Art Supports

Canvas—The Big Picture

As our skill level and interest in painting increases, we may want to investigate products that help present our art creations in the best possible way. One of the most basic, and yet not often researched, is the very material upon which we paint. While there are many choices, canvas in some form is by far the material most often selected for the painted artwork.

Canvas comes in two forms and several qualities: canvas panels and canvas fabric. In the case of canvas panels, they provide an economical base for student work but do not provide the level of longevity and quality for most fine artists. Primed cotton fabric is glued to a rigid backing. Because of this rigidity, the surface doesn’t flex with brush strokes and can be brutal to high quality brushes. These panels do, however, provide a great student work base, are an easily manipulated (cut to size) format and are sturdy enough for field work without special handling.

Pre-stretched canvas is available in cotton or linen. Artists might also consider buying either in rolls and stretching it themselves. The benefit of self-stretching is control of canvas size and canvas grade improvement. Extra large pieces of canvas can even be purchased in what are called “blankets.” These are large cuts of fabric – either primed or unprimed - that are too large for rolls. This material is especially good for muralists and those who like huge scale.  http://www.richesonart.com/products/surfaces/caravaggio/caravaggio.html

Caravaggio Canvas Rolls

The weight of the actual fabric is important from two perspectives. If you work large scale, the stretcher bars used to stretch your work must be heavy duty. That is necessary to facilitate stretching of canvas (either cotton or linen) without bowing the stretchers. Another reason to consider weight of the material is the quality of weave, the smoothness of the fabric and the use to which it will be put. Weights of pre-stretched canvases are usually in the area of 4-6 oz. per square yard. Heavy duty cotton or linen can weigh as much as 11-15 oz. per square yard. Too light and the fabric can be overwhelmed by the weight of the paint. Experiments with various weights will help you understand the various uses of each.

Texture is possible when selecting the weave of the material. Extra smooth surfaces are usually made of linen and can be primed and sanded to provide a near glass-like finish. For nubby texture, consider using a rough weave of cotton or linen. Many contemporary artists experiment with a variety of fiber contents, including hemp, jute, burlap and other thick weaves. After finishing with gesso or another appropriate primer, these textures can add a personal quality to the finished artwork.

Synthetics are yet another choice in the area of “canvas” selections. Some synthetics are woven as any fabric would be; and some are non-woven and offer added moisture resistance – great for artworks that will be displayed outdoors. Surface quality of synthetics is most often very smooth and even. This type of “canvas” is also good for giclee printing, photo printing and art reproductions. It holds up very well to stretching and the elements.

Quantity purchases are often found in unusual places. “By the yard” cuts can be found at nearly any art material retailer as can pre-stretched canvases in a number of finishes and weaves. For the adventurous painter, awning shops often have end cuts and lengths for large-scale works, but quality must be monitored. And since their application is less artistic in nature, the material may not suit your needs.

Priming of canvas is usually defined by single or double primed and hand or machine applied. These are self-explanatory terms, but know that double primed will have a smoother finish and will transmit each tiny detail with more clarity. Sanding is done after application of gesso (or other ground) to provide an increased smoothness. Once sanded, a final coat of ground insures a supreme painting finish. You can even improve a lesser quality finish by sanding the surface and adding additional gesso—a fast fix and a great improvement. Machine priming has improved to a level of expertise that rivals hand applied.

As an artist, offering the best product is important. Whenever possible, work with archival techniques/materials; and, by doing so, offer a higher level of artwork to your buyers. Today’s materials offer a huge range of archival quality, and prices for those materials are only marginally higher. Offer the best and feel good about presenting your work.

Competitions

The Richeson 75:  International Art Competition—Figure/Portrait 2011, Richeson School of Art & Gallery, Kimberly, WI -  Sept. 9–Nov. 4

Deadline:  June 10

Seventy-five 2-D works of art and several alternates will be selected to represent the finest examples of painting and drawing being produced by today’s visual artists.  Open to all artists over age 18, who may apply in three categories:  oils, oil pastel and Paintstiks; pastels and drawing/dry media; and water media/other (printmaking, mixed media, etc.).  Cash awards and Richeson art materials certificates.  www.richeson75.com/callforentries.html

Philadelphia Water Color Society111^th Anniversary International Exhibition of Works on Paper, Community Arts Center, Wallingford, PA – Oct. 2-Nov. 19

Deadline:  June 10

Works eligible include original watermedia, drawings, hand-pulled prints and pastels on paper.  Entries must be no older than 3 years and must not have been done under teacher supervision.  Awards total over $6,000.  www.PWCSociety.org.  215.569.3955.

PHOTOcentric 2011 Annual Juried Photography Exhibition, Garrison Art Center, Garrison, NY – Sept. 10-Oct. 2

Deadline:  June 15

This international competition is open to amateurs and professionals in all photographic mediums:  digital, film, alternative processes, pinhole, photograms, B/W or color.  Categories: People, Nature, Architecture and Open, and all accepted work will be included in an exhibition book—PHOTOcentric 2011.  Cash awards and more.  www.garrisonartcenter.org. 845.424.3960.

Art Events

Schedules can change, so please confirm programs in advance.

Family Program - Second Sunday Funday—Jet Set with Mom, High Museum of Art, Atlanta, GA

May 8, 1-4 p.m.

Take your mom on a trip around the world!  Travel to different countries by looking at photos in the exhibition Henry Cartier-Bresson: The Modern Century.  Don’t have a passport?  Don’t worry!  You can make one in the workshops to keep track of where you and your mom land. 404.733.4400. http://www.high.org/.

Tibetan Bazaar (May 8 and May 11-15, Noon -5 p.m.) and Mandala Sand Painting (A Sacred Art of Tibet) (May 8 – 15, Noon – 5 p.m.) Newark Museum, NJ

This festive bazaar will feature traditional Tibetan arts and crafts, books, hand-woven rugs and more.   On May 15 the beautiful sand Mandala created over five days by Tibetan Buddhist monks will be ritually dispersed and processed to the Passaic River to wash out to the sea.  Tsongkhapa—The Life of a Tibetan Visionary is on view through December.  973.596.6550.

http://www.newarkmuseum.org/Upcoming_Events.html#Family.

Learning & Product Expo:  ART!, Convention Center, Pasadena, CA

October 28-30

Save the date!  This popular expo returns in the fall, with classes beginning on Oct. 27.  Here you can immerse yourself in a unique experience for beginning to professional artists where you can visit an exhibit hall packed with art material manufacturers and choose from a program of 200 art classes in myriad disciplines.  www.learningproductexpo.com.

Textile Day – Baltimore Museum of Art, MD

May 14 – 11a.m. – 5 p.m.

Explore the artistry of textiles!  Discover weaving, lace making, embroidery, dyeing, spinning and many other aspects of fiber arts.  Learn from experts about silk painting, batik and beading.  Enjoy art activities designed for kids and families. Free.  443.573.1832; programs@artbma.org.

Art Exhibitions

Art Within Reach: From the WPA to the Present, Children’s Museum of the Arts, New York, NY

Through June 5

This intergenerational art exhibition explores the connections between growing up in NYC during the Great Depression and growing up in the city today.  Featured is a rare selection of 19 original Depression-era children’s paintings of NYC created in Community Art Centers run by the Federal Art Project that are juxtaposed with 19 new paintings created today by CMA’s Young Artists’ Residency program.  When showcased side by side, the works not only document the evolution of NYC’s landscape over the past 75 years, but also raise questions about the public’s access to art during economically challenging times.  http://cmany.org/pages.php?pn=ec_currentexhibition. 212.274.0986.

Kurt Schwitters:  Color and Collage, Princeton Univ. Art Museum, Princeton, NJ

Through June 26

This exhibition by the German artist explores the significance of color and light to the artist’s oeuvre and delves into the relationship between collage and painting in his often overlooked late work.  In addition to a full-scale reconstruction of the Merzbau, included are roughly 100 assemblages, reliefs, sculptures and collages from 1918 to 1947.  609.258.3788.  www.princetonartmuseum.org.

Framing

Framing Memories

People collect all sorts of things for all sorts of reasons.  Many of these collections represent years of patient or casual accumulation.   When the collections contain flat items, small items and those that can be combined in an interesting way, framing them is easy and might be one way to enjoy the objects on a daily basis.

Cards and notes make great framed keepsakes.  Recipes (often handed down through generations and handwritten by a special friend or relative) are especially important items to frame and hang for enjoyment.  You’re displaying a part of your history, written by someone you care about.  When grouped together, a collection of small hand written notes and recipes are like a tiny shrine to the past – but also one that you can use to create great meals or treats.  Use acid-free materials from any art material dealer for longest preservation, including acid-free corners or adhesive and high-grade matting.

Scrapbook artists create lovely pages, one after another.  Any one of the pages might make a delightful framed item and a very special gift or presentation.  It is possible to have photo copies of a scrapbook page made if that page is of interest to several.  Again, as most scrappers know, acid-free materials used in framing will lengthen the life and enjoyment of any item.

If sports events are your interest, a collection of sports memorabilia—ticket stubs, photos, programs, pennants and the like—can be pulled together for a one-of-a-kind remembrance.  You’ll see that collection and recall and relive the event, the people who attended with you, the outcome of the game/competition, tailgating parties, etc.  Most jerseys are sewn into place on top of matting.  Using a push-pin to create holes will save you lots of time and possibly injured fingertips.

Leaves collected on a walk through a special park or nature preserve might be something you would want to showcase, since leaves retain a lot of their color.  If you allow them to dry naturally, in low light but in a dry atmosphere, they stay colorful and interesting.  To mount leaves, start with an acid-free background.  (Acid-free matting is great and comes in a wide range of colors.)  Attach the leaves with a dab of scrapbooking acid-free adhesive in a pleasing pattern.  If the leaves are wrinkled or curled, elevate the glass so that they are not damaged in the framing process.

Even consider small bird nests; stones of various colors, textures and shapes; and twigs…most natural items make excellent shadow box inclusions.  Select a shadow box that is deep enough for the thickest item.  Attach the items with extra adhesive if they are heavy or open and twiggy like a nest.

Gloves, bracelets, earrings, cuff links, old glasses, pens and other writing instruments, tools, beads, cards, tokens, buttons – whatever you collect, consider putting your collections in a frame and on the wall.  They will be there for you to enjoy and to draw interest from visitors.   Each item requires a little different approach for attachment, but the time and planning needed will net a great result.

Methods of attachment include glues, sewing and special acid-free corners/dots.  Stroll the framing aisle of your local dealer or explore catalogs for great ideas on how to create long-lasting mementos with easy to use tools and materials.

The Art Marketplace

Iwata – New Tubular Compressors

The new Studio Series Tubular Compressors from Iwata are totally unique—a tube acts as the air storage tank and serves as the handle as well.  Both the Smart Jet Plus and the Power Jet Plus shut off automatically when not in use; have zero maintenance and are oil-less with a built-in airbrush holder; have an air regulator and gauge for precise air pressure adjustment; have an on/off switch and a high-strength braided nylon-covered hose that fits all Iwata airbrushes; and have that unique 0.5 liter air tank inside the handle.  The Smart Jet Plus is 1/6 Hp with a CFM of .81, weighs 13 lb. and can also power small spray guns such as Iwata’s RG-3.  The more powerful Power Jet Plus is ¼ Hp with a CFM of 1.4, has 2x Sprint Jet Power, two built-in cooling fans and a built-in spray gun holder that accommodates larger spray guns such as the LPH 80 and W-101, and it weighs in at 17 lb.  See your dealer and visit www.iwata-medea.com. 

Power Jet Plus

Artograph – Innovation Award for LED200 Digital Art Projector

Artograph’s Digital Art Projector LED200 has won the 2011 Innovation Award in the Fine Arts category at the “SMAC D’OR” show in Paris.  The LED200 is designed exclusively for the artist and designer.  Access digital images from almost any source—computers, SD cards, digital cameras, etc.  The maintenance-free 200 lumen LED lamp provides a brilliant and accurate image projection from 15–80 inches in almost any lighting conditions.  Use the custom composition/layout grids alone or over an image.  The LED200 has precise color and image controls (size, rotation and reverse) with color-to-B&W feature and is ideal for on-site work and presentations.  See your retailer and visit www.artograph.com.

Airbrush

Frisket Film for All Grounds and Applications

For those who aren’t familiar with it, frisket film is a transparent, self-adhering vinyl material used in airbrush technique to prevent overspray from drifting onto other areas of artwork and also for cutting stencils directly on an artwork surface.  It is also essential in the development of hard or sharp edges.

Fifty years ago in the heyday of airbrush illustration and photo retouching, airbrush artists made their own frisket film by coating translucent onion skin paper with a diluted solution of rubber cement.  Doing this correctly within itself was an art and the artist made up sheets of film beforehand.  The drawbacks of homemade frisket film were not only the time spent making it, but also the rubber cement residue often left on the work surface.  This was difficult to see and if all wasn’t removed in entirety prior to airbrushing, it would likely be evident in the completed artwork.

The first commercially prepared frisket film began to appear in the late ‘50s and early ‘60s.  Designed primarily for work on illustration board, paper surfaces and photographs, the adhesion from one manufacturer to another could differ dramatically from so light that air from the airbrush would lift the material to so heavy that it would lift paint from previously painted areas.  This early film was not designed to work on surfaces such as gessoed canvas, smooth automotive grounds or coarse surfaces such as watercolor paper.

In today’s airbrush world, there are multiple applications for the use of frisket film, and there are now several types designed for specific applications.  The normal film is low-tack, self adhering and easy to peel and is designed for painting on paper surfaces.  It comes in mat and gloss finishes, cuts easily with a frisket knife and is available in sheets and rolls.  A mat finish enables the artist to draw on it with a pen or pencil and doesn’t have the reflective quality of gloss.  This type of film is easy to remove and reposition as necessary.  It will not wrinkle, bleed or flutter when sprayed.

But today not everyone is working only on paper.  If working on a three-dimensional surface such as a motorcycle tank, Artool has STRETCHmask.  Available in rolls, this material is stretchable and flexible and easy to reposition.  It’s also great for ceramics, sculpture and woodworking, along with painting helmets, skateboards and automotive items.  This material is solvent proof, allowing for use with lacquers, enamels, epoxies, sign and other solvent-based paints.  http://www.iwata-medea.com/index.php/artool/masking_film

For the airbrush artist working on canvas or gessoed surfaces, there is Artool’s Artmask, which is also solvent proof for working in oils and waterproof for working in acrylics.  This is especially suitable because of its higher adhesive quality (as opposed to regular frisket) for gessoed canvas, gessoed board, Claybord and textural paper such as watercolor paper.  Again, with all the attributes of other frisket film, it is available in rolls and is particularly good for the artist working in acrylics, since it adheres where lighter tack frisket will not.

Artool’s Hobby Mask is designed for RC car bodies, model making applications, and working on plastic surfaces with techniques such as camouflage, weathering, racing stripes, etc.  HobbyMask is used extensively for detailing and developing small designs on irregular surfaces.

When making stencils with frisket film, remove the backing paper from the film and lay it over the surface to be painted; in this case, let’s say an illustration board.  It’s usually laid over a line drawing that indicates where the artist will paint.  The area is cut from the frisket film with a stencil or frisket knife.  The trick here is to cut with a sharp blade and not apply too much pressure so that only the frisket is cut and not the ground to be painted.  Then remove the frisket film and paint.  Any overspray (the paint that drifts beyond the area painted) will be captured by the remaining film adhered to the work surface.  When the remaining film is removed, the overspray is gone with it and a sharp edge appears around the painted area.

In most cases, it’s wise not to leave frisket film on a work surface for more than a day because it may dry out and become difficult to remove.  Usable pieces of frisket that have been cut and removed can be saved for future use by replacing them firmly on the original backing paper.

With the continuing development of new applications for airbrushing, more uses for frisket film appear.  For example, it’s now being used in the culinary arts industry for masking designs on fondant.  Experiment with frisket film.  It’s essential for establishing a hard or sharp edge and also for “catching” overspray.

ArtPourri

Auction News – Swann Galleries’ Printed & Manuscript Americana auction set a record for an uncolored Currier & Ives print.  The National Game.  Three “Outs” and One “Run.”  Abraham Winning the Ball (1860), in which Abraham Lincoln is depicted as a victorious baseball player with three defeated candidates looking on, brought $10,800.  Sotheby’s Russian Art auction was highlighted by Petr Petrovich Vereshchagin’s View of St. Petersburg from the collection of Mikhail Baryshnikov, which sold for $746,500 and will benefit the Baryshnikov Arts Center. At Phillips de Pury & Co., the photograph auction set over 15 world records and the top lot was Cindy Sherman’s Untitled at $242,500.

Art Featured – The Art Feature sector at Art Basel, Switzerland, from June 15-19, focuses on precise curatorial projects from artists of many generations and presents 20 projects.  Selected from 12 countries on three continents among 200 applications were the Frank Lloyd Gallery, Santa Monica; Reena Spaulings Fine Art, NY; and Tilton Gallery, NY.

Hall of Fame Honorees Named – Since 1958 the Society of Illustrators has elected to its Hall of Fame artists recognized for their “distinguished achievement in the art of illustration.”  Named for 2011 were renowned fashion illustrator Kenneth Paul Block (1924-2009); award-winning expressive and symbolic illustrator Alan E. Cober (1935-1998); renowned ballet illustrator Robert Heindel (1938-2005); Fred Otnes, distinguished by combined assemblage, photo-transfer and collage techniques;  and popular watercolorist and children’s book illustrator Jerry Pinkney.

Forever Stamps Issued – The U.S. Postal Service has issued two new commemorative Civil War Forever Stamps, created using images of battles.  The Fort Sumter stamp is a repro of a Currier & Ives lithograph titled “Bombardment of Fort Sumter, Charleston Harbor,” while the Bull Run stamp is a repro of a 1964 painting by Sidney E. King titled “The Capture of Rickett’s Battery.”  The two stamp designs constitute the first pane of a series, to be issued annually through 2015.

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Copyright ARTtalk Vol. 21, No. 7 — May 2011