March -- Youth Art Month

Youth Art Month is an annual observance each March to emphasize the value of art education for all children and to encourage support for quality school art programs. For more information or to obtain a free booklet of ideas on celebrating Youth Art Month, contact The Council for Art Education, Inc., P.O. Box 479, Hanson, MA 02341-0479. Call 781-293-4100. E-mail: sarahs@acminet.org.

Art Equipment

Projection Devices for the Artist or Craftsperson

For centuries, artists have used a variety of means to project images to aid in the capture of subjects. In the 1600's, for instance, artists began to employ the camera obscura, a primitive box/lens combination that helped them capture very precise likenesses. Today our choices are wide and the use of projection machines can be applied to a variety of artistic applications.

As "start-up" quality or for artists who work in small format, several manufacturers offer simple units that enlarge and project small images like photographs. This type of equipment is usually illuminated by a conventional incandescent light bulb, generally from 60 to 100 watts. Although this style of projector is not very powerful (the image is not overly bright), if used in controlled environments, most offer a very inexpensive way to transfer images to the work surface.

The operation is very easy and straightforward. The selected picture is placed beneath the unit, illuminated by a bulb, and then reflected through the lens and onto the canvas, wall, etc. The distance between the projection unit and the drawing surface usually dictates the projected image size. To facilitate the use of larger masters, illustrations can be projected in sections. This is easily done by first drawing a grid over the master, dividing it into segments the size of the viewing area of the projector. Use the grid lines to position the image for exact match of sections.

There are projectors available in a wide range of costs, and features can help with selection. Those features include top-loading screens rather than bottom access, floor and table stands, and more powerful halogen lamps or photo quality bulbs affording brighter images. Some units offer larger fields of image capture, a few as large as 10" x 10" and 8«" x 11". Size of projected illumination can range from 4X to 1500X depending on the unit and application selected. There is one Gagne model, the Tracemaster Deluxe that has a high quality five-element lens. It's capable of projecting very fine details, even those with low contrast.

Several models can project slides as well as opaque images. Reductions up to 70% are also possible. This function can be useful in many art and craft applications. It is usually achieved by removing and then reversing the lens position.

Some artists and craftspersons never explore the options and versatility of projectors. These can be very effective as time and labor-saving tools, given the fact that they eliminate the task of scale, size and proportion interpretation by the artist. Rather than draw the image, simply use a projector to capture it and immediately transfer it to the wall or canvas or wherever desired. All that remains is the linear delineation of the subject and the actual application of art technique.

Crafters are often unversed and uninterested in drawing skills and struggle with shape and subject likenesses. Any projection system would be a boon to their success because drawing is eliminated. Simply insert a picture into the viewing area of the unit, project the image and copy it (perfectly) onto your project. No time is invested unnecessarily, and there's one less obstacle in the way of unbridled creativity.

Projection units are especially useful to muralists or artists who work in large scale because of the physical size of their works. Small drawings or initial sketches can be enlarged onto the large work surface and copied. When this initial step of image transfer is eliminated, time and energy spent on manual transfer can be applied to the completion of the project. More work can be done in a much smaller window of time, and this often translates to more income or at least more down time.

Artists who demand stark realism in their work and who can work from slide imagery will benefit immeasurably from the use of slide reproduction and enlargement. Rather than invest time in drawing an original scene, simply project a slide onto the chosen surface and then copy it. Many hours of time can be saved, especially on large works, and all detail is depicted. Watercolorists can actually paint their works while the image is projected onto the paper. Sharp edges and clear shapes can be very easily captured in this manner. There are no pencil lines needed, so the end result is one of extreme clarity and startling craftsmanship.

There are artists, of course, who consider the use of any mechanical apparatus a cop-out or feel somehow it is like cheating. But if you are looking for a way to cut time from your work schedule, thereby enabling you to create a higher volume of quality art, projection devices offer many ways to assist you. Also consider that projection devices make it possible to paint on any surface - walls, ceilings, and the sides of vans, desktop drawing or easel painting.

Somewhere in the varied selections is a unit that fits the need of nearly any artist or craftsperson. Retail ranges from around $20 for a very simple, light bulb unit to around $450 for a deluxe large-format model. Also available are high quality light tables and tracing devices, evenly illuminated for fast, comfortable tracing of designs. Many sizes are available in a wide price range.

Most retail stores have both types of units set up so you can see how they are used and what model might best suit your needs. Explore the furniture department of an art supply center soon and test-drive a projector/enlarger/decreaser or explore www.gagneinc.com and www.artograph.com.

Easter Scrapbooking

In celebration of the special occasion of Easter, you may want to try some fresh ideas as you record in your scrapbook. The colors of the season add a new feel to pages, and the gatherings that families and friends experience are great sources of photographs, mementos and other memorabilia. In the next few paragraphs, ideas will be shared that might help you achieve new looks and have lots of fun in the process.

One of the fastest ways to create the look and feel of Easter is to use classic egg shapes in your layout and design. These shapes might be cutouts from specialty papers with rich textures and neat colors. Egg shapes also make great windows behind which photos, tickets, menus and the like might be displayed. One source for different shapes might be stencils made of heavy-duty stencil plastic. Another is to visit a local framing shop and ask if it is possible for them to save the center fall-outs from the oval mat openings they cut. These mat scraps then become your "templates," which are heavy duty and long-lived.

Ways you might use an oval shape is to cut images using the outer edges of the templates set over the portion of say, a photo. Lay the photo on a cutting mat and carefully cut around the oval shaped mat scrap using a sharp blade such as a stencil knife. Use a larger oval shape to cut decorative paper to act as a background for the photo or to create a drawn-on frame around the image.

Creating original egg-shaped stencils in a variety of designs is easy to do. Buy special stencil plastic sheets or create them using stencil paper or even heavy cardstock. You can either use the inside of the oval shape for a sharply defined egg look or stencil around the fall out, replicating a glowing aura around a solid oval area on the scrapbook page. Pounce with a sponge brush or use a dry bristle brush to stipple colors in the desired areas.

There are always stickers and stamps you might select to design personal one-of-a-kind combinations. Some of the best ways to use stickers is as augmentation to the other art designs you create. They can add a little zing and draw the eye to specific areas. Stamps are great if you are a bit hesitant to do original drawings, and there's a stamp image for every need, including many with holiday motifs.

Creation of "carved" egg designs can be done with richly colored papers. Simply use a sharp blade to incise fine shapes and place them on the page along with other treasures and photographs. Carved frames look great around photos, and when colors are used that are reminiscent of the holiday, they coordinate the entire presentation.

Colored Pencil Society of America
Twelfth Annual International Exhibition
Jay Etkin Gallery, Memphis, TN
July 17 - August 9

Eligibility is open to all artists 18 years or older, who may submit one to two 35mm slides, but only one artwork per artist can be selected into the exhibition. Colored pencil only; inclusion of any other media will disqualify entries. Juror: Kaywin Feldman, Director of the Memphis Brooks Museum of Art. Many levels of awards and honors will be presented. 901-861-0225; or see www.cpsa.org. Deadline: March 31.

Reflections of Nature
Contemporary Sculpture at Chesterwood 2004
Stockbridge, MA
June 25 - October 11

Chesterwood joins dozens of conservation and cultural organizations in the Housatonic River Festival to celebrate the river. Sculptures and proposals for sculptures in a wide range of styles, materials and forms are encouraged. Figurative and non-figurative art as well as site-specific installations will be considered. Art that embraces the Housatonic River, its watershed, flora, fauna, history and future will be considered. Co-Jurors: Elliot Offner and Neil Estern. 413-298-3579, X210; or see www.chesterwood.org or www.housatonicriversummer.org. Deadline: April 2.

Courage Cards Art Search

Courage Cards has announced a nationwide art search to find artwork for its 2005 original fine art holiday greeting card collection. All artists, particularly those with a disability, are encouraged to submit original fine art that is suitable for holiday greeting cards as well as wintertime scenes of major cities and world peace designs. Between 30 and 40 images will be selected on the basis of artistic merit, suitability of subject matter and color. In addition to national exposure from the distribution of catalogs, a licensing fee will be paid for each artwork selected. Proceeds from the sale of cards and gifts benefit Courage Center, a national not-for-profit rehabilitation and resource center. Entries will be accepted through May. 1-888-413-3323; www.couragecards.org.

Sgraffito

By definition, sgraffito is from an Italian word meaning "to scratch." It is a technique where a top layer of color is scratched to reveal a color beneath. Sgraffito is used in the production of pottery and in painting, printmaking, and arts and crafts techniques. It is easy to do, can be done with very simple tools, and yields exciting results with very little investment of effort. This makes it an exceptional addition to any artist or craftsman's repertoire of techniques.

In pottery, sgraffito can be done in two different methods. First is to etch or scratch through an evenly applied, dry surfaced glaze that does not move during firing. The scratching can be done with a knife, needle tool, sharp bamboo scriber or handmade tool for this purpose. If the glaze is fluid, it will distort or completely obliterate the design. The second method is to carve through metallic oxide washes. This means that a light-colored clay body will show through a dark surface wash. For this technique, the tool must be a sharpened metal carving tool, since some of the glaze must be removed to reveal the clay body beneath.

In painting, sgraffito can be done a number of ways. In oil and acrylic paintings, many artists use the sharp tip of a paintbrush to scratch through the wet paint to a dry layer beneath or to the gesso surface below. In watercolor, the sgraffito techniques are a bit different - they are reverse sgraffito. They create dark lines within a wet painted area rather than light lines within a dark field. The lines can be drawn with any instrument that has a dull point (paintbrush tip is good). Once the scribes are made, the watercolor collects in the disturbed surface fibers to form legible, sharp lines--great for detail work and textural additions to abstract and impressionistic works.

Printmakers can make use of sgraffito, too. Monoprints can often be enhanced with scribe marks through the paints on the plate just prior to printing. These marks can be used to depict details, to create textures or to connect to underpainted areas on the print. Again, the methods can be experimented with to form "trademark" additions and to create a very personal look.

Arts and crafts projects can sometimes be enhanced with the addition of lines cut through wet painted areas. One method used to mimic bamboo is to "carve" the lengths and round rings of the bamboo through wet paint using a flexible rubber spatula or paint-carving tool. Other shapes such as floral blossoms, leaves and stems can be carved in this way as well.

Discover the fun of scratching, carving and etching sgraffito in your next work. Use it to depict detail, create textures or delineate designs. The process is easy and the results are dynamic.

New Carrying Case, Rotary Blades and Cutting Mat from Alto's

The new durable and padded Carrying Case from Alto's is perfect for transporting your cutting mats, rulers, books, lots of fabric and other art projects. It measures 30 x 20 x 2 inches, has protected edges, a padded carrying handle with reinforced stitching and rivets, an adjustable shoulder strap, inside pockets for supplies, heavy-duty zipper, and an embroidered logo.

Made from the same tough material as their traditional green mat, Alto's new neutral cream color Cutting Mat won't distract from your critical color selections. There's a "memory" surface on the front side for use with rotary cutters and razor knives; and there's a durable "memory" working surface on the reverse side for writing, drawing, cutting and all your creative craft projects. Alto's 26 x 18-inch cutting mats are very long lasting with an easy-to--read 1" grid, rulers on four sides, and 45- and 60-degree reference lines.

Alto's new Rotary Cutter Blades are super sharp, fit cutters that take 45mm blades, and come 10 per pack. A sharp blade extends the life of your cutting mat, so change it regularly. See www.altosezmat.com.

New Light Box from Artograph

The new GloBox from Artograph is the perfect art and craft light box for crafters on the go! It features a conveniently slanted 5 x 9 inch tracing surface and long-life fluorescent lamp for hours of use with either the included AC adapter or optional battery operation. The unique multi-purpose palette and storage compartment keep your crafting tools right at your fingertips. The GloBox is a fast and easy way to trace designs, patterns, stencils, photos and lettering for creating custom cards, embossing, stenciling, scrapbooking, cartooning and calligraphy. Recommended for ages 12 and up, with a five-year warranty. See www.artograph.com.

New Compressor from Silentaire

The new Silentaire Technology 20-A Compressor features a line pressure gauge, line pressure regulator, moisture trap, safety valve, air-intake filter, and a convenient carrying handle. It is 1/5 HP, has a 0.4 gallon tank, produces 0.7 cfm, and produces 55-85 psi. The 20-A will operate one or two airbrushes, is virtually soundless and totally automatic! www.silentaire.com.

New Digital Photo Cards from Strathmore

At last, an inkjet printable card in a traditional greeting card size! No more oversize half-fold or undersize quarter-fold cards, but a standard 5 x 7 inch card, just like the store-bought version--new from Strathmore. The Digital Photo Cards are specially coated both outside and inside for beautiful color reproduction on any inkjet printer. They are available in Canvas, Florentine, Parchment, Pearl, Glossy, and Matte and come 10 cards/envelopes per package. www.strathmoreartist.com.

Art Boards New Online Tips Page

A new Art Boards Tips Page is now located on the Tips Page of ARTtalk.com. New tips will be posted periodically, so visit often. This may be accessed at http://www.arttalk.com/Art%20Boards%20Tips%20Page.htm.

Arshile Gorky (1904-1948)

Arshile Gorky is among those considered tragic heroes in art history. He was born Vosdanik Adoian in the village of Khorkom, in the province of Van, Armenia on April 15, 1904. When Turkey invaded Armenia in 1915, Vosdanik and his family experienced the genocide inflicted upon that country. This and the loss of his homeland affected him for the rest of his life.

Gorky and his sister Vartoosh fled the oppression, when relatives in Massachusetts helped them to leave Armenia. They arrived on Ellis Island in February 1920 to begin their new life. Later they joined his father, Stegrag Adoian, who had come to America in search of work and settled in Providence, Rhode Island. Vosdanik finally settled in Watertown with his sister and soon began to teach at the New School of Design in Boston. In 1925 he moved to New York City and changed his name to Arshile Gorky. Initially, he entered the Grand Central School of Art in NYC, but soon became an instructor of drawing. He remained on the faculty until 1931.

The feeling of abandonment Vosdanik experienced when his father left the family alone stayed with him his entire life. In addition, his love for his mother, whom he credits with his interest and exposure to art and architecture, was a great influence in his work. Several portraits involve her likeness and display strong sensitivity, even one abstract he called "How My Mother's Apron Unfolds In My Life." Living on the brink of starvation in Armenia and fleeing the horrors of the Turkish decree to exterminate his countrymen had caused the very young Vosdanik to take unusual occupations to stay alive: carpenter, printer's assistant, and carver of women's combs out of bull and ox horns. In 1919 when Vosdanik was only 14, his beloved mother died of starvation in his arms. This image and his loss haunted him every day.

Gorky was mostly self-educated in art, having had only a few lessons in the early 1920's from a woman who told him that an Armenian could not be a painter. Russians were considered chic, but Armenians were associated with starving refugees and would never be successful. Because of this encounter, Gorky created an imaginary past, which often included him as a Georgian prince. This was not only to establish him in the eyes of the art-buying public, but also to erase his actual life experiences. Ironically, when he could have any choice of names he selected "Gorky," which means "the bitter one" in Russian.

Throughout the 1920's, Gorky's paintings and drawings were most influenced by Georges Braque, Matisse, Miro, Paul Cézanne and, above all, Pablo Picasso. His style, full of vivid color and expressionistic imagery, was 10 years ahead of the abstract movement in the U.S. The works display Gorky's sense of longing and of lost roots/homeland. He always felt he was an outsider in America. A man of great emotional depth, his work shows the intensity and emotion he was unable to experience in his daily life.

Gorky's big break came with a show of works to be exhibited at the Museum of Modern Art in NYC. The "Exhibition of Works by 46 Painters and Sculptors Under 35 Years of Age" was Gorky's first show. Three still lifes were included in this first public exhibit that was followed by several others.

Gorky was one of the first artists to enlist in the Public Works of Art Project in 1933, formed to give artists work during the Depression. Much of the art created showed a social realist influence, and many of the WPA murals still exist throughout the U.S. The thought of art for the masses and that artists could be "cultural laborers" frustrated Gorky, who believed that art transcended politics. He once declared the WPA projects as "poor art for poor people" but out of need was forced to apply to the Works Progress Administration. He was granted a project that was centered on the theme of aviation and was immersed until 1939 when he left the WPA program.

Although Gorky was both recognized as a great artist and highly praised by his peers, he suffered great financial unrest. He never reaped the rewards of his efforts until much later when a few collectors were not reluctant to buy the work of "newcomers." Gorky often sold paintings and drawings for as little as $5 out of desperation, using the money to buy more supplies. He always worked hard with both his art and his personal life, but with little reward. He searched for the perfect woman, failing at love three times. Success came when Gorky was 40 and Agnes Magruder, a wealthy American socialite, was but 20. When they married, he started the most productive time of his career, finally coming into his own as an artist. Most of the work done at this time centered on a country home in Connecticut.

The end of this idyllic life came suddenly. Five years of marriage and two daughters could not offset the tragedy of January 1946. Gorky's studio, a converted barn on the property in Connecticut, burned down, taking with it most of the paintings, drawings and books Gorky owned. One month later he was diagnosed with colon cancer and underwent a colostomy, which left him both handicapped and mentally distraught. The strain destroyed his marriage and was added to by a near-fatal auto accident in which he sustained horrible injuries.

Though his life was full of torment and anguish, for Gorky, art was a necessity and he put his paintings above all else. Recognized as a leader of the modern art surge in America, he never realized his personal expectations or ambitions. His past haunted him and the future he had depended upon to pull him through never materialized. With all of his physical problems, a failed marriage and the lifelong feeling of abandonment, Gorky isolated himself at the farm in Connecticut; and, tragically, on July 21, 1948, he hung himself.

Airbrushing at the HIA Show

The 2004 HIA (Hobby Industry Association) Convention and Trade Show was held in Dallas, TX, in February and was attended by thousands of arts and crafts retailers, distributors, designers, and teachers. As indicated by the show, it's amazing how many uses there are for the airbrush in the hobby industry. From painting dollhouse furniture to decorative stenciling, silk painting and scrapbooking, the unique signature of airbrushing is apparent.

For the first time, the Iwata-Medea Airbrush Co. offered an airbrush scrapbooking workshop to attendees. This sold-out class was taught by artist/educator Tom Grossman and was well received. In just a two-hour period, Grossman was able to take novice students through the completion of an airbrush rendering of a beach scene with total success, proving how easy it is to learn airbrushing.

For the scrapbooker, the airbrush is the perfect tool. Because it is usually used in conjunction with stencils, many techniques can quickly be mastered. One neat technique is a drop shadow, which could be the illusionist shadow that is cast from a photo (or other memorabilia) onto the page so that the photo appears to levitate. This can be done simply by turning the photo facedown on the scrapbook page (using it as an exact size mask) and lightly airbrushing blue paint, for example, along one side and the bottom. Flip the photo over and glue it down inside the "shadow." Voila, it appears to float on the page! Or use lace as a stencil for easy enhancement by laying it or a paper doily on the page and airbrushing through it to develop an intricate pattern that mimics the design. Or you may wish to develop an entire background scene such as the beach scene in Grossman's class. This can be achieved by using handheld stencils and found objects to develop the sun, palm trees, water, etc.

For the person making arts and crafts, the teacher instructing it or the company utilizing airbrush in their production, the airbrush is simply a small and precise spray tool. If necessary, any type of paint can be reduced to render it compatible for spraying through an airbrush.

Look soon for the new Iwata-Medea Scrapbooking Kit! We'll have more on this in our next issue.

Airbrush Newsletter/Workshops

Look for the new issue of AirbrushTalk at www.airbrushtalk.com around March 15th--and sign up for your FREE subscription. And see www.arttalk.com/workshop/workshop.htm for information on ARTtalk's next Basic/Intermediate (March 27) and Advanced (April 24-25) Airbrush Workshops. Seating is limited, so sign up now!

Rare Opportunity Ends Early-The Metropolitan Museum of Art in Manhattan had announced the eagerly awaited reopening of the Old Kingdom tombs of Perneb and Raemkai, on temporary view without the glass panels that will be installed later this spring. However, the unanticipated throngs of visitors increased the humidity to unacceptable levels and the tombs have been closed early. They will reopen permanently to the public in May.

Collection Sold Privately--Sotheby's has announced that the Forbes Collection of Faberge, scheduled for sale at auction in April, has been sold privately to a prominent Russian industrialist who plans to return the eggs to Russia. The amount of the sale was not disclosed but was more than $90 million, the minimum auction estimate.

Budget Increase Requested--President Bush is requesting an $18 million budget increase for the National Endowment for the Arts to fund a major new initiative, American Masterpieces: Three Centuries of Artistic Genius. This three-year program will combine arts presentations with education programming to introduce Americans to the best of their cultural and artistic legacy and will reach large and small communities in all 50 states. See www.nea.gov.

New Director Appointed--The Art Institute of Chicago has announced the appointment of James Cuno to director and president. Cuno is the former director of the Courtauld Institute and Harvard Art Museum.

Finalists Announced--The Solomon R. Guggenheim Foundation and HUGO BOSS AG have announced the shortlist for the fifth biennial Hugo Boss Prize 2004. The finalists are from Germany, Brazil, Netherlands, UK, Thailand and China. A publication featuring the work of all six finalists with accompanying essays will be published in June, and the winner will be selected and announced next fall.

Grant Awarded--The Andy Warhol Foundation for the Visual Arts has announced a 10-year $10 million grant to Creative Capital, a foundation providing grants and professional development support for individual artists. The gift will provide $1 million a year over the next nine years and an additional $1 million for cash reserves.

Exhibitions

The Menil Collection, Houston, TX -- Arshile Gorky--A Retrospective of Drawings opens on March 5 and presents the first comprehensive overview of the artist's works on paper. The exhibition brings together 110 important works from European and American collections, some of which are being shown publicly for the first time. Through May 9.

The Metropolitan Museum of Art, New York City -- Chuck Close Prints: Process and Collaborations is the first comprehensive survey of this American artist's groundbreaking innovations in the field of printmaking. Featured are approximately 100 prints, working proofs and objects (from 1972-2002) that document the creative ways in which the artist has reinterpreted the signature subject of his paintings and photographs--monumentally scaled images of the human head--into the artistic language of various print mediums. Through April 18.

Philadelphia Museum of Art, PA -- Manet and the Sea is the first show to explore the marine paintings of Edouard Manet and his contemporaries, including such Impressionists as Claude Monet, Renoir and Morisot. Included are approximately 100 objects--paintings, watercolors and drawings--from 60 public and private collections in the U.S. and abroad. For tickets: 215-235-7469 or visit www.philamuseum.org. Through May 31.

The J. Paul Getty Museum, Los Angeles, CA -- Window onto Spain: Drawings and Prints from Ribera to Goya explores Spanish draftsmanship from the mid-1500's to the early 1800's and brings together a strong collection of Spanish drawings and important prints by Jusepe de Ribera from the Grunwald Center for the Graphic Arts at the UCLA Hammer Museum. The drawings are by key Spanish artists and exemplify a variety of techniques and functions and include designs for paintings, prints and monumental sculpture. Through May 16.

New York, NY -- Whitney Museum of American Art -- The 2004 Biennial will open on March 11 and present works by 108 artists and collaborative groups. This 72nd biennial exhibition will remain on view in its entirety through May 30. The show will also include several site-specific outdoor works presented in collaboration with the Public Art Fund. Prominent artistic trends in new intergenerational work will be presented, and "evidence of an upsurge in drawing and painting will be clearly on view in the exhibition."

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Copyright ARTtalk Vol. 14 No. 5 -- March 2004