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Art Materials
Supplies for Back to SchoolAt the beginning of each school year there are supplies to be gathered. Art materials are some of the most varied and interesting to collect, thereby making you prepared for the upcoming exercises and instruction. Each grade level has different needs, and with the wide range of new products it is fun to scour the art supply shelves. Lower level art instruction is the most basic and elemental, but is the foundation for everything that follows. Most school districts post supply lists for every grade level. When these materials are brought in, they are stored in the classroom, ready for use on any given project. Pencils, both drawing graphite and colored leads, are among the basic supplies for beginning artists. They are not messy, provide great variety and open new windows of expression for the young and eager student. Crayons and markers are near the top of the list because they offer instant results on nearly any absorbent surface and can be transported and stored in their own packaging. Because of their neatness and ease of use, they encourage young creative minds to "do their own thing." When combined with manila paper or colored Kraft paper, they become the basis for many projects. Colored chalk is often included in the list of supplies and is treated much like pastel but is easier for youngsters to use (and is less messy). For more creative elementary level students, gel pastel pens and metallic markers on dark paper can offer dynamic design options. In the area of paints, tempera and pan watercolor sets are a great introduction to the process of painting. Often used is a higher grade of Kraft paper so that the paints will adhere but not soak through. When combined with pencil and marker drawings, both tempera and watercolor give a new dimension to early drawings. Safety scissors, glue sticks and a variety of brushes for painting are also items helpful to have on hand for art projects for elementary students. Middle and high school art projects jump to another level of expertise and thereby require more sophisticated materials. There are no community supply pools from which to pull materials. Each student is responsible for his/her tools and supplies for projects. While simple things like crayons, chalk and pencils can be used, more advanced applications for those basics are the norm. Everything from calligraphy and line drawings made with quill pens and indelible inks to simple sculptures of corrugated cardboard, clay, wire, wood or plaster are projects that many students may discover. The usual art items--like watercolors on specialty papers and acrylic paintings on canvas, canvas boards or illustration panels--are often included during the semester of art study.
Basic design in either middle or high school art classes might include three-dimensional projects that are often constructed from corrugated cardboard, mat board or foam board. These exercises mean that students will be gathering unusual inclusions for their projects and may even be using found objects to complement their constructions. Upon completion, the items may or may not be painted to further decorate projects. So a growing knowledge of material interaction is part of art education. High school art classes include specialty projects that ease them into the art programs of college. Pottery, woodcarving, wire sculpture and such classes bring a new realm to the classroom. Actually building/constructing a project with only minimal instruction gives the student an opportunity to show his/her personality. At this stage, tote bags are often filled with unusual objects that can be employed in new ways. Photography classes are a relatively new addition to the high school curriculum. Photography papers and a camera get students ready to use their artistic eyes to capture those unusual snapshots or unique perspectives from nature, architecture and more. Schools that offer photography usually have a darkroom on campus so that the final steps of photographic processing can be included in the sessions. Simple black and white photographic chemicals are not dangerous when handled properly. Also, computer manipulation of digital photographic images is the rage at schools now. Everyone can be a photographer and have great results after learning how to manipulate works through computer photo programs. Carrying all these materials around usually necessitates some sort of carryall. Portfolios are wonderful for transporting drawing and painting papers, panels and illustration boards. Tote bags are perfect for moving oddly shaped items, small collections of paint jars and the like. Painting boxes are a very good way to store and transport your collection of paint tubes and brushes. College level is where things really get interesting. Whatever a student can dream, whatever she/he decides to do with her/his art, is possible. Gathering materials for projects can mean visiting recycling and wrecking yards for metal parts for a sculpture or a stone yard for sculpture bases or other rocks to use. Other times, basic art materials are put to new uses. Combining wet and dry media or space age polymers and pigments might be on the agenda. So, while basic materials are always in demand for college classes, those very unusual things might be, too. Keep an eye open for different textures, new ways to look at old materials and new materials that enter the market. College level classes often create an atmosphere that stretches the mind and gives the students great latitude for self-expression. Whether you carry them in a special box, a tote bag or a recycled grocery bag, gathering art materials is fun and part of the creative process. Having what you need when you need it is what is important. So go shopping and enjoy!
Art Methods & Materials Show 2004 American Artist magazine presents the 9th annual AM&M Show where artists at all levels can learn new skills, stock up on art supplies, watch free demonstrations, try out new art products/tools, and participate in the annual mural by painting a square on the world's largest canvas. More than 200 workshops/lectures/demonstrations will be offered in every medium and subject beginning on October 14. The exhibit will be open Oct. 15 17, and attendees can visit more than 80 art materials manufacturers. A special event is "Plein Air Landscape Painting" with California artist Frank M. Serrano. Hurry to enter the 2004 Juried Exhibition (by slides only) with a deadline of Sept. 24. For more information or to register, call 1-888-999-3973 or visit www.artmethods.com. Don't miss this opportunity! "Botanical Inspirations and Explorations" All artists in the U.S. are invited to enter this first annual national juried showcase of original artworks inspired by botanical images and influences. Accepted media include drawing, pastel, painting, printmaking, mixed media, fiber and photography. Call 727-582-2100 or download entry form at www.flbg.org. CPSA 2005 Explore This! All artists 18 years and older are eligible regardless of geographic location. For 2-D artwork, at least 75% of the medium applied in the final layer must be colored pencil pigment. Artists are permitted to use other media such as watercolor, acrylic, oil, etc. Collage, relief, etc., are also allowed. For 3-D artwork, all surfaces are acceptable and at least 75% of the medium applied in the final layer must be colored pencil pigment. Judge: D. Scott Atkinson. For inquiries, call 901-861-0225; see www.cpsa.org to download a prospectus. 18th Parkside National Small Print Exhibition Open to all artists residing in the U.S., all original prints (except photos) completed in the past two years are eligible. Print and mat or support cannot exceed 18" in any dimension. Entries will be judged from the actual work. Juror: Karen Kunc. Call 262-595-2581 or download entry forms at www.uwp.edu/academic/art/exhibits.html.
Englewood Arts National Juried Art Show 2005 This exhibition is open to all artists residing in the U.S. Entries must be original oil, watercolor, egg tempera, pastel, acrylic, mixed media or graphics work by the exhibiting artist. All 3-D work is limited to 3'x3'x3' and must weigh less than 100 lb. Download prospectus/entry form at www.moaonline.org. 15th Annual "Midwest Winter" Open to all artists over the age of 18, original works should draw inspiration from the elements of winter, i.e., how the season affects us as well as its challenges, beauty, and activities. Interpretations of the season may be broad and entries are not limited to representational works. Photography, painting, drawing, printmaking, papermaking, sculpture, fibers, textiles, ceramics, metals, glass, wood and mixed media are eligible. Call 715-842-4545 or download prospectus at www.cvawausau.org. Mixed Media Quilt Artists from the U.S., Mexico and Canada are eligible to submit slides of works that explore modern interpretations of quilting through contemporary techniques, themes and materials. Submissions should incorporate the layering or quilting of materials in any medium. Jurors: Ed Johnetta Miller and Jan Baker. Info: 203-453-5947; or see www.handcraftcenter.org to download entry form.
The Hudson River SchoolWell recognized as the first native school of American Art, the Hudson River School dates from the 1820's to the 1870's and was a loosely organized group of painters who took as their subject the splendor of nature. The landscape around the New York Hudson River Valley was elevated to a respected and appreciated subject for painters of the time. Momentous change was underway in America, including social, political and economic upheaval that to this day has not been eclipsed. Along with a surge in public awareness of the country came the artists of the Hudson River School and their unique and inspiring works. Their paintings captured the language of great hopefulness and celebration of the American experience. Their work glowed with light, implied promise and a style that is unique to this fifty-year period. The original and significant movement now called the Hudson River School was responsible for the birth of painting the American landscape. Nature became the backdrop of the works of human beings, and the paintings done by the Hudson River School artists still reflect that emotion. Through the works of artists like Thomas Cole and Frederic Church, an awakening of people's awareness of the importance of nature took place. Cole is given credit for the formation of the loose knit organization of painters. In 1825 Thomas Cole was "discovered" when his early works were purchased by fellow artists like William Dunlap and Asher Durand. His popularity stimulated an overall interest in art, and this led him to establish the Hudson River School. It was the first movement formed independently from Great Britain, and a new, large wealthy class made art promotion possible at this time. While observing and recording the vast beauty of the area, the Hudson River School emphasized nature's importance with their special luminous style and instilled in the viewing public a fresh appreciation for their surroundings. The wild, untamed beauty of the American landscape differed from the European scenery with its pristine, near primal qualities. It was this wildness and freshness that The Hudson River School captured. Shafts of light pinpointing a segment of the landscape, near surrealistic grandeur and expert style made the paintings quite popular. A typical Hudson River School scene consists of a portion of pristine landscape extending into the far-off distance, and they often had tiny figures in the foreground. Heretofore, European style paintings had been popular, but they lacked the vibrancy and personality of the Hudson River School works. Along with the kindling of interest in nature by the public, the artists themselves were drawn into nature and were compelled to explore much of the wild, untamed western territories to record their images. It is through these paintings that many totally natural places were recorded before they were lost to industrial growth and population. So, while most of the art from the Hudson River School was of the New York river valley, not everything was. Frederic Church, Albert Bierstadt, and Thomas Moran painted the West, in Mexico, South America and the Mediterranean countries. Though they displayed different subjects than usually considered Hudson River School, they are included because the style is similar. The same luminescence and lighting that made this movement popular exists throughout the entire series of works. How unfortunate that the movement did not last! Around 1880 the public began to favor more contemporary works and Impressionism was on the rise. The late 19th century spelled the end to the Hudson River School, but it did not extinguish the ideals that the School set forth. What had begun as an informal association was America's first school of painting and the dominant landscape style until the Civil War. The Hudson River School was an extraordinary success. It brought about the awakening of the American public's awareness of its own country; it helped separate American artists and art from European dominance; and, through its attachment and reverence for nature and God, helped record a wild America that was soon lost. Not before or since has such a wide change and growth in American art taken place. For over five decades the Hudson River School shared the images and ideals with a thirsty public and, by doing so, created a sense of place enjoyed by artists and patrons alike. Over the years, many first- and second-generation artists practiced the discipline that was so popular. Many historic scenes were saved that might have otherwise been lost. So to measure the magnitude of impact of the Hudson River School is difficult. Visit websites to see some of the most famous images created by Thomas Cole and his fellow painters by searching under "Hudson River School+images." There are lots of sources to see many of the Hudson River School artists.
Inkjet Fabric Sheets from JacquardRupert Gibbon & Spider, Inc., manufacturer of Jacquard Products, has announced the new look of their Inkjet Fabric Sheets. The new packaging won Honorable Mention for Best Packaging at the National Art Materials Trade Association International Convention and Trade Show in May. The 8-1/2"x11" sheets come paper backed to easily run through a desktop inkjet printer. Easy to use, you just print, peel and dry. The cotton and silk packs are available in 10 or 30 sheets. The cotton is also available in an 8-1/2"x120" roll. You can use images from scanned photos, web pages, digital cameras, photo CDs, paint and draw programs, and clip art. Printed fabric can be used for appliqué, quilts, flags, T-shirts, banners and more. Jacquard Inkjet Fabric Sheets are hand washable, light fast, and soft and supple. Visit www.jacquardproducts.com. Canvas Board from FredrixThe new professional grade Cotton Duck and Belgian Linen Canvas Boards from Fredrix Artist Canvas are constructed throughout using the highest quality, non-acidic archival materials. The hardboard core will not warp or rot. Mounted with acid-free adhesive, the painting surface is the same Fredrix medium texture, 100% cotton duck or pure Belgian Linen that they use on their finest pre-stretched canvas. Both types are grounded with their proprietary formula of acrylic-titanium gesso primer, making the canvas boards truly archival. They are suitable for oil or acrylic painting. Best of all, they carry the Fredrix Archival Seal of Quality--your assurance that this product is indeed archival and will stand the test of time. Available from your retailer in six popular sizes: 8x10, 9x12, 11x14, 12x16, 16x20 and 18x24 inches. BooksPlace Made: Australian Print Workshop, edited by Roger Butler and Anne Virgo, celebrates the work produced at the APW and examines the involvement of Australian artists in the production of prints and their stylistic, technical, and political concerns. Established in 1981, the AWP has attracted many of Australia's leading artists on the basis of its reputation for collaborating with artists to produce printed images and its excellent support facilities. Paper, 200 pp., 182 illus., 51 in color; distributed in the U.S. by the University of Washington Press. In 14 Formulas for Painting Fabulous Landscapes, author Barbara Nuss shows artists how to simplify, arrange and refine what they see in the natural world to create a great painting. Fourteen chapters cover the core design formats for landscape paintings, where readers will find easy-to-follow exercises, thumbnail sketches, photos and other helpful tools. Hardcover, 144 pp., North Light Books.
A User-Friendly and Versatile MediumEven though acrylics were invented in the 1940's, they didn't become a widely accepted and practiced art material until the late 1960's. What they offered the artist was a faster drying, quicker responding material that was nearly impervious to moisture. If painted on the right substrate, an acrylic artwork can even be displayed outdoors. This and the wide range of premixed colors make acrylics a great boon to the creative person. While acrylics take many forms today, they are all generally similar in makeup. They contain some sort of water-based binder (often polymer) and pigment. The water in the binder evaporates rather quickly, leaving behind minute platelets of color bound tightly together and yielding rich permanent color. Acrylics can be used successfully on a wide range of materials including fabrics of all types, wood, primed metals, plaster, and primed drywall. Acrylics can be used straight from the tube and perform very much like oils, but with one very important difference. No solvents or highly dangerous (toxic) compounds are needed to work with and create using acrylics. Soap and water cleanup is all that is required, not only for the artist's hands but also his brushes, palette, water vessel and other items. And, because of their makeup, acrylics can be diluted with water or painting medium to a consistency very much like watercolor. Translucency that rivals watercolor is possible when working on paper if the paint is thinned appropriately. Water is used most frequently, but mediums from matte to high gloss can also be used. When the usual painting methods have been explored, it is time to dive head long into the other possibilities of acrylic paints. Because they are likely the most versatile materials artists can use, they have a wide spectrum of options. Adding substances to acrylic paint can create unique textures. Sand, for instance, is one of the most popular additions. It creates a gritty, finely textured material that is superb for base coating heavy paper or light illustration boards for pastel work or for watercolor/acrylic painting techniques. Other organics can also be added and help create a variety of results. Fine sawdust can be worked into acrylic with a bit of medium to make a crumbly texture, heavy sawdust can be helpful in making a chunky texture, and lengths of thread or lightweight string can be added for a fibrous texture. Even small snippets of fabric can be worked into paint, along with medium, to make a very unique texture. Pencil shavings from a handheld pencil sharpener create long ribbons of wood shavings and these can be added to paint, too. They give an organic feel to any color. Crushed leaves, tiny twigs or cut pine needles also add textures that are unobtainable from any other source. Paint rollers normally used for painting walls in homes can be very helpful when working on large scale canvases or doing murals. Half-length rollers are very good for backgrounds and for large scale blocking in of base colors and values. You can create original textures by using the same paint roller handle and rounded foam insulation rather than the paint roller. Carve into the foam to create designs that can be rolled across the canvas to create implied textures and unexpected patterns of color. Very imaginative designs can be made by carving with an X-Acto knife or other blade. They are fun to make, slip on and off the roller handle easily, and give you a fast and personal way to layer on acrylic. Plastic mastic application tools carve into wet acrylic and yield great patterns quickly. They often have handles and can be manipulated for less structured and even patterning. Be sure to move quickly when cutting through acrylic to a dry undercoat of paint or to bare canvas. Acrylics start drying immediately, but that is one of their endearing qualities. One seldom has to wait for them to dry; you just fly right on to the next step. You can quit anytime you want and pick it back up at a later time without mishap. Color blending with acrylics is often unnecessary. So many tones come already mixed and ready to go, straight from tube to canvas, that you have most of the work done for you. But, as in any other type of color creation, use of pure pigments to start your blending is wise. Higher quality artists' colors offer the strongest concentrations of pigment and are easiest to blend to create new colors. Student grade paints contain less pigment and are often extended and augmented so that they are no longer a good basis for blending. Craft paints are the bottom rung as far as pigment concentration. They are toned down with light and deepened with dark, and in that process they are blended to form nice colors for craft use. They are not, however, good for fine art applications because their pre-blending and toning is often compromised when mixed with other colors. Choose the color closest to what you want so that severe blending is unnecessary. Whether you use rich color right from the tube or create a personal palette, add texture materials or employ unusual tools and applications, acrylics offer an enormous spectrum of possibilities. When you want to paint on unusual base materials, acrylics offer great options. Try them and you'll fall in love!
Airbrush Q&A'sEach month ARTtalk and AirbrushTalk.com receive questions regarding airbrush equipment and techniques. Most questions are fundamental, and following is a selection of some of those most asked: What is an airbrush? Invented in 1878 for photo retouching and refined in the 1890's to the tool that we use today, the airbrush is a small air-operated tool that is used to apply paint and resembles and is held like a pen. How does it work? Compressed air is required to operate an airbrush, either with an air compressor or compressed CO2. The air, which is turned on by depressing the trigger of the airbrush, rushes through the brush and draws paint up into the air. These mix and exit the airbrush in a fine spray. The artist can regulate the airbrush to spray a small or large amount of paint. What type of airbrush is best for me? This depends on the desired application. Two types of airbrushes are available: internal mix and external mix. Internal mix is the most professional, produces the softest spray and is available in both single-action and dual-action models. These brushes are available with small color cups for close, delicate work (photo retouching, fingernail painting, illustration, etc.) or large jars for bigger and broader applications (murals, T-shirts, custom automotive graphics, etc.). Where a highly controllable spray is not required, the craftsperson, hobbyist and industrial worker utilize external mix airbrushes, which give a coarser spray. What surfaces can be airbrushed on? All surfaces can be airbrushed as long as the fluid being sprayed is compatible with the surface. All paints can be reduced to a consistency that is compatible with the airbrush; therefore, if there is a paint designed for a specific surface (e.g., artist acrylics on canvas or acrylic lacquer on a motorcycle tank), it can be thinned and sprayed through an airbrush. What is meant by frisketing? Frisketing is a stenciling process that utilizes frisket film, which is a transparent self-adhering material. It is used in both airbrush and watercolor techniques to block out areas where you don't want paint to be applied. Frisket film is available in sheets or rolls at your local art supply store. Is it hard to clean an airbrush? You use a compatible cleaning fluid for the material being sprayed such as airbrush cleaner for water-soluble paints like acrylics or watercolor and lacquer thinner for oil-based paints. The airbrush must be flushed out with cleaner between color changes and always thoroughly cleaned at the end of the work period. Never immerse the airbrush totally in solvents, as the cleaning fluid contaminated with paint will gum up the inner workings of the airbrush. How safe is airbrushing? As with the use of any art tool or material, common sense, a clean work area, and good ventilation are required for safe airbrushing. Because you are spraying paint into the environment, there will always be overspray of paint particles. If not dealt with properly, these can be inhaled. Some airbrushers work in a spray booth that exhausts the overspray automatically, But this can limit the size of your artwork. Other airbrushers who work large will work in an environment in which there is an exhaust fan and circulating fans that move the overspray away from the airbrusher and out of the environment. When working with toxic materials and solvents, e.g., lacquer, a carbon filter respirator should be worn while spraying. Where can I get good information on airbrushing? Well, at www.airbrushtalk.com, of course! Subscribe to our FREE bi-monthly newsletter, which always has original, informative, and exciting articles by some of the finest artists/airbrushers. Two-Day Intermediate Airbrush WorkshopOn October 9-10 ARTtalk will present "Intermediate Airbrushing and Special Effects" with renowned artist and author Pamela Shanteau. The first 6-hour session encompasses airbrush technique and trigger control methods that will enhance your airbrushing skills, and students will learn to render chrome, fur, ripping metal, wood grains, cloud effects, water, fire and more from this experienced pro. The second day students will complete a painting using their new techniques that will amaze both friends and clients. This two-day workshop will be held at Bulldog Studios in Beacon, N.Y., and all equipment and materials are supplied for use in class. Prerequisite: basic working knowledge of the airbrush. For more information/registration, go to www.arttalk.com/Pamela%20Shanteau%20Airbrush%20Workshops.htm or call 845-831-4458. Seating is limited so don't delay or you'll miss this opportunity!
Competition Winners Announced--See the Fall 2004 issue of American Artist DRAWING for the figure drawings, still lifes, landscapes and abstractions selected in the first competition. Judges selected approximately 40 works from 300 entries, and portrait drawings will be featured in the Winter 2005 issue of the magazine. New Zine Edition Available--The Gleaner Zine is a quarterly "altered art zine" for collage artists. The August "ish" #10 theme is "The Circus is in Towne," and it also features 1950's art. Subscribers have the opportunity to contribute articles or "goodies." This informative and fun publication is a work of art in itself and is available in bookstores and independent art stores. For more info, contact TheGleaner@aol.com and see http://groups.yahoo.com/group/TheGleanerZine. Organizations Unify--The Association of Crafts & Creative Industries (ACCI) and the Hobby Industry Association (HIA) have combined to become the Craft & Hobby Association (CHA). The newly formed group consists of more than 6,000 member companies engaged in the creation, manufacture, distribution and retail of craft and hobby products. Artist Celebrated--The Romare Bearden Foundation has announced plans for a New York City-wide celebration of the artist from September through March. The 7-month multidisciplinary schedule of programs and events was designed to explore the breadth of Bearden's personal, creative and intellectual achievements. Among exhibitions, the Metropolitan Museum of Art will present Romare Bearden at the Met from Oct. 19 through March 6 to showcase the artist's creative versatility in a variety of media; and the Whitney Museum of American Art will present The Art of Romare Bearden, a traveling exhibition of approximately 130 works that explore the complexity and scope of the artist's evolution from Oct. 14 through Jan. 9. For more on the celebration, visit www.beardenfoundation.org. Honors Bestowed--Among those honored with Lifetime Achievement Awards at the 2004 National Art Materials Trade Association Convention were John Benator and Wally Klarman of Tara Materials. Fredrix has provided top quality canvas to artists since 1868, and Tara-Fredrix' line of products also includes stretcher strips, tools and accessories, and a beautiful line of over 150 styles of solid hardwood ready-made frames as well as custom, closed-corner frames. Tara-Fredrix has been a long-time supporter of ARTtalk, and we salute Messrs. Benator and Klarman. Congratulations! Program to Continue--The Metropolitan Museum of Art (NY) has announced that its popular "Holiday Mondays" program will continue. Special viewing days, which take place on the Mondays of major holiday weekends, will continue for a second year and include Labor Day, Columbus Day, the Monday between Christmas and New Year's Day, Martin Luther King Jr. Day, Presidents' Day and Memorial Day. Actor Honored--The City of Chicago and TV Land have honored actor Bob Newhart, a Chicago native, with a life-sized sculpture. The sculpture commemorates Newhart's role as Dr. Robert Hartley in the now classic series, "The Bob Newhart Show." The bronze sculpture--created by Studio EIS in New York--graces the sidewalk at 430 North Michigan Avenue, the very building seen in the opening credits of the show. NEA News--President Bush has nominated writer and critic Terry Teachout and art museum director James K. Ballinger (Phoenix Art Museum) to serve on the National Council on the Arts, the advisory body of the National Endowment for the Arts. Once confirmed by the Senate Committee on Health, Education, Labor and Pensions, the new appointees will serve six-year terms.
Exhibitions Washington, D.C. -- National Gallery of Art -- Hudson River School Visions: The Landscapes of Sanford R. Gifford is a major retrospective featuring some 70 of the artist's landscape paintings. While his art mirrors the general aesthetic of the Hudson River School, Gifford was a highly individual talent who gradually evolved a personal style marked by a refined depiction of light and atmosphere. This is the final venue for this traveling exhibition Through September 26. New York, NY -- National Academy Museum -- Into the Storm: Expressions in the American Landscape, 1800-1940 explores the stylistic approaches and symbolism of storms as they evolved over the course of the nineteenth and early twentieth centuries. Featured are approximately 70 paintings, drawings and prints--including a special selection of works by William Trost Richards--that examine artists' fascination with the storm. Through October 10.
Copyright ARTtalk Vol. 14 No. 11 -- September 2004 |
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