|
|
 .com...the link between you, the visual artist, and the manufacturer of art materials. Established 1990 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|||||
 |
 |
 |
 |
 |
 |
  |
|||||
Artwork PreservationProtecting Works on PaperIt is a most unfortunate fact that the ultraviolet light produced by any light source can cause a slow, steady decline in the color, vibrancy, intensity and overall appeal of artworks created on paper. While oil and acrylic paints might change colors very slowly, works on paper done in watercolor, for instance, fade at a rate that is in direct relationship to the quantity and brightness of light exposure. If you expose a watercolor painting done on any professional quality paper (acid-free, archival) to a bright, intense light source, you will see that the colors begin to change and fade very quickly. Since very few of us choose to display our artworks in a strong light, the damage created by the ultraviolet spectrum of the light is usually unnoticed. Because the fading and color changes occur over a long period of time, we tend to grow accustomed to the diminished colors and tones. There are several ways you can work to protect your paper artworks. It is well known that art that is not on display should be stored properly. This usually means an acid-free, archival folder or print box. But, when it comes time to frame and display these artworks, consider selecting a type of glazing that offers protection. At this time we are fortunate to have several types of glass that restrict the penetration of ultraviolet light. Common clear glass offers limited protection but is much better than forgoing the use of glass altogether. Non-glare glass is the next step up the protection ladder and offers approximately 44% blockage of ultraviolet light. It is created by subjecting clear glass to an acid dip, causing a slight frost on the glass. Modern non-glare glass is etched on one side only. This one-side treatment eliminates most of the image and detail softening qualities of old fashioned non-glare glass (etched on both sides).
Conservation glass is very special in that it takes a product similar to either clear or non-glare glass to a new level. Conservation glass is coated on the artwork side of the glass and effectively blocks 98% of the ultraviolet penetration. It reflects back the UV with the coating and prevents nearly all UV damage to artworks on paper. Conservation comes in the same two qualities of glass: clear and non-glare. Cost is higher than traditional clear and non-glare, but the degree of protection is over doubled. The last type of glass that is available is museum glass, which offers both a nearly reflection-free surface and a very high degree of UV protection. This choice would be best for original works or very costly, collectable items on paper. Acrylic sheeting is a choice preferred by many photographers because it does not cause any tonal changes in the photographs. Because of the silica content, some glass products do have a “color.” Acrylic sheeting is unbreakable and comes in clear and non-glare. Some manufacturers offer a very high grade of material, which offers moderate protection from UV. In summary, consider the ground upon which your artwork is created. Coat oil paintings with special products created to help block UV and to preserve the luminescence and shimmer of the paintings. But for paper art, use the glazing material that best suits your application and budget. And remember, art that is displayed can be enjoyed every day. It makes a house a home and shares your style with family and guests.
The Artist’s Marketplace
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
When the printing press first appeared, it opened up a new medium—relief printing. Artists could carve an image into a wooden block or metal sheet, ink the image and press paper against that image. The resulting print was the first form of reproducible art. As noted, “the artist would carve” an image, meaning that an artist more accustomed to painting or drawing was forced into another realm – that of the carver. This was a less than normal medium for his expression.
Stone lithography was the first opportunity for the artist to use the more traditional techniques to create. The prints made on stone would rival an original painting in terms of detail and color variations. Stone lithography was very popular for a century during the 1800’s and is practiced today by many outstanding artists and lithography studios.
Although multiples of an image are “pulled” from the surface of the stone, the actual creation and execution of each is singular, and this makes the appeal to collectors and buyers more satisfying. Since the artist has input on each and every sheet printed, the process—by its nature—is unique.
The basics of lithography are very simple. First the artist draws on the stone with a greasy crayon (like Stones Crayons) or paint or pencil. Second, the stone is moistened with water and the parts of the stone not protected by the greasy medium soak up the water. Third, oil-based ink is rolled onto the stone. The greasy parts of the stone pick up the ink and the non-greasy ones do not. Lastly, a paper is pressed onto the stone and the ink transfers from the stone to the paper. Voila!
|
|
In actuality, there is more to it, but these simple steps inform the novice how a lithographic print is made. A bit more technical descriptions include the use of special stones from a quarry in Solenhofen, a town in Bavaria; litho crayons, pencils, paints of varying densities for different effects; acids and other materials to help the stone accept and hold the image; and a powerful press exerting huge pressures to draw the image from the stone to the paper. When different colors are desired, a separate stone is used for each color. The stones are expensive, very heavy and are used repeatedly.
Stone preparation includes the slow grinding away of half a millimeter of the stone. This removes any previous image and prepares the surface for a new drawing/painting. With varying hardnesses of crayon, the artist draws his subject. Any lettering must be drawn on the stone as a mirror image. Alignment of multiple stones to complete a single image causes the difficulty of proper registration, or positioning, of multiple stones. “Erasing” a mistake is virtually impossible. A small error can be camouflaged, but a large mistake means you start over.
The use of crayons on stone is a great expressive tool and artists who select and use Stones Crayons have the options of many different hardness selections as well as different thicknesses of line—1/4”, 3/8” and 1/2” widths give great flexibility combined with hardness ranges from 1 to 4. Graphic Chemical & Ink Company offers a great selection of crayons, inks and all the tools you need to create your original lithograph. You are in for a most enjoyable treat! See your retailer and visit www.graphicchemical.com.
|
|
—The International Association of Pastel Societies (IAPS) has announced its Seventh Biennial Catalogue Cover Competition. This juried competition is open to all artists who are members of an IAPS Member Society. The winning painting will be reproduced on the cover of the Convention Program, used in promotional materials and displayed at the Convention to be held May 28-31, 2009 in Albuquerque, NM. All entry images must have a vertical image format and be made from dry pastel. E-mail: aheywood@anne-heywood.com; 508.378.4239. Download a prospectus at http://www.pastelinternational.com/COMPETITIONS/competitions-exhibitions.html. Deadline: Oct. 10.
—A Shenere Velt Gallery of The Workmen’s Circle/Arbeter Ring, Southern California District, has issued a Call for Artists to participate in a juried exhibition titled “R U Evolved? Artists Reflect on Darwin @ 200.” It will be on display Jan. 11 – Feb. 27, 2009 in the Gallery, 1525 S. Robertson Blvd., Los Angeles, CA 90035-4231. Artists are asked to submit slides or digital images of up to three wall-hung works in any media (except jewelry and ceramics) that speak to the theme. Download a prospectus at www.circlesocal.org or write to the gallery (above) and enclose a #10 SASE. Deadline: Oct. 24.
—Sugarloaf Art Fairs and Craft Festivals offer a variety of works by the most talented craft designers and fine artists. Shows have expanded from the Mid-Atlantic to the Mid-West and New England to include a total of 18 shows for Fall 2008 and Spring 2009. If you are interested in displaying/selling your work at these popular juried shows, visit http://www.sugarloafcrafts.com/becomeex.html for information on applying.
|
|
Born in Liverpool, England, on August 5, 1819, Arthur Fitzwilliam Tait was educated in Lancaster. During his early teens, he worked as an art dealer in Manchester, where he taught himself to paint by copying master works at the Royal Institute. He also worked for George Catlin, who had a traveling Indian exhibit in England. Tait was fascinated by all aspects of the American West, an interest that convinced him to come to America in 1850.
Educated as a lithographic artist and influenced by the art of Edwin Landseer and John Frederick Herring, Tait was to become one of the most celebrated and revered landscape artists in American art history. Although Tait never traveled further west than Chicago, his paintings helped establish his reputation as a frontier artist. Hunters and wildlife subject matter were skillfully captured, yet Tait drew his knowledge from his experiences in upstate New York – not the West. But that minor detail was not a deterrent to his success. Although many of his works did not contain hunters, many of those scenes still fall into the “hunt” category due to the inclusion of perfectly rendered animals and landscape scenes of all types.
Through his meticulously rendered English sporting paintings, western works and prints, Tait used his skill as a colorist to depict vivid light and shadow. His scenes contained clear, clean whites that were considered by many artists difficult to convey without looking “dirty.” This spark of clarity and his honest depiction of subjects of interest made him very popular. Tait was elected to a full membership in the National Academy of Design in New York in 1858.
Tait mastered the play of bright highlights near very deep dark tones, a talent which created a personal style. He worked out of New York City, but spent much time in the Adirondack Mountains. He became an expert marksman and woodsman and, in doing so, learned much about the wilderness. Tait used his art to depict man’s struggle with nature. His work became the definitive art of the frontier—so much so, that Currier and Ives reproduced much of his work and made him one of the most popular artists of his time.
Arthur Tait also painted two subjects that might not be considered popular. First, he mastered still life paintings of dead game. This was to influence an entire generation of artists. Secondly, he painted barnyard scenes – something one might not think would be popular.
Tait never changed his style or his approach to painting. From 1860 until his death on April 28, 1905 in Yonkers, New York, all of his works were in the style with which he had built his popularity. Throughout this entire time he was linked to and identified with the art life of New York City where he had lived most of his life.
See great images of Arthur Fitzwilliam Tait by googling Arthur F. Tait+gallery images and you will find many paintings and prints done by the artist.
|
|
—Learning & Product Expo: Art! returns to the Pasadena Conference Center, Pasadena, CA, from Oct. 24-26, with classes beginning Oct. 23. This amazing event features over 200 workshops/classes in all mediums for artists at all levels; an Exhibit Hall filled with booths of your favorite art material manufacturers where you can try and buy and view free demos by top artists; a Juried Art Show that is open to all artists who are registered for the expo by Sept. 26; and much more. Visit www.learningproductexpo.com for information/registration or register by phone: 866.734.6736.
—A special celebration will be held at the Great Stair Hall at the Philadelphia Museum of Art on September 11 from 6-9 p.m. This lively evening celebrates the opening of Gee’s Bend: The Architecture of the Quilt with a light reception and an opportunity to preview the exhibition and meet some of the quilters. Call 215.235-SHOW (7469) to reserve tickets and for additional event information. In addition, the Museum has announced the fall exhibition programs and more. Special celebrations, film and video, family and children’s programs and events, conversations/lectures/symposia, concerts/performances, spotlight talks, workshops/book discussions, art history courses, museum tours and more are scheduled. For adult programs, call the number above; for family/children’s programs, call 215.684.7580; or visit www.philamuseum.org.
—Second Lives: Remixing the Ordinary will be the inaugural exhibition at the Museum of Arts & Design when it opens in a new building at 2 Columbus Circle, New York City, this month. The exhibition features works by 50 international established and emerging artists from all five continents who create objects and installations comprised of ordinary and everyday manufactured articles. Opens 9/27 through 2/15/09. Additional exhibitions opening the same day are Elegant Armor: The Art of Jewelry and Permanently MAD: Revealing the Collection. www.madmuseum.org.
|
|
—The Adirondack Fabric and Fiber Arts Festival will be held at the Adirondack Museum in Blue Mountain Lake, NY, on Sept. 13. Featured will be a special display of rarely-seen textiles, textile appraisals (think “Antiques Roadshow”); demos of quilting, wool processing, felting and wool art; hands-on activities such as crafting a souvenir balsam bag and a knit-in; as well as a presentation on the Japanese influence on American textiles and art. www.adkmuseum.org. 518.352.7311.
—Attend free Family-Friendly Programs every Saturday through Oct. 18 at the American Market located at the National Harbor, a 300-acre, mixed-use waterfront development along the Potomac River in Washington, D.C. The National Children’s Museum will host a variety of entertaining, hands-on activities for kids and families. In addition, up to 60 regional vendors will showcase produce, pastries, crafts, artwork, fashion, jewelry and more. www.ncm.museum.
—Cool Globes: Hot Ideas for a Cooler Planet features more than 30 larger-than-life globes that depict simple solutions to global warming. Designed by local, national and international artists, the exhibit will be part of the U.S. Botanic Garden’s (Washington, D.C.) “One Planet-Ours!” exhibition on sustainability through October 13. Sixty miniature Cool Globes will also be on display at the Kennedy Center. Select globes from the exhibits will be auctioned in October. There are also currently two additional Cool Globes exhibitions: 35 Cool Globes are located in San Francisco’s Crissy Field Promenade through Oct. 13; and 40 Globes will be at the San Diego National History Museum and in Balboa Park along walking paths adjacent to the Museum from Oct. 15 – Nov. 31. In addition, an exhibition will be held in London in Spring 2009. www.coolglobes.com.
|
|
Thinning Artist Acrylic Colors – Most airbrush artists who work on canvas prefer artist acrylic colors. These dry quickly and are low in toxicity and easy to clean from the airbrush. One of the challenges of working with acrylics is reducing them to a consistency that is sprayable—equivalent to that of heavy cream.
Acrylics are available in several forms: tube color, which is normally pretty thick; jar color, which is of a creamier and more flowable consistency; and extremely thin acrylics that depending on the manufacturer are sometimes designed specifically for airbrush work. In all these various consistencies, acrylic paints still must be further manipulated to spray with reliability.
Not only are the three forms of differing thicknesses, but different colors are, too. For example, white paint is usually quite thick, whereas yellow can be very thin. To manipulate acrylic colors to your particular preference, it is recommended that you use a thinning solution made from combining acrylic gloss medium and water in a 50/50 mixture. Pour these into a jar, shake thoroughly and then add this mixture to the acrylics. Note that when thinned acrylics are stored, they may tend to separate, so be sure to shake them well prior to spraying.
Liquid Masking Material – This is also known as liquid frisket and is used in airbrush technique as well as watercolor technique to block areas where paint is not desired. In most cases you are retaining the white of the paper for highlights such as on an eye or a droplet of water. This material is similar in consistency and appearance to rubber cement and is usually applied with a paint brush or a liquid frisket applicator. It is left to dry before painting over. Once the rendering is complete, you remove the dried frisket by rubbing with a finger or using a rubber cement removal pad. The bright white paper shows through to produce the highlight.
If you apply liquid frisket with a paint brush, use an old one. It can be removed with soap and water—quickly before it dries in the brush. Otherwise, it is virtually impossible to remove. Depending upon the manufacturer, liquid frisket is available in different colors for ease of identification on the work surface.
A Basic Airbrush Techniques workshop with Robert Paschal will be held this fall in Milwaukee, WI. Choose either Saturday, Nov. 8, or Sunday, Nov. 9 to learn the fundamentals of airbrushing in this six-hour, hands-on class. The use of all equipment/supplies is included in tuition. Visit www.arttalk.com/workshop/workshop.htm or call 845.831.1043.
|
New Guide at NGA — The National Gallery of Art, Washington, D.C., has announced the latest in a series of visitors’ guides. “The Great Picture Hunt” caters to younger guests, encouraging them to explore the Gallery’s permanent collection. They will be introduced to Renaissance masterpieces by Raphael, Impressionist figure paintings and 19th century sculpture. The guide is color-coded with matching questions and answers that teach kids how to connect works of the same period and style.
New Orleans Receives Grants — The Getty Foundation has announced a third and final round of grants to support the ongoing recovery of New Orleans’ visual arts organizations. To date, the Getty Fund for New Orleans has awarded 21 grants totaling $2.8 million to museums and arts organizations of all sizes, with the new round of grants totaling more than $1 million.
USPS News — The Art of Disney: Imagination
is the fifth and final in the “Art of Disney” series, the most popular stamp
series of all time. Art director Terrence McCaffrey of Leesburg, VA, joined a
design team that included artist Peter Emmerich of Yonkers, NY, and creative
director Dave Pacheco of Burbank, CA, to create four stamps that feature Mickey
Mouse as Steamboat Willie; Princess Aurora and her helpers Flora, Fauna and
Merryweather from Sleeping Beauty; Pongo and one of his pups from 101
Dalmatians; and Mowgli and Baloo from The Jungle Book.
NEA News – The NEA has announced $100,000 in grants and additional
resources to support Iowan and Midwestern arts communities affected by this
year’s historic flooding. — And exhibitions drawn from U.S. collections are
now eligible for indemnity coverage while on view in American museums
through a new $5 billion Domestic Indemnity Program. It is expected that the
domestic component will meet with the same unqualified success as have the
international exhibitions covered under the Arts and Artifacts Indemnity
Program.
Auction News — Sotheby’s London has set a new record for any book illustration sold at auction. Beatrix Potter’s watercolor illustration for the final scene from “The Rabbits’ Christmas Party” sequence has sold for a remarkable $539.4 million.
Drawing Acquired — The Metropolitan Museum of Art, New York, has acquired a drawing of the Archangel Gabriel announcing the birth of Christ by the Netherlandish master Lucas van Leyden (ca. 1494-1533). Dating to the 1520’s, it is now the only drawing by the artist in America and will be included in the exhibition The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions from Oct. 24 – Feb. 1, 2009.
|
|
|
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) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|||||
|
|
|
|
|
|
|
|
|||||
| •ARTtalk's Manufacturer Art Materials/Product Info. Center • |
 |
Copyright ARTtalk Vol. 18 No. 11 — September 2008
Iwata-Medea – New Custom Grip Handle
Strathmore has created new Inkjet Iron-On Transfer
Sheets for dark fabrics to complement the popular Inkjet Iron-On
Transfer Sheets for light fabrics. Now artists and crafters can
express themselves on fabric without the limitations of traditional transfer
sheets. The transferred image stretches with fabric and feels soft; it’s not
overly stiff or shiny and will not crack, peel or separate from fabric.
Artists can draw or paint directly on the sheets using many different media and
combine inkjet images with their drawings. The possibilities are endless, and
now is the time to start creating holiday gifts! Transfer Sheets
measure 8.5” x 11” and come 3 sheets to a pack. See your retailer and visit
Savoir Faire – Artistico Cut Sheet Packs: ¼ and ½ Sheet Sizes