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Art MonthOctober is recognized as the official Art Month by many arts organizations. Visit a local participating art materials retailer for special events and activities. WatercolorWatercolor 101For those who want to experience a painting medium that offers great possibilities, watercolor may be just the hot ticket. After learning a few basics you will be ready to begin an ever-increasing list of skill-building exercises. It is through these exercises that you can develop an understanding of what watercolor can do to make your painting experience fulfilling and exciting. Seldom do you see articles on the extreme basics of painting, but there are some super simple things that can help you achieve a much higher degree of skill. The first of these is the brush itself…how to hold it, where to grip the handle and what shape might render the line, texture or look you desire. Many artists hold a brush handle as they would a pencil, i.e., a tight grip just above the ferrule, the metal cap that holds the brush bristles in place. For very precise lines and strokes, that is a great grip method. But, if you loosen your grip and hold the brush by the end most distant from the ferrule, you can achieve very fluid, swishing strokes. This type of grip and hold on the handle will be more applicable to washes and large, less defined areas of the work. With this grip, you can more easily achieve progressively thick to thin lines, perhaps working back to thick, giving a ribbon-type appearance. Practice strokes from different places along the handle and see the way the line changes. You will find a “sweet spot” on the handle that works well for you. Working with a fully charged brush, you can also experiment with paper that is dry in some areas and wet in others. This is not the usual way watercolor paper is used. Traditionally, thick watercolor paper is soaked and saturated with water, removed and held to shed excess as it runs off, then allowed to mellow and just start to dry. That even moistness is the surface most watercolorists prefer. However, working on dry paper allows much sharper detail work and gives a completely different look to the stroke. Partial dry/wet paper, where there is moisture introduced to only part of the surface, is fun to work on because the texture of the surface changes as you cross the sheet.
Fastening the paper to a flat surface such as a laminate-covered board is very helpful. The suction of the wet paper on the super flat surface provides a type of “hold” on the paper that allows it to dry super flat rather than pillowed. In order for the page to hold flat throughout the entire drying process, you must fasten it to the laminate with tacks or tape. Once the sheet is completely dry, remove the tape and the sheet can be gently lifted from the surface. Watercolor paints are designed to be diluted with water. Use of household water from a well or municipal system can introduce chemicals. These chemicals (such as chlorine, calcium and salt, etc.) vary from day to day. You would be much wiser to use distilled water or pure drinking water to minimize the mineral content included with your water-soaked sheet or brush. When you settle on a size upon which to work, find a tray just a bit larger and use it to soak your sheet in. That uses less water and, if kept clean, the water can be recycled from sheet to sheet. Note: Soak sheets within four hours of use for best dampness control. But do allow the sheet to mellow before painting. Color blending is not difficult, but to control the results it is good to keep a small journal of combinations attempted. This will be a great help when you want to duplicate tones. Watercolor paints hold well on open plastic tray-type palettes and can be reconstituted with the introduction of water. Clean your color work area after each session so that you can start with a clean color-combining spot. Having said that, some of the most interesting colors (though not easily duplicated) occur on dirty, overworked areas of your palette. Perhaps this article will help you understand some of the tips seldom covered elsewhere; so try them and see what you think.
The Artist’s Marketplace
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Artool Products
Co. has announced the
availability of the six new Artool FX4 Freehand Airbrush Templates designed
by Craig Fraser. Here’s the lineup: WRENCHED, FRONDS, SCRAEG,
CLASSIC CAMO, DIGITAL CAMO and GATOR. Then there’s the
whole shebang as a set, plus the Artool FX4 Mini Series, which is
sold only as a set.
With artists becoming more discerning about stencils, here is a new batch of Kustom FX to fill in those pesky graphics and mural backgrounds that are just screamin’ for more details! These aren’t your run-of-the-mill public domain Internet designs; these are guaranteed to rock your world with radical concepts and themes.
See your favorite Iwata-Medea-Artool supplier and visit www.ArtoolProducts.com for the complete line of products.
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Most popular in the early 1800’s, scrimshaw is considered by many as the only art form that originated in America. This is because it was first practiced by whaling sailors that hunted off the coast of New England. The word scrimshaw is believed to have come from a slang expression that was used to refer to anything that was the product of a sailor’s idle time or items that were produced while engaged in the act of “loafing” (pretty creative use of time!). In modern times it would be akin to someone whittling a piece of wood into some item. But, for the whalers, scrimshaw filled the hours, weeks and months they were at sea waiting for a whale sighting. There was little else to fill the time, and with the waste of whale bone and ivory readily available, the material and the time helped create this truly American art form. Other animal bones and tusks such as those of walruses were used when whale materials were not handy.
By the late 1800’s, when the whaling industry all but died away, scrimshaw was no longer popular. The industry was squelched by the advent of other oil sources and with it scrimshaw nearly disappeared. But in the 1960’s, a resurgence of popularity created a market for the often intricate carvings. President John F. Kennedy was an avid collector, and through the 1960’s the strongest interest was the work done on the teeth of sperm whales. Because of bans on the import and sale of all whales’ teeth, in the 1970’s, other materials were sought to continue this old-world craft.
The African elephant was the next animal whose ivory was sought for carving. Then, with a ban on this as well, more carving substances were sought. Here the advent of man-made products becomes an important issue. There are many materials that can be scribed, etched and gouged to create neat scenes and designs. The detail work of scrimshaw, however, needs a resilient, reasonably hard surface that will hold a thin scribe. So, along with natural materials, man-made substances have become an integral part of today’s scrimshaw materials list.
Natural alternatives to banned ivories include the bones and teeth of many animals. The antlers of whitetail and mule deer are often used for practice pieces, but they are permeated with small veins that can alter the scribe lines by absorbing the ink and altering the intended design. Teeth and bones of hippos are used when the material is available. Cow bones make a good substitute when they are dried and processed correctly. Many of the scrimshaw pieces now being collected are done on these bones.
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Fossil mammoth and walrus ivory is considered premier natural material from which to do scrimshaw. Although thought to be illegal to buy, sell or collect, it is not. Finding it is possible through Alaskan craft supply dealers, since it is in that area that the fossils are found.
Man-made materials have come onto the scene because of their ease of manufacturing and availability. Two surfaces make super scrimshaw. Micarta and Masecraft alternative ivory are both sold through specialty art material dealers. Micarta is actually Corian, which is hard, yet receptive to even the most delicate scribe lines. Masecraft “alternative ivory” is sold in sheets, rods and bars for crafting pieces for scrimshaw.
The inks used to draw out all of the fine details of the original scrimshaw were composed of a combination of lampblack and whale oil, sepia (squid ink), tobacco "juice" and various fruit juices for color. If you want to use authentic materials, consider using tobacco juice (tobacco allowed to steep in oil for 24 hours) or perhaps experiment with fruit and vegetable stains.
For supplies off the Web, a great selection of legal ivory can be found; and many art material dealers offer imitation ivory for practice and experimentation.
This fall Sotheby’s New York will offer for sale one of the most important works of scrimshaw whales’ teeth to be discovered in the last decade: “A Rare and Important Engraved Scrimshaw Sperm Whale’s Tooth, William A. Gilpin, On Board the Ship Ceres, Wilmington, DE.” Estimated to bring $40/60,000 it was engraved by Gilpin in 1835 while at sea and has been proclaimed as a key source in unlocking the mysteries of a historic and highly regarded series of scrimshaw sperm whales’ teeth. Microscopic analysis reveals that the tooth was exquisitely decorated in the traditional pinprick method, where the artist’s image on paper was dampened and laid across the ivory tooth; then a series of dots was made with a needle to outline the drawing. A knife was used to draw lines to be filled in with lampblack, a greasy carbon product of burning whale oil.
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Strathmore Artist Papers is hosting a global artist trading card swap, where every participant is a winner and receives an original artist trading card. First, visit a participating art materials retailer for an entry form. Create your own holiday or winter-themed card. ATC and entry material must be postmarked by Nov. 26. Entrants will receive another artist’s original work from somewhere around the world (postmarked by Dec. 15). Get in on this exciting movement!
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Western art is like many other forms of art. There are many great artists whose paintings encompass a wide spectrum of subjects, while remaining in the general genre.
The National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma Western and American Indian artworks and artifacts. The Museum of Western Art in Kerrville, TX, displays Western art by artists from across the United States. Subjects include cowboys, Native Americans, settlers, mountain men and others who tamed the West. Sedona, Phoenix, Santa Fe and Ruidoso, plus so many other places where the history of the American West actually happened, contain galleries of exquisite artworks by artists working in traditional and contemporary styles.
Of those artists, many receive awards for excellence and gain great recognition. With hundreds of talented and accomplished Western artists from which to choose, here we will highlight Jack Sorenson of Amarillo, TX, and Tim Cox of northern New Mexico.
Although most of his work is sold through galleries in Santa Fe, NM, Jack Sorenson is humble when it comes to his success. Every painting that he creates sells, a situation any artist would envy. In addition to the gallery works, he is called upon to do many commissions annually. All of his works exhibit a classic style and structure plus a thorough knowledge of subjects so necessary in any successful art – Western or any other. He is known for the subtle humor, the sense of family/community missing in much of contemporary art and the sheer beauty of his landscapes and portraiture.
Jack Sorenson is very supportive of the art community in his home city, where he often shares his talent and teaching skills. His work is prominently featured in items marketed by Leanin’ Tree. Conversion of many of his paintings to greeting cards brings his images closer to those unlikely to visit museums and galleries. Sorenson was featured in a recent exhibit at the Panhandle Plains Museum of History in Canyon, TX. Google Jack Sorenson + art images to see many of his paintings.
Tim Cox was born in 1957 in Safford, AZ, and grew up in the small farming and ranching community of Duncan, near the New Mexico state line. When only 5 years old, Tim vowed he "was going to be a cowboy artist" when he grew up. He currently lives in northern New Mexico, is considered one of the great Western artists of our time, and in 2000 was voted into the U.S. Art Magazine’s Print Hall of Fame.
Tim Cox combines the basic ingredients of color, value, perspective and pleasing design with his desire to be a perfectionist in portraying the real working cowboy. One look at one of Cox’s paintings and you see his knowledge and understanding of horses and the men who ride them. While most of Cox’s time is consumed by painting, Tim continues to raise cattle, train his horses and coach young riders. Google Tim Cox + art images to see dozens of his paintings and how his vision is transferred to canvas--perfectly.
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Maine is a repository for some of the country’s best folk art that includes portraiture, landscapes, still lifes, decorated furniture, trade signs, pottery, marine arts, weathervanes and other sculpture, among other forms. Eleven of Maine’s art and history museums are simultaneously exhibiting their folk art collections as part of a coordinated statewide exhibition in the Maine Folk Art Trail. Ending dates vary. Take advantage of this unique opportunity and visit www.mainefolkarttrail.org for info/venues/dates.
Birthday Bash
Brooklyn Museum
200 Eastern Pkwy.
Brooklyn, NY
Oct. 4, 5-11p.m.
The Brooklyn Museum will celebrate the launch of the tenth year of First Saturdays. The evening of free entertainment will kick off with a brass marching band parading down Eastern Parkway to the Museum Plaza. The schedule also includes two “hot” dance parties, artist/curator talks, music performances, a story station, hands-on art, film and more. 718.638.5000; www.brooklynmuseum.org.
17th Annual USArtists: American Fine Art Show
33rd St. Armory
Philadelphia, PA
Oct. 17 – 19
Over 50 of the leading art galleries from around the country will gather for the largest exhibit and sale of works by American artists in the nation. Produced by the Women’s Board of the Pennsylvania Academy of the Fine Arts, there will be a Family Day on Saturday as well as free lectures by art dealers on Friday and Saturday. Admission. 215.972.7639; www.usartists.org.
All Fired UP!
A Celebration of Clay
Westchester County, NY
Oct. 3 – Nov. 30
Some of the most exciting artwork being made today is in clay. “All Fired Up” includes over 60 high-caliber exhibitions by 500 artists and events throughout Westchester County, NY, that will illuminate and educate on the myriad ways that this most elemental of materials can be transformed and molded to take shape as art. Museums, multi-art centers, libraries, schools and more will present parallel exhibitions that explore the breadth and depth of ceramic expression. Workshops, films and other activities are planned as well. Visit www.allfiredup.info.
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Compressed air is required to operate an airbrush. In the case of an air compressor, air is drawn into the equipment and compressed with a piston. This compressed air is usually stored in a tank that has an air regulator attached, the purpose of which is to stop air from being emitted when not required. To allow air, the regulator is adjusted to a particular poundage. The air enters the hose of the airbrush (or spray gun); then when the airbrush trigger is activated, the air causes a vacuum in the brush that in turn draws paint from the paint reservoir into the stream of air. These mix inside the tip of the airbrush and then exit in a fine spray. Different types of paints and different applications, e.g., illustration or kustom automotive painting, require different air pressures, which are adjusted at the regulator.
When air is compressed, heat is generated, causing condensation. Little droplets of water collect in the air storage tank or the airbrush hose. A moisture trap is required to prevent this water from being sprayed or mixing with the paint. For compressors that contain oil for operation, an oil trap is required to prevent the oil in the crankcase of the compressor from mixing with the sprayed air. See your retailer when choosing your compressor/accessories and visit www.iwata-medea.com; www.silentaire.com; and www.sparmax.com.tw to see the many styles and sizes available.
New Airbrush Newsletter – See the free new issue of AirbrushTalk at www.airbrushtalk.com, where you can sign up for your free bi-monthly issue. You’ll find Watch Your Step—Arty Stepping Stones by Janean Thompson; Airbrush Maintenance by Wes Hawkins; Ultimate Air Affair 2008 by Donn Shanteau; New Products and a listing of Airbrush Workshops offered.
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USPS News – The Postal Service has dedicated the Valley of the Yosemite commemorative 42-cent first class stamp. The image is based on an 1864 oil-on-paperboard painting by artist Albert Bierstadt, which belongs to the Museum of Fine Arts in Boston. The stamp is the eighth issuance in the “American Treasures” series.
Personnel Changes Announced – The National Endowment for the Arts Chairman Dana Gioia has announced that he will leave his position as the head of the Endowment in January 2009. Gioia will return to writing and will also join the Aspen Institute as the first Director of the Harman/Eisner Program in the Arts. – And the Metropolitan Museum of Art, New York City, has announced that Thomas P. Campbell–an accomplished curator with a specialty in European tapestry who has worked at the Museum since 1995—has been elected its next Director and CEO, succeeding Philippe de Montebello.
Hours Cut – Hours of operation for the splendid New York City Waterfalls created by Danish artist Olafur Eliasson on Manhattan’s East River, have been cut from 101 per week to 49.5. Despite an environmental assessment study conducted prior to the project as well as measures taken to insure the safety of surrounding landscapes, salt water mist off the river has affected several adjacent plantings. Hours through Oct. 13 are Mon. and Wed. 5:30 – 9:30 p.m.; Tues. and Thurs. through Sun. 12:30-9 p.m.
Prizewinners Announced – The Heinz Awards, created in 1993 to honor the late Senator John Heinz, have been announced for 2008 in five categories. Visual artist Ann Hamilton, of Columbus, OH, has received the award in the Arts and Humanities for a body of work that has established her as one of contemporary art’s most influential voices. The awards of $250,000 each will be presented in Pittsburgh on Oct. 21.
Lectures Rescheduled – The Museum of Fine Arts, Houston, has announced that lectures previously scheduled for Sept. 12 and 13 have been rescheduled. “Impressionists in the Forest of Fountainebleau” has been rescheduled for Oct. 11 at 2 p.m. and Oct. 17 at 1:30 p.m. www.mfah.org.
Milestone – Renowned animator Bill Melendez has died in California at the age of 91. At Disney Studios he worked as an animator on Fantasia, Pinocchio, Bambi, Dumbo and many Mickey Mouse and Donald Duck cartoon shorts. At Warner Bros. he animated some of the most memorable Bugs Bunny, Daffy Duck and Porky Pig short subjects. In 1964 Melendez produced his first television special, “A Charlie Brown Christmas,” and provided Snoopy’s vocalizations. He was the recipient of myriad national and international honors and awards for directing, as well.
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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. 12 — October 2008
Strathmore Artist Papers – New Artist Trading Cards