It’s March!

Celebrate Youth Art Month, National Craft Month and the arrival of Spring!

Crafts

Get Organized, Get Green and Get Crafting

We’re pleased to recognize National Craft Month, “a nationwide consumer awareness program designed to draw attention to crafts and the benefits derived from craft activities.  Celebrated each March by consumers and the industry alike, activities and promotions take place nationally and locally.”

The myriad of craft subjects is intoxicating, but some seem to leap out as timely and interesting.  Organization, in all forms, is a hot topic and one from which nearly all of us can benefit.  Green crafting is a relatively new twist on an old theme but one the industry has wholeheartedly embraced.  And what craft article would be complete without some tiny hint of “how-to”?  We’ll look at some fast, easy and fun egg crafting ideas.

Organization – just the word can make some shudder. But organization is the part of quality crafting that makes the entire process flow smoothly and remain enjoyable.  Start with the mental process of organizing and order.  If you are doing 45 different crafts, try to center on fewer.  This will automatically eliminate tons of clutter.  When you make the selection, box up and label all the items you won’t be using immediately.  Stack them in the attic or an empty closet (yeah, sure).  Now, take a look at what you have left.  Collect and group the items for storage.  Lidded tubs stack neatly in a column and the contents stay clean and ready for use.  Be sure to label the outside for quick and easy identification of the contents if containers are not transparent. 

You might have paints in varying degrees of disuse.  Throw away all that are getting solid, are already hard, have broken caps or are leaking.  Find a location to store good, but not needed tubes that will give them protection from drops, pressure and heat.  You will know they are usable and readily available at any time in the future.

Fiber artists have a huge task of organizing – color, texture, volume, shimmer, etc.  Plastic tubs help here, too.  Shelves allow fabric to be seen for quick selection.  Stackable milk carton-style storage boxes help organize by “family.”  Again, written labels for anything not clearly visible help a lot, no matter what craft material is stored.

While these suggestions may seem obvious, sometimes we just have to see it one more time for it to sink in.  Organization is essential, no matter the craft/art endeavor.

Green crafting is the new term for recycling, but is applied to crafts specifically.  So, for all of us who have, for years, collected little “things” for crafts projects at some later date, you were green and didn’t realize it.  Whether you are a “dumpster diver” or a conscious collector, the use of boxes, tubs, clear zip-top bags, glass jars and such containers will help you to organize.  One of the coolest studios ever had buttons, costume jewelry, ribbons, beads, rhinestones, laces and small artificial flowers displayed in jars that looked like décor but were really a concentrated storage system.  The colors and textures were amazing and every jar, large and small, held a different type of material.  You can use your organization for more than de-cluttering.  It can be a creative statement.  Imagine that!

And, last, one of the joys of childhood might have been egg decorating at Easter.  Many adults still enjoy this, so here are some easy decorating ideas to share.  A favorite for any age is the use of crayons on hard cooked egg shells.  After designing the surface, dip it in the color for great relief color combinations.  You can dip first, let dry, and then draw with crayons and have a color on color tone.  Another way to decorate is with strips of tissue paper.  Simply glue small tabs of pastel or colorful tissue paper over the surface of the cooked eggs.  Any excess glue should be brushed over the outer surface so that there is an even sheen on the paper.  Dry thoroughly and they are ready to hide in dry locations.  Create a “golden” egg with tiny torn pieces of metallic gift wrap.  Have a patriotic theme with red, white and blue – add stars.  Glue on ribbons and lace or apply themed stickers.  There is no limit to the cool looks you can create. 

So visit your retailer for all your craft needs—to see what new products are available, what workshops may be offered and definitely for inspiration!

Art Competitions

—The Sumo-Star Manga Drawing Competition, sponsored by Sakura Color Products of America and TOKYOPOP, invites legal residents at least 13 years of age and living within the U.S. and the District of Columbia to enter this competition at www.tokyopop.com/sumostar.  Requirements include use of a Sakura brand ink pen to draw an original creation, manga-style piece of art, creating a free profile on TOKYOPOP.com and submitting the drawing in a .gif file format, no larger than 50kb to SumoStar@tokyopop.com.  Drawings can be inspired by sumo wrestling, such as wrestlers, wrestling scenes and/or sumo ceremonies. (See www.sakuraofamerica.com/prodimg/SumoBooklet.pdf).  Three winners will be chosen and first place prize is two tickets to the Grand Sumo Tournament on June 8 in Los Angeles, CA, plus more that includes an assortment of Sakura drawing pens.  Entry deadline is 11:59 p.m. PST on March 30.  Start drawing!  (See “The Artist’s Marketplace” below.)

—Hudson River School Tradition—Call for Artwork – Locust Grove, a National Historic Landmark located in Poughkeepsie, NY, that was the 19^th century country estate of Samuel Morse (artist, founder of the National Academy of Design and more), is seeking contemporary artwork in the Hudson River School tradition for exhibition.  Traditional style 2-D artwork is requested, including photography.  Selected artists will be offered a six-week solo show in the Transverse Gallery at the estate’s elegant Museum Pavilion.  Deadline:  April 14.  Contact Ursula Morgan at 845.454.4500, Ext. 17; see prospectus at http://www.lgny.org/calendar/calendar.html.

Printmaking

Cellocut—Printmaking with Plastic

Cellocut is a unique type of printmaking preparation that is challenging and will yield results that are among some of the most exciting in all of printmaking.  The cellocut method was named by its originator, U.S. printmaker Boris Margo, one of the first printers to experiment extensively with plastics.  He credits his need to work with materials readily available as the inspiration for cellocut.

In the original cellocut method, liquid plastic (plastic that has been dissolved in acetone) is poured onto a rigid support backing, such as Masonite or plywood.  Once solidified, the plastic can be textured, raised into relief, and worked with various tools. It can be engraved, scratched, sanded, and filed; the plate can be worked with woodcut or intaglio tools.  These tools include any type of gouge, file, knife or blade that can scribe lines, textures or facilitate removal of the surface to create a “high and low” profile.  The high profiles will print, the low will resist inking.

The resulting plastic plate can be printed either as a relief or as an intaglio plate, or even both. It can be printed alone or in combination with other techniques. Thin layers of plastics can easily be placed on top of intaglio plates and printed as a single unit.  This opens completely new forms of prints and can lead to the development of series works that utilize similar forms and textures.  There is virtually no limit to the variety of prints you can create using as a basis one cellocut to which you add found texture sections.

Acetone is dangerous and should be used very carefully.  Wear gloves, eye protection and a respirator if this is your choice of solvent for cellocut prep.  Perhaps not a true cellocut, there are ways to create similar results without dealing with the chemical contact involved with acetone.  While being a printmaker can encompass experimental methods, safety should be remembered at all times.  Softening plastic in an oven, perhaps, might offer an alternative to the use of acetone.  And using a hand torch you can create small areas of texture and interest and avoid contact with harsh fluids.

When you examine the concept of cellocut, it involves a liquid surface that hardens and is flat, facilitating a smooth surface upon which relief and printing can be achieved.  But, as long as the added surface is smooth, reasonably carvable and permanently attached to the backing support, why not consider other options?  If you are careful, melted wax can be carved with very little trouble.  Pour wax onto a surface and carve into it.  If prints are run by hand with low surface pressure, the wax will hold up for several prints.  It can also be embedded with textural elements and even reusable textured acrylic segments.

Intaglio in general is all about lines scribed into a plate.  When ink is placed on an intaglio plate that has texture, the resulting print will yield linear designs as those depicted on the plate.  A mirror image print is achieved.  When compared to cellocut, the latter affords a higher degree of texture.  The cellocut plate can actually be used to create embossing because the plate displays a strong high/low texture.

Printmaking is a wonderful area for experimentation and development of personal style.  Give any type of printmaking a try and see for yourself.  Etching a small scrap of plastic with a sharp tool will yield a great plate from which you can create totally original prints.  Discover printmaking fun for yourself. See your retailer and visit www.graphicchemical.com for all your printmaking/engraving needs.

Art Events

—To celebrate Women’s History Month (March) and the first anniversary of the opening of the Elizabeth A. Sackler Center for Feminist Art, the Brooklyn Museum (NY) will present a series of public programs, including discussions, music and films that focus on women in the arts.  718.638.5000.  www.brooklynmuseum.org.

—“Women in the City” is a public art exhibition spread throughout the streets of Los Angeles through March.  The work of four seminal women artists—Jenny Holzer, Barbara Kruger, Louise Lawler and Cindy Sherman—will be disseminated in various locations: roadside billboards, video screens, storefronts, a movie theater and even through widely distributed stickers.  Visit www.womeninthecity.org.

—The 49^th Annual Winter Park (FL) Sidewalk Art Festival will be held in Central Park on March 14-16.  Judges have selected 225 national and international artists that will display works in clay, digital art, drawing and graphics, fiber, glass, metal, mixed media and more and compete for awards totaling $67,500.  Entertainment, a Children’s Workshop Village, student exhibition and more will be featured.  407.672.6390.  www.wpsaf.org.

—The Armory Show, the International Fair of New Art, will be held March 27-30 at Pier 94 in New York City.  Contemporary art from 175 international galleries will be showcased at this tenth annual exhibition.  212.645.0655.  www.thearmoryshow.com.

—The Sugarloaf Crafts Festival will be held at the Connecticut Expo Center, Hartford, on March 28-30.  Fine art and decorative crafts from 250 fine artists and craft designers will be featured as well as demos and entertainment for young and old alike.  Buy tickets online and save at www.sugarloafcrafts.com.

—The International Vintage Poster Fair will be held at the Chicago Cultural Center from March 28-30.  Over 10,000 original vintage posters will be offered by more than 25 international dealers for exhibit and sale.  A special poster exhibition and a lecture are featured.  1.800.856.8069.  www.posterfair.com.

Design

The Elements of Design

It is generally understood that there are certain qualities that are used to understand what an artist is attempting to communicate.  These qualities are the elements by which art is “measured” and are the basic components, building blocks if you will, by which the artist communicates his/her vision.  Line, shape, form, space, texture, value and color are used in partnership to create the images we call art. The components are combined with the principles of design to compose a piece of art.  Not all must be used at once, but at least two of them are present in every piece of art.

Line is a point moving in space and can vary in width, length and direction.  It can define, limit, include and exclude the space adjacent to itself.  Line is elemental in the creation of most images.

Shape is a two-dimensional area that may be open or closed, free-form or geometric.  Shape can be found in nature or made by humans.  Line and shape can be combined to create basic yet immensely interesting artworks without added elements. 

The space created in art can be either positive or negative.  Positive space is defined by shapes, forms or lines that stand out from the background of the art.  The shapes are usually closed to create a recognizable form.  Negative space is the empty area around forms or shapes in an artwork.  Negative space is usually interestingly shaped, not rigid, and generally thought of as supportive of positive images.  But either can be the focal point of the art.

Form is somewhat hard to define.  It has particular characteristics of an artwork’s visual elements.  These characteristics are distinguished from its subject matter or content.  Form represents the essence of a thing, considered apart from its content, color, texture or composition.  The attributes of form are mass and volume.  Mass is the bulk, weight and density of three-dimensional forms, either actual or implied.  Volume is any three-dimensional quality that is bound or enclosed, whether solid or void.

Color is the visual sensation that is the result of reflected or absorbed light cast from a given surface.  The attributes of color are hue, intensity and value.  Hue is the characteristic that gives color its name.  The spectrum is usually divided into six basic hues:  violet, blue, green, yellow, orange and red.  Intensity is the brightness or dullness of color.  Value is the degree of lightness or darkness of a hue or neutral color, the gradations of light and dark in a two-dimensional artwork and on the surface of three-dimensional objects.

Texture is the surface quality of the materials, either actual or implied.  With the use of darks and lights, applied surfaces or implied surfaces, the “feel” of a surface is part of the sensory input that artists include in their work.  Texture that can be seen rather than felt, fashioned with skill and attention to detail, creates an energetic response by the viewer.  Texture is one of the most eye- and mind-grabbing elements in art.

Basics in art start with line.  From the line we can build with shape, space, form, color and texture.  You add elements as you feel them appropriate and to communicate what you wish. 

The Artist’s Marketplace

Pads in New Dimensions from Strathmore

In response to popular demand, Strathmore Artist Papers has introduced 12 new pad items in square and landscape sizes:

—300 Series Canvas (textured paper that’s great for practicing techniques with oils and acrylics) is now available in 6”x6” and 6”x12” (10 sheets/pad).

—300 Series Bristol is now available 6”x6” (20 sheets/pad) in a Smooth finish (excellent for mechanical drawing, pencil, pen and ink or experimenting with airbrush) and Vellum finish (excellent for any dry media including pencil, charcoal and pastel).
 

—400 Series Acrylic (with a heavyweight linen finish perfect for acrylic painting) is available in 6”x6” and 6”x12” (10 sheets/pad). 

—400 Series Watercolor, an intermediate grade paper (ideal for both mastering watercolor techniques and finished pieces), is now available in 6”x12” and 6”x18” (12 sheets/pad). 

—400 Series Recycled Drawing paper (a bright white suitable for pencil, charcoal, pastel, crayon and marker) is available 8”x24.5” and 12”x24.5” (24 sheets/pad). 

—And the popular 400 Series Recycled Sketch paper (ideal for both experimentation and perfecting techniques) is available in 5.5”x12” and 8”x24.5” (50 sheets/pad). 

See your retailer and visit www.strathmoreartist.com.

New Sakura Manga Drawing Set

In response to a growing interest in manga (Japanese comic books or graphic novels), Sakura of America has introduced their new Pigma Sensei Manga Drawing Set that is targeted to beginners and as a rough concept kit to artists.  Pigma ink has been used by manga professionals for over 25 years, and the best way for beginners to learn the manga style is to have access to the tools needed to illustrate.  Artists benefit from having a drawing set on-hand to do rough concepts and sketching, e.g., when traveling to anime conventions.  The new six-piece set includes four nib styles of Pigma black ink pens, a mechanical pencil and an eraser.  See your retailer and visit www.sakuraofamerica.com/Pen-Manga-Drawing.

Airbrush

Shapes and Images from Templates, Stencils and Shields

In airbrush technique stenciling is referred to as frisketing, but not all stencils are friskets.  Frisket is a unique term for a self-adhering (adhesive backed) material that is transparent and is used to cut stencils directly on the surface of artwork.  The term frisket is also used for the same type of material in watercolor technique, but is pretty much unique to airbrushing.  In airbrush, there are also additional tools that are often used to develop shapes and images: templates, shields and stencils. 

A template is usually a series of stencils that are utilized to develop specific images such as skulls on motorcycle tanks, tropical scenery on T-shirts and multiple identical images for patterns.  Shields, on the other hand, usually refer to random shapes like French curves that are used to develop unique images such as portraiture or abstract scenes.  And stencils are usually pre-cut alphabets or numbers that are available in complete series for use in sign painting, illustration, etc.

All of these tools are usually transparent for ease of registration, but they are not self-adhering.  However, they can easily be made to adhere by applying repositionable spray adhesive to the back side.  These items are either purchased pre-made or handmade by artists. 

Following are tips to consider when selecting and using these tools:

Ensure that overspray does not drift from one opening to another.  If working with a template with many openings, make sure that those not being used are covered or else undesired “ghost” images will result.  Also cover the perimeter so overspray doesn’t pick up the outside edge of the template.

Consider the thickness of the template.  If too thick, like some craft-oriented stencils, the edges will block the spray; if too thin, air pressure from the airbrush will cause the edges to flutter and paint will leak underneath.  When making your own templates, a 5 mil thickness should be considered the maximum, while 2 mil may be too thin.

Be cautious of quick buildup of paint on the stencil material.  If you’re moving the template/shield around the artwork while spraying, you don’t want to drag paint along too.  Also, if too much paint builds up along the edges, capillary action will draw the paint up underneath and destroy the effect you are trying to achieve.

Plastic-based templates should be cleaned regularly with a rag or paper towel in order to maintain the transparency and the exactness of the shape.  Paper templates are difficult to clean and don’t have the advantage of transparency.

When working with non-water-soluble paint such as automotive, enamel or lacquer, use only solvent-proof templates.  If you spray lacquer, for example, on a template that is not solvent-proof, it will curl, warp or dissolve.

For tight, sharp edges, templates can be coated with adhesive for adherence to the work surface.  Do not over-coat the template with glues and make sure that when you remove the template no adhesive residue remains on the artwork.

Airbrush artists have unlimited possibilities in the development of their artwork when using templates, shields and stencils in conjunction with frisketing techniques and freehand airbrushing.  See your retailer and visit www.artoolproducts.com.

ArtPourri

Artists Selected – Eight-one artists have been chosen for the 2008 Whitney Biennial, which opens in New York City on March 6 and runs through June 1.  For the first time the museum is collaborating with the Park Avenue Armory and Art Production Fund to provide the Biennial with a second venue in the Seventh Regiment Armory building—that will be the setting for a series of performances, temporary installations, events and other programs by Biennial artists from March 6-23.  www.whitney.org.

Campaign Waged – The Dia Art Foundation, owner of Robert Smithson’s monumental Spiral Jetty on the Great Salt Lake in Utah, recently initiated a campaign to prevent oil drilling near this earthwork.  Dia’s position is that drilling activity would disrupt the Jetty’s view shed and the area’s silent and isolated character and would degrade the natural environment of the lake.  Email atickle@diaart.org.

Museum Debuts – The Broad Contemporary Art Museum, the centerpiece of the Los Angeles County Museum of Art’s Transformation, has opened as part of an ambitious program of expansion and renovation.  Designed by Renzo Piano, the new three-story museum includes 60,000 sq. ft. of exhibition space and is one of the largest column-free art spaces in the U.S. designed specifically for the display of contemporary art

Masterpieces Stolen – Masked, armed robbers recently stole four masterpieces from a museum in Zurich, Switzerland: Degas’ Count Lepic and His Daughters; Cezanne’s Boy in a Red Vest; Monet’s Poppies Near Vetheuil; and Van Gogh’s Blossoming Chestnut Branches—all oil on canvas.  Only four days before, thieves stole two Picasso paintings from a cultural center near Zurich. www.interpol.int.

Milestone – Renowned illustrator John Alvin has died at his home in Rhinebeck, NY, at the age of 59.  Alvin created posters for movies such as “Blazing Saddles,” “Alien,” “Lord of the Rings” trilogy, “Harry Potter” and the Star Wars Tenth Anniversary poster, as well as promotional artwork for Disney films such as “Beauty and the Beast” and “Pinocchio.”

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Copyright ARTtalk Vol. 18 No. 4 — March 2008