Print Presses, Applications and Upgrades - Let the Good Times Roll!

Printmaking offers challenges and excitement that are enough to make any creative spirit soar. The wide range of printing techniques, materials and equipment may be the biggest in the entire realm of supplies for generating art. The following paragraphs will share the "tip of the iceberg" in printmaking supplies, applications, presses and equipment so that you might consider making prints as your next creative avenue.

To begin, the prints that are made one at a time from art materials rendered onto paper, illustration board, leather, stone, etc., are not to be confused with any computer-generated or photographic print methods. Artistic printmaking is a special category of art, is very original and one-of-a-kind in nature, even though there may be many very similar images created during any given printmaking session. With that said, the following will help you judge whether or not there is a printmaking experience in your immediate future.

The method with which a print is created has a lot to do with the budget of the artist. Etchings made with studio style presses, from which there are a good number to choose, involve the creation of a master "plate" or image that is sent under adjustable rollers. The rollers literally "press" the paper against the plate's image and "retrieve" the ink line from the plate. Prints other than etchings can also be made on this style of press. Collagraph works (combining painting methods with added materials), paper plate lithography, drypoint and unmounted linoleum blocks will work very well. Economy presses (under $500) are available to artists and demonstrators; and while they are simple "machines," they offer great variety and opportunity to anyone.

Once you try even the most basic presses to create prints, you will see that there are lots of advantages over any hand-transferred printing method. Prices accelerate as printmaking apparatuses become more sophisticated. Etching presses (remember, they can be used for a wide range of printmaking methods) can include felt blankets on which the printing plate rests during the printing process, different widths of rollers to facilitate wider paper, stands for stand-up and walk around placement in the studio environment (some with rollers for easy moving from place to place), several different master advancing mechanisms (levers, handles, assisted roller operation) and adjustable roller separation for fine tuning the process.

Felt blankets are very important to the printing process because they provide support for the master plate during printing. They come in different sizes and thickness so that you may select the padding that suits your master best. The blankets offer gentle pressure over the plate, a sort of guard and guidance cover for the master plate, and provide a degree of "ease" when the roller presses across the plate.

Rollers are available in different widths, and it is always wise to buy the widest acceptance area you can afford, even if you think your work will remain small. Larger presses usually have geared drives so they are easier to advance than smaller, direct drive models. And when you see how wonderful the results can be, you will eventually want to do bigger and bigger works.

Stands for presses are usually included in the purchase price if the unit is too heavy to lift easily. They make use of the press convenient because they give elevation to make working easier and remove the fear of the press toppling. Those frames/bases that have rollers include locks on the casters to hold them stationary during printing.

To advance the master plate through the press, there are levers, wheels or even motorized advance mechanisms on professional models. Although the lever and wheel models require a bit of strength, they are designed to be as easy to operate as possible. Motorized units become necessary when the base bed and print size get large. As expected, these are the highest cost models. When a printmaker is really cooking and volume is an issue, however, the need for motorization is elevated.

Probably the single most important issue with a press is the thickness of master it can accept. For wood block printing and embossing of same, you would need the widest possible opening between the roller and the bed of the press. If you were doing only metal plate etchings, a press with a much smaller opening limitation would work fine. But, here again, if you can swing the purchase price of a press that is capable of more than you do currently, you might be saving money in the long run. A press can be a lifelong studio workhorse and making a good decision from the start is best. Explore the differences, do Internet research and peruse product catalogs. Choose the press that will work the hardest to make you a success.

Be sure to look at the information provided by Graphic Chemical and Ink Company. Their line of inks, presses and accessories is fantastic. Check out www.graphicchemical.com for lots of goodies or see your local art material retailer.

Louisiana Watercolor Society
35th Annual International Exhibition
Opening Reception: June 4
Bank One Center
New Orleans, LA
Entry Deadline: Feb. 3

Eligible are original, water-based media on paper executed in the past three years. Juror: Paul Jackson. Download prospectus/entry form at www.LWSart.org or call 504-866-0478 for info.

Transparent Watercolor Society of America
28th Annual Exhibition
June 10-Aug. 21
Kankakee County Museum
Kankakee, IL
Entry Deadline: February 8

The annual exhibition is open to residents of the USA and Canada who are 18 years or older working in transparent watercolor. Entries must be original and executed after Jan. 1, 2003. Download prospectus/entry form at http://www.watercolors.org or call 815-932-5279 for info.

Hudson Valley Art Association
74th Annual Exhibition
May 1-25
Newington-Cropsey Foundation Gallery
Hastings-on-Hudson, NY
Entry Deadline: Feb. 28

Open to all artists 18 and over living in the U.S. Recent works in traditional realism. Media: oil, watercolor, graphics, pastel, and sculpture. See www.sidewalkartshow.com or call 201-652-6619 for info.

Pen & Brush
New York, NY
59th Annual Sculpture Exhibition
April 1-19
Entry Deadline: March 1

The Pen and Brush is a not-for-profit organization of women professionally active in the literary, visual and performing arts. The exhibition is open to any woman sculptor working in a permanent sculptural medium. For a prospectus, see www.penandbrush.org or send a self-addressed stamped envelope to: Sculpture, Pen & Brush, 16 East Tenth St., New York, NY 10003. Juror: Ailene Fields.

Paul Klee (1879-1940)

Paul Klee was born near Bern, Switzerland, in 1879 and is one of the world's most prolific painters. Throughout his career he exhibited sophisticated theories of abstraction and very personal inventiveness that represent themselves in works that appear full of innocence. Both parents were musicians, and Klee was himself a musician, who struggled with a decision to be a musician, an artist or an illustrator. He was widely traveled and was very receptive to many artistic influences. Of those whom he considered brilliant were Goya, Ensor and Blake; and Cézanne, especially, touched his work.

Klee's early works are mostly etchings and pen and ink drawings. These combine satirical, grotesque and surreal elements and reveal the influence of Goya and Ensor. Not only was the actual art unique, but when it came to titling the pieces, Klee added further intensity to the meanings of his works with titles of length and description. One such example is the title of a 1903 work: "Two Men Meet, Each Believing the Other to Be of Higher Rank." Just reading the title engages the viewer.

In 1906, Klee married pianist Lili Stumpf and settled in Munich, then the center for avant-garde art. This same year he exhibited his etchings for the first time. His friendship with Wassily Kandinsky and August Macke prompted him to join Der Blaue Reiter (The Blue Rider), an expressionists' group that contributed much to the development of abstract art. As a member of this group, with his very distinctive style his fame began to grow.

In 1914, a visit to Tunisia with Macke made a dramatic change in Klee's career. He was so overwhelmed by the intense light there that he wrote: "Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever. That is the significance of this blessed moment. Color and I are one. I am a painter." The significance of this statement far outweighs the surface meaning. For many years early in his career, Klee had battled with whether to be a painter, an illustrator or a musician (following his parents lead). Now he began works that were combinations of squares, overlapping and radiant like mosaics similar to those he had seen in his Italian travels. Of this period, his work "Red and White Domes" (1914) is a fine example of his new fascination with color. Klee's work took a decidedly upward turn that year because of the new color theories introduced to him.

World famous by the year 1929, Klee had chosen to take a teaching position at Bauhaus (1921 to 1931) and then at the Dusseldorf Academy (1931-1933). However, the Nazis judged his work degenerate and forced him to leave the Academy. Anything that was out of line with Hitler's way of thinking was considered "unworthy" and was also called Jewish or Bolshevistic. During Hitler's reign of insanity, over twenty thousand works by more than 200 artists of that time were confiscated.

Artists of banned works, mostly expressionists, were branded as mad. Curiously, those artists so branded were the most prominent among their peers of the time and to this day remain so. They were Paul Klee, Wassily Kandinsky, Edvard Munch and others, including the artist considered to be the most degenerate artist in the world, Pablo Picasso.

Violently attacked and forced to move by the Nazis, Klee returned to Berne, Switzerland, penniless after all his German funds were also confiscated. It was here that he came down with a crippling collagen disease, scleroderma, which forced him to develop a simpler style of painting and would eventually kill him. These late works, created during the last three years of his life, are charged with heavy black lines, often reflections on death and war. However, his last painting, "Still Life"(1940), is a serene piece described to be a summation of his life's concerns as a creator.

With more than 9,000 pieces to his credit, Paul Klee's work is difficult to classify. It represents the successful combination of an artist's sophisticated theories of abstraction with a very personal inventiveness that gives the illusion of simplicity. He was always extremely flexible in his techniques, as he explored the human psyche through his art. His work remains highly distinctive, and he is among some of the most popular artists of the 20th century. Primitive art, surrealism, cubism and children's art all seem blended into his small-scale, delicate paintings, watercolors and drawings.

The Paul Klee Center at Berne, Switzerland, is scheduled to open in 2006. It is a merge with the Paul Klee Foundation and will house 40 percent of Klee's work still existing--a must for all European travelers. (See ARTPOURRI Exhibitions below.)

The International Bead Expo--Miami

Bead Expo will be held May 18-22 at the Hyatt Regency at the James L. Knight Convention Center in Downtown Miami, FL. Featured will be an International Bead Bazaar, educational programs and over 60 workshops in a variety of media, techniques and skill levels. Celebrate 40,000 years of beads, adornment and fashion at Bead Expo 2005! For further information, see www.beadexpo.com or call 1-800-732-6881.

Memories Expo

Memories Community, the trade and consumer organization for scrapbooking, rubber stamping and paper crafting, has released its show schedule for the New Year. At Memories Expo Shows, attendees may shop for the latest products, attend classes, complete Make & Takes on the show floor, or attend crop parties. The 2005 schedule follows:

Las Vegas, NV
Stardust Pavilion
April 1-2

Somerset, NJ
Garden State Exhibit Center
April 29-30

St. Charles, IL
Pheasant Run Resort & Conference Center
May 20-21

Columbus, OH
Veterans Memorial Building
June 17-18

Pasadena, CA
Pasadena Conference Center
Sept. 9-10

Orlando, FL
Orange County Convention Center
Oct. 6-8

Denver, CO
Holiday Inn Denver Int'l. Airport
Nov. 11-12

For more information regarding membership or shows, visit www.MemoriesExpo.com or phone 678-516-6600.

The Art of Marquetry (Boulle Work)

A present day definition of marquetry is inlay, in which pieces of super thin wood (or shell, ivory, etc.) are glued into elaborate recessed designs in the surface of furniture and other decorative items. Marquetry originated with the work of the ancient Egyptians who produced examples using what was then leading edge skill. It has been evolving for centuries as better methods for cutting thinner sheets of veneer and better tools for sawing veneers into intricate designs have been developed. Along with technological advances, marquetry has become a long-standing favorite hobby in England and is also popular in Germany, Holland, Italy and Russia. Americans, Australians and Canadians are also joining groups and learning this fine hobby.

After the collapse of the Roman Empire, marquetry almost faded into oblivion, but in the 14th and 15th centuries renewal of interest and refinements in technique cemented its popularity for all time. Florence, Italy, may be credited with the rebirth because of special schools set up there to teach and perfect marquetry/boulle techniques. Veneers of this time were thick and easily crafted with hand tools such as chisels. By the 17th and 18th centuries, France had become the axis of great marquetry/boulle work.

Boulle is named for Andre-Charles Boulle (1642-1732) who developed a method for marquetry with tortoiseshell and brass along with pewter and exotic woods. The same principles were involved, but his choice of inlay materials set his work apart. He also gave a name to the work he did, coincidentally naming it for himself.

Contrasting colors and the implication of slight textures make inlay work appealing to a very wide audience. The colors originally employed by the men of Boulle's time were created by using a variety of specialty woods. At the time Boulle created his masterpieces, few in Europe were creating inlay work with striking contrasts. Woods used were cut into veneer sheets, cut into designs in a single layer of material and glued to a solid surface such as the top or front of a piece of furniture.

Boulle's work was dramatic in comparison, but still utilized the same principles. Boulle layered two wafers of equal thickness, one of tortoiseshell and one of metal (usually brass). A sheet of paper marked with a pattern was placed on top, and then the pattern was cut with a special saw through the sheets of tortoiseshell and brass below. The cutout pieces of brass then fit perfectly into the spaces left in the tortoiseshell--dramatic and exquisite and widely collected, so much so that one hundred years after his death, craftsmen were mimicking his techniques and enjoying a status originally set aside for only a few gifted artisans.

One very basic form of inlay is parquet flooring, which is not very "artistic" but involves the same basic principle. Check out photos of inlay work at www.webshots.com and search "marquetry."

Art Materials Health/Safety Precautions

Ignorance might be bliss, but it can also be dangerous. Some products used by artists--including but not limited to paint, medium, dryers, oils and colorants--contain toxic ingredients that must be carefully handled, stored and disposed of according to specific guidelines by the creative people who use them. But how do you know what products are dangerous? Which ones are more potent than the rest? And what can you do to take preventive measures?

Countless stories have blazed through the creative world, describing the untimely and tragic illness of an artist who painted in oils and hesitated to contemplate the look of his work while sticking the handle of the brush into his mouth; or the person who licked the tip of a drawing pencil while sketching. Some artists have used pastels and charcoal all day, even during snacks or meals and without proper ventilation. Such practices have become commonplace with some artists but can be detrimental.

Clearly marked on the tubes, jars, bottles and containers is the hazardous warning that gives the artist a "head's up" about possible problems. It is well known that it is unwise to use art materials near food or drink and that one should wash immediately after using paint, pastel, solvents and the like. Store materials in appropriate locales, away from children or pets. These warnings are important but are often ignored by those in a hurry to paint, sketch, sculpt or be otherwise creative. Detailed content information is available by contacting the manufacturer of any art material. Each will gladly send info that will make the use of products safer.

Prolonged contact with skin is another safety point unacknowledged by many. Chemicals and solvents can penetrate the skin and enter the bloodstream. Some can accumulate and cause severe damage if warning labels are ignored. Smoking in the presence of paints and pigments is very dangerous because the heat created as the air is drawn through the cigarette is extreme and can cause changes in even the most elemental of art supplies, rendering them highly toxic. This is especially true of powdery materials such as pastel, dry pigments and metal powders.

Oil paints, medium, dryers, extenders and such contain petroleum products or other oil-like materials that we all know to be dangerous. The labels on such products specifically describe the hazards of mishandling or misuse. One should never clean his/her hands with solvents best used to dilute the metals and other components of tube paints. Dryers and extenders are meant to dry paint more quickly or to extend their window of work time. Both contain many elements that are harmful to the human body, not to mention pets or wildlife.

When a label contains a term such as "oxide" or terms unfamiliar, it is best to exhibit extreme caution when using the material. Vapors are another threat. Avoid breathing any fumes or odors from paint or solvents or dust from powdered colorants or metals. When labels tell you such things, remember the result of short-term contact can be eye irritation and skin or respiratory inflammation, but long-term exposure can mean liver and cardiovascular system problems.

New designations are now available on products. The Arts and Creative Materials Institute (ACMI) has worked with manufacturers to include several clearly designated seals on art materials. "AP Nontoxic" signifies that the product contains no material (in sufficient quantities) that is hazardous to humans. The square Health Label with the words "Nontoxic" or "No health labeling required" indicates a user-friendly product. Some products will have a "CP Nontoxic" label (Certified Product), signifying that the product contains no materials (in sufficient quantities) that are harmful to humans. Additionally, this product meets specific requirements of quality and displays a special number.

Just to confuse the issue, some products have a Health Label where the words "nontoxic" or "no health labeling required" are absent. In this case, the product DOES contain hazardous material and must have content, and that ingredient would be listed just below the seal.

A new streamlined system for labeling hazardous materials means that more companies will comply with the legality of proper warning and will display appropriate content and hazard warnings. The Standard Practice for Labeling Art Materials for Chronic Health Hazards has insured that the public must be made aware of possible hazards of use.

Special awareness should be given to those products containing the following ingredients:

orpiment (natural mineral pigment), hematite, azurite, cobalt, linseed oil, umber, and malachite. Many more exist, but these are found in several products.

Guidelines retrieved from the ASTM (American Society of Testing and Materials) list the following information:

• When working with dry pigments, always wear an approved dust mask and gloves. Wipe any spills with a damp disposable towel and put in a plastic bag. Properly dispose of the towel and closed plastic bag.
• When transferring art materials to other containers, transfer the label from the original packaging onto the new container.
• Keep out of the reach of children.
• Never eat, drink or smoke while using art materials.
• Store pigments in sealed, easy to open containers.
• Wash up after each use - yourself and your tools. Keep work area clean.
• Wearing dedicated work clothes with long sleeves is always the safest way to go.

Even with acknowledged dangers of toxic contact, with proper consideration given to precautions, any material is safe. Once you are aware and exercise simple safety, there is no reason why you shouldn't use and enjoy any material you choose. So, paint, sculpt, draw and create!

Maintaining Your First Airbrush

Many people will receive their first airbrush as a gift during this holiday season, and there are a few things the novice should and shouldn't do during the first airbrush experience.

First, be sure to read all the manufacturer's literature that comes with your new tool to familiarize yourself with parts, operation and maintenance, etc.; and fill out the warranty form and send it in. The one thing that you should definitely not do is disassemble the airbrush out of curiosity before ever spraying anything through it.

So hook up that brush and spray some water to discover how it works. Test it with a low volume of spray and then with a large volume. Water won't clog the airbrush, so the spray achieved with it is the same to expect in the future with painting media after you have disassembled and reassembled the airbrush over the course of working. The airbrush comes preset from the manufacturer and has been tested to insure that it is working properly. Spraying water first is a good way to discover how it is supposed to work. If you disassemble it before use, you may never know if you have put it together correctly or if it is working properly.

Two things have a great affect on the airbrush: keeping it clean and damage to its parts from mishandling. Keeping the airbrush clean is pretty straightforward: spray the appropriate cleaning agent through it between color changes, use a stiff brush to clean the air cap at the front, and remove and clean the needle that runs through the brush. Always be aware that when using paint, it will dry inside the air cap and on the needle tip. When paint builds up on the tip or needle, you will notice a change in the shape of the spray--rather than being round, it will become flat. This is a good indication that the airbrush requires cleaning.

Another aspect of maintaining the airbrush deals with proper handling and care to prevent damage to the components of this highly sensitive tool. This can occur if the airbrush is dropped, during reassembly, or sometimes when loaned to a friend. Let's look at the parts of the airbrush and how they apply to its proper performance.

Airbrush Needle--All internal mix airbrushes have a needle that runs through the body and its function is to control the flow of paint. The needle has an extremely sharp tip and, if bent, will result in an undesirable spray pattern, if any at all. The harder the material the needle is made of, the harder it is to bend, and the most durable needles are made of spring steel.

Damage can occur to the needle during the cleaning process, particularly when it is removed. Upon replacement you may accidentally press it against internal metal parts, thereby "fish hooking" the very fine tip. You can straighten out a "fish hook" tip (sometimes) by rolling it against a flat metal object, gently twisting the needle to straighten it. Be aware that if it is straightened too many times, the tip will likely break off. However, new replacement airbrush needles are readily available.

Air Cap and Head Assembly--These two parts are located on the front of the airbrush, covering the tip of the needle. If these parts, which control the atomization of the spray, become dented, the performance of your airbrush will be compromised. Denting can occur if the airbrush is dropped onto a hard surface, and then the air cap must be replaced. As with the needle, this part is readily available from art supply stores or from the manufacturer.

When the air cap/head assembly is replaced, it must be seated properly and tightened to prevent air leakage when spraying. Most airbrushes today are self-sealed, but there are still some that use "O" rings made of PTFE to give an airtight seal. No matter which type is being replaced, be careful not to over-tighten a head assembly or it just might break off, leaving the threaded part inside the body of the airbrush. If this happens, send the brush back to the manufacturer for repair.

Trigger/Back Lever--On most models, when the needle is removed for cleaning, the trigger is susceptible to falling from the body of the airbrush. This is because the needle runs through a slot in the trigger that holds the trigger in place. Behind the airbrush, also with a slot for the needle to travel through, is the back lever. The function of the back lever is to push the airbrush trigger forward when released in order to shut off the air and paint flow. Because this lever is spring loaded, on some models it may be pushed into the body of the airbrush if the trigger falls out. This is a real annoyance, but anyone who has ever owned an airbrush has faced this dilemma, and most people can replace the parts with no problem.

Once the trigger and back lever are back in place, reinsert the needle. Be sure that the trigger and back lever are aligned properly so that the needle can slide through the slots with no possibility of it being bent against the inner workings of the airbrush.

Threads/Cross-Threads--You must be cautious of cross-threading anywhere that parts are threaded together on the airbrush, e.g., where the airbrush hose attaches to the bottom of the airbrush or where the head assembly screws into the body. Cross-threading will result in an air leak.

Handle--Most airbrush manufacturers have their own particular handle. It's designed to cover the back end of the needle and the inner workings of the airbrush to protect it from damage. Some handles are solid in their coverage, while others have slots so that you can manipulate the needle without removing it. Many airbrush artists work with the handle removed so that they can clear clogs and clean the needle quickly. If working without the handle, don't knock the back end of the needle against anything, or it may jam into the tip of the airbrush, causing a major problem. And then you would most likely have to replace both the needle and the head assembly.

The airbrush is actually more durable than you probably think. But, as with any precision instrument, it is susceptible to damage if not handled properly or maintained on a regular basis.

Applications Due--Applications for the National Gallery of Art's 2005 Teacher Institute are due March 15. The Institute will focus on storytelling and the visual arts, and two six-day sessions will be held at the Gallery and other Washington locations. A detailed description of the program and the application are online: www.nga.gov/education/teacinst.htm.

Milestones Reached--Renowned Chicago Pop artist Ed Paschke has died at age 65. He leaves a legacy of work in museums, galleries and public/private collections around the world.
--Famed abstract painter Agnes Martin has died in New Mexico at age 92. One of America's most distinguished artists, she won the National Endowment for the Arts prestigious National Medal of Art in 1998.

Sales Record Broken--At Sotheby's December sale of American paintings, Sargent's celebrated painting entitled "Group with Parasols" (A Siesta) set a new record for the artist at auction when it sold for $23.5 million. Thirty-two other auction records were set for artists, including George de Forest Brush, Dennis Miller Bunker, Charles Bird King and others.

Turner Prize Awarded--The prestigious Turner Prize has been awarded to British artist Jeremy Deller at Tate Britain. He was short-listed for "Memory Bucket," a mixed media installation at ArtPace, San Antonio, TX, documenting his travels through the state of Texas.

Major Acquisition Announced--The Frick Collection, New York, NY, has announced its first major acquisition by purchase in almost a decade. "Portrait of Etienne Vincent-Marniola," a terracotta bust, was executed by French portraitist Joseph Chinard around 1809.

NEA News--Three new members of the National Council on the Arts have been confirmed by the U.S. Senate and include James K. Ballinger, director of the Phoenix Art Museum.
--In its first major grant announcement of Fiscal Year 2005, the NEA will award more than $21 million to 839 grants--distributed to nonprofit national, regional, state and local organizations across the country. The budget for FY 2005 is $121 million.
--$1.7 million will be awarded through 171 grants in the Challenge America Fast-Track Review Grants category. These awards support projects that provide opportunities for people to experience and participate in a wide range of art forms and activities, enable arts organizations to expand and diversify their audiences, and emphasize the potential of the arts to help strengthen communities, particularly those with underserved populations.

Exhibitions:

New York, NY -- Metropolitan Museum of Art -- Klee: His Years at the Bauhaus (1921-1931) presents some 30 works that Klee created during the years he taught at the Bauhaus, first in Weimar and then in Dessau. Differing widely in style, these range from experiments with color gradations to works of whimsical humor. Through April 3.

Washington, DC -- National Gallery of Art -- Six Centuries of Prints and Drawings: Recent Acquisitions presents 142 of the finest works of art on paper acquired by the museum through gifts and purchases over the past five years. On public exhibition for the first time, they range chronologically from the earliest German drawing on paper to come to America, "Christ Kneeling in Prayer" (c. 1425), to etchings by Glenn Ligon from the 1990's. Through May 30.

Los Angeles, CA -- Getty Museum -- The Making of Furniture presents the elaborate process of the making of furniture throughout the 1700's in France, which involved a variety of craftsmen, from the cabinetmaker to the bronze founder to the finisher. To illustrate the steps in making such furniture, the museum commissioned three reconstructions of a mid-18-century writing table from its collection, made in Paris by contemporary craftsmen using tools and techniques similar to those employed in the workshop of Jean-Francois Oeben, where the original table was made. Ongoing.

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Copyright ARTtalk Vol. 15 No. 3 -- January 2005