cosmos and Transcendence. Through March 14.

SIGN UP - FREE ARTtalk e-Newsletter©
Search all of ARTtalk!!

Copyright ARTtalk Vol. 14 No. 3 -- January 2004