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PaperArt Papers: Practical and Versatile or Precious and ElegantSince the days when early Egyptians created some of the first known sheets of what we now refer to as paper, there have been many improvements and enhancements. Those early sheets were made by weaving the soft stems of water papyrus together and then pounding and pressing them to form cohesive sheets for writing and painting. Chinese papermaking began about 100BC and, although primitive, was used to create records and drawings, some of which still exist today. The primitive Chinese paper was made of mulberry bark and chopped hemp rags. The mixture was spread smooth and flattened to form irregularly shaped sheets. Although it sounds bizarre, this technique—or one similar—continued for many centuries. The use of such precious materials as cloth made the first paper very expensive and something afforded and used by the very wealthy. Paper as we know it was not made on any scale until about A.D. 1200. On the same timeline, the Aztecs were also creating a paper-type material and using it for a variety of purposes. From these simple beginnings, a very rapid development of varietal papers was begun around the time of the Industrial Revolution. With mechanization, factories and mass production, along with the advent of a chemical industry, the use of wood materials was incorporated into the creation of an affordable paper. As artists today, we are fortunate to have at our fingertips – literally – a huge variety of textures, colors, finishes and weights of paper and rag content materials upon which to paint and draw. With the many choices at any art material dealer, it is often difficult to select the right ground for the application to which you intend to put the paper. Let’s examine some of the basic differences and uses of many of the papers available. In the area of heavy, toothy, marginally absorbent paper like you might select to do watercolor, there are a number of extremely high quality papers that you should look at. The “rag” content of a watercolor paper is more than important in its life span. Those fibers add a wet strength and offer the option to scrub and gouge the surface to create detail work. The fibers are suspended and then bound with solutions that hold them tightly; and, once put under the pressure of hydraulic presses, they become a strong, useful surface. The heavier the rag content paper, the more “abuse” it can take. Soaking in a tub of water will not cause any appreciable decline in its strength nor will it adversely change the painting surface.
Padded watercolor papers are not usually as strong as the heaviest single sheets but can be extremely versatile for many artistic applications. Ink drawings with water-based washes, oil pastel, conte crayon and acrylic all do well on these strong sheets. For paper piercing work, paper cutwork and the like, lighter watercolor paper is very strong and the perfect weight. Charcoal papers have a soft tooth surface and are able to hold the strokes of either charcoal or pastel. Although not specifically designed for pastel, charcoal papers come in soft subtle colors with a smooth texture that allows fine detail pastel work. Charcoal, conte crayon and colored pencil do very well on this paper. Pastel papers vary greatly in their surface quality. Some are velvety and could make interesting experimental foundations for painting and do very well with charcoal, graphite and some styles of ink work. Although not designed for this application, it is always fun to experiment with papers to do new and challenging things. Velvet papers are great for a wide range of such experimentation. Greeting card artists and those involved in scrapbook creation find papers that are designed for fine art applications work extremely well in their field as well. There are no “sacred” materials for many artists and they often seek out and use very unusual materials in their work. Take a look at some of their results to see what they do. Use of metal leaf over some surfaces, for example, is one technique used by scrapbookers to create unique photo frames for their photos. The list could go on and on, but the idea is to make you curious about how to use paper in new and unusual ways. Corrugated sheets, super chunky handmade papers, papers with natural materials incorporated, super slick – mirror finished sheets, translucent velum, canvas papers…try some in new ways. The fun of experimentation and exploration is habit forming. For all your paper needs, see your retailer and visit www.bordenandriley.com and www.strathmoreartist.com.
Art Competitions—The International Association of Pastel Societies 12th Juried Competition will be hosted on their Web site: www.pastelinternational.com. It’s open to any artist who is a member of an IAPS society, and original dry pastel only is eligible. Juror is Jimmy Wright and prizes will be awarded. Deadline: August 8. See the Web site for entry form and additional information. —The American Artists Professional League 80th Grand National Exhibition 2008 will be held Oct. 28–Nov. 7 at the Salmagundi Club, New York, NY. Only works done in traditional realism will be considered in oil, polymer, watercolor, pastel, graphic and sculpture. Photolithographs and oil pastels are not eligible. Monetary and merchandise awards. Visit www.americanartistsprofessionalleague.org for a prospectus. Deadline: August 9. —The 2008 Federal Duck Stamp Contest, to be held Oct. 17-18 at the Bloomington Center for the Arts in Bloomington, MN, is open to U.S. Citizens, nationals or resident aliens who were 18 years of age by June 1. Entries must consist of two-dimensional design and regulations do not specify a medium. Five species of waterfowl allowed for consideration this year are Brant, Northern Shoveler, Ruddy Duck, Canada Goose and Long-tailed Duck. The winning artist will receive publicity and media recognition; and travel and be recognized as guest speaker at several prestigious national waterfowl and wildlife art events. This program raises approximately $25 million each year to help protect vital wetland habitat in our National Wildlife Refuge System. Deadline: August 15. Visit www.fws.gov/duckstamps.
Artist ProfileBerthe Morisot (1841 – 1895)Born in France as the daughter of a high government official, Berthe Morisot was also the granddaughter of famous Rococo painter Jean-Honore Fragonard. Morisot decided at a very early age to pursue art and did so with a seriousness and dedication like that of her male counterparts of the time. Her skill and devotion were supported by her family, as both she and her sister Edma were painters. Morisot, at age 20, had taken up the practice of plein air techniques and painted both finished works and small studies for larger paintings that she completed in her studio. Her friendships with far more well-known painters of the time opened the way for her participation in the Salon de Paris in 1864, for which few women of the time were even considered. In 1874 she married Eugene Manet, Edouard’s younger brother, and as a team they both became part of the circle that was to become known as the Impressionists. The couple had one daughter. Morisot’s work was exhibited in all the original Impressionists’ shows—this, when few women were allowed or encouraged to paint, much less display their work. It is hard to imagine how difficult it must have been to be a woman in a bastion of male painters and whose subjects, like those of revered painter Mary Cassatt, were feminine and depicted everyday chores and life rather than robust or intense subjects of the time. Her association with Manet created a strict attention to detail and natural coloring rather than the boldness and exaggerated forms of many of her contemporaries. Delicate and subtle, exquisite in color, her work often displayed a glow that won her the admiration of her Impressionist colleagues. Only two women of her time, she and Cassatt, were ever recognized as artists who realized that women were real and not the deities as they had previously been painted. But, as is the case with all her Impressionist painter friends, the critics were not enamored with her style. And, as is often the case, her work and talent were not recognized during her lifetime although she did outsell many of her contemporaries. As a woman of great culture and charm, she was well liked by her friends and did not allow the criticism of her work to alter her ambition. Being relegated to the category of “feminine” artists did nothing to change the way she worked. She is known as a doctrinaire impressionist because of the way the women, children and domestic scenes are captured in her work – she painted what she experienced on a daily basis. At age 54, Berthe Morisot contracted pneumonia and died on March 2, 1895. She had been able to devote herself wholly to her craft and participated in the Impressionist exhibitions every year except that in which her daughter was born. Today, her work is sought by museums and collectors. Women Impressionists: Berthe Morisot, Mary Cassatt, Eva Gonzales, Marie Bracquemond is on view at the Legion of Honor, San Francisco, the exclusive U.S. venue, through September 21. The exhibition offers a rare opportunity to directly compare the work of these women artists by bringing many pieces together for the first time.
The Artist’s MarketplaceArtool - New Texture and Piracy Templates
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As a versatile artist’s material, ink is one of the most useful and immediate you can choose to incorporate into your work. It is also a great crafting “tool” offering color, sheen and interest to a variety of projects. The choices are many and with a little ingenuity, nearly any creative thinker can find ways to make use of the intense color, iridescence and interest created with inks. Some pens, such as those made by Sakura, offer clean gel tones for fine detail.
From its preliminary and well known application as a drawing material, ink’s value increases as one explores the possibilities of its use. They are fast and easy to apply and relatively clean to use; they are easy to transport, need no dilution or manipulation (although you can if you wish) and can be applied to many surfaces.
As a painter, you may work on paper and/or canvas. Inks work very well on both of these materials and most are both permanent and have a high degree of light-fastness. The opacity of inks is one of their strong points. The fact that they are permanent enough, once dry, to have washes applied over them makes them very valuable for design and detail work. The color range is wide and different qualities also add to the usefulness of inks. The shimmer and sheen of metallic inks makes them a quick and intense addition to paintings.
Calligraphers and artists who use pens can benefit from the available ink colors. Whether you want to richly define the perimeter or shape of an object, create interest and texture or give only a hint of shape and mass, inks are the perfect tool to do such definition. Artists who work on canvas—raw, unsized and sized—can use ink extensively in their work. It is not often considered a material compatible with cloth-type surfaces, but when applied with a brush or dropper, inks are fun and interesting to include on canvas artworks.
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Metallic inks offer one very distinct application merit. Their sheen and iridescence can add excitement and interest to any artwork in which they are used. Be it scrapbook calligraphy, watercolor augmentation and illumination, or canvas painting highlighting, there is something for nearly anyone in the area of ink usage. Obviously, pen and ink artists can employ the shimmer and eye-catching qualities of metallic inks in all sorts of applications where more common sepia and black inks fall short.
Methods of application can include points and staff or quill pens and other materials. Metallic inks very often have extremely minute particles of reflective material, thus making them sparkle. More expensive pens are often clogged with these minute particles and are not recommended for use in applying metallic inks.
But, for the adventurous, there are some pretty unusual application tools that yield dynamic results. Long twigs, often long enough to stand and draw with, can be very interesting and fun to use. A slender, pliable twig with flexibility will be the easiest to use. Feathers can be used to apply metallic ink “marbleized” surfaces such as faux finishes, stone surfaces depicted in paintings, and even clouds, fur and other wispy details. Brushed on in applications to depict metal surfaces in artwork is another popular way to use metallic inks. The silvers are rich, the golds intense and there are copper, steel and other combinations that can be created by combining colors. Metallic colors like rich blues, reds, greens and more are also part of the palette.
With a bit of experimentation you might find lots of other ways to use metallic inks. But, be assured, any use of metallics won’t be boring or mundane. Light up your artworks and craft projects. Use metallic inks and watch it happen. And remember the detail work possible with the ready to go colors of Sakura.
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Houston, TX – Beginning in 1996, each summer the Museum of Fine Arts and the Parks and Recreation Dept. collaborate on creating murals at five parks throughout the city. At each park a teaching artist works with local children to design and paint a mural that reflects the local community and is inspired by a visit to the museum. Masterpieces are created with house paint on plywood panels, which are then covered with a protective coating and displayed within the community centers of parks. Info: 713.845.1098; outreach@mfah.org.
Washington, DC – The National Gallery of Art Family Workshop, Beach Views, will be held July 24-26 and August 7-9, with 12 two-hour sessions offered for ages 8-12. Explore photos in the exhibition Richard Misrach: On the Beach, and then experiment with making Polaroid transfer prints. Registration is available online: http://www.nga.gov/programs/family/.
Chicago, IL – The Gold Coast River North Art Fair, a Chicago tradition for more than 50 years, will be held August 8-10 along LaSalle St. In addition to the works of over 300 juried artists, you can enjoy demos, Art Fest Bingo, free entertainment and festive food. 847.926.4300.
Mystic, CT – One of the country’s oldest and finest art shows, the Mystic Outdoor Art Festival, will be held Aug. 9-10 along the streets of the historic downtown area. More than 250 fine artists will exhibit oils, watercolors, photography, pastels, sculpture and acrylics, while over 60 fine crafters will display their creative works. There will also be music performances, children’s art activities and fine food at this professionally juried show.
Los Angeles, CA – The Getty Center presents Family Art Stops Tues.–Fri. through August 29, at 2 and 2:30 p.m. in the Museum Galleries. Get up close and personal with a single work of art at this half-hour hands-on gallery experience geared for families with children ages 5 and up. Sign up at the Information Desk beginning 30 minutes before the program.
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The air cap and head assembly are two parts of an airbrush that are located on the very front and cover the tip of the airbrush needle. If these parts, which control the atomization of the airbrush spray, become dented or damaged, the performance of the brush will be compromised. Denting can occur if the brush is mishandled—dropped onto a hard surface or banged against an object. If this happens, the air cap and head assembly must be replaced. Parts are readily available from art supply stores or the airbrush manufacturer.
When replacing the air cap/head assembly, it must be seated properly at the tip of the airbrush and tightened with a wrench that is provided with the brush to prevent air leakage during usage. Most airbrushes available today are self-sealing, but there are still some older models on the market that use “O” rings made from PTFE to provide an airtight seal. No matter which type is being replaced, be careful not to over-tighten the head assembly or it may break off, leaving the threaded part inside the body of the airbrush. If this happens, you must send the brush back to the manufacturer for repair.
Very old airbrushes were neither self-sealing nor equipped with a metal “O” ring. When parts were replaced, heated beeswax was used to seal the tip to prevent air leakage.
Handle your airbrush with care to minimize repairs and the replacement of parts.
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Waterfalls in the City – A temporary monumental public art project commissioned by the Public Art Fund will be on view through Oct 13. Olafur Eliasson: The New York City Waterfalls consists of four manmade 90- to 120-foot-tall waterfalls at sites on the waterfront in lower Manhattan, Brooklyn and Governors Island. Visit www.nycwaterfalls.org.
Stamp News – The new Wedding Hearts stamps, in both 42 and 59 cent denominations, will add both elegance and whimsy to cherished correspondence such as wedding invitations/response cards and Valentine’s Day greetings. Designed by artist Nancy Stahl, the stamps are based on her memories of a wide range of intertwined objects, including silver charms and old-fashioned garden gates.
Mural Reinstalled – The American Museum of Natural History, NYC, has installed Charles R. Knight’s (1874-1953) giant mural The Neanderthal Flint Workers, on view to the public for the first time in over 40 years. Restored and reframed, the 12 x 8 ft. painting is one of an epic series of nine murals painted for the Hall of the Age of Man and was completed in 1924.
Auction News – Sotheby’s spring sale of American Paintings, Drawings and Sculpture realized the second highest total ever for a sale of American Paintings at more than $87 million. Edward Hicks’ Peaceable Kingdom with the Leopard of Serenity achieved $9.6 million, a record for a work of American folk art and a record for the artist at auction. At the sale of Contemporary Art, Ed Ruscha’s I Don’t Want No Retro Spective (1979), sold for $3.9 million, a record for a work on paper by the artist. — Spider (2003), 4 ft. high, by Louise Bourgeois sold for $4.5 million, a record price for the artist at Christie’s International in Paris.
Drawing on Loan – In commemoration of the 25th anniversary of Christo and Jeanne-Claude’s Surrounded Islands project in Biscayne Bay, the City of Miami has announced a long-term loan of the artists’ preparatory drawing—once on view at City Hall—to the Miami Art Museum. After conducting necessary conservation work on the piece, the drawing will appear in a forthcoming exhibition.
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6-Hour Workshop
www.arttalk.com/workshop/workshop.htm
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The Art Institute Online is looking for graphic designers interested in learning additional skills, or in getting their bachelor's or associate's degree in graphic design. Make yourself more marketable in the graphic design industry. Click here to find out more. (http://quinst.com/clk/kittedatoukumushiigyo) |
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| •ARTtalk's Manufacturer Art Materials/Product Info. Center • |
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Copyright ARTtalk Vol. 18 No. 9 — July 2008
Artool Products Co. has announced the new Texture
FX Freehand Airbrush Templates designed by Gerald Mendez and the
Piracy
Signature Series Freehand Airbrush Templates designed by Craig Fraser.
With the Texture FX Templates, natural and organic illustration effects
can now be easily achieved like never before: stone surfaces, outer space
scenes, splashes, an endless variety of backgrounds, graphics, detailed
reptilian skin effects and so much more. With everyone going pirate crazy
nowadays, the Piracy Templates include six themes: Tell No Tales, Jolly
Roger, O Cursed, Tortuga, Flyin’ Dutchman and Pieces of Eight. These can be
purchased separately or as a complete set; or pick up all six in the newer Artool
Mini Series sets. See your retailer and visit 
Iwata – New HP Plus Pro Pack Airbrush Set
Sakura of America – New Sumo Grip II Pen and Pencil Launched
Savoir-Faire – Sennelier Plein Air Landscape Pastel Set