Painting

The Thick and Thin of Paints

Paints vary greatly in viscosity.  Tubes, jars and liquid squirt containers all have wonderful applications, and choosing the right one for the job you have can sometimes be frustrating.  Many artists swear by jar pigments, while others like the creaminess of tube colors.  Crafters use the most fluid paints for speed and cost and because their work is less critical from a fine art criteria.  But just what is the reason for the differences in viscosity?  What makes up the composition of the different paint types?  What difference does it make what you use where?

Viscosity is an important dimension of paints, whether they are watercolors, oils, acrylics or any other.  Viscosity is defined as the thickness of a fluid.  In painting it can mean that the quantity of pigment is higher in the mix of components in a given color.  That relates to the strength of the colorant or how well it covers the canvas or another color.  The higher the pigment quantity, the stronger the color is and the less it will take to do the job.  Strength of colorant equates directly to the amount of color that is imparted when the brush is full and a stroke is laid onto the artwork.

There is a totally informal way to gauge the viscosity of paint.  Examine the way the paint container is designed.  Little tips mean thin paints; larger tops mean thick and robust paints.  When paints (such as quality craft paints) are packaged in snap top bottles with small openings, the indication is that the paint is thin and can easily be dispensed with a gentle squeeze.  These paints generally contain the least strong pigments and are usually blended to achieve a fixed tone of color.  Because of their composition, they are usually the least costly.

Tube colors are thicker (higher viscosity) and need a firm squeeze to dispense them from the tube.  These paints are designed to work in tandem with mediums that even out the viscosity, flow and application of the paint.  A much stronger quantity of pure pigment is used to create tube colors.  Among the myriad brands, tube colors are generally artist quality, made of high quality materials, and are permanent.

If the paint is packaged in a jar with a screw lid, the contents of the jar are thick and do not spill if the jar is tipped over.  This type of container usually holds the highest viscosity, highest concentration of pigment and the most professional quality of paint.

But there are some contradictions to these guidelines.  Airbrush acrylics, for instance, are diluted to the perfect application consistency, which is thinner than brush painters want.  The nature of some colors is such that many components may be needed to create a given tone.  Earth tones contain many basic minerals to make them rich and dark.   But, by most standards, the thickest paints usually contain the highest degree of pure pigment.

Several manufacturers offer more than one line of paints and, in doing so, offer the artist a choice of pure pigment content (and appropriately varying costs).   For example, Savoir Faire offers Sennelier Artists’ Oil paints that are premier oil paints made from only the highest quality traditional and modern pigments ground extra fine, while Etude Art Student Oil Paints allow the artist to experience the feel of Sennelier’s French paintmaking quality at an affordable price. In addition, Lascaux Artist Acrylics are the premier professional artists’ quality acrylic paints, while Lascaux Studio Acrylics are professional fluid acrylics that offer quality and economy for large-scale artworks and murals. (Visit www.savoirfaire.com).

The brands that you might find on an art material retailer’s shelves will offer differing quantities of pigment, but there is another way to gauge the quality of the product, and that is cost.  Pure pigments are refined to a high degree and are costly.  When the price of paints seems high, it is generally a sure sign of high pigment content.  For full details on the paints you are interested in, contact the manufacturer and ask for technical info.

Additives and compounds that you can use to change the viscosity of your paints include a variety of mediums and texturing agents.  Thickening agents are offered to tighten some paints; textures such as pumice, sand and even mica are available to incorporate interesting textural elements to your finished works.  Thinning paint is often accomplished with mediums that even out the sheen and final appearance of the painting.  The strength of these high pigment content paints is not diminished by using a measured amount of medium.

Try some different brands and colors of paints and see what you think about the amounts of pigment they contain.  There is a huge world of experimentation and exploration out there awaiting you.  In the area of metallic colors alone there are several dry powders that you can mix into your paints to create not only a shimmering personal palette but also a dryer and thicker paint with which to work. 

Stroll the aisle of paints at your local art material retailer and take a look.  Try a few of the more costly brands and experience for yourself the difference in color saturation and coverage capabilities.  Depending upon your particular project, you may use less paint to do the same job.

The Artist’s Marketplace

In the Spotlight:  Borden & Riley Company, Inc., Hollis, NY

Since 1910, Borden & Riley has supplied a wide range of papers for the fine art, graphic design, calligraphy, watercolor, printing, drafting, sign writing, engineering/architectural and inkjet markets.  The company—under the direction of Robert D. Woodward, CEO and Owner, for 50 years (until his passing in 2000) and Zoila Woodward, President, for the last 25 years—has established itself in the art and technical markets.

Borden & Riley currently carries a complete line of drawing, tracing, Bristol, vellum, watercolor and technical papers.  In addition, they carry several unique papers not found anywhere in the U. S. such as their #234 Paris Paper for Pens and Denril Multi-Media Vellum.  All papers are available in pads, rolls and sheets/packs throughout the U.S.A. dealer network.

Borden & Riley is a leader in the production of top quality paper, outstanding customer service and value prices.  Visit their newly designed web site at www.bordenandriley.com to see their extensive line of papers for drawing and sketching, marker and visual layout, pen and ink, watercolor, airbrush/dry brush, tracing, charcoal and pastel and more.  Be sure to see the informative “Paper Talk” section,   and visit your retailer for these fine products.

Kids’ Korner

Clean and Organize!

The start of a new year is a great time to take stock of your art and creative materials and perhaps make up some new storage devices and organizational changes.  When you get ready to draw and paint, it is a drag to have to dig to find your materials.  But if you create a special way to organize and store your pens, pencils, markers, glue, etc., you will be able to find them quickly and be creating in minutes. 

Why not start with a simple project—a personalized box in which to put all your items?  You will need the container—an empty shoe box (bigger is better, but any size will do) or any sturdy lidded box.  You will need fancy wrapping paper, wallpaper or the like to cover the box; scissors to shape the paper; and glue to attach it.  Permanent glue stick is easy to use and it washes off easily.  It sticks very well once it is dry so you don’t have to worry about the paper coming off the box.

To cover the lid of the box, measure the width and the length of the lid.  To these measurements, add the height of the sides of the lid.  Cut a piece of paper that is at least one inch bigger on all sides than these measurements.  Do the same with the bottom of the box. 

Center the lid on the first sheet of paper.  Use scissors to cut exactly from the corner of the paper to the corner of the box.  Apply glue to the area of the paper that will be folded around the lid and to the one inch that will be folded inside the lid.  Do one side at a time, but be careful to keep the lid centered so there will be plenty of paper to complete the cover.  Repeat with the bottom of the box.  If your corners are not neat, you can fold the paper rather than cut it if you choose.

The resulting covered box can be further decorated with paint, markers or stickers to personalize it – your way.  You can create a box for each of your artistic interests, each with a different paper.  Imagine how cool your room will look with all your art things stored in your originally designed boxes!

Guide to Art

Faces, Places and Inner Spaces:  A Guide to Looking at Art by Jean Sousa (published in association with The Art Institute of Chicago) explains how artists use faces, places and inner spaces to express themselves.  Featured are an African mask, a West Mexican clay-pole dance scene, a Hindu sculpture, a Chinese screen, a Japanese actor print, a box by Cornell and paintings by Van Gogh, Seurat and many others.  After exploring each of these topics, young readers will be prepared to take a new look at art and will understand how artists help shape our views of the world. 48 pages, hard cover.  Abrams Young Readers.

Interactive Sites for Kids

—The Museum of Modern Art (NY) has recently re-launched their website for kids ages 5-8 at www.moma.org/destination.  Through a close look at shapes and colors, demonstrations of techniques and brief artist biographies, the Web site introduces highlights of the Museum’s collection and basic concepts in modern and contemporary art. 

—The National Gallery of Art now presents Dutch Dollhouse, an interactive inspired by 17^th century Dutch paintings, at www.nga.gov/kids/zone/dollhouse.htm (requires Shockwave plug-in). Works by well-known artists such as Pieter de Hooch and Johannes Vermeer spring to life as children mix and match a variety of colorful characters and traditional decorative objects, exploring elements of contemporary domestic life in the kitchen, living quarters, artist’s studio and courtyard.

Artist’s Profile

Rene Magritte 1898-1967

Rene Francois-Ghislain Magritte was born in 1898 in Lessines, Belgium.  Today, he is considered one of the most influential and inspirational surrealistic painters, but, as often is the case, his work was not well accepted early in his career.  His more representational style of surrealism is fascinating and engaging, often witty and amusing.  This is quite different from the more automatic surrealism of peers such as Joan Miro, who was famous for his “all over the canvas” painting, expressing his thoughts and subconscious.  In contrast, Magritte’s work was more ingenious.  He used images in repetition and in odd positions to convey a sense of humor and entertainment. 

Some of Rene Magritte’s works were influenced by an early trauma, which became a prominent issue in an extensive series of paintings.  His mother committed suicide in 1912 by drowning herself.  Magritte was present when her body was retrieved from the River Sambre.  As she was pulled out of the water, her clothing floated over her face, obscuring it—an image that haunted Magritte.

At age 15, Rene’s formal education began when he entered the Academy of Fine Arts in Brussels, where he studied until 1918.   While at the Academy, he met Georgette Berger, whom he married in 1922.  Before their marriage, Magritte had spent one year in the military. 

Magritte’s early career actually began with work as a designer in the wallpaper industry.  He excelled in the mastery of repeated designs, a theme that occurs often in the canvas paintings that followed.  During 1926, Magritte was fortunate enough to win a contract for guaranteed salary for one year.  The contract was with Galerie la Centaure in Brussels, and this allowed him to paint full time.  His first surrealistic painting was completed that year (The Lost Jockey) and his first exhibit was held in Brussels in 1927. 

Critics were not kind to Magritte.  Greatly affected by the reviews, Rene moved to Paris where he became friends with Andre Breton, poet and founder of the surrealist movement in Paris, and he became active with that group. 

When the contract with Galerie la Centaure ended, Magritte formed a design agency with his brother.  This partnership afforded him a respectable living through their work in the advertising industry. 

In WWII, German occupation of Belgium was basically ignored by Magritte.  He stayed in Brussels, thus losing the friendship of Andre Breton, who could not accept his lack of fervor against the terrors of war.  At this time, Magritte assumed a pacifist posture and eliminated all conflict, violence and pessimism from his work.  Such images did, however, return in some of his later works.

In 1936, Magritte exhibited in the United States in New York; and  two retrospective exhibitions have been held in New York, one at the Museum of Modern Art in 1965 only two years before his death and the other at the Metropolitan Museum of Art in 1992.

As a perfectionist and talented technician, Magritte’s work displays a juxtaposition of ordinary objects in an unusual context, giving new meaning to familiar things.  The representational use of objects placed in unusual situations is a trademark of his paintings.  Critics often drew parallels between those common objects and Freudian interpretations.  But, Magritte refused to justify those comparisons, stating only that his images were true depictions of common items.  He did, however, admit to dreaming some of the everyday items in odd places, which he then incorporated into even more “fantastic” paintings.  He did not use hallucinations or dreams as the only source; his works were interpretations and not exact depictions.

Magritte died of pancreatic cancer on August 15, 1967 and was interred in Schaarbeek Cemetery in Brussels.  His paintings continue to be enjoyed today for their dreamlike qualities. 

Exhibition

Magritte and Contemporary Art:  The Treachery of Images is at the Los Angeles County Museum of Art (CA) through March 4.  This is the first exhibition to fully explore the impact of Magritte’s work on U.S. and European artists of the post-war generation.  Approximately 45 paintings are on exhibit, including many of his signature images, along with an equal number of paintings and sculptures by international artists of the past forty years.  Highlighted is Magritte’s masterpiece, The Treachery of Images (This is not a pipe), a seminal painting and popular culture icon.

Art Events

Feb. 16-25 — Newport, RI — Newport Winter Festival 2007 features over 150 individual events with food, music and entertainment, including a two-day Children’s Fair on Feb. 19-20 and an Ice Sculpting Contest with champion sculptors on Feb. 18.  Visit www.NewportWinterFestival.com.

Feb. 17 — Denver, CO — Denver Art Museum — A Family Art Festival will be featured from 10 a.m. – 4 p.m. throughout the museum complex.  Bring out your creative side with music, special performances and artmaking activities.  Free. And every day there are free activities for kids—and general admission is always free for kids age 6 and under. Call 720.913.0048

Feb. 17-18 — Sarasota, FL — Main St. Downtown — The 19^th Annual Downtown Sarasota Festival of the Arts features 300 fine artists from across the nation who will exhibit their works ranging from metal sculpture to stained glass to fine jewelry and watercolor paintings.   10 a.m. – 5 p.m.  Free admission.

Feb. 22-26 — New York, NY — Pier 94, Twelfth Ave. at 55^th St. — The Armory Show, the International Fair of New Art, is the world’s leading art fair devoted exclusively to contemporary art.  In its ninth annual exhibition, the show will present 148 international galleries.  An Opening Preview Party will be held Feb. 22 at Piers 90 and 92 to benefit the Exhibition Fund of The Museum of Modern Art.  Visit www.thearmoryshow.com.

Washington, DC — National Gallery of Art — Sculpture Garden Ice Skating — A great way to see monumental sculpture by Lichtenstein, Oldenburg, Abakanowicz and other modern artists is by ice skating in the NGA Sculpture Garden.  Magnificent works of art surround an open-air ice rink in the center of the garden with music from a state-of-the-art sound system.  Refreshments to warm you are available in the Pavilion Café.  10 a.m.-9 p.m. M-Th; 10 a.m.-11 p.m. Fri-Sat; and 11 a.m.-9 p.m. Sun.  Visit www.nga.gov/ginfo/skating.htm.

Airbrush

Airbrush Quick Tips/Notes

Realer Than Real—Abstract painting was in the spotlight in the 1960’s when along came sharp focus realism.  Paintings in this style were more realistic than a photograph and usually much larger in size.  (This was before giclee printing was available.)  Among photo realists the airbrush was a preferred tool with which to render.  Painters such as Don Eddy, Audrey Flack and Chuck Close painted subject matter from gigantic portraits to still lifes to landscapes in acrylics as well as oils using the airbrush with its innate ability to spray in a manner that mimics a photograph. 

Galleries that championed this art form sprung up on both coasts.  OK Harris, Lewis K. Meisel and the Nancy Hoffman Gallery still exist in SoHo, New York City, within a few blocks of each other.  On the West Coast, exhibits were held at the Santa Barbara Museum of Art and at San Jose State, both in CA, as early as 1971.  This sharp focus look in painting was also utilized by abstract painters such as George Green, Michael Gallagher and Paul Sarkisian and was called abstract illusionism.  These works are collected by major museums throughout the country and can be seen on a regular basis in Manhattan galleries. 

Drain Your Tank—Most piston-operated compressors have a storage tank in which the air is held before it’s consumed.  This tank tends to collect condensation and/or oil, so it must be drained periodically.  At the bottom front of most storage tanks there is screw valve that is unscrewed while there is pressure in the tank to allow the moisture and excess oil to drain.  Once the tank is drained, the valve is closed so that it can again build up pressure in the tank.  If moisture is left in the storage tank too long, rusting can take place; and excess moisture buildup can lead to moisture in the air line, neither of which is desirable.  Periodic draining will prevent both.  Visit www.silentaire.com to see their extensive line of compressors/accessories.

FREE Airbrush e-Newsletter

Go to www.airbrushtalk.com to read the new January-February issue of AirbrushTalk and sign up for your free subscription.  Articles included are “Airbrushing Resolutions” by Janean S. Thompson, “The Derelict Spacecraft” by Wes Hawkins, and “Girlie Girl Pin-Up Step-by-Step,” (Part 1) by Deborah Mahan.  You’ll also find information on forthcoming airbrush workshops.

ArtPourri

Stamp News—The U.S. Postal Service has dedicated the “With Love and Kisses” stamp just in time for Valentine’s Day.  Designed by award-winning illustrator Jose Ortega of New York City and Toronto, the stamp features a Hershey’s Kisses chocolate and a red heart that form mirror images of one another.

Auction News—Christie’s New York and the Judd Foundation will be recognized by the American Section of the International Art Critics Association with its Award for the Best Show in a Temporary or Alternative Space at El Museo del Barrio, New York City, on Feb. 21.  The ceremony is free and open to the public.  The exhibition took place April-May 2006 and featured a large group of works that reflected the full scope of sculptor Donald Judd’s career.

Milestone—Award-winning artist/illustrator Iwao Takamoto has died in Los Angeles at 81.  His work was included in many Disney classics such as “Cinderella,” “Peter Pan” and “101 Dalmatians.”  At Hanna Barbera he created some of the most popular characters to appear on the small screen, including everyone’s favorite, Scooby-Doo.

Congratulations to All—Time magazine has designated as their “Person of the Year” all “citizens of the new digital democracy,” i.e., anyone using or creating content on the World Wide Web.  So here’s to you and here’s to ARTtalk (www.arttalk.com).

Exhibitions:

New York, NY — Museum of Modern Art — Doug Aitken: sleepwalkers is a major public artwork comprising eight large-scale moving images that are projected onto the exterior of MoMA, enlivening the building’s architecture with the nocturnal journey of five city dwellers (played by actors).  Commissioned jointly with Creative Time, this cinematic installation is projected nightly from 5-10 p.m. and is viewable from various vantage points around the Museum and in the Sculpture Garden, open to the public free of charge during the exhibition—only through Feb. 12.

Corning, NY — Corning Museum of Glass — Worlds Within:  The Evolution of the Paperweight tells the story of how the glass paperweight has evolved from the classic period of paperweight-making in mid-19^th century Europe and the U.S. to the present day.  See the commissioned and world’s first 100 pound paperweight (and the Museum’s 1,000^th paperweight) by Josh Simpson.  Through March 16.

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Copyright ARTtalk Vol. 17 No. 4 — February 2007