It’s March!
Celebrate Youth Art Month, National Craft Month And the arrival of Spring!

Watercolor

Stretching Watercolor Paper

The first question you might be asking is why would you stretch watercolor paper?  While it is not totally necessary, stretching makes the surface of the paper lie flat and accept the paint without buckling.  For larger works, this is a big help, especially for heavy washes and large color applications.  Methods and materials vary, but there is surely a method that appeals to you and the way you approach your creative work.

Probably the most widely used stretching method is the taped edge technique.  You will need a smooth, clean board of something like tempered Masonite or a new drawing/stretching board.  This provides the type of surface against which the paper can lie until it is dry.  You will also need wide gummed tape, scissors and a razor knife or utility blade. 

Begin by thoroughly wetting your paper.  All papers but the very heaviest benefit from soaking and stretching.  The best place to soak the sheet is in a clean bathtub.  (Doing several at a time is good use of the prep necessary for the stretching process.)  Allow the paper to lie submerged in cool water until you can gently curl up a corner with little resistance.  Under-soaking the paper means it might have “a mind of its own” and stubbornly buckle.  If you over-soak a sheet, you run the risk of dislodging the sizing and changing the overall performance of the sheet. 

Once thoroughly wet, lift the sheet by one corner and allow excess water to run off.  Blot the surfaces (both front and back) with a clean sponge, removing additional excess moisture.  Lay the sheet out on your mounting board and smooth with your hands. 

Use unspliced lengths of moistened, gummed tape along all edges, gently pulling and smoothing the paper as you attach the tape.  If you place tape along a long edge first, make the opposing long length your second side attached.  Then continue with each of the short sides.  Set it aside and allow the paper to dry completely. 

Once the paper is bone dry, cut it from the board.  The gummed tape that remains on all edges of the paper can be trimmed away at any time in the future.  If you should attempt to pull it away, you can cause damage to the sheet.

Another method of stretching employs the use of common canvas stretcher bars.  Join the four pieces of the stretcher and soak the paper as described above.  The paper should be one inch larger on all sides than the stretcher bars.  Use one of two attachment methods.   Traditionalists use gummed tape, but a faster method is to use staples.  Staple the page along the outer edges of the stretchers.  It might help to lay the paper face down and then set the stretchers on top.  Stretching then involves lifting the edge and attaching to the outer perimeter of the bars. 

You can also mount watercolor paper to acid-free backing board with wheat starch.  It requires a bit more prep, but is a great way to insure a rigid work surface and no warping.  Soak your sheet and then allow it to dry almost completely.  Apply a layer of wheat starch to the back of the paper and set it on the backing.  Apply even pressure and give it time to dry.  Perfectly flat, unbuckled and eager for paint!

Art Competitions

–The Hudson Valley Art Association 76^th Annual Exhibition will be held June 8-28 at The National Arts Club, New York, NY.  It’s open to all artists 18 years of age and over living in the U.S., with one entry allowed of recent work in traditional realism.  Accepted media include original oils, watercolors, graphics, pastels and sculpture, with awards in each category.  Photos, computer-assisted art, collage and mixed media are not eligible.  Slide deadline:  March 26.  Info/prospectus at www.sidewalkartshow.com.

–The 2007 30^th Annual Juried Exhibition for Non-Members will be held at The Salmagundi Club, New York, NY, from June 25 – July 13.  Works eligible include original oil, watercolor, pastel, acrylic, mixed media, graphics and sculpture.  Awards.  Slide deadline:  April 13.  Info/prospectus at www.salmagundi.org; call 212.255.7740.

–The Artist’s Magazine 24^th Annual Art Competition is open to artists anywhere in the world, and only original artwork conceived and created by the entrant will be considered.  Work done in photography, digital or computer-generated artwork and sculpture will not be considered.  Categories include Portrait & Figure, Still Life, Landscape, Experimental and Animal/Wildlife.  More than $25,000 in cash prizes will be awarded.   Deadline:  May 1.  Visit https://www.artistsnetwork.com/tam/24thAnnual/annual_2007_entry.asp.

Ceramics

Glazing Ceramics with an Airbrush

Airbrush art is like no other when it comes to subtle color changes, soft transitions between colors, variances of colors within a small space, great stencil designing and fast, even application for background tones.  These facts are true not only of airbrush art done on paper and canvas but also that done on pottery and ceramics.  The soft blends of colors and the evenness with which they can be applied makes the airbrush one of the most sought after ceramic decorating tools around. 

Safety should be paramount when you do airbrush work with pottery glazes.  Even those that contain no lead very often contain other heavy metal components and minerals that are unhealthy to ingest.  Always wear a respirator, goggles and cover exposed skin to prevent absorption of dangerous materials.  Never smoke in a pottery studio.  The heat generated with inhalation combined with the suspended dust and chemicals in the studio have the potential to be lethal.  That said, let’s talk turkey about the “how-to’s” of using an airbrush to decorate ceramics and pottery.

For glaze application, it is smart to investigate an airbrush with a reservoir that can accommodate a large quantity of thick fluid.  Large quantity containers mean you don’t have to stop application as often to refill.  Also, it might be wise to invest in an air compressor that is more industrial in capacity than the air supply that is most often envisioned for airbrush art creation.  The amount of sustainable pressure, length of time in use and the overall rigors of glaze application may shorten the life of smaller compressors. 

With your basics in line, consider the types of glazes you will be applying.  Layering of colors and textures is so easy with an airbrush that you can quickly create signature combinations.  Over-spraying colors of glaze is very much like overlaying colors in any airbrush application.  You mix and mingle tiny droplets of color and come up with a soft, subtle color change with ease.

Use of stencils and cutout patterns is another way airbrush can speed your glazing process as well as offer spectacular looks.  Theme pieces can be developed where specific designs are repeated and thereby link the group together.  When glazing dinnerware and service pieces, it is great to use a simple tie between the series.  It encourages repeat sales of items to add to a collection and makes your sales job easier while streamlining your presentation process.  Create original stencils and designs in moisture-proof Mylar/acetate or similar material and they can be used over and over.  Just wipe them off between applications and they are ready for the next piece.

Accents added with airbrush are another way to quicken the glazing process at the same time you are adding flair to your work.  You can add over-glazing with stains to create a very special look to any decorator or art item.  Two ways to use airbrush stains could include the following methods:  First, use diluted solutions of stains applied in a quickly broadcast pattern to soften the overall color of a glaze.  This method can be used to either brighten or tone down a glaze color.  Second, use resist such as wax or commercial rubbery material in brushed designs over a base glaze.  Then, overspray to create a cloud-like tone.  This will yield a background tone where the resist was applied and a mingled over-sprayed area that complements the overall creation.

Use of thin washes is a fast way to stain any bisque-fired clay body.  To create a natural tone and look, it is easy to use iron oxide suspended in water as a dark brown wash.  Airbrush the premixed stain and then wipe off with a rag.  The result will leave recessed areas and patterns stained in a dark tone with the wiped off area a lighter tone.  This can also be done with cobalt and copper oxides.  But remember, these are very dangerous materials when handled improperly.

Use of premixed commercial glazes makes airbrushing a very fast method for glazing ceramics and pottery.  A base glaze upon which other colors and designs are placed can greatly speed up production or give you the opportunity to experiment with new topical brush, stamp or stencil decorations.  As a final coat of gloss or matt finish, airbrushed glazes are among the most uniform.  This is an added bonus, since unevenly applied final glazes can affect underlying designs. 

An all-time favorite use of airbrush on pottery is as an under glaze color applicator.  A variety of stains can be sprayed in mingled patterns to create gently shifting colors.  There is no other way to achieve this look, just as with paper and canvas art airbrushing. 

The addition of an airbrush set-up is one that can greatly enhance the enjoyment of ceramic decoration.  Glazing is the “icing” on the ceramic “cake.”  Airbrush application is itself exciting and adds a new element to the glazing process.  Consider giving it a try and see what you think; the looks are worth the effort and experimentation.  Signature looks and ever changing colorations are so easy you’ll wonder why you hesitated.  So go with a new direction and change your glazing method to include some type of airbrush augmentation. 

The Artist’s Marketplace

New Board from Strathmore

Strathmore has introduced their new 400 Series Black Presentation Board.  Ideal for mounting artwork and school projects, this heavyweight board measures 20” x 30”.  See your retailer and visit www.strathmoreartist.com.  Be sure to see Strathmore’s Windpower Series of Sketch, Drawing and Bristol pads made with 100% wind power.

Book on Oval Office “Drawing”

Presidential Doodles:  Two Centuries of Scribbles, Scratches, Squiggles and Scrawls from the Oval Office are now revealed for the first time by Cabinet magazine.  Years of scouring archives and libraries have unearthed hundreds of presidential doodles, and historian David Greenberg sets these images in context and explains what they reveal about the inner lives of our commanders in chief.  Roosevelt doodled animals and children; Reagan doodled cowboys, football players and lots of hearts for Nancy; and Herbert Hoover’s doodles inspired a line of children’s clothing patterned on his geometric designs.  Hardcover, Basic Books.

Sculpture

Environmental Sculpture

Scale means everything to an environmental sculptor.  It is the scale and the natural materials used that give these works such connection and links to its viewers.   We can easily recognize the materials and the scope of the sculpture whether or not we have ever created on our own. 

Of the large scale artists recognized as pioneers and “ground breakers” there are several names that come to the top of the list.  Andy Goldsworthy—born in Cheshire, England, in 1956—is well recognized as one of the foremost environmental artists.  Nature is not only the provider of raw materials, techniques and processes, but is the perfect theatre for Andy Goldsworthy’s creations. Transported into an artificial environment, they would lose most of their charms. His creations remain bound to nature by content and materials.

Another sculptor who works in monumental size and with common materials is Richard Serra, born in San Francisco.  He is well known not only for the scale but also the controversy he brings to the media.   His claim is that artists, once contracted to complete a specific work, should have complete authority in the work that they present.  This is not always an acceptable attitude with some art counsels and committees.  At least once, one of his largest works was contested to such a degree that after installation and payment, petitions were issued to have the work removed. After a 1981 installation of Serra’s 120 ft. x 20 ft. curved raw steel sculpture “Tilted Arc,” a furor of discontent brought about legal action by Serra.   He wanted to protect his creative and personal rights as the creator and he considered the petitions a violation. Years of court battling and unrest followed, without a satisfactory result for Serra.  On March 15, 1989, during the night, federal workers cut Tilted Arc into three pieces, removed it from Federal Plaza in New York City, and carted it off to a scrap-metal yard.

Serra was equally displeased to hear that the art gallery “Centro de Arte Reina Sofia” in Madrid had “mislaid” one of his works—amazing when you consider that the piece weighed 38 tons. Speculation is that the work was mistakenly considered scrap and disposed of.  Imagine the humiliation of having your work tossed.  Serra has since installed other sculptures that have been met with wide appeal by the public.

Robert Smithson, 1938–73, was born in Passaic, N.J..  After first making modular, serial sculpture, Smithson began to design large-scale earthworks in the 1960’s. Smithson reshaped the landscape in a way that recalled both the forces of nature and ancient archaeological sites.  Of these works, one in particular stands out and is remembered by many.  “Spiral Jetty” (1970) was created on the Great Salt Lake in Utah.  Huge quantities of earth and stone combine to create an open spiral that is 1500 feet long and includes a path 15 feet wide.  Tragically, Smithson died in an airplane crash while overseeing one of his earthwork sculptures.

Christo, born in Bulgaria as Javashev Christo, is best known for producing enormous packaging projects.  He—along with his wife Jeanne-Claude—wraps parks, buildings, and entire outdoor landscapes.  The major motivation is his desire for people to enjoy art outside of the normal museum and gallery setting.  He feels the temporary, spontaneous look of his works intrigues the viewer to investigate and come close to the walls, curtains and wraps that he installs.  The scale of his works is very impressive.  Regardless of the effect or locale, Christo’s extensive lines of fabric running along sidewalks, across lawns, and over walls give the environments a renewed sense of intimacy.  This effect might seem accidental, but Christo’s work is highly refined, well thought through and entails years of planning.  Remarkably, all costs for the installations are borne by the artist and his wife.  They feel this is the only way to keep their work pure and they pay for all materials and hired workers to assist in the installations.  Sales of Christo’s preliminary drawings of the works cover all costs.  For an update on proposed projects, visit www.christojeanneclaude.net.

Many environmental sculptures are interesting and appealing because of their use of natural materials and their placement in natural settings.  You can create your own such sculpture with a little ingenuity and some simple materials.  Bags of soil or sand and stones can be used to create miniature ridges and shapes that mimic some of the simple and interesting earth sculptures.   Or perhaps you want to do small-scale wraps similar to Christo’s works—something that would surely elicit reactions from friends and neighbors!

Airbrush

Airbrush Quick Tips

Trigger Pre-Sets—What is the purpose of that knob at the back of the airbrush handle or the screw in front of the trigger?  These are trigger pre-sets that are designed to limit the motion of a dual action airbrush trigger, in essence turning it into a single action airbrush in order to spray a consistent line.  Dual action airbrushes will usually have one of either preset mechanism.  The knob at the back of the handle restricts how far back the trigger can be pulled, while the screw in front of the trigger pushes the trigger back to a set position.  Thus when you depress the trigger it remains at a set place or it restricts how far you can pull back on the trigger, respectively.  So, for example, if you want multiple dots of a particular size, it’s convenient to preset the trigger of the airbrush.  Visit www.iwata-medea.com for a great selection of airbrushes/paints/accessories.

Shake It Up—Have you ever poured a pre-reduced opaque airbrush color, e.g., Com-Art, into your airbrush color cup and it was so transparent that you could see through it?  While stored, airbrush colors tend to separate, with the pigment settling to the bottom of the bottle.  You must shake the color to thoroughly mix the pigment with the medium so that the paint will be opaque.  You will notice that airbrush color bottles have a small ball bearing inside so that when you shake the bottle, the paint becomes thoroughly homogenized.  This should be done periodically throughout the work day to ensure that the paints spray opaquely.

Easy Peel—Removing frisket film from the backing paper can be frustrating.  Most airbrush artists attempt peeling with fingernails or by sliding a stencil knife between layers of film/backing paper.  Here’s an easy tip to remove frisket film from backing paper:  Take a piece of tape, either masking or drafting, and apply it over the edge from the film side.  Then simply peel back the tape and the film will lift off like magic.

ArtPourri

Painting Joins Exhibition—The recently recovered painting by Goya, Children with a Cart (1778), has rejoined the exhibition Spanish Painting from El Greco to Picasso:  Time, Truth and History at the Guggenheim in New York City.  At the closing on March 28, it will be returned to its home, the Toledo Museum of Art.  An FBI investigation continues into the theft of the painting.

Sculpture Park Opens—The nine-acre Seattle (WA) Art Museum Olympic Sculpture Park has opened on downtown Seattle’s waterfront.  It integrates architecture, landscape and urban design and enables residents and visitors to experience sculpture outdoors while enjoying magnificent views of the Olympic Mountains and Puget Sound.  On view are commissions by Louise Bourgeois, Teresita Fernandez and Mark Dion, as well as major works by Richard Serra, Alexander Calder and Mark di Suvero, among other leading contemporary artists.  The park is open daily and free of charge.

Fund Grows—Over $37 million in contributions has been committed so far so that Thomas Eakins’ masterpiece, Portrait of Dr. Samuel D. Gross (The Gross Clinic), may stay an icon of Philadelphia.  Jefferson Medical College decided to sell the painting and offered Philadelphia institutions the right to match the price and acquire the painting.  It will be jointly owned by and exhibited in alternation at the Philadelphia Museum of Art and the PA Academy of the Fine Arts.  Call the Fund for Eakins’ Masterpiece HOTLINE at 215.684.7762.

Auction News—Christie’s week of Impressionist and Modern Art and Post-War and Contemporary Art auctions in London realized the highest ever total for a week of art sales in Europe.  The top lot of the week was Study for Portrait II by Francis Bacon at over $27.5 million, with records established for 17 artists.—Sotheby’s Contemporary Art sale was the most successful contemporary sale ever staged in Europe with a spectacular $90.2 million.  Eleven new artist’s records were achieved, including for Peter Doig, Gerhard Richter and Jean Dubuffet, among others.

Memorial Honored—The American Institute of Architects has selected Maya Lin’s Vietnam Veterans Memorial in Washington, D.C., to receive the 2007 AIA 25-Year Award for architectural design that has stood the test of time for 25 years.  The popular two-acre memorial on the National Mall was dedicated in 1982.

NEA News—The FY 2008 Grants for the Arts Projects guidelines are available online at www.arts.gov/grants/apply/.    This is the NEA’s major support category for organizations and includes the Access to Artistic Excellence, Challenge America Reaching Every Community Fast Track Grants and Learning in the Arts for Children and Youth categories.—The Maine Arts Commission is the recipient of the 2006 National Accessibility Leadership Award/grant for their outstanding accessibility work.  This recognizes exceptional and effective initiatives or programs that make the arts accessible and inclusive.

Milestone—American abstract painter Jules Olitski has died at age 84.  Known for his color field paintings, in 1969 he became only the third living artist to have a solo show at the Metropolitan Museum of Art in New York City.  Olitski’s paintings can be viewed in many major museums.

Exhibitions:

Chicago, IL – Art Institute of Chicago – Cezanne to Picasso:  Ambroise Vollard, Patron of the Avant-Garde draws upon the dealer’s archives to shed new light on Vollard’s business strategies as well as the heretofore unexplored story of his relationships with artists whose works he exhibited and sold, among them Bonnard, Matisse, Picasso and Vuillard.  Through  May 12.

Los Angeles, CA – The Getty Center – Made for Manufacture:  Drawings for Sculpture and the Decorative Arts comprises drawings for objects to be executed in a range of media, including metal, wood, glass, ceramics and stone.  Spanning the1400’s through the 1600’s, the exhibit explores how artists translated 2-diemensional designs into 3-dimensional objects.  Through May 20.

Philadelphia, PA – Philadelphia Museum of Art – Celebrating American Craft:  30 Years of the Philadelphia Museum of Art Craft Show features 33 masterworks from the craft collection that demonstrate the vitality of local craft movements and celebrate the important role of the annual Craft Show.  Through Fall 2007.

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Copyright ARTtalk Vol. 17 No. 5 — March 2007