Canvas

Restoration of Works on Canvas

Hopefully, you will never be faced with damage to paintings on canvas--damage that often is severe.  Improper storage and accidental mishap are two of the major causes of damage.  Lack of surface protection, like that provided by glass or acrylic sheeting on watercolors, drawings, etc., allows unexpected damage.  Once the damage occurs, you are faced with some decisions.  Is the value (personal or monetary) of the work high enough to warrant professional restoration?  Is the damage minor, possibly enabling you to repair it yourself?  Where can you go for materials for restoration?

Before any amateur tips or techniques are shared, it should be explained that the only way to restore damage to canvases in a totally archival way is to deliver the damaged artwork to restoration professionals for repair.   They are trained to deal with every aspect of the work, from period paint composition to fabric reconstruction to up-to-the-minute, non-evasive methods.  If you are lucky enough to have a valuable artwork, always consider using a professional restorer.

That said, we will now examine two types of damage most often associated with works on canvas: tears/holes/rips and flaking or scrubbed surfaces.  These two problems can be corrected without extreme amounts of knowledge or training, but only if maintaining the value of the artwork is not a factor.

To repair tears, you will need some basic repair materials before you can begin.  These are now readily available from art supply centers and are manufactured by several companies.  First and most important is an acid-free, archival adhesive, often vegetable based but sometimes synthetic; small pieces of cotton canvas (larger than the tear or rip); brush for adhesive application; brush to remove excess adhesive; books or wood to elevate the back side of the canvas; smooth weights (or books) to apply even pressure to the repaired area; and fingernail scissors.

Rips and tears in painted canvases occur when trauma has occurred to the front or back of the canvas.  Once painted, there is less stretch or give in the fibers of a canvas and the surface becomes somewhat brittle.  But, nevertheless, there is only so much “give” in the surface of fabric to start with.  If an item has been allowed to fall against the front or back of a painting and has caused a rip or two-way tear, there is a simple and widely accepted method of repair.

Apply an acid-free adhesive to a piece of fresh canvas large enough to cover the tear.  Press gently to adhere the canvas to the back of the painting. Carefully turn the painting over. Support from the back side of the painting is essential as you work on the repair.  This support can be a book or small scrap of wood covered with plastic.  The book (or wood) should be the same thickness as the canvas stretcher bars so that it will elevate the painting to the proper height without stretching. Press against the canvas patch you just glued to the back of the painting.  From the front, gently bring the edges together and work any frayed edges of the tear into the soft adhesive.  This can be done with a toothpick or similar tool.  Use a brush or clean cloth to remove excessive adhesive on the surface of the painting.

Place weight over the repair and allow it to dry completely.  Once dry, remove the supports and examine the surface of the canvas.  If there are an inordinate number of threads above the tear, carefully trim with nail scissors.  If they are not trimmed, they will show later.

When the surface is as smooth as possible, apply paint of the same type (oil, acrylic or alkyd) to the affected area.  This should be applied over the tear only, and then gently smoothed into the surrounding area.

Scrubbed areas are much easier to repair.  Paint of the same type (again oil, acrylic or alkyd) should be mixed and applied very sparingly to the areas where damage is noticeable.  Allow the newly painted areas to dry completely and then apply medium to match the sheen of the original painting.

When old paintings are chipping or there are areas of deep cracks in the surface, consider going to a restoration specialist.  If you want to do some minor repair to help correct or stop the damage, here is one idea.  Use painting medium that matches the original paint (oil, acrylic) and carefully work medium beneath any loose areas.  Press lightly to reattach chips and then allow to dry.

Cracking on the surface can be serious.  It usually indicates an improper fit between the paint and the surface onto which it was painted.  Perhaps in the case of an old work, the canvas may not have been properly sized prior to painting.  Use medium to hold any loose areas and work it into the crazing, if possible.  The end result will be a painting that will last for many more years.

Painting as little as possible over the original is always preferred to painting too much.  The less you do to alter the original work, the better.  Work with very fine brushes and set the paint on the surface in the exact areas where damage has occurred.  Restoration is a very involved scientific endeavor that should often be left to the professional.  But, sometimes, we can do a little to help delay professional intervention.  Care is the key word.

Visit www.fredrixartistcanvas.com.

Kids Korner

End of Summer Activities

Picnics in the park…bike rides down the lane…the sunny days of summer are fun and offer lots of outdoor activities.  Art could be one of them.  Here are some creative ideas to put your energy to work and your mind in high gear.

What can be done with an empty cardboard box?  Do sneakers and athletic shoes have to be white?  Why not exotic colors?  Backpacks and tote bags are like odd-shaped blank canvases.  Why not decorate them?

An empty cardboard box is a neat beginning for a summer’s day of design and building.  Consider these suggestions:  Make a storage chest to store your favorite games.  Use decorative papers to cover the outside and inside.  Then, you will always know where to look when friends come over and it is time to challenge one another!

Another use for a decorative box is to hold items in a central location between uses.  We all have things that never seem to have a permanent storage place.  Why not create a “catch all” box that can hold items that don’t fit into any other place?  Why, we might even get organized enough to keep our rooms clean.  Mom would love that!

Sneakers and athletic shoes are usually pretty bland.  Why not jazz them up with acrylic paints?  Almost any paint will do but artist grade colors will last the longest and even stand up to gentle washing.  Create a rich palette of tones that will coordinate with your favorite outfits.  Paint the outer edges of the soles one tone, the sides another color and the top a third color.  You can even take the laces out and give time a color to complete a vivid, arty, cool style.

Backpacks or totes are a perfect format for designs and shapes done in bright colors.  Paint each plane of the tote or backpack a different color and then add neat designs and shapes with a small detail brush:  circles with dots inside, lines and dashes, wiggly and wavy lines or zigzags.  Or you can use stencils to make designs or fabric markers and rubber stamps for decoration/design.  Your only limitation is your imagination.  You could also paint scenes on the bags.  You decide what you want and go for it!

There are tons of other things that beg to be painted and decorated.  Shower curtains, roll-up window shades, curtains, blinds and even last year’s bedspread could be given a fresh new appearance.  You would be surprised how cool hand-painted bed linens look.

The best paints to use on fabric are artist quality acrylics.  Brushes can be any type you like.  Cotton fabrics hold the acrylic colors best.  Experiment and see what you can do.  You’ll have fun and redecorate at the same time.

New Products from Strathmore

The Kids Series from Strathmore Artist Papers includes four new items:  Sketchbook, Sticky Paper Pad, Smooth Bright Construction Paper and Mosaic Paper Pad.  Sketchbook measures 12 x 12, is side spiral-bound and is a big book perfect for drawing with colored pencil, pen or crayon.  Sticky Paper Pad includes 25 sheets for drawing that stick to any smooth surface including a favorite display surface, the refrigerator!  Smooth Bright Construction Paper contains 30 sheets of heavyweight paper in six lively new colors; and Mosaic Paper Pad contains 40 sheets of perforated marble paper that separate into colorful 1” squares and includes six great colors plus solid white sheets on which to build your design.  See your retailer for these products that are great for use at home or in the classroom.

Online Feature

Jungle, an NGAKids online feature, was inspired by the paintings of Henri Rousseau.  This Art Zone interactive allows children to create imaginary tropical landscapes, mix and match animals, control the weather and lighting conditions and construct flowers, trees and plants for a world of their own.  The Shockwave program is intended for children of all ages:  www.nga.gov/kids/zone/.

The Artist’s Marketplace

New Light Boxes and Studio Furniture from Artograph

Artograph has introduced a new series of stainless steel light boxes and a whole new line of studio furniture:  ArtSeries Light Boxes and Open Studio Furniture.

--The new ArtSeries Light Boxes are crafted towards the needs of the discriminating artist, crafter and designer.  Constructed of stainless steel, these offer a comfortably slanted surface for more convenient viewing and tracing.  The translucent surface is flush-mounted for a clean and completely unobstructed flat work surface.  Accurate 90 degree edges offer precise reference for measuring and attaching T-squares.  The brilliant illumination is created by the combination of daylight fluorescent lamps and a specially designed polyester pearlescent reflector system.  The result is a bright viewing window that is free of hot spots or shadows.  A handy finger recess for carrying and cord strap storage combine to make these portable and highly practical.  Available in three different sizes, Artograph’s ArtSeries Light Boxes are ideal for embossing, stenciling, scrapbooking, creating custom cards, calligraphy, embroidery appliqué, needlework, quilting, stained glass, cartooning and more.

--Artograph’s new Open Studio Furniture was designed and built to allow artists to stylishly organize their studios.  Every cart and table offers the versatility of shelves that can also be assembled upside down as trays.  The furniture glides effortlessly on non-marring, lockable casters.  Open Studio offers artists affordable alternatives to taborets, flat files and tables currently on the market.  Clean lines, bright white powder-coated finish accented by red wheels—all part of the Open Studio signature.  Made of steel…made to last!  Seven models are available.  See your retailer and visit www.artograph.com.

New Templates from Artool

Artool Products Co. has announced the availability of three new freehand airbrush templates:  FX 3, Horror of Skullmaster and True Fire Minis + DVD:

--The new Artool FX 3 Freehand Airbrush Templates designed by Craig Fraser include six new radically original FX stencils…these aren’t quick photo-shopped pics grabbed from some public domain clip-art CD!  Available designs include

GLYPHS, UNCHAINED, THE WEB, BLADES, MUSIKA, and BARBY; or you can get ALL SIX in one set. Combining laser-cut precision with hand-drawn creativity, you are in for a treat with this new batch of paint tools!

--The new Artool Horror of Skullmaster Freehand Airbrush Templates were created by Craig Fraser not to replace your creativity, but to spark it by giving you a killer set of tools to help you make the finest skulls possible!  This new series contains both positive and negative templates as well as registration holes in each corner for perfect alignment.  You’ll choose Heads-Up, The Scream or Profile;  or you can get the WHOLE SET!

--The popular True Fire Freehand Airbrush Templates designed by Mike Lavallee are now available in new mini sizes.  Mike has been setting the world on fire with his many television appearances on programs like “Overhaulin’,” “Rides,” “Monster Garage” and others. Mike’s True Fire can now be easily rendered on smaller projects such as RC cars, model airplanes and trains, model cars and kits, figure models, a variety of hobby/model scale projects and a myriad of kustom automotive applications.  The True Fire Mini Series set comes with the three ever-popular shapes: Diablo, Wild Fire and Inferno, which can be separated to make six templates!  Plus, you will receive Mike’s new Artool True Fire Mini Series instructional DVD, where he renders some awesome Mini True Fire FX…on smaller stuff!

New Web Site for Designers to See, Learn, Play and Try from Mohawk

Mohawk Fine Papers Inc. has unveiled its new website, www.strathmore.com.  Designers, in particular, will appreciate the educational orientation of the site combined with a sense of play and inspiration.  A variety of tools and resources, including downloadable designer-related templates and paper information, are available now.  Designers are also invited to submit client logos to Strathmore’s growing online gallery of identity designs.

Also visit www.strathmoreartist.com.

Matting And Framing

Honor a Graduate

Diplomas abound this time of year, as many of our friends and family graduate from schools.  These days every educational institution awards certificates and each one is a frameable treasure.  While there are a few details that must be addressed, framing a document of such importance is reasonably simple.

The materials you will need to complete the project are determined by the type of presentation you wish to make.  One very straightforward approach is to frame the certificate in a simple, inexpensive document frame.  While this is not very exciting, it is a quick and easy way to give the graduate a chance to display his certificate of accomplishment.  But there are other suggestions that make a more formal appearance and render the gift even more special.

Consider selecting a mat to surround the document, perhaps in school colors or in tones to coordinate with his/her office or home décor.  Items always appear to be more important when matted rather than simply placed in a frame the same size as the document.

Framing with a wood-toned frame that matches the décor of the office or home is another nice approach; or perhaps a metal, glass or other frame that coordinates with the surroundings.  If the frame harmonizes with the items nearby, it will look like a well planned addition rather than eclectic or unappealing.

Several other elements can be included in a document framing project whether you are doing the project or having a framing professional complete the package.  These include the matting and the frame as already mentioned, plus possible mounting and glazing and backing choices.

Mounting can be done by an archival method, spray mounting or heat-activated dry mounting.  These choices are offered by most framing centers, but you could use acid-free tape hinges or mounting corners and complete the framing yourself.   Non-glare glass is preferred for offices or homes where strong lighting would cause reflections on the glass.  Clear glass is appropriate for softly lit locations.  Backing should be carefully chosen to offer the document the strongest protection from acid migration.

When the package is complete, it contains a mat (or double or triple mat, etc.), mounting, backing, glazing and a frame.  The entire “sandwich” is held in a frame with brads, pins or staples and should be sealed with a dust cover to protect from dust and possible insect infestation.

With the addition of a properly attached hanging wire, the document is ready to hang on the wall.

Consider the above when you are looking for graduation gifts.  Framed diplomas are welcomed and always treasured.

Art & The Garden

Summergarden 2006:  New Music for New York continues at MoMA’s Abby Aldrich Rockefeller Sculpture Garden.  Admission is free and seating is on a first-come, first-served basis.  The Garden opens at 7 p.m. and the concerts start at 8 p.m.  Scheduled for August 6 is the “Juilliard Concert III:  Music for String Quartet” and for August 13 is “Jazz:  Brandon Ross and Blazing Beauty.” Visit www.moma.org or call 212-708-9491.

An Edible Gardens Festival will be held August 19-20 at COPIA in Napa, CA.  Inspired by COPIA’s Edible Gardens, this festive weekend features cooking demos, live music, a marketplace, wine tasting and presentations by renowned garden experts.  Bring the whole family for fun in the COPIA KIDS Garden, with hands-on craft activities and more.  This is a must for anyone with an interest in food, art, design and gardens.  Admission.  12 and under are free. For info, call 707.259.1600 or 888.512.6742 or visit www.copia.org.

The National Gallery Sculpture Garden--located at 7^th St. and Constitution Ave NW, Washington, D.C.--has extended summer hours through September 15:  Mon.-Th. and Sat., 10-7; Fri., 10–9:30; and Sun., 11–7.  The garden includes 17 works from the Gallery’s growing collection as well as loans for special exhibitions; and the Garden includes new plantings of native American species of canopy trees, flowering trees, shrubs, ground covers and perennials.  A fountain, which serves as an ice rink in winter, is at the center of the Garden, and walking and seating areas offer visitors a chance to rest and reflect on the works on view.  “Jazz in the Garden” is featured each Friday through Sept. 15 from 5-8:30 p.m.  Can’t visit in person?  Then visit www.nga.gov/highlights/index.shtm for the newly redesigned Web feature.

An Art in the Garden Event will be held Sept. 30 and Oct. 1 at North Haven Gardens in Dallas, TX.  At this first annual event, instructors from the Creative Arts Center of Dallas will demo media such as ceramics, mosaic, papermaking, sculpture, painting and more from 1-4 p.m.  Visitors will have the opportunity to view and acquire original pieces of outdoor art for their gardens.  For further info, visit www.nhg.com or www.creativeartscenter.org.

In Chihuly at the Garden, renowned artist Dale Chihuly brings his spectacular glass sculptures to The New York Botanical Garden, Bronx, NY, in a stunning exhibition designed specifically for the Garden’s collections and vistas.  Set to inspire and thrill are more than 30 installations featuring thousands of individual, hand-blown glass sculptures, some tucked in among the plants and some enormous pieces that hang dramatically from ceilings and rise up from reflecting pools.  A special highlight is Chihuly’s first-ever Neon Tower, a 20-foot-tall spire with more than half a mile of glass tubing that is filled with turquoise and chartreuse neon.  Advance purchase of tickets is advised through Ticketmaster.com or 1-212-220-0503.  Call 718-817-8700 for info and to see if tickets are available for "today."  Through October 29.

Painting

Sand Painting

Although other nations of people create sand paintings, like those done in Tibet or by the Aboriginal tribes in Australia, those done by Native Americans are some of the most beautiful and widely known.  Do you know which American tribe does the most sand paintings?  Have you ever wondered why the paintings are made to begin with or what materials are used to create the images?  Perhaps you wonder what the meaning of the colors might be.  And maybe you would like to gather the materials and create your own rendition of a sand painting.

Navajo tribal beliefs utilize approximately 500 different sand painting images, some of which are designed to cure the ill and to offer blessings.  The reason for Native American sand paintings is specific to their culture and mythological beliefs.  Although they take hours to create, they are not intended for long-term enjoyment.  Their real purpose is that of religious practice or healing, and they represent a sense of physical and psychic space.  Mythology plays a big part in the history of these paintings.

Six hundred to 1,000 different images are represented by all of the tribes in the southwestern United States.  The most prevalent reasons for their creation are the blessings of births, new homes, new jobs and marriages, but other purposes are possible.  Images can be any size from around two square feet to as much as 20 square feet if created indoors.  If done outdoors, they are limited only by the time it takes to design and fill the space.

The materials used are finely ground minerals and charcoal that work to create a variety of colors.  Sometimes pollen or cornmeal is used.  Each color has a specific meaning and each is associated with a physical direction.  White usually indicates east; yellow is west; black is north (male color) and blue is south (female color).  Red represents sunshine.  The ground minerals (sands) are sifted through the fingers of a singer, or director, onto the floor of his lodging or other flat location – inside or out – over a base of smooth sand.

In a purification ceremony, the person to whom the painting is directed is usually seated upon the finished sand painting and parts of it are picked up and rubbed on his/her body.  Purification occurs as the ceremony completes.  Evil is driven from the person and he or she thereby walks once again in beauty and in harmony with the universe.  The evil or illness absorbed by the sand painting is buried in a ceremony.  Although it may take many hours to create a large sand painting, Navajo sand paintings are created and destroyed between sunrise and sunset of one day.  As many as a dozen people might work on a single painting.

If you are interested in creating a sand painting of your own, you will need a few simple materials.  Empty jars or small containers for the sand; powdered tempera paint in a variety of colors (you may or may not wish to hold to the traditional colors); clean beach sand; paper, plastic, glue and a spreading stick such as a popsicle stick; plastic spoon and a plastic tray.

Begin by drawing a design on paper.  If you keep the design simple it will help you grasp the task and learn how to dispense the sand.  Once you have completed the drawing, pour some sand into a can or cup.  For vibrant color, add more dry tempera to the sand; for subtle colors use less.  Once the colors are mixed, you are ready to start.

Decide where the first area of color application is going to be.  Apply glue to that area and sprinkle an even layer of sand onto the surface of the glue before it dries.  Use a spoon to apply the sand or use your fingertips.  Tempera is messy and you may want to wear painter’s gloves.  Repeat until you have the entire paper covered.  Allow the paper to dry and gently tilt to remove any excess sand.  If you have open areas, carefully apply more glue and more sand where needed.

Although this is a very elementary plan, it can be used in a very sophisticated manner.  You can use this very method to paint on canvas, using your own designs and layout, or to do Masonite-based works that can be coated and displayed outdoors.  The coating should be a spray product that seals the surface and helps to adhere the sand to the backing material.

One of the most effective images in sand painting is that of the landscape.  Although few artists use sand as a painting medium, it is very interesting and can give the novice or professional challenges and excitement.  When you abandon the mythology and use the materials in new ways, you are creating new directions with art that has survived for centuries.  Give it a try.  You may discover that it is fun and the results may change the way you think about the art of our ancestors.

To view images of Navajo Indian sand paintings go to www.snowwowl.com.  Also explore the Mandala sand painting of the Monks in Tibet at www.asiasociety.org/arts/mandala.  Beautiful!

Airbrush

Air Quick Tips

Don’t Bend the Tip!—The tip of the airbrush, called the air cap, is extremely important for producing spray.  If it’s damaged, the airbrush will not spray properly.  Damage is usually caused by mishandling, e.g., dropping the airbrush or knocking it against something.  It is virtually impossible to repair an air cap, but it is easy to replace.  On the other hand, the needle that protrudes from the front of the airbrush can be straightened if it’s bent.  It is the alignment of the straight needle and the air cap that gives the round spray that you expect.

Globs and Splatters—Globs of paint are created whenever you hesitate hand movement while spraying.  Sometimes this results in a “barbell” effect.  Once you begin to spray, keep a smooth, consistent hand movement.  Splatters, on the other hand, are caused by releasing the airbrush trigger too quickly.  A drop of the paint will be carried to the tip of the airbrush on the needle.  And when you depress the trigger for the next spray, the droplet of paint will inadvertently be blown onto the work surface. Slowly release the trigger to prevent splattering from occurring.

Dunking the Airbrush—It is important when cleaning the airbrush to never immerse the entire tool in cleaning solvent.  There is no reason for liquid to be present anywhere in the airbrush except from the color cup to the tip.  If solvent--usually dirty--invades the triggering mechanism, it can easily gum up the works and make triggering sticky or impossible.  If this happens, you must disassemble the airbrush and clean the individual parts.

Smooth Surface, Soft Spray—The smoother the surface you work on, the softer will be the appearance of the spray,  no matter if it is a paper or a metal surface.  Hot press paper is the smoothest, whether it’s drawing paper or illustration board.  A coarser surface is denoted by airbrush spray, making it difficult to develop airbrush effects like neon, chrome, plastic, etc.

Oil in the Compressor—Oil-immersed compressors, normally piston operated, must have oil in the crankcase to prevent overheating and seizing up.  The oil must be of a special quality (check specifications of the manufacturer) and must be replaced periodically when it becomes dirty, and an oil trap is required to keep the oil from contaminating the compressed air.

Don’t Create a “Holiday”!—A “holiday” is an old painter’s term for an area in which there is less paint than on the surrounding areas.  In airbrushing, a solid plane of color is developed by spraying overlapping passes and slowly building up to solid opaque.  When areas appear that are lighter in color, more paint needs to be added to prevent a “holiday.”

ArtPourri

Design Winners—The Smithsonian’s Cooper-Hewitt National Design Museum will celebrate significant achievements in the design world with its annual National Design Awards when 2006 finalists and winners are honored at a gala dinner on Oct. 18.  Awards honor individuals in all areas of design as well as patrons and supporters. Among the 11 recipients is architect Paolo Soleri for lifetime achievement.

New Museum Planned—Abu Dhabi, the capital of the United Arab Emirates in the Arabian Gulf, has signed a memorandum of understanding with the New York-based Guggenheim Foundation to establish a world-class museum devoted to modern and contemporary art.  To be called the Guggenheim Abu Dhabi, the museum will be designed by renowned architect Frank Gehry and will form its own major collection of contemporary art as well as exhibit masterworks from the Guggenheim’s global collections.

Letters Acquired—The Van Gogh Museum in Amsterdam has recently acquired a remarkable group of 55 letters written by Vincent van Gogh to the Dutch artist Anthon van Rappard.  This exchange of views, accompanied by some beautiful sketches, is crucial to the understanding of van Gogh’s early artistic development.  After being concealed for 60 years, the letters were offered to the Museum by their former owner.

Auction Notes--At Sotheby’s, David Hockney’s painting The Splash realized a world record price of over $5 million and Modigliani’s 1919 portrait of his mistress sold for $30.1 million; and at Christies, Francis Bacon’s triptych, Three Studies for a Self-Portrait, sold for over $7 million, setting a record; and a work previously thought lost in World War II by Egon Schiele went for $21.6 million.  Last but not least, at a sale of a collection of Andy Warhol memorabilia, the artist’s trademark wig sold for $10,800.

Exhibitions:

Washington, D. C. – The Smithsonian’s National Portrait Gallery has reopened after an extensive renovation.  There are eight temporary exhibitions now on view as well as six permanent exhibitions.  See http://www.npg.si.edu/ for details.

Pacific Palisades, CA – The Getty Villa – The Colors of Clay:  Special Techniques in Athenian Vases brings together approximately 100 vases produced in Athens during the Archaic and Classical periods, exemplifying the use of special decorative techniques.  Through Sept. 4.

Minneapolis, MN – Minneapolis Institute of Arts – The Surreal Calder is the premiere exhibition in the new Target Wing.  It consists of 70 works, including 13 paintings and objects by artists other than Calder to put him back in the midst of Surrealism. The MIA’s new 113,000 sq. ft. wing and 49,000 sq. ft. of building renovation add 34 galleries and nearly forty percent new exhibition space.  Through Sept. 17.

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Copyright ARTtalk Vol. 16 No. 10 -- August 2006