Volume 2 Issue 1 January 1997
A New Year
Welcome to our second year of publication!!! OK OK so it is our second issue as well. I hope everyone survived the ice storm. I am still not so sure that I did. My major regret is that I did not get a drawing done of my wonderful old twisted pine tree. The one person I had look at it says it should go. I am hoping for another opinion. Anyway, Stacy has again been so kind as to provide the content for the newsletter. So here we go.
We are off to a fast paced start. After three meetings, we have had an art show, heard from three art vendors, seen a matting demo, enjoyed each other's work, exchanged art work and scheduled two more shows. AND
We have submitted our application for district chapter status, and we are listed unofficially as DC216.
WOW … (editors comment)
Of course, the best part is meeting new people and making new friends. I am looking forward to meeting many new people and learning more about everyone else. This is an exciting time for me.
Seeing all your artwork has really inspired me. Our little community has a wealth of talent, and we express a variety of techniques. There is so much more we can learn from each other. My daughter, Amber, is so impressed with our group she wants to keep coming. Imagine, a fourteen-year-old wanting to hang around with her Mother. Mind boggling.
We have some mind boggling opportunities facing us. First we have a show at Guiseppe's Bistro & Billiards. This is their first show and it is up to us to impress them so much they keep inviting us back. Next we have the Art walk show at Spokane Art Supply in April. This will be our first judged show, and we are honored to have Gary Greene as our judge. We can definitely make a splash in this town. All it will take is some time and effort on our part.
First step: pay your national dues. Second step: pay the district chapter dues. If you need some forms, give me or Neil a call. Third step: help promote the club and support its activities. Bring a friend to a meeting. Enter your artwork in the shows. Bring your artwork to our meetings to share. Encourage each other. Volunteer to help on of the officers. Write an article for our newsletter, or send your questions about colored pencil art to me, Neil, or Marie and someone will answer it in the newsletter. (What you wonder about is also what someone else probably wants to know.) Send in photos of your artwork to Marie for inclusion in the newsletter. Don't be passive, be active!
This is your club. It is whatever you make of it.
So far, you have done an exceptional job.
Stacey
I met Emma several years ago when my Mother and I took a workshop from her. It was the first colored pencil workshop I had heard of and I was thrilled. I was even more enchanted when I met her. After years of taking workshops from people who had difficulty critiquing my work and could not give me in-depth constructive advice, Emma was a revelation. Not only can she critique my work and help me improve it, but she understands the true meaning of 'constructive criticism' - to use an artists unique abilities in the creative process, and not try to mold their own image.
Emma began her artistic career at the age of fourteen with private lessons. She earned her degree at the University of Utah in art and costume design.
She quit her career to raise her three children with her husband, Walt. After moving to Bermuda someone expressed a need for a costume designer. Emma volunteered and began a career in costume design that lasted 20 years. Eventually she was approached to take a class in oil and she agreed. Of that class, Emma says, "It was like someone turned on alight in a dark room." She began in oils then switched to pastels. By the time she left Bermuda, she was the president of the Bermuda Society of Fine Arts which boasted a membership of 300 artists and patrons.
After she moved here Emma decided to quit dividing time between costumes and fine art. She pursued painting full time. She started watercolor ten years ago and began colored pencil painting seven to eight years ago. For years, she was the only person to teach colored pencil in this area.
Her husband, Walt, is both her private picture framer and her biggest supporter. Her artwork is actually a quiet impressive partnership between them. They both beam with pride when talking of the contribution each gives to the other.
Emma brings a wealth of experience and a depth of knowledge to our group. I have discovered that not only is she a willing teacher but she is a willing student which is a rare attribute. Emma, thank you for all the help and support you have shown me. My work would still be quiet and insipid if you had not told me, "Be bold, it's only paper!" Oh, and Amber and Craig say hi.
Stacey
Carousel Horse by Emma Randolph
Spokane is being given a great opportunity. On April 18th and 19th Gary Greene is coming to visit. He is bringing two workshops with him; Creating Texture in Colored Pencil on April 18th based on his book, "Creating Textures in Colored Pencil" and Capturing Flowers on April 19th based on "Capturing Radiant Flowers with Colored Pencil" which is being published this spring. You can register for either (or both) workshop at SAS. The price is $65.00.
Gary is a highly gifted colored pencil artist and is one of the founders of the Colored Pencil Society. He has been featured in several books, including "Creative Colored Pencil" and "Best of Colored Pencil I, II, and III". He has an extensive background in graphic art and photography. His pieces have been shown throughout the U.S.. He has earned the right to use the initials "CPSA" after his name by being accepted three times into the CPSA International Show.
Gary has been teaching workshops for several years. He is a wellspring of information and loves meeting new people, especially colored pencil artists.
Gary is also doing week long workshops in New Mexico later in the year, covering colored pencil and photography.
While Gary is in town he will be judging our Artwalk show as a gesture to our club. He is very pleased to do this for us. It was Gary's suggestions and encouragement at his first workshops in Spokane last April that caused Neil, Dave, Emma and Stacey to pursue the District Chapter. And he has been subject to numerous phone calls and questions since then, helping with organizing our chapter.
So treat yourself and go meet Gary. Show him Spokane can support a major artist by enjoying one of his workshops.
Stacey
Paper, what a simple concept. When I first started drawing with colored pencil I used a pad of drawing paper that provided adequate results. Now I use Strathmore Bristol rag, vellum surface. Why the change? It is simple evolution.
As my techniques changed, so did my requirements of paper. My concern for the longevity of my artwork also influenced my choice. Pads of paper are very rarely cotton rag, and are subject to damage by acid content. So what should you use?
Colored pencil artists use watercolor paper Bristol paper or board, museum board, mat board, and in some cases, wood and mylar. The choices are nearly endless.
One of the main factors in choosing paper is tooth, or the roughness of the paper. Tooth determines the intensity of color, how saturated the paper can become and it also determines the clarity of the pencil line. If the paper has too much tooth the painting will be rough. If the paper has too little tooth the painting will have a cleaner line, but the paper may become saturated sooner than you would like.
Another factor is durability. For example, if you are planning a light drawing of low saturation, a one or two ply paper will be adequate. If you are planning on heavy applications of pencil, scraping the paper or other intense methods, then you should consider a heavier paper.
The best way to decide what paper to use is to talk to other artists whose paintings you like and find out what they use.
We may want to try a paper exchange in our group. Each member could bring some samples of paper, with the type lightly penciled in a corner of the samples. Then we exchange with each other. This will help expose us to different types of paper in an inexpensive manner.
Stacey
Art books have never been regarded highly as a training tool by serious artists. Never do you see an art book listed on an artist's resume but clearly, if used correctly, they can be a powerful tool.
Art books fall into three basic categories: pictorial by artist(s), pictorial by medium/subject/technique, or instructional. All three have benefits for the beginning or advanced artist.
The first type, pictorial by an artist can demonstrate the artist's range and illustrate how they have grown and evolved. It can also show us a wide variation of technique. Studying another artist's work can give us a clear insight into our own.
The second type, pictorial by medium/subject/technique, can fire our imaginations and show us a complex diversity. For example, browse through the "Best of Colored Pencil II & III" and see the limitless range or artwork produced by such a seemingly simple medium. And as impressive as these two books are, they still do not cover the variety available.
The last type, the instructional book, is the most interesting of the three types in that it can serve a multitude of purposes. For example, Gary Greene's "Texture in Colored Pencil" is an excellent book for the pencil artist, with the clear illustrations and detailed instructions. For the experienced artist to walk through some of the demonstrations in the book and you are bound to learn new and exciting techniques.
There are many books about colored pencil available. Some of the best (not already mentioned) are Vera Curnow's "Creative Colored Pencil", a mixture of instruction and pictorial formats, Bernard Poulin's "The Complete Colored Pencil", and any of Bet Borgesen's books.
An artist can not grow artistically if not exposed to new ideas and experiences. For those of us who are limited in opportunity, art books can be just the ticket.
Stacey
Our district chapter has been given a great opportunity. In April, Spokane Art Galleries open up for a late public showing that is quite popular with the public. Spokane Art Supply on Monroe is participating in this and has invited us to have a show during this time.
In addition, Derwent has donated a 120 piece colored pencil set. This will be the first place prize for the show. There will be at least two other prizes, to be determined. The show will be judged by Gary Greene, CPSA, when he is here on April 18th to 19th. Gary considers this a privilege to judge our show. To have an artist of his caliber judging our show is an incredible compliment.
Because of the limited amount of space at SAS, each artist will be limited to one piece on a first come first served basis. To enter the show, call Dave Eggleston at 487-7801 by March 15th. He will compile a list in the order the entrants call. (No, I have not called him yet. That would be cheating!) If too many pieces are entered, they will be hung in the order on the list.
What: Art Walk Show
When: April
Where: Spokane Art Supply 1303 N. Monroe
Who: Gary Green, CPSA, will judge
Why: 1st prize 120 piece set of Derwent pencils
How: Call Dave!!
Finishing a piece of artwork is a great achievement,
a moment of glory. But wait, you are celebrating too soon. The
work is not finished until it is matted and framed.
Mat board is an extension of your painting. It helps set the tone of your piece and gives it a clean and professional look. Because of this, the more you know about matting and framing, the easier it will be to make the decisions required to successfully mat your artwork.
The first choice is one dictated by cost and chemistry. There are two main types of mat board, acid free and rag mat (also called museum or archival).
Acid free board consists of acid free core and backing. The wood pulp material is pH balanced, however, over time it will degrade and cause damage to your artwork. How soon this begins is not certain and many factors can affect this (i.e. The type of paper used, the temperature and humidity of the room where your artwork is stored.) It may take decades for damage to occur. The surface color can change also. If desired, a barrier paper can be cut and placed between the bat board and the artwork, to deter the acid free from damaging the piece.
Rag mat is made of pure cotton fibers, is acid free, and will not damage your artwork. This is the mat board used by museums to frame valuable works of art. The surface color will not change, and the beveled edge will remain a clear crisp white, unlike the acid free mat which will discolor. The difference in cost is about two and a half times. Rag mat costs around ten dollars for a 32" by 40" sheet. Acid free mat of the same size costs about four dollars. (Personally I use the rag mat. I like the beveled edges.)
Now that you have chosen the type of mat board (… did I mention black core, metallic, suede or linen mats?), lets talk color. Actually, let's first talk about lack of color. This is called academic or museum matting, when only neutral or off white mats are used. The mats are cut in a simple style, usually single with a simple neutral wood or metal frame. This is the mat of choice for a show or a judging. Many judges will devalue a painting for mat board that is not academic, and in stiff competition the could make or break a piece. Jurors feel that colored mats cause the framing to stand out and disturbs the overall continuity of the show. Another reason for white mat board is ease of hanging a show. It is difficult to aesthetically arrange a show when there are dozens of different colors all clashing and demanding attention.
Now on to color. It is a confusing topic, so lets tackle this in a forward manner. Don't mat your pieces to match your sofa, unless those colors actually complement your piece. Instead, look at your artwork and select the overall dominant color or a secondary dominant color. For example, my flamingos are matted with black rag mat as the top mat. This was the primary dominant color.
Next decide on your second mat (for double mats). Choose another secondary color (or primary dominant color, if you did not use it for the top mat). These colors should complement the painting and should not be what you first notice about your art. Your goal is to focus attention on your work, not the mat. Using the example of the flamingos again, I used a soft salmon mat that brought attention to the color of the flamingos. The third mat is green which echoes the grass and trees.
A quality art supply store will have corners for you to use and employees who will cheerfully help you decide. Just remember, you are the one that has to live with the final product, not the employee. Make sure it is something you will be happy with. If you can not decide, write down the numbers of the mat boards that were the closest to what you might want, and leave. Come back another time, alone or with someone whose opinion you trust. Personally I bring one of my kids with me.
Now that we have walked through the basics of mat board, just remember this: choosing mat board is not a life altering experience. If you are not happy with it change it. Don't let it intimidate you. Enjoy the artistic process of designing the statement you will make. And have fun.
Stacey
January
23rd 7pm Valley Spokane Art Supply, CPSA monthly meeting
February
show at Guesseppes. If interested, call Dave At 487-7801
February
25th 7pm North Monroe Spokane Art Supply, CPSA monthly
meeting
March
15th deadline to call Dave for Artwalk Show
March
27th 7pm Valley Spokane Art Supply, CPSA monthly
meeting
April
3rd Artwalk Exhibit at SAS. If interested, call
Dave At 487-7801
April
18th and 19th Gary Greene workshops SAS
April
25th deadline for International CPSA contest*
May
1st deadline for Artist Magazine Art Competition
* For a prospectus send a #10 SASE to:
CPSA '97 Exhibition Dept A
Heidi Schmidt
South Adams
Hinsdale, Il 60521
Neil MacKenzie 509.487.4714
Stacey Cunningham 509.928.6890
Wendy Siri 509.468.8031
If anyone has an e-mail address, please let me know (Marie) so we can send you a copy of our newsletter via e-mail.
You can find a copy of our newsletter at:
http://geocities.datacellar.net/~mfos
We will be mailing our newsletter only to members
after this copy. Please join. All are welcome at our meetings!!
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