Printmaking

Intaglio – History, Materials and Techniques

Intaglio printmaking is described as one of various printing techniques using an etched or engraved plate.  This scribed plate is “inked” by spreading ink over all areas of the plate where scribed lines occur.  Excess ink is rubbed away with a soft rag, rendering the plate ready for the printing process.  Dampened paper is pressed against the surface and, because it is softened by the moisture, squeezes down into and removes ink from the scratches/lines on the plate.

Intaglio was for centuries the only way to mass produce manuscripts and drawings.  The skill of the engraver was highly respected.  The process was introduced in Germany in the 1400’s. Not until the early 1700’s were engravers working in America.  The intaglio process quickly overtook woodblock printing methods because of the degree of detail and the acuteness with which the artist could replicate images.  As time and technology sped, more refined methods were developed and included plates with coatings through which scribe lines were carved.  There are a number of different styles of intaglio, each offering a unique appearance and appeal to the artist.

Modern artists have materials available of which the originators of intaglio could only dream: ready-to-apply etching grounds and acids, inks and specialty papers.  With these choices, the printmaker can create a wide variety of prints with very few material changes.

The plate surface can be one of several metals.  The most common is copper because any work done on the surface (scribing/scratching/carving/etching) can be accomplished very easily.  Copper is a very soft surface, yet holds ink well.  Other materials used for intaglio include zinc or steel.  Some more contemporary artists make plates from very soft materials such as foam sheets, Styrofoam cubes and many other soft surfaces that can be dented and pressed to reveal an image.  While far apart from the true definition of intaglio, they nevertheless yield very interesting and quick, cheap materials from which to work.

Drypoint intaglio is one of the most basic of processes.  The artist cuts lines in a metal plate using a burin (a tiny chisel-shaped hand tool).  Steel is the material of choice for the plate because it holds the lines and “burrs” along the edges of the lines very well.  Copper can easily be scribed, but those lines and details wear quickly.  Often the burrs or slight crumbs created by the gouging enhance the design and catch inks in a way that is unique.

Etching intaglio is a method of etching that involves chemical contact.  An acid-resistant wax or resin is applied over the clean plate.  The image is cut through this surface and into the metal.  The plate is then dipped into acid, which deepens the lines to hold more ink, gives stronger lines and can yield a darker, richer image.

Mezzotint intaglio occurs when a rocker scriber is used.  A rocker cuts into the plate with many tiny pinpoint dots.  The heavier the dots are ground into the surface of the plate the darker the image will be.

Aquatint intaglio is the use of dust or powdered resin that is heated on the surface of the plate.  The area where the resin is applied becomes acid-proof.  The artist first scribes where he/she wants lines and then applies resin where no lines are wanted.  Acid is used to bite into the portions of the plate not covered.  The results can be quite subtle to dramatic.

In those printmaking methods that create relief, the dry, clean uninked plate can also be used to create blind relief prints—no color, no ink, simply the pressed relief of the image.

There are many other styles of printmaking, but these give an overall idea of intaglio methods.  There is a style and type of scribed plate print technique that might be of interest to you.  Explore the possibilities and see what appeals to you.  And for all your printmaking needs, see your retailer and visit www.graphicchemical.com.

Art Events

The Armory Show – March 4-7, Piers 92 and 94, Twelfth Ave. at 55^th St., New York City – This show is devoted to the most important art of the 20^th and 21^st centuries and artists galleries, collectors, critics and curators from all over the world make New York their destination during Armory Arts Week. British artist Susan Collis was commissioned to produce limited edition artworks in honor of the show.  212.645.6440; www.thearmoryshow.com.

The International Vintage Poster Fair – March 19-21 – Chicago Cultural Center – This fair is devoted exclusively to original vintage posters from more than 25 international dealers. It also features special theme exhibitions and poster collecting lectures, while offering over 10,000 original vintage posters for exhibit and sale.  1.800.856.8069; www.posterfair.com.

22^nd Annual Art in Bloom – March 24-28, New Orleans Museum of Art – This five-day event showcases more than 100 exhibitors that create inspirational floral designs, sculptures and sceneries in over a dozen categories.  www.noma.org.

The Sewell C. Biggs Winterthur Furniture Forum, Winterthur, DE — March 25-26 - Nature in Furniture, Furniture in Nature examines the interplay of nature and furniture.  Discover an explosion of naturalistic details on historic objects and watch contemporary craftsmen re-create motifs that decorated early furniture.  www.winterthur.org/calendar.

Philagrafika 2010 – Philadelphia, PA – Through April 11 -This first presentation of what will become a recurring event celebrates the role of print in contemporary artistic practice.  Involving more than 300 artists at more than 80 venues throughout the city, this art exposition includes exhibitions, public programs and events. A guidebook and map are available online.  www.philagrafika2010.org

Kids’ Korner

Easter Fun—It’s Egg Decorating Time!

In days of old, single-color eggs—simple and cheerful—were the order of the day for Easter egg hunts and home décor.  These days, however, we have many more options.  In the following paragraphs several techniques will be discussed; most are completely edible, with inedible, purely decorative ideas in the last paragraph.   Select several of these methods and boil up a couple dozen eggs.  Then let the fun begin!  Of course parental supervision and participation is required for youngsters.

One of the most straightforward methods of egg decoration is the double-dip method.  This is best accomplished by using either a food-safe egg decorating kit or making your own dyes.  All natural dyes can be made by using outer colored skins of yellow onions (brown), purple onion skins or beets (purple), coffee or tea (brown), turmeric or saffron (yellow), cranberries (red), spinach (green) and blueberries (blue).  To dye naturally, put the dye material in a pan with 1 tsp. white vinegar and enough water to cover.  Add uncooked eggs, bring to a slight boil and simmer 10-15 minutes.  Remove and pat dry.

To make brilliant colored eggs, use food coloring. (New neon colors are especially bright.)  In a cup, put 1 T. of color, 2 tsp. of white vinegar and enough water to cover the egg.  Gently place a boiled egg into the cup.  Agitate gently to evenly color and then remove and pat dry.  Eggs left longer are darker in color.

Resist designs can be loads of fun to create.  Rubber bands stretched around hard boiled eggs leave neat, wavy lines and stripes.  Dip into the chosen colorant, allow the color to penetrate the shell, remove and pat dry.  Then remove the rubber bands and dip into a second color if desired.  Super cool!  You can also use wax crayons to draw designs, dip and then pat dry.  Use colored crayons or dip in a color before drawing, allow to completely dry, do wax designs and then dip again.  Tie thin strips of cloth or ribbons onto a boiled egg.  Dip in colors.  Then remove the strips to reveal soft-edged stripes and shapes. 

Tie dyed eggs are spectacular!  To make the dyes, use 1 T. food color and ½ tsp. white vinegar.  Use full strength for the most striking color or dilute slightly for softer tones.  Place boiled eggs in a colander and carefully drip colorant on them.  Gently shake the colander to reposition the eggs, adding a second color.  Do this with 3 or 4 colors, allowing colors to mingle.  Remove the eggs to dry.

Drip-drop eggs are fun to make.  Allow wax from a white taper candle to drip onto the surface of a dry, boiled egg.  When the wax is dry, gently place in a dye color.  If desired, you can scrape the wax off when the dye is dry but it’s not necessary.

Inedible eggs can be created by first blowing out the inside of a raw egg.  For health and safety reasons use caution here! This is done by very carefully piercing a hole in the top of the egg, and a slightly larger hole at the bottom.  Blow the contents out through the larger hole.  Rinse and allow to dry.  If preferred, egg blowers are usually available in craft stores.  The decorations on this type of permanent Easter decoration can include any type of paint, stickers, markers, glitter, rhinestones, paper images (glued on), cotton balls, fringe, sequins…the ideas are almost limitless.

Markers, acrylic paints or oil-based paints and watercolor paints should NOT be used on any egg that will be eaten.  Use these colorants on blown-out eggs and keep them from year to year.  Perhaps creating new eggs each year and building a collection can become a family tradition. 

Caldecott Winners Announced

The Caldecott Medal is awarded annually by the Assoc. for Library Service to Children to the artist of the most distinguished American picture book.  The 2010 medal winner is The Lion & the Mouse, illustrated and written by Jerry Pinkney (Little, Brown and Company Books for Young Readers).  In glowing colors, Pinkney’s textured watercolor illustrations masterfully portray the relationship between two very unlikely friends.  Honor Books include All the World and Red Sings from Treetops: A Year in Colors.

Museum Programs

—National Gallery of Art, Washington – Teen Studio—Drawing:  Surrealism, March 13.  This five-hour workshop includes gallery visits, group conversations, art instruction and open studio time to experiment with materials and techniques and create a work of art.  Free to teens in grades 9-12, but pre-registration is required.  202.842.6252; teens@nga.gov.

—The Art Institute of Chicago – Teen Workshop—Animated Art, March 13.  500 Ways of Looking at Modern – Visit the galleries for inspiration to create your own animated short using technology and traditional art materials.  Learn about a variety of stop-motion animation techniques.  Ages 13-19; fee and reservations required. 312.857.7142; teens@artic.edu.

—Denver Art Museum – Spring Break:  Embrace!, March 27 – April 4.  This week of fun is inspired by the Embrace! exhibition, closing April 4.  See what happens when you let 17 artists take over the museum with spray paint, old clothes, swing sets, pillows and other wacky things!  Free with admission; kids under 18 free.  720.913.0048. www.denverartmuseum.org.

—The Dali Museum, St. Petersburg, FL – Dali Family Fun Saturdays – Dilly dally with Dali with fun games, puzzles and craft activities that educate and encourage family interaction. Free with museum admission. www.thedali.org.

The Artist’s Marketplace

Strathmore – New Marker Paper

Strathmore has introduced a new surface for designers and graphic artists—500 Series Marker Paper.  This smooth, semi-transparent paper is designed to accept heavy coverage of felt tip markers with no bleeding or feathering.  It is suitable for pencil, charcoal, pastels and pen and ink as well as permanent and watercolor markers.  Pads are available in sizes 9x12, 11x14, 14x17 and 19x24, with 50 sheets per pad.  500 Series Marker Paper is sure to become a valuable tool for artists and designers!  See your retailer and visit www.strathmoreartist.com, where you can also see winning works from the “How do you see Green?” illustration contest.

Artool – New Templates

Artool Products Co. has introduced the new horrifying Spider Master Freehand Airbrush Templates by Craig Fraser. Spider Master is a simple three-stencil offering:  SPIDERZ, ARACHNOPHOBIA and WIDOW MAKER—also available as a set.  The Spider Master Mini Series is sold as a set only.  These venomous babies give you all the tools you will need to create your own favorite phobic designs.  See your retailer and visit www.ArtoolProducts.com.

A Little Art History

The WPA – Art and Opportunities for Artists

It is well documented that during the Great Depression many people were out of work, and it was recognized that artists were some of the least employed during those hard times.  But, through the assistance of the government, a group of projects were initiated that gave artists in all disciplines the opportunity to work at their trades and create many public artworks.

The Works Progress Administration was established in 1935 (renamed the Work Projects Administration in 1939) to address unemployment and help provide economic relief to the citizens of the U.S. Federal Project Number One, known as Federal One, was created in 1935 as a subdivision to extend the relief of President Franklin D. Roosevelt’s New Deal to artists, actors, writers and musicians.  It consisted of the Federal Art Project (FAP), Federal Music Project (FMP), Federal Theater Project (FTP), the Federal Writers Project (FWP) and the Historical Records Survey (HRS).

First Lady Eleanor Roosevelt felt strongly that American society had not done enough to support the arts and thought Federal One a powerful tool with which to infuse art and culture into the daily lives of Americans.  She therefore lent her support to the creation of Federal One programs, publicly praised the projects and defended them against congressional critics.

Under the Federal Art Project, in the fall of 1935 a range of creative, educational, research and service projects was organized to preserve the skills of professional artists in mural, easel, sculpture and graphic art divisions; of commercial artists in the poster and Index of American Design divisions; and of the less experienced in art education and technical jobs.

The FAP provided jobs for more than 5,000 artists at its peak and produced myriad works of art:  over 2,500 murals, more than 100,000 easel paintings, approximately 17,700 sculptures, almost 300,000 fine prints, about 22,000 plates for the Index of American Design division and numerous posters and craft objects.

Also, more than 100 community art centers and galleries were established across the country. Federal One was a popular target of the New Deal’s opponents in Congress.  By the end of 1942 these programs had been virtually legislated away and in June 1943 they officially ceased to exist with the dissolution of the WPA.

Fortunately, these programs made art available to all people. Many of the original WPA artworks have been lost and some are stored for future restoration.  Yet, many are extant.  The artists who created these works have often been forgotten and little is known about them, but much research has been done to create a listing and some biography on as many as possible.

While every state had WPA artworks done, New York State has more extant WPA art on display than any other.  Virtually every borough in New York City has some examples, as do many cities throughout the state.  Some of the murals/reliefs are large, but many are immense…as big as 5 feet by 200 feet and larger.  The painters of these works are a huge mix of creative talent.  While several artists painted only one work, some painted several.  The years 1932 to 1939 cover the most intense period of work.  Sculptures and relief works are also on view in various locations.

The images of WPA murals include a mix of styles and materials.  All are part of the legacy of our artistic past and all should be treasured.  To find WPA artworks in your state, visit www.wpamurals.com.  And to see wonderful examples of some of the art, Google:  WPA art images+photos.

Exhibition:  On view at the Detroit Institute of Arts is Government Support for the Arts:  WPA Prints from the 1930s.  Featured are around 100 prints created under the Federal Art Project, where artists created editions of original prints in all mediums, but lithographs, woodcuts, linoleum cuts and wood engravings dominate the media on view in this exhibition. Also, just outside the prints exhibition is a painting by John Sloan, Fourteenth Street at Sixth Avenue, completed in 1934 for the Public Works of Art Project.

Art Competitions & Opportunities

—Knight Arts Challenge – Under this $60 million initiative, $20 million is committed over five years as challenge grants to fund innovative ideas in the arts benefiting Miami-Dade and Broward counties in FL.  The challenge is open to nonprofits, companies and individuals of all nationalities.  Application deadline is March 15; Full proposal deadline is May 14.  www.knightarts.org

—Lower Manhattan Cultural Council - Open Call for Applications:  Workspace 2010-2011 Studio Residency Program for Emerging Visual Artists and Writers – Workspace is a 9-month studio residency program for emerging visual artists and writers focused on the creative process.  Residents receive free studio space in Lower Manhattan for nine months, a modest one-time stipend, access to a community of peers, meetings and studio visits with arts and literary professionals and exposure to new audiences. In-Office Deadline:  March 25, 5PM.  www.lmcc.net

—Colored Pencil Society of America – 18^th Annual International Exhibition, 7/22-8/20/10.  This competition is open to living artists 18 years or older. Media must be 100% colored pencil, two-dimensional on a single surface and completed after 3/31/07.  Numerous monetary awards and the CIPPY Best of Show award will be presented. Deadline:  March 31.  www.cpsa.org.

Airbrush

Making the Connection - Airbrush to Compressor

To begin your airbrush experience you must first attach the airbrush to the air compressor via an air hose, which has two different sized fittings.  The larger one is usually a standard ¼” thread fitting that screws onto the compressor, while the smaller fitting on the other end of the hose attaches to the bottom of the airbrush.  Airbrush manufacturers have unique threading on their airbrushes that is compatible only with their specific hoses.  On the contrary, all compressors have the same size air hose fitting.

When attaching the airbrush hose to the compressor, it is suggested that you first wrap the threads of the compressor with Thread Sealant Tape.  This white tape is designed to prevent air leaks.  TIP:  When applying the tape to the threads on the compressor or anything else, it is sufficient to wrap the tape once around clockwise.  However, when you attach the air hose to the airbrush, there is usually no need to apply tape.  The small fitting is designed to be snug without air leaks when finger-tight.  But if for some reason there’s a leak at this fitting, Thread Sealant Tape can be used.

It’s important to have all your air fittings tight without leaks.  This ensures a nice smooth spray and will prevent the compressor from turning on when its use is not required.  Visit www.iwata-medea.com, www.silentaire.com, and www.sparmax.com.tw.

ArtPourri

—Ruling to be Appealed – A judge in Italy has ruled that the J. Paul Getty Museum must return the Statue of a Victorious Youth, often called the Getty Bronze—bought for the Getty collection in 1977—because they had “not acted in good faith.”  The Getty feels the court’s order is flawed both procedurally and substantively, will appeal and vigorously defend its legal ownership of the statue.

—Oops! – An important painting by Pablo Picasso was accidentally damaged at the Metropolitan Museum in NYC recently when a visitor attending a class lost her balance.  A 6” tear in The Actor (1904-5) is expected to be unobtrusive after repair, and the painting will be displayed in the forthcoming exhibition Picasso in The Metropolitan Museum of Art among some 250 works on view from April 27 – Aug. 1.

—NEA News – The President’s FY2011 budget request to Congress includes $161.3 million for the NEA, which is the same level requested last year.  This proposed budget maintains the NEA’s areas of grant making, and it also includes $5 million in proposed “Our Town” funding in recognition of the role that the arts can play in economic revitalization and in creating livable, sustainable communities.  Visit www.nea.gov/grants for info and to apply.

—Auction News – At Sotheby’s, a world record was set for a work of art at auction when Giacometti’s Walking Man I sold for $104.3 million; the highest price for a Gustav Klimt landscape at auction, Church in Cassone, was realized at $43.2 million; and the Contemporary Art Sale was headlined by Willem De Kooning’s Untitled XIV, which sold for $6.2 million.  Christie’s has announced the 2010 inaugural green auction, “A Bid to Save the Earth.”  This charity auction will take place at the Rockefeller Center location on April 22 to coincide with the 40^th anniversary of Earth Day.  Proceeds will be divided among four leading not-for-profit environmental organizations that have programming across 150 countries and all seven continents.

—USPS News – The U. S. Postal Service has commemorated the Vancouver 2010 Olympic Winter Games with the issuance of a stamp featuring an illustration of a snowboarder.  Illustrator Steve McCracken captured the thrill of Olympic sports in his portrayal of an airborne snowboarder against the backdrop of a snow-capped mountain.

March - Celebrate Youth Art Month, National Craft Month, Women’s History Month...and the arrival of spring!

Birthdays
2 – Dr. Seuss
6 – Michelangelo
30 – Vincent Van Gogh

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Copyright ARTtalk Vol. 20 No. 5 — March 2010