Decalcomania

Although the term decalcomania was originally coined in the 18th century in France, it may date to the 16th century because similar methods were used during that time in European images. Early decalcomania works consisted of gouache or ink pools on paper that were then pressed with a top sheet using the pressure of the artist's hand. The resulting, unpredictable images could stand alone, but were most often embellished and refined. Today, from the most elemental children's game of "blotting" to the highly sophisticated and technical mirror image method, decalcomania is striking and always spontaneous. This form of art creation was and is inspirational and liberating.

In the 1830's Georges Sand used the technique later named decalcomania to paint landscapes and more abstract landscapes. Decalcomania renders images very much like stands of trees or tree limbs. But actual credit for the establishment of decalcomania as an art method is given to Surrealist artist Oscar Dominguez, who in 1936 used the technique to create shapes with no preconceived object in mind. Viewers were tempted to explore the works in search of hidden images, but no representational connection was intended.

Gouache, which is similar to watercolor with additions of chalk or whiting compounds for opacity and richness, was used in early decalcomania works and remains a favorite of contemporary artists. Inks, thinned acrylic paints, watercolor and other formal art materials can also be used. Young students find interesting results of pattern and texture when they use finger paints. So, in that respect, decalcomania is a universal favorite for creative and unique art works.

More technical explanations of decalcomania describe the method as geometric shapes--irregular, broken or fractured (rather than smooth and even). The two images created by pressing one area of liquid with a top sheet of paper display a form of "self-similarity," appearing similar in scale and magnitude - very nearly exact duplicates. In early production, this meant that the creation of two images was made with each attempt. Infinitely fine detail is immediately apparent yet, when magnified, yields startling accents.

The very famous contemporary artist Max Ernst (1891-1976) explored decalcomania while studying in Paris. His first actual invention was frottage, a drawing technique in which textures are copied onto paper by first laying the paper over a texture, then rubbing across the texture with a soft drawing instrument. Pencil rubbings of wood grain, fabric or leaves were explored. The resulting replica of the texture was then employed in Ernst's collage work. While frottage preceded decalcomania by only ten years, their similarity and artistic appeal is linked to the emergence of Surrealism. At this time, Paris was "the" gathering place of creative artists from around the globe. Additionally, at this time, German artist Hans Bellmer (1902-1975) and Remedios Varo (1908-1963) employed decalcomania and frottage in the work they did in Paris. It is Oscar Dominguez, however, who receives the most recognition for the use of decalcomania.

Decalcomania images are often produced in rapid succession without any forethought. The most beautiful ones - those that suggest more than mere stampings - can offer the artist unique textures obtainable in no other way. Some contemporary artists use a method of multiple printing over a single image, layering the textural effects and building "character." These sheets are then employed in collage work or added to canvas paintings. Initial pressings are most frequently done on paper, but some artists use a direct application onto canvas. This is done by first applying, say, acrylic paint or gouache onto paper, and then pressing that paper to the surface of a prepared canvas. Again, the resulting surreal textures are unique. For interesting textures, intriguing contrasts and visual interest, decalcomania is great.

Decalcomania is used in poetry and literature as well as art. Numerous techniques and games can be used to provide a break between the conscious and subconscious mind. By producing a creative process free of conscious control, creativity flourishes. It is this freeing up that becomes a source of inspiration, an element vital to the fundamentals of Surrealism and the path to lots of enjoyable art experiences.

Decalcomania has been compared to gazing up into the clouds on a perfect day. There is nothing forced about the images that come to the eye. The formations create images within the wispy fog of clouds. Contemplating the accidental patterns and textures resulting from decalcomania is the same as cloud gazing--a "free association" that suggests images rather than actual, formal images.

Decalcomania can be created on paper, canvas, glass, leather, pottery and more. It is versatile, can be intricate and is always interesting. Should you wish to delve into the possibilities of Surrealism or just have a lot of fun, do a bit of decalcomania. Grab your paints, a variety of papers and be creative!

Note: Decals as we know them today actually originated with part of the decalcomania method. Paints were applied to specially prepared papers and then transferred to surfaces such as glass, china, and pottery. Details were applied first and then subsequent colors. The paper was soaked in water and the image slid onto a decorative item. Professional slide makers who transferred images to glass through which light was passed to create a large, realistic image also used the technique.

Folded Paper Objects

Paper folding is both an ancient art and a contemporary hobby that is simple, inexpensive and very attractive. Simple ornaments and gift packaging made of folded paper originated in Japan centuries ago. Today, folding can be used to make holiday decoration a new experience.

Supplies are simple and the most basic need is paper. Thin, strong paper is used in origami and those same types of paper can be used for our projects, too. When used carefully, gift-wrap in holiday patterns will also work. You will need a ruler to measure and cut the paper to an appropriate size, scissors, and a pencil.

A simple diamond-fold basket ornament that is really nice when constructed of metallic paper starts with any size square. For example, this project will make an ornament/basket/gift wrapper. It uses an 8-1/2-inch square.

Step 1: Begin by folding diagonally through the center, creating the first diamond. Step 2: Fold the open point of one side to the center of the folded edge. Step 3: Do the same on the other side. You should have a long shape with a triangle folded over it - both front and back. Step 4: Fold the end up and against the right side of the diamond you just folded. Step 5: Turn over the project and repeat the technique in Step 4. Open the "basket" in the center and tuck both final points inside. Attach a wire or tie on a ribbon handle. Voila! You have an original gift by itself, a small gift "basket" or holiday tree ornament.

For mantel or desktop decoration, consider making a neat paper box. Good for candy treats, paper clips, rubber band storage and a myriad of other uses, these boxes are super simple to make. The only supplies you need are a few greeting cards, a ruler, glue, pencil and scissors. The front of the card is the lid of the box, while the inside of the card is the bottom of the box.

Begin by cutting the card in two pieces down the crease. Trim any uneven edges but be sure the two pieces end up the same size. On the inside of the front of the card, measure a 1-inch border all around. Use scissors to make a cut from each card corner to the corner drawn with pencil. Carefully fold along the pencil line. Tuck the ends at the corner and glue into place.

For the box bottom, repeat the same process, but measure 1-1/8-inch from the edge. The resulting base will be just small enough to slip inside the lid. Now we have a use for all the greeting cards we get from year to year.

TIP: Clip off the fronts of cards for beautiful, oversized gift tags. Happy Holidays!

State Colors Announced

More than 25,000 crayon fans nationwide nominated existing Crayola crayon colors and gave them new state-related names in Crayola's "State Your Color" program. The Crayola State Crayon colors are now serving a term in a limited edition 64 Box, along with crayons named for Washington, D.C., and Puerto Rico and 12 patriotic colors. See www.crayola.com.

New Finger Paints

New Color Wonder Finger Paint from Crayola is the first-ever mess-free finger paint that shows up only on special paper, so kids can finger paint anytime, anywhere. These award-winning paints are spill-proof and won't stain skin, clothing, walls or furniture. The Crayola Color Wonder Finger Paints and Paper Kit contains 6 seemingly colorless finger paints that brilliantly appear in red, blue, yellow, green, orange and violet on the 30-page Color Wonder drawing tablet. Ages 3+

Holiday Activities

Art Institute of Chicago, IL
"23rd Annual Holiday Treasure Hunt and Tea Party"
Sunday, Dec. 12, 11:00 or 1:00, Ages 4-10

Follow a sticker-book treasure hunt, create a work of art to take home and join a holiday party. For info/tickets, call (312) 575-8000.

A Marshall Field's Family Festival
"Holly Days: Celebrate Ancient North America!"
Dec. 28, 10:30 - 3:30
Dec. 29-31, 12:30 - 3:30, All Ages

Enjoy the holidays at the Art Institute! Use a gallery game to discover art from Ancient North America in the exhibition Hero, Hawk and Open Hand. Learn the art of shell carving as you watch a demo by artist Dan Townsend. Free tickets for the demo are available at the info desk in the Kraft Education Center. Visit the drop-in workshop to create an engraved clay tablet of your favorite story.

American Folk Art Museum, NY, NY
Info: (212) 265-1040

Family Art Workshops are intended to introduce families to the Museum's collection through tour discussions and workshops, which will explore the relationship between words and images through tours of current exhibitions and hands-on activities. Families are invited to come to one session or register for the whole series. Fee.

"Holiday Decorated Boxes"
Dec. 5, 2-4pm, Ages 5 and Up

In the 19th century, boxes of all sizes were decorated with colorful patterns and images. Decorate a treasure box of your own, inside and out, using a variety of materials.

"Folk Art Angels"
Dec. 19, 2-4pm, Ages 5 and Up

Find the museum's Archangel Gabriel blowing his trumpet. Children will meet some special angels and make one of their own.

Best Illustrated Books Announced

Looking for a special children's book this holiday season? See the New York Times Book Review's choices for the ten best illustrated children's books of 2004 (author/illustrator): Duck for President (Doreen Cronin/Betsy Lewin), Simon & Schuster, All ages; Arrowville (Geefwee Boedoe), Laura Geringer/HarperCollins, Ages 3-7; A Child's Christmas in Wales (Dylan Thomas/Chris Raschka), Candlewick, All ages; Teeth, Tales & Tentacles: An Animal Counting Book (Christopher Wormell), Running Press, Ages 3-8; The People Could Fly: The Picture Book (Virginia Hamilton/Leo and Diane Dillon), Knopf, Ages 4 and Up; Kitten's First Full Moon (Kevin Henkes), Greenwillow/HarperCollins, Ages 2-5; The Boy, the Bear, the Baron, the Bard (Gregory Rogers), Neal Porter/Roaring Brook, Ages 4-8; The Mighty Asparagus (Vladimir Radunsky), Silver Whistle/Harcourt, Ages 3-8; Walt Whitman: Words for America (Barbara Kerley/Brian Selznick), Scholastic, Ages 7-10; and Polar Bear Night (Lauren Thompson/Stephen Savage), Scholastic, Ages 3-5.

The Lost Wax Casting Process

Lost wax, or the cire-perdue process, is the traditional method of bronze casting. The method has been around for roughly 4,000 years and was used by the early Egyptians, Greeks, Africans and masters of the Italian Renaissance. Today bronze is still used to create coins, statues, decorative articles and much more. Small bronze coins can be found in pockets and cash registers around the world.

Despite the technology explosion of today, the lost wax method of sculpture and art object duplication has changed very little since its inception. The anticipated result of the process is to be able to duplicate an item for marketing in multiples rather than a single item. The process is quite straightforward, but each step must be adhered to with sharp attention to detail.

The first step in the lost wax sculpture/art object duplication is to create in either wax or special sculptor's clay a master item. For the sake of explanation, we will call the project in this piece a sculpture. While creating the original, it is wise to consider the undercuts (areas that go under limbs for instance) and open areas inside the shape. These will require additional vents and access for your casting material to enter and exit.

Once the original is refined and ready for duplication, flexible molds must be made of the original. To continue, place a layer of clay around the entire sculpture. Around the layer of clay, build a support mold of plaster. The plaster coating is put on with sleeves between all pieces so that it will come off in sections. This enables a three-dimensional item to be replicated. When the plaster is dry, it is removed; the clay is taken out and the plaster shell is replaced. The void between the sculpture and the plaster is where the flexible rubber is poured. The plaster is removed, the rubber is cut open and the original sculpture is released. The rubber mold is set back into the plaster shell, where it is ready for the wax to be poured.

Melted wax is poured into the mold and left for a couple of minutes. This short time creates a thin cast of the sculpture. Excess wax is poured away and recycled into another pouring. After the wax cast is cool, its hollow shape can be removed. Hollow casts are made because they are easier to manage, less costly and do not warp like solid, thick bronze items often do.

Any flaws, such as pinholes, obvious sectional marks, etc., are removed (chased). A network of vents and branches are added. These channel the metal flow and eliminate air pockets. The entire package is dipped into a slurry of thin ceramic clay. Sand is applied to this layer while wet and is then left to dry in a special climate-controlled environment. Eight to ten layers such as this are added to insure proper support for what will be the metal casting.

The slurry-coated wax figure is placed in a burnout oven and heated to about 1800 degrees. This does two things: burns out the wax and hardens the shell. It is now ready for liquid metal. Bronze is melted (at around 2000 degrees) and poured into the hot slurry shell. Upon cooling, the shell is cracked, chipped and sandblasted away to reveal an exact duplicate of the wax figure.

All vents and branches that are also cast in bronze at the same time the sculpture is being created are cut away. Any unevenness or seams, lumps, etc., are chased (cleaned). If any parts of the sculpture had to be removed during the casting process, they are now welded back on. If a bronze base is made, it is now attached, and the entire item is grounded and tooled with high RPM air tools to smooth all uneven areas. One final sandblast is done and the piece is ready for a patina. Several colors might be combined for the desired effect, and they are applied by dipping, pouring or dripping onto the bronze. When heated with a torch, the chemicals change the surface color of the metal and become more permanent. A sealer of some sort of wax is used and is most often applied with a brush and torched. After a final polish, the piece is completed.

Foundries often offer tours or allow visits during the shell, casting and finishing processes. Find a receptive foundry owner and take a first-hand look at a seldom seen and not truly appreciated craftsman at work.

Note: For each and every duplicate casting produced, a new wax model is poured and the whole procedure must be repeated. Weeks of work are involved in each reproduction, and each is an original made from its own wax model. Because of the subtle nuances of the process, no two are exactly alike.

As you shop for gifts for artists, teachers or hobbyists/crafters this holiday season, please keep in mind those advertisers who bring you a FREE issue of ARTtalk each month.

New Light Panel/Light Box from Gagne

Gagne has announced the addition of two sizes of a thin profile light panel/light box to their product line: 5" x 7" and 8-1/4" x 11". The units' light weight and low profile provide for an easy fit into a briefcase or a portfolio for mobility or a drawer for storage. The lamps provide color correction, offer more than 20,000 hours of life, and are powered by a miniature A/C adapter, which is included. These units are capable of being wall-hung in a portrait or landscape orientation and also have a bi-directional stand system. In addition, the Plexiglas top is removable for the insertion of display media, making this product extremely versatile.

With this versatility and low cost, light panel/light box an excellent tool for drawing, tracing, photography, scrapbooking, displays, and as a lighted backlit picture frame for adding drama to your presentation. See your retailer and visit www.gagneinc.com to view their line of fine opaque projectors, light boxes and light tables for artists, teachers and crafters/hobbyists.

New Art Board from Strathmore

Strathmore's new 400 Series Art Board is a versatile, heavyweight board that is perfect for almost any art project: painting, drawing, airbrush, block printing, mounting art and photographs and more. Facing paper is mounted on both sides to help reduce warping, so you may use either side. And the board is acid free, of course. 400 Series Art Board is available in 9" x 12", 10" x 15", and 15" x 20", three sheets to the pack. See your retailer and visit www.strathmoreartist.com for Strathmore's fine line of digital photo papers, cards and envelopes; inkjet cards and envelopes; pads and sketchbooks for students and artists; and much more.

Greeting Card Display Board

Framing art and hanging it in your home or office is one of the fastest ways to make the place your own. During the holidays, many homemakers and decorators use this festive time to display special seasonal images. Lots of folks have framed images that become part of their holiday tradition. Now you can create a useful and colorful holiday piece that will be a favorite for years to come.

Greeting cards are on their way, so it is time to consider a new and different way to display them. No more will you have to stand them individually on the mantel or on top of the TV, and you won't see them stacked in disorder on the coffee table or laced through the blinds in the kitchen window. Now you can make a neat and attractive holiday card display that you will love to use.

Materials needed include: one yard of any holiday print fabric and one yard of coordinated/contrasting fabric; 7 to 8 yards of decorative braid in a color that coordinates with the fabric; decorative tacks; thin plywood for backing, cut to the finished size of the card display board; quilt batting to cover the board; heavy-duty stapler; utility knife; and hammer.

The size of your project is up to you. For the sake of example, this project will be a 16" x 20" finished size. Our backing will be a piece of ¼-inch plywood, with edges sanded to remove splinters. Lay the padding on the front of the board and cover it with the holiday print or selected color of fabric. The back side can be the same fabric or a coordinated color. With the batting on and the fabric in place, pull the fabric fairly tight across the board and use a heavy-duty stapler to attach the fabric to the back side of the display panel. You want the fabric to lie flat, but it should not be pulled super tight across the board. Trim off excess fabric on the back side of the board.

Lay a strip of decorative braid across the board from the upper left corner to the lower right with 3-inch tails extending past the corners. Repeat with another length of decorative braid, laying it from upper right to lower left, again extending past the corners. Where they cross, pierce the junction with a tack and hammer it into the backing board. Cut lengths of braid and lay them every five inches from the center "x" across the board in both directions. You will create a grid that makes a uniform pattern over the entire front of the board. Use tacks to anchor every criss-cross intersection.

Bring the tails to the back side of the board and staple them with double staples. What you end up with should be a slightly puffy braid grid. The bands of braid will hold your greeting cards in place and be decorative, whether fully or partially filled--fun and flashy and perfect for the season!

Overspray--The Airbrusher's Friend and Foe

Overspray is an intrinsic result of spraying paint through an airbrush. For those new to the technique, this is the paint that drifts past the area to be painted. It appears as a soft mist that is sometimes so soft that you don't realize it exists until stencils or frisket are removed, and you see a ghost image of the outside edge of the stencil. When this happens, it can be disastrous to your artwork and sometimes difficult, if not impossible, to correct.

On a positive side, this drift of spray is what gives you the ability to develop a vignette (a change in value from dark to light) that can be used to create the look of volume, value changes, and mist or fog, among other effects. The airbrush artist learns how to capitalize on the positive effects of overspray while always being conscious of the negative. For instance, when you cut a circle in a stencil for a three-dimensional sphere, the overspray is utilized to give the shape dimension.

Several things determine the amount of overspray that is generated. One is the psi (air pressure) at which you are spraying. With higher air pressures, more overspray is produced. Another factor is the distance at which the airbrush is held from the work surface--the further away, the more overspray that will appear. As paint leaves the tip of the airbrush, it immediately begins to spread into a fan; and the longer it takes for the paint to reach the work surface, the wider the fan will be. A third factor is the size of the spray equipment being used--the finer the tip (such as that of an Iwata Micron airbrush), the less overspray; while the wider the tip (such as that of a spray gun), the more overspray. The worst-case scenario would be working at a very high air pressure with a large-tip airbrush at a distance far from the work. (This, of course, is an extreme situation.)

When even the smallest amount of fluid is sprayed to develop the finest of lines, a bit of overspray will drift onto the work surface. This is what makes a line appear to be somewhat out of focus when closely examined. If you wish to achieve a hard edge, you must use masking material such as frisket film, acetate or tape to prevent the overspray from drifting onto other areas. When the stencil material is removed, a hard edge will appear.

When working on a large scale, more overspray is produced and you must mask out larger areas. This can be done with Kraft paper, newspaper or masking paper that comes with an adhesive edge to keep it in place.

An important fact to consider in regard to overspray is that paint enters the environment of the artist's studio. Establish a system or use equipment to protect yourself from paint inhalation. Options can include wearing a dust mask or a respirator that fits over the nose and mouth to filter the air. Various respirators are available for different types of filtration. Some capture particles from the air, while others additionally capture fumes.

Adequate ventilation is also highly recommended and can be achieved by using a circulating fan or air cleaner, working in front of an exhaust, or installing an exhaust fan in a window. If the air is constantly circulating and being exhausted outside, you may choose to work without a respirator or dust mask, which some artists find bothersome. Another option includes spray booths that contain an exhaust system, which can range from homemade boxes with exhaust fans in the back to commercially designed spray booths available from small sized to those large enough for a car. (See www.artograph.com.)

Overspray is an inherent aspect of airbrush technique. However, once you become accustomed to how much is produced in a given situation, you can take preventive measures to insure a healthy work environment, while utilizing the spray effect to your advantage.

Free Airbrush Newsletter Available

The November/December issue of AirbrushTalk can be viewed at www.airbrushtalk.com, where you'll discover information-packed articles by artists of renown: "Not Clean Not Paint" by Michael Cacy, "Isn't it Time to Fire Up Your Airbrush?" by Janean S. Thompson, "Geometric's 'The Wolfman' Bust" by Wes Hawkins, "It's Not Easy Being Green: The Re-Creation of An Old Favorite From Star Trek's Past" by Bradley M. Look, and "Canvas Wrap" by A. D. Cook. This bi-monthly e-newsletter is FREE, so sign up for your e-subscription now!

Artists Selected--President and Mrs. Bush recently presented eight National Medal of Arts awards for 2004 in an Oval Office ceremony at the White House. Included among the recipients were sculptor Frederick Hart (deceased) and wildlife artist John Ruthven of Georgetown, OH.

Gift Received--The Smithsonian Institution announced that Robert and Arlene Kogod, Washington philanthropists and art collectors, have donated $25 million for the renovation of the historic building in downtown Washington that houses the Smithsonian American Art Museum and the National Portrait Gallery. In recognition, the enclosed courtyard--a signature element of the renovated building--will be named after the donors.

Museum Closes--The Terra Museum of American Art in Chicago has closed. However, the Terra Foundation for the Arts will continue to share its collection with the public through exhibitions in Chicago and at other national and international venues. See www.terraamericanart.org.

Masterpiece Acquired--The Metropolitan Museum of Art, New York, has announced the purchase of a rare and uniquely important early Renaissance masterpiece by the 14th century Italian painter Duccio di Buoninsegna. Known as the Stroganoff Madonna (circa 1300), the painting, in tempera and gold on wood, shows the Madonna and Child behind a parapet. The Met paid more then $45 million for the 8" x 11" painting, the last known by the artist still to be in private hands.

Library Makes Debut--The William J. Clinton Presidential Center has been unveiled with a gala opening in Little Rock, AR. Designed by architect James Polshek, part of the celebration included the dedication of new sculptures on the riverfront and at the airport.

Representative Chosen--At the invitation of the U.S. Department of State, four distinguished American museums have recommended that noted American artist Ed Ruscha represent the U.S. at the 2005 Venice Biennale. Ruscha's work was also included in the American pavilion in 1970.

Auction Results In--Action at this year's annual fall art auctions at the major auction houses was brisk and set a number of records for artists. Among those, a Tahitian masterpiece by Paul Gauguin brought $39.2 million; an exquisite portrait by Amedeo Modigliani brought $31.4 million; Mark Rothko's "No. 6" sold for over $17 million; Henry Moore's "Three Piece Reclining Figure: Draped" brought over $8.4 million; Joan Mitchell's "King of Spades" sold for over $2.6 million; and at Phillips' photography sale, Barbara Kruger's 1983 image, "I Shop Therefore I Am," brought a record for her work at auction--$601,600.

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Copyright ARTtalk Vol. 15 No. 2 -- December 2004