Painting

Tips for Painting Winter Scenes

Creating winter scenes is a joy for many artists because the scene transports them to a cool, crisp environment.  To many artists and art lovers, such scenes bring memories of happy times, playing outdoors, camping in the snow or experiencing winter sports.  There is also the impact of a well painted snow scene as a décor item.  They are often the types of scenes around which you could build an entire room.

Painters of all types offer winter scenes.  Potters have an especially interesting way to create snow.  Some use a liquid clay formula that is thick and rich, opaque and dry and non-shiny looking.  These liquid formulas are often called slip and are sometimes little more than liquid clay that has the adhesion properties to adhere to the shapes and forms the potter creates.  Other opaque materials are more glaze-like and have glassy finishes once they are fired in the kiln.  Carving through the white of slip or glaze to the color of the clay body allows sharp detail to be depicted.  Such handwork is a beautiful thing and represents skill and materials management that is to be appreciated.

Acrylic painters use opaque whites and reflected tones to create the look of snow.  It is quite possible to add gels and/or compounds to create even more dimension to such areas in a painting.  To give the look of snow piling up in a scene you can combine materials with your opaque tones to give them fluff and body.  Modeling paste can be applied prior to painting and, once dry, it can be painted over to give the look of thickly applied pigment.

Painting white, wintry scenes on paper offers some interesting opportunities for learning.  There are lots of ways to create or maintain whites during the painting of winter scenes.  But, remember too, that snow is not just white.  It reflects all the colors around it and is actually a very colorful mass.  If you want to hold watercolor paper, whether using acrylic as watercolor or actual watercolor, you can use liquid frisket to cover the paper tone.  Apply the frisk where you want to maintain white, allow it to dry and then paint over it.  After you have allowed the painted areas to dry, the liquid frisket will roll off by gentle rubbing.  You can either leave the paper color or paint another tone in those salvaged areas.  Pretty cool!

Paper artists can also use a couple of other methods for retrieving whites in winter scenes.  Scratching through darks, e.g., tree branches you want to look as if they are covered with a dusting of snow, can be done with the edge of an X-Acto knife or other blade.  A sideways scrape will lift the color away and expose the paper brightness from beneath.  If the paper is still only slightly damp, you can use a pointed tool such as a compass point or large darning needle to scratch.  Either will rake very small lines into the paper, picking up and disturbing the surface to show the paper color in those lines.  This allows very sharp detail opportunities.

Clay-coated board artisans have a great way to retrieve white/light areas when painting highlights or something like ice and snow.  The surface of clay-coated board is soft enough to allow gentle carving through applied watercolor, oil or acrylic.  That gives this surface the unique characteristic of instant light area capturing.  (See www.ampersandart.com.)

Canvas painters, paper painters, clay-coated hardboard painters or potters all have ways to create the areas of white/light that are needed to make the high tone painting of a winter scene believable and appealing.  Professional artists are always stretching the envelope of materials and you should, too.  Winter scenes give us all opportunities to learn and experiment.

The Artist’s Marketplace

Iwata-Medea – New Eclipse Pistol Grip Airbrush Guns

Iwata-Medea is pleased to announce the arrival of the new unique Pistol Grip Airbrush Guns, the Eclipse G3 and G5. These look like miniature spray guns but spray and perform like a large airbrush.

The Eclipse G3 and G5 Airbrush Guns work with most twin-piston airbrush compressors like the Iwata Studio Series Power Jet Compressors.  Eclipse G3 and G5 features include true center-post gravity-feed cups and a MAC Valve for precise control of air and Spray Twilight-chrome finish.  The Eclipse G5 comes standard with a 0.5-mm stainless steel nozzle and has a spray width of ¼” up to 3”, as well as an 8 oz. stainless steel cup and lid. The Eclipse G3 comes standard with a 0.3-mm stainless steel nozzle and has a spray width of 1/8^th up to 2”, as well as a 4 oz. stainless steel cup and lid.

See your retailer and visit www.iwata-medea.com.

Artool – New Steampunk FX® Freehand® Airbrush Templates by Craig Fraser and Metropolis Freehand® Airbrush Template Set by Yvonne Mecialis

Artool Products Co. has announced the availability of the new Artool Steampunk FX® Freehand® Airbrush Templates designed by Craig Fraser and the Metropolis Freehand Airbrush Template Set by Yvonne Mecialis.

There’s a new art form hitting the street, which has been around for over a century: Steampunk!  But, more than an art form, Steampunk is a fashion statement, design aesthetic and kustom kulture lifestyle.  These new Artool Templates have all the “Tesla-esque” Jules Verne and Edgar Rice Burroughs goodies for that unique Neo-Victorian, retro-futuristic techno rendering.  The Artool Steampunk FX lineup: Junk, Mechanix, Gauges, Switches, Klockworx, Gear Drives or the whole Steampunk FX Set.  Steampunk FX is also available in the popular Artool Mini Series as a six-pack.

The 1927 film “Metropolis” by Fritz Lang was the inspiration for Yvonne Mecialis’ new Artool Metropolis Series of Freehand® Airbrush Templates.  Over the years Yvonne has developed her own unique style through the influence of the 1920’s Art Deco and Art Moderne movements.  With the Artool Metropolis Template Set, which contains 6 separate templates, you can easily add “deco flare” when creating futuristic renderings by utilizing these elegant curves and geometric shapes.  The artwork of Yvonne Mecialis has been featured in various publications as well as on TLC’s popular custom car show “RIDES.” 

See your retailer and visit www.ArtoolProducts.com.

IN THE SPOTLIGHT – Sakura of America

Archival Records Validate Your Artwork
by Peter Ouyang

The lack of documentation associated with an artist’s creation has drawbacks for both artists and collectors. When artwork is unsigned or if its authenticity is in question, extensive research will be conducted to determine the creator of the work. Although appraisers can point out inconsistencies in an art piece, they are generally not considered authenticity authorities. In fact, no single authority can be used. A costly, time-consuming collaboration is conducted. Art scholars, scientists, and signature analysts, all of whom are experts in their fields, participate in the authenticity research process.  Key points of authentication and recordkeeping tips point out the importance of documenting artwork.

Authentication – What’s involved?

Two key terms associated with the authentication process of artwork are provenance and catalogue raisonné. Provenance refers to the history of ownership records, which details when an art piece was created, its size and dimensions, and dates of acquisition and sale. A catalogue raisonné includes photographs, documentation, and the provenances of an artist’s work (even if the piece is lost or destroyed).

The authentication process consists of art scholar, scientific and signature analysis.  Art scholars compile, review an artist’s catalogue raisonné and agree that an artist’s documents, photographs, and exhibit references are legitimate. Handwritten annotations are not only prized by collectors, but are essential when researching an artist’s life and work. The signature-verification process used to authenticate artwork can include business transactions—such as checks, wills, or contracts—and personal correspondence, including letters, journals, or notes. Ten to fifteen signatures are the minimum requirement for comparison, and these usually fall within two years of the creation of the artwork. Scientific evaluations validate the timeframe of the artwork’s creation with high-powered microscopes and chemical analysis of the materials used.

Recordkeeping Tips

Artists that validate their work secure the future marketability and potential value of their work. An artist’s handwritten archival records confirming the details of an art piece are one of the most valuable sources of documentation. Ensuring that the signature endures is imperative. For example, artists should sign a painting while the paint is still wet and use an archival quality pen to write their signature on the back with the date.

Beyond a long-lasting signature, artists can keep handwritten journals. Chronicling motivations for creating a work, significant life experiences, relationships involving the work, and living locations reinforces authenticity. Signatures and commentary to last for generations, fade-resistant, non-feathering, water- and chemical-proof ink, as well as acid-free paper or stationery, are essential.

It’s also a good idea to track the dates and locations of exhibitions. Include press coverage from events and photographs of the artist with the artwork at the exhibition. Creating a list of patrons that purchased an art piece is important. Recording the patron’s name, date, gallery/exhibition location, and where the artwork resides is also a good step toward providing the chronology of a particular piece. Therefore, artists need to select a recordkeeping method that is as simple as possible.

Longevity issues should be considered when using modern methods to organize and preserve artwork. Methods include a photograph portfolio with appropriate captions or storing computer digital files in folders marked with specific subject matter, medium, and the year created.  Silver halide black-and-white photographs last longer than color. If digital files are going to be stored, it is best to save them on gold-metal-backed CD-ROMs. Some artists have a microchip embedded into an art piece. If this is being considered, it is important to determine the lifespan of the chip and how long it will last in the embedded environment.

It is beneficial for artists to establish archival records to protect their future prospects and their patron’s interests. Key factors for artists to consider include: create a simple tracking record of their art, consider longevity elements of modern organization methods, and that there is no substitute for handwritten documentation, signature examples, and tracking patron purchases with archival-quality ink pens and stationery. Artists can provide evidence that reinforces their connection to their audience, adds value to their artwork, and in turn avoids authenticity questions. By initiating suitable archival procedures in the present, an artist creates assets for future artwork transactions and long-lasting family heirlooms.

Invented in 1982, Pigma® ink is permanent, fade resistant and chemically stable. Consistent ink quality does not bleed, smear or run underwater. Available in six point sizes and up to fifteen colors, the Pigma Micron® pen is the basic tool for preserving handwriting and signatures.  Visit your retailer and www.sakuraofamerica.com.

Art Competitions

Printmaking

The Los Angeles Printmaking Society’s 20^th National Exhibition is scheduled for Oct. 30 – Dec. 29, 2009 at the Los Angeles Municipal Art Gallery.  This is one of the largest and longest running print biennials in the nation and is open to all artists residing in the U.S. and Canada.  Eligible are original works in all printmaking mediums including monotypes, monoprints and three-dimensional works.  Juror is Peter Frank and a minimum of $3,000 in awards is guaranteed.  Deadline:  Feb. 1.  http://www.laprintmakers.com/site/node/481

Watercolor

The 69^th Annual Northwest Watercolor Society Open Exhibition will be held April 13 – May 15, 2009 at the Mercer View Gallery in Mercer Island, WA.  Artists must be 18 years or older and residents of the U.S. or Canada.  Entries must be original water media paintings on natural or synthetic paper or paperboard.  Juror is Mike Svob and awards totaling over $10,000 in cash and merchandise are anticipated.  Deadline:  Feb. 2.  http://www.nwws.org/dnn/Events/69thAnnualOpenExhibition/tabid/101/Default.aspx

Metalwork

A Call for Entries has been issued for an exhibition and a presentation to be held in conjunction with the 2009 Society of North American Goldsmiths Conference, from May 20-23, 2009 in Philadelphia, PA.  The Annual Juried Student Exhibition (Metal Evolution) and the Juried Student Work Presentation (Present/Represent) are open to students under the direction of faculty in any degree/diploma/certificate-granting institution. Deadline:  Feb. 13.   See further info/prospectus at http://www.snagmetalsmith.org/.docs/pg/10097.

Arts & Crafts

Crafts That Recycle Greeting Cards

The beauty and charm of holiday greeting cards and those of other occasions make them special.  We often keep them out of sentiment and because of the person who thought to send them.  But what if you could recycle them into beautiful, original items that would forever remain in your home and décor?  Following are some ways to transform greeting cards into new items.

Perhaps the most direct way to reuse holiday cards is to use the card fronts as large gift tags or place cards.  Simply cut off the front of the card (perhaps with deco edge scissors) and use them as ribbon hang tags on gifts.  Special areas of the card fronts can be cut out and glued to tent-folded place cards for extra pizzazz.  Use small embroidery scissors or nail scissors to cut closely to detailed areas or simply cut the general shape around an item/object.  Add a bit of glitter or decorative tape and you are ready to set the table for guests.  Either of these ideas is easy, fast, economical and quite striking.  No two are alike.

Cut out the scenes and attach ribbon hangers to create unique tree ornaments.  For the adventurous, use cutouts from card fronts as decoupage material.  To do decoupage, glue carefully cut out shapes/images to painted gift boxes, clear votive candle holders (or larger ones, too), blank greeting cards to create your own personal holiday cards, table tops or lamp shades…almost any surface that can be decorated can be decoupaged.  Be careful to use enough glue to hold the cutouts flat, but not excessive amounts.

To make round decoupage tree decorations, start with clear glass or plastic ornaments.  Select an adhesive that will perform on your chosen surface.  To make the cutouts lie as flat as possible, carefully peel the bottom layer of paper off the back of the shape.  One way to help with this is to lightly moisten the back and then “roll” the fibers off.  Use care because the paper is easy to tear.  Once the extra fiber is removed, it is more flexible and easier to lay flat against curved shapes.  Slightly damp cutouts can be applied with adhesive, smoothed with your finger, and allowed to dry.  Once dry, coat with a clear acrylic varnish or painting medium to protect the surface.  Apply this coating smoothly and lightly.  This same method can be used to decorate the outsides of vases, clear storage jars, the backs of serving plates and platters and much more.  It also offers the chance to use this method for occasions other than Christmas—birthdays, grandparent gifts, teacher gifts anytime is good.

Another quick and fun project is to craft small gift boxes from greeting cards.  Use the front half of the card to make the top of the box by making angular cuts at the corners and folding the edges to form the lid.  Use the back of the card for the bottom of the box.  Start by trimming 1/8 inch from all sides of the card back and then duplicate the angle cuts and fold like the top.  Because you started with a smaller master, the box bottom will be small enough to fit within the top.

So whether you use the cards in a fast track, easy method or decide to collect several and invest more time in the project, you have lots of options to have fun.  And any of these craft ideas is inexpensive, yet impressive.  Let this holiday season start a new artistic expression for you.

Airbrush

Airbrush Newbies–Do’s and Don’ts – Part 1

At this time of year post-holidays, many individuals who have received an airbrush as a gift are eager to get started. But there are a few things you should be aware of during your first airbrush experience.

To begin, it is absolutely essential that you read the manufacturer’s literature from beginning to end to familiarize yourself with the operation, maintenance and parts of the airbrush.  Each new airbrush also comes with a warranty card that you should immediately complete and send to the manufacturer in case the brush is defective in some respect or it requires repair in the future.

Do not under any circumstances disassemble the airbrush prior to spraying with it.  If you do, you will not know exactly what to expect from it in the way of performance.  All new airbrushes arrive from the manufacturer at their optimum spray capability.  The airbrush has been pre-set and tested to insure that it sprays properly.  If you disassemble it before use, you may never know if you have reassembled it correctly or if it is working properly.

After you read the literature and familiarize yourself with the airbrush, hook it up to your air source and spray water through it to discover how it works.  Test it first with a low volume of spray (just a little water coming out) and then follow with a large volume (with a lot of water being sprayed).  The use of water won’t clog the airbrush and the spray achieved is the same you should expect in the future when spraying paint.

Two things greatly affect the performance of an airbrush:  keeping it clean and damage to its parts from mishandling.  Keeping the airbrush clean is pretty straightforward.  Spray the appropriate cleaning agent through the airbrush between color changes.  Use a stiff brush to clean paint residue from the air cap at the front tip.  Remove and clean the needle that runs through the airbrush periodically.  Always be aware that when using paint, it will dry inside the air cap and on the needle tip.  When paint builds up on the tip or needle, you will notice a change in the shape of the paint sprayed—what should be round spray becomes flat.  This is a good indication that the airbrush requires cleaning.

Another aspect of maintaining the airbrush deals with proper handling and care to prevent damage.  This can occur if the airbrush is dropped, loaned out, mishandled during disassembly and reassembly, etc.

Next month we will continue with a discussion of parts.

ArtPourri

NEA News – The National Endowment for the Arts has announced its first round of funding for fiscal year 2009.  The Endowment will distribute $23,215,500 to support 1,051 projects by nonprofit national, regional, state and local organizations nationwide.

Winner Announced – Tate Britain has announced the Turner Prize 2008 has been awarded to Mark Leckey, a multimedia artist. The Turner Prize is awarded to a British artist under 50 for an outstanding recent exhibition or other presentation of their work.

Paintings Reinstalled – For the first time in nearly a decade, the San Diego Museum of Art’s European paintings have been reinstalled in a fresh and scholarly manner that highlights familiar names in the collection and presents works not often on view, e.g., the much-loved Sanchez Cotan master work Quince, Cabbage, Melon, and Cucumber.  This painting is now surrounded by works that are some of the finest examples of Spanish paintings in North America.

Book Award Presented – The International Fine Print Dealers Association has presented the 2008 IFPDA Book Award to Dr. Achim Gnann for Parmigianino and His Circle:  Prints from the Baselitz Collection.  This is the catalogue from the exhibition on view in Munich in the fall/winter of 2007/8.

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 through Feb. 1.

Biennial to Close – The New Orleans Museum of Art has free admission to all through Jan. 18, which marks the closing date of both Prospect.1 New Orleans, the international contemporary art biennial which is free at all of its 25 venues throughout the city, and Objects of Desire:  Faberge from the Hodges Family Collection, an exhibition of 108 precious objects by famed master jeweler Peter Carl Faberge at the museum. NOMA is showcasing works by nine artists as part of the biennial that features 81 artists from 38 countries.

Waterfalls Bring Windfall – NYC Mayor Bloomberg and Deputy Mayor Harris have announced that The New York City Waterfalls, a major work of public art by Olafur Eliasson, had an estimated economic impact of $69 million on the city, which exceeded the initial estimate.  Nearly 1.4 million people visited the waterfalls from a special vantage point or from a ferry or tour boat.

Groundbreaking Celebration Held – Museum personnel and community leaders/members recently held a “surreal earth shattering” celebration to break ground in St. Petersburg, FL, for the new $35 million Salvador Dali Museum.  The 66,450 square foot building—designed by renowned architect Yann Weymouth—will provide space for the education of school groups, visitor orientation and classrooms, temporary exhibitions to complement the Dali collection, a café and a rentable community room.

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Copyright ARTtalk Vol. 19 No. 3 — January 2009