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Canvas

Canvas Basics

Although painters originally found wood a great (and readily available) surface upon which to work, they have used canvas as a ground for their paintings for centuries.  One might use canvas without even thinking about what it is, how it is made or what qualities are available to widen the scope of art that might be created on it.  Textural variety, treatments to make canvas more weather resistant or even flame retardant/water resistant are available in cotton fabric canvas.

Canvas is identified by its weight in ounces per square yard—the higher the number, the stronger and heavier the canvas. Strength is especially important when large-scale works are created.

Cotton comes in even weaves, smooth finished medium weaves and thick, almost chunky weaves.  Many qualities of material are available.  Other than cotton, several other choices are available for the artist.  Linen has long been considered the premier material upon which to paint.  It has an ultra-smooth texture and is very long-lived.  Synthetic canvas is great for the experimental artist, as it often comes in colors and interesting textures.  Plastics are now being employed by painters and their stretchy, glass-like surfaces offer new challenges.

Canvas comes on rolls or pre-stretched over stretcher bars.  One huge advantage to buying by the roll is that you can select the exact sizes of works you want to create.  You are not limited to set, customary sizes.  Some artists also select unsized canvas material for their acrylic paintings.  This is unique in that the paint is allowed to flow and wick into the very fiber of the material.  Most artists, however, do select pre-sized canvas either in rolls or pre-stretched.  That eliminates any pre-finishing on their part and enables them to get to the enjoyable part sooner.

Stretching canvas is done with a special pair of pliers, whose wide-gripping jaws hold the fabric tightly, allowing the artist/craftsperson to attach it to wooden stretcher bars.  With the pliers in one hand, the canvas is pulled tightly and then stapled or tacked to the wooden frame.  The lengths of the bars determine the finished size of the canvas.  It is also possible to stretch canvas over irregular shapes for sculpted and shaped canvas paintings.

Canvases can be stretched in such a way that the narrow edges of the stretchers are used for stapling or tacking.  What is referred to as gallery wrap is a method where the canvas is stretched around the bars and attached to the back side.  No staples or tacks show with this method, and the edges of the canvas can be painted as part of the subject.  In contemporary works, this eliminates the need for a frame and looks great.  This is also the trend for coated or plastic fabric artwork that is meant to be displayed outside.

Choices abound so don’t feel stuck with one type of surface.  See your retailer to explore what is available and try something new to expand your horizons!

The Artist’s Marketplace

—Sakura – New Multi-Cultural Oil Pastel Expressionist Set

Artists now have a convenient oil pastel kit to create natural skin tones for portrait renderings.  Sakura of America has introduced the new Multi-Cultural Cray-Pas Expressionist Set for portraits that contains a 12-piece selection of smooth, blendable oil pastels.  The standard from which all other oil pastels are measured, Expressionist oil pastels are formulated with extra fine quality pigments, wax and oil. They meet ACMI non-toxicity standards and are “AP” seal certified. Surfaces on which these may be used include paper, cardboard, canvas and wood.  Cray-Pas Expressionist Extender, a unique oil pastel medium that reveals a color’s hue range, extends a color and, combined with blending techniques, produces authentic complexions.  The package artwork of the new set was selected from the 1999 Cray-Pas contest, which Sakura administers to support art education and applaud the efforts of schools and teachers.

See your retailer and visit www.sakuraofamerica.com.

—Iwata-Medea – New External Mac Valve for Airbrushes

Iwata-Medea has a new addition to their accessory line—the new External Mac Valve.  The valve fits between all Iwata airbrushes and air hoses and provides infinite control of air flow at the airbrush.

—Spray a coarse stippling effect to full atomization with a quick turn.

—For fine line or detail work, simply adjust to create optimum air flow for maximum control of paint output.

—Fully open the External Mac Valve and quickly clean the airbrush during color changes or spray wide backgrounds.

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

—Corning Museum of Glass – New DVDs and Publications

The following new DVDs and publications are available through the Corning Museum’s GlassMarket.  www.cmog.org.

—Voices of Contemporary Glass: The Heineman Collection, 382 pp., features images and quotes about the 240 objects, 1969-2005, by 87 artists from the U.S., Europe, Australia and Japan.

—New Glass Review 30 is an annual journal that showcases 100 jury-selected works in glass submitted by artists from around the world.

—Master Class Series VII:  Beadmaking with Kristina Logan (DVD) features the artist demonstrating her process of beadmaking at the torch, finishing the glass by cold working and incorporating both her glass and silverwork into completed pieces of jewelry—plus more.

—Glass Masters at Work:  Mark Matthews (DVD), by Academy and Emmy award-winning documentary filmmaker Robin Lehman, reveals the process behind the work of this innovative master glassmaker.

Art Marketing

Surviving Our Times with Work and Play

By Donn Shanteau
www.pamelashanteau.com

It is no secret that operating a business in the current economy is evermore challenging.  Merchants from Main Street to the Mall have seen their expenses grow as income dwindles. A vast majority of consumers have tightened their spending to cover their mortgages and other monthly expenses while putting discretionary spending on hold. This situation does not bode well for artists who do not adapt to current conditions. Being a resident of Northern Ohio, our local economy is dominated by the U.S. Steel and auto industries; and it is no secret that both the steel and auto producers are in dire straits. This erosion began long before the nation was aware that it would grow to affect all of us in 2009. All artists, no matter their medium, could benefit from taking steps to streamline their marketing efforts to get the best bang for the least buck.

In the Toledo, Ohio, region, it was apparent in 2002 that our local economy was “heading south.” Our custom airbrushing business of over 25 years at that time was well established and supported us in comfortable style. Our specialty is murals and lettering on anything that rolls, floats or flies. It would have been easy to dismiss the downward trend and keep doing business as usual. Fortunately, we kept our heads out of the sand and determined that we needed to beef up our marketing efforts to keep ourselves positioned as the best choice for potential customers who desired our services without spending a fistful of cash.

The first thing we did was to begin displaying at outdoor events that catered to motorcycles and autos. This was something we had done back in the early 1980’s with success but stopped in the 1990’s. It was so much work to set up and tear down tents and displays that we decided we could get by without the investment in time and effort.  Additionally, there was always the weather to contend with. It seemed much easier to stay in the studio and let the business come to us. This tack served us well when the good times were rolling, but once the auto industry started to sour, it was evident that we needed to put in the effort to stay in the public eye. We began attending these outdoor events and boosted our clientele the old fashioned way, one handshake at a time.

Another avenue we took to maintain our customer base was to “partner” with our regional Harley-Davidson dealerships.  The dealers were all aware of who we were and what we did and were happy to promote our services and display some of our works in their showrooms. For our part of the “partnership,” we provided custom art on promotional vehicles that the dealers used to promote themselves, in addition to adding some free airbrushing on raffle motorcycles that the dealers might be selling tickets for.  By providing these premiums, our business name was included in all the promotional literature sent out and displayed by the dealers. This has kept our name in the public eye and generated sales and good will with the HD dealers and their employees. Now the sales forces of the dealerships are ad-hoc sellers of our services and we gain free exposure in the pricy realm of a Harley Davidson retail showroom. This scenario will work with any potential business that would be an appropriate venue to display your work.

We also donate services to local charities to aid their fundraising. Just like with the HD dealers, the practice keeps our name on people’s minds. Another positive side effect is that it feels good to help a worthy cause. I have found that no matter how tough things are for me sometimes, there is always someone else that has it tougher, way tougher.

I like to see the bright side of any situation. If things are slow, it’s a great time to re-connect with friends and family. For years on end, we worked 340 or so days a year, missing birthdays, cook-outs and other family/friend events. Sometimes when you slow down enough to take a calm breath, it makes it easier to discover what makes you really happy and what is important in your life.

A period of slow business can also be a guilt-free time to spend exploring new painting methods or techniques without having clients hanging on the doorbell wanting their stuff. When things do pick up—and they will—you will be armed with some new tricks to amaze your clientele.

As for me, I plan on going fishing in my spare time. The last four years have produced only a handful of fishing trips and that has got to change. Oh, and tomatoes…I am finally going to plant some tomatoes. There is nothing better than a fresh vine-ripened tomato!

Keep painting, stay strong, and hang loose!

Reprinted from www.aibrushtalk.com.

Art Events

Schedules sometimes change, so please confirm all events.

—The Isabella Stewart Gardner Museum, Boston, MA, features Neighborhood Nights:  “Full Moon Rising”—A magical journey from twilight to moonlight on Thursday, August 6, from 5-8 p.m. There is free admission to the museum for everyone with live music, museum exploring and art-making activities for children and families, a roving magician, tarot card reader and a dance performance.  http://www.gardnermuseum.org/

—The 11^th Annual Maynard Dixon Country will feature 32 artists from across the U.S. that will participate in this year’s Paint-Out, Art Show and Sale scheduled for August 26 – 30 in Mt. Carmel, UT.  In addition, on Saturday TV producer David Michaels will conduct a symposium and a sit-down dinner will be held at which awards will be made.  Proceeds support art day camps for people with special needs, a scholarship program for high school students and artists’ retreats.  801.533.5330; www.thunderbirdfoundation.com.

—Art in the Park 2009 will be held in O’Brien Park, Parker, CO, on August 29 and 30.  A juried fine art show and sale will feature over 100 artists.  Enjoy music, activities for kids and refreshments as you support local artists.  Free admission.  www.parkerartistsguild.com.

—The Sausalito Art Festival, Sausalito, CA, will be held Labor Day Weekend—Sept. 4–7 at Marinship Park and the U.S. Army Corps of Engineers-Bay Model Visitor Center.  This annual festival includes more than 20,000 original works of art, top name entertainment, a magnificent sculpture garden, art and activities for children, gourmet food and fine wine from some 50 CA wineries.  Golden Gate Transit offers bus and ferry service.  415.332.3555. Advanced ticket sales:  http://www.sausalitoartfestival.org/generalinfo.html

—During the past year more than 80,000 visitors have attended the Brooklyn Museum’s (NY) Target First Saturdays, a free evening of art and entertainment that takes place from 5-11 p.m. the first Saturday of each month, except September.  Featured are a wide range of public programs that can include films, gallery talks, dance performances, hands-on art-making projects and live music.  The evenings feature a 9 p.m. dance party to the music of a different DJ or live band every month.  www.brooklynmuseum.org.

Painting Styles

Colorfield Painting

No one ever set out to be a part of the colorfield movement in painting.  After its emergence in New York City during the late 1940’s and early 1950’s, the style became closely related to the abstract expressionism of the time.   Colorfield encompasses a huge body of work by some of the world’s most well known painters.  The term is used to categorize paintings that use large, flat areas of color, usually in large scale.  It became less about shapes and more about paints used and color relationships.

Artists who used colorfield fall into a style that was associated with minimalism.  Perhaps the first person recognized and associated with colorfield was the art critic Clement Greenberg.  His preference in reference to work of this time was post-painterly abstraction.  He theorized that painting was heading in a completely new direction and away from abstract expressionism.  For two generations, this term was used in association with the work of many artists.  While the paintings had begun to arise in the 40’s, Greenberg made his classification in the 1960’s.  It separated certain aspects of these paintings into a new and distinguished category.

Starting in the 1960’s Frank Stella was a significant figure in the emergence of colorfield painting.  During the 1960’s he moved into shaped canvases, and toward the end of his career shapes took on more importance than color in his work.  But others of this time were creating some dynamic colorfield works.

Kenneth Noland, in Washington, D.C. in the late 1950’s, was retroactively considered a pioneer in the colorfield movement.  Noland became known for the series format of his paintings.  He studied art in his home state of North Carolina where he became interested in the work of Paul Klee and his sensitivity to color.  This was the springboard from which he did his colorfield works.

Jack Bush, a Canadian expressionist painter, along with William Ronald, promoted abstract painting throughout Canada and helped the colorfield movement grow.  Widely accepted by critics, the movement grew to include the abstract expressionists of the prior period.  This was in the late 1960’s.

Others who were involved in the early 1960’s in colorfield painting were Anne Truitt, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Clyfford Still, Gene Davis, Jules Olitski and Helen Frankenthaler, among others.  Their works were formerly related to second generation abstract expressionism and then to colorfield - a new direction.  This led away from the violence and anxiety of action painting toward a new, calmer language of color.

From these painters many fine examples of colorfield work in a wide range of applications can be studied.  Some used the material itself, the paint and the color, to define their work: large areas of color, pure and uninterrupted, covering large areas of canvas.  Some used new materials such as mineral dusts and metal powders with pigments to create their own palettes of color and vibrancy not before seen. 

To see images of paintings in the colorfield movement, Google colorfield paintings+images and see many examples.  Notice the style variation, yet the use of flat plains of color.  These paintings are the definition of colorfield work.

Airbrush

Airbrush Quick Tips

—Airbrush Intimidation Relieved – For some people who have never used an airbrush, the tool can seem intimidating.  Recently at a consumer trade show, the Iwata-Medea Corp. incorporated an airbrush station in their booth to teach a “3-Minute Airbrush Workshop.”  The idea was that in three minutes the instructor could teach a novice how to manipulate the airbrush and relieve any existing intimidation.  People lined up, and by showing them three easy procedures, they all succeeded in spraying the airbrush with some control.

The first procedure taught how to hold the airbrush.  Many people, no matter if they are right- or left-handed, hold the brush in an improper manner.  It is designed to be held like a pen or pencil with the thumb and middle finger on the stem where the air hose is attached and the forefinger placed on the trigger. 

Secondly, participants were shown how to trigger the airbrush.  The dual-action airbrush has two motions in triggering, one for air and the other for paint.  First press straight down on the trigger with the index finger for air; and then draw back on the trigger to release paint.  A slot in the top of the airbrush allows the trigger to move back, and the further back you pull, the more paint is released. 

The third factor is control of the spray—how much paint is coming out and how close you are to the work surface.  Pull back just a touch to get a small amount of paint; or pull back further for a larger amount.  An airbrush held close to the work surface with a small amount of paint results in a fine line; on the other hand, an airbrush held close to the surface with a large volume of paint released results in a mistake.

By following these three basic instructions, it became quickly apparent to the participants just how simple the airbrush is to use.  A satisfying result of this 3-minute workshop was the “light bulbs” that could be seen going off and reflected in the students’ demeanor.  And it prepared them to feel comfortable in taking a complete airbrush class.

—Prevent Blowback – The head assembly on the tip of the airbrush must be tightly seated against the body of the brush.  Sometimes when a painter cleans the brush he/she removes the head assembly for soaking in a cleaning agent.  Upon replacement, it is very important to insure that it fits snugly. This is the purpose of the wrench that comes with the airbrush.  However, do not over-tighten the head assembly because, if broken, a major repair is involved. 

In addition, airbrushes from most manufacturers have an “O” ring seal.  Be sure it is still present when replacing the head assembly.  If this is not properly seated, it will become instantly apparent—not only will the airbrush not spray, but there will be a blowback of air that enters the paint reservoir.  In the case of bottom feed airbrushes that use jars, a geyser of paint will shoot through the air hole in the top of the bottle adapter.  Also be sure that this tiny hole is always kept clear.  If it becomes plugged, the airbrush won’t spray because air cannot enter the jar.

Free Airbrush E-Newsletter Available

See the new bi-monthly issue of AirbrushTalk at www.AirbrushTalk.com.  Included in this issue are Create a Mobile by Janean S. Thompson; Going with the Flow to Stay Connected to Your Market by Donn Shanteau; In the Bush – Giving Your Shotgun the Camo Advantage by Thomas Adams; FearScape Studio’s Autopsy Vest by Wes Hawkins; and more.  Be sure to sign up for your FREE subscription!

ArtPourri

Art Center Honored – The Walker Art Center, Minneapolis, MN, was recently recognized for its expertise in the areas of design and new media with two prestigious honors.  The Cooper-Hewitt National Design Museum awarded the Walker its 2009 National Design Award in the category of Corporate and Institutional Achievement.  At a recent Museums and the Web national conference, the Walker received a 2009 Best of the Web Award in the Innovative or Experimental Site category for its My Yard Our Message online political yard sign competition launched in conjunction with the 2008 U.S. presidential election.

DOJ Operation Launched—Law enforcement agents at all levels recently arrested 24 defendants in Utah following an undercover operation targeting a network of individuals allegedly involved in the sale, purchase and exchange of artifacts illegally taken from public or Indian lands in the Four Corners region of the country.  The case involves 256 artifacts totaling $335,685 and represents the nation’s largest investigation of archaeological and cultural artifact thefts.

Restoration Complete—Restoration work on the Crown Point Pier and Champlain Lighthouse (NY) has been completed and both facilities are once again open to the public.  Work on the lighthouse included restoration of a bronze bust by sculptor Auguste Rodin that was donated to the U.S. by France in 1912—the year that the lighthouse was converted into a monument to French explorer Samuel de Champlain.

Winning Project on View – The MoMA/P.S.1 Young Architects Program (YAP) annual series of competitions gives emerging architects the opportunity to build projects conceived for P.S.1’s facility in Long Island City, Queens.  The architectural firm MOS’ winning landscape, Afterparty, will be on view in the outdoor courtyard as an immersive environment for the 2009 Warm Up summer music series through Sept. 28.  An exhibition of the five finalists’ proposed projects will be on view at MoMA through Sept. 14.

Sculpture Park Open — Citygarden, a unique 2.9 acre sculpture and landscape public garden, has opened on the Gateway Mall in downtown St. Louis, MO.  Included are three impressive water features, a café, state-of-the-art LED video wall, audio tour—and 24 pieces of modern and contemporary art by artists of renown.

August Date of Interest:
9 - International Art Appreciation Day

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Copyright ARTtalk Vol. 19 No. 10 — August 2009