Glossary

Just wanted to give you all a heads up that I've added some more terms to the 'Glossary' page :)

http://the-secrets-of-art.blogspot.com/p/glossary.html

40x40 Show

Application Closing Date:
Sunday 4th December, 2011.  12:00:00AM

Exhibition Dates: 16th December 2011 - 20th January 2012
Prize Money (estimated total):
$10,000.00
Venue:
BSG, 322 Brunswick St, Fitzroy, Melbourne, 3065.
Web Site:
http://www.bsgart.com.au/
Prize Genre:
General

Description: If you have work less than 40x40x40cm inc frame (but does not have to be framed) in any medium made at any time then this is your chance to exhibit the work for a nominal fee. Show runs 21 Dec 2001 to 16 Jan 2012. Deadline for entries is 4 Dec but the work does not have to be delivered until the 15 Dec. All work accepted.

Prizes:

• 1st Prize $5000 (Acquisitive)
• 2nd Prize Exhibition at BSG (Acquisitive)
• 4 further acquisitive prizes. (To the value of the works less 30% commission)
• 10 Category Awards. Non-monetary and non-acquisitive

Fees and commissions:

Entry fees for 1-3 works $45.
BSG will charge 30% commission on works sold. Payment for work and Prizes will be made by 28th February 2012.


Contact: For more information email mark@bsgart.com.au or call 0419 390 478.
Venue: BSG, 322 Brunswick St, Fitzroy, Melbourne, 3065.

Country: Australia
State: Vic

Australian Art Suppliers

Hey everyone,
I hope you're all well and are getting geared up for a great Chrismas that's full of fun and creativity!
I've uploaded a list of Australian art shops and suppliers, including street addresses and telephone numbers for anyone out there who is in need of supplies.
I've also added a page link below to make it quicker to find,

http://the-secrets-of-art.blogspot.com/p/australian-art-suppliers.html

If you notice any missing shops which sell great art products feel free to email me their details at  shan_1494@hotmail.com  and I'll happily add them to the list  :)

                     ♥ Shan

Sugar Lift

Sugar Lift is a variation on aquatinting. It's quite paintily in its application and allows the artist to achieve a more spontaneous affect in terms of line work and mark making as well as create large areas of colour rather than thinly etched lines.

Aluminium Etching with Sugar Lift and Chine-Colle.

Different Sugar Lift Recipes:

-1 part sugar to 5 parts water, boiled to a syrup.

OR

- 10 parts syrup (1 part sugar to 5 parts water, boiled to a syrup)
+
- 3 parts black poster paint. Makes it easier to see the image when applying the sollution to the plate. - 3 parts liquid detergent. This speeds up the desolving time ,  (gum arabic is optional)

OR

-Condensed milk. It takes a little longer to dry, but it's still effective. 



Method (Preparing the plate):

1. Identify which side of the plate you wish to use (usually the side with less scratches or markings, though these can sometimes add to the character of the print).
2. Bevel the edges of the plate using a Bevelling tool so that each edge is slanted ~ 45° angle (wear glasses).
3. Using fine grit sandpaper (2000) sand the surface of the plate.
4. Degrease the plate. - -English Whiting Powder added to a dash of water (till you get a toothpaste consistency) and apply in a circular motion using cotton wool, rinse under tap using wool.Make sure you don't touch the surface of the plate once its been degreased. 
5. Dry plate using hairdryer.
6. Using an ordinary paintbrush paint the sugar lift syrup onto the plate. (The areas covered in the syrup will be the areas you wish to be black). Also, remember that the image will be reversed when printed.
7. Let the syrup dry completely.
8. Prop the plate on a 45 degree angle and lightly apply Ground using a large brush. Once evenly applied lay the plate on a flat surface and allow it to dry.
9. place the plate in a tub of hot water. The sugar mixture (with the help of the detergent) should then "lift" off the plate, exposing the Aluminium beneath it.
10. Dry the plate.
11. You now have the option to either leave the plate as it is, or to continue working the image by adding more delicate lines with the etching tool.     Note: If you do intend to continue working the plate with an etching tool remember to be conscious of how close your lines are. I've noticed in the past that when lines are drawn too close together there is a risk of them merging completely when put in the copper sulfate, thus creating a black smudge on the print.
12. Bite the plate in Copper Sulphate

-- For full methods regarding the biting and printing of plates please check out my post on Aluminium Etching by clicking on the link below or by selecting the 'Aluminium Etching' label which can be found under "Articles" at the top right hand side of this page :)

http://the-secrets-of-art.blogspot.com/2011/09/aluminium-etching.html

McClelland Sculpture Survey and Award

Applications Close Date:
Monday 21st November, 2011  12:00:00AM
Exhibition Dates: 2012
Prize Money (estimated total): $120,000.00
Venue: McClelland Gallery + Sculpture Park, 390 McClelland Drive, Langwarrin, Victoria, 3910
Web Site: http://www.mcclellandgallery.com
Prize Genre: Sculpture
Description:
Sculptors nationally and internationally are eligible to enter the McClelland Sculpture Survey, an exhibition highlighting the diversity and invention of contemporary sculptural practice.
The 30+ sculptors will be selected to participate in the McClelland Sculpture Survey.
Displayed throughout 16 hectares of bush and landscaped gardens, the McClelland Sculpture Survey gives sculptors the opportunity to present their works in an outdoor exhibition context.
Sponsored by the Elisabeth Murdoch Sculpture Foundation, the McClelland Survey & Award are part of the continuing development of the Gallery and Sculpture Park's national profile.

Prizes:

• McClelland Award (acquisitive) for outdoor sculpture - $100,000
• Frankston City People’s Choice Award - $20,000

Emerging to mid-career and established sculptors are encouraged to apply.
The shortlisted artists will be announced 2 December 2011.
Venue: McClelland Gallery + Sculpture Park, 390 McClelland Drive, Langwarrin, Victoria, 3910.
Contact: For more information email the gallery on survey@mcclellandgallery.com

Country: Australia
State: Vic

Prior Winners:
2010 - Louise Paramor for her work Top shelf
2007 - Rick Amor for his sculpture Relic2005 - Lisa Roet for White Ape2003 - Ian Burns and John Clark for Plantation.

Glossary

For a better understanding of terms and techniques check out my 'Glossary' page in the tabs bar or by clicking on the link below.

http://the-secrets-of-art.blogspot.com/p/glossary.html

Solvit Citrus Clean

For graffiti and paint clean up, as well as tar, sap, chewing gum, adhesive, wax and ink removal.
I hate to sound like one of those cleaning adds, but in all honesty...this stuff is BRILLIANT!
Give it a try, you wont be sorry :D

Paper Recommendation ...

Intaglio:
Intaglio requires a paper that can be dampened without falling apart and that is able to pick up the finest detail from the plate.
Rag papers, either handmade or mould made, are traditionally used in intaglio because of their long fibres.   
Hahnemuhle, Magnani, BFK RIVEs, Arches (Black).  Stonehenge paper is made of cotton linter - its short fibres can resist picking up the finer details: tonal ranges and colour. It also retains much of the moisture in the blotting which can sometimes resist inks.


Lino: 
The paper you need will vary depending on whether you're hand burnishing or using a press...
 - If using a Press it is possible to use a heavier paper like Stonehenge. 
- If Hand Burnishing ~ Lighter finer smoother surface paper is recommended – eg rice papers.

 - - A small selection of Japenese Rice Papers - -
(Keep in mind that the names of paper may vary depending on the supplier)
 - Kozo is a tough paper from the mulberry plant, it retains its strength even when crumpled or folded.
- Gampi papers are translucent and tough. They have wet strength and are resistant to insects. Good for chine colle.
- Hosho is a traditional high quality kozo paper, strong and  absorbent. It does not shrink or tear easily.
- Chiri is handmade from long kozo fibres with small pieces of bark imbedded in it.
- Kinwashi is machine made, short and thick fibres, smooth on one side  with bark inclusions on the other
- Indian papers are primarily made from Khadda, unbleached hand spun rag left over from the garment industry. The cotton and hemp rag along with gelatin or wheat starch give the papers good strength.



 Screenprinting:
In our studio we use water based inks due to their lower toxicity. For this reason a sturdy paper is needed to avoid too much water absorption, which causes the paper to buckle. eg Stonehenge.

                             

Excerpted from - http://printmaking-studio.westernsydneyinstitute.wikispaces.net/Notes  

  WSI, "The studio manual 2010 including OH&s".

For those of you wanting to buy solar plates...

 (Photopolymer plates) - the address is:    

AVFLEX Pty Ltd.
108 - 110 Carnarvon Street
Silverwater
NSW 2128
Ph 97483838
Fx 97482525

The product is called Mavelon DS94C. You can buy it in A4 + sizes and cut them down later using a guillotine if you wish. Order in bulk over the phone and have your credit card details. They will then send it by post at around $11 delivery charge. Just double check all details with them first in case they have mades changes to procedures in the interim.


OR


(Sunplate, [size]  Econo Gold- Japanese).

Heidelberg Fine Art Wholesalers.
44-46 Greeves St
Fitzroy
Vic 3065
Ph: (03) 9419 5559
Fax: (03) 9419 4232

Chine-Colle

~The method of gluing small pieces of paper to a print during the printmaking process.

French: 
Chine = 'Tissue'~ Traditionally imported from China, Japan and India.
Colle = 'Adhesive' or 'Glue' which is used to attach the thin pieces of tissue to heavier support paper.


Glue: Methyl Cellulose.
(Laboratory Reagent) Powder form.
[Same glue which book binders use]
Mix powder with about a tablespoon to 1 cup of hot water.
-It dries in the container from the base up, so make sure you give it a mix every now and then.
-You can also add acrylic paint to the glue in order to add colour.

Stretching the Chine-Colle Paper:
If you don't pre-stretch the Chine-Colle paper it's no biggie, it just means that it might not be as precise.

What you'll need:
- Methyl Cellulose glue.
- Thin paper ~ Tissue is traditionally preferred, but have fun experimenting. Just make sure that it's thinner than the intaglio paper you intend on gluing it to. Also, remember that cheaper tissue papers are more likely to run or fade.
- Perspex ~ The size needed will depend on the scale of the chine-colle
paper you're using.
- 1 Large paintbrush.
- A (New) blade ~ It makes it easier to remove the paper from the perspex once the
glue has dried.
- Heater or hairdryer.

Method:

1. Cut the thin piece of paper. Make sure that it's slightly larger than needed though as the corners may rip when you begin to peel it off the Perspex (Step 6). 
2. Paint the glue evenly over the Perspex, without drowning it in the glue.
3. Place the thin rice or tissue paper over the glued Perspex and pat down. Try to avoid air bubbles. 
4. GENTLY paint more glue over the top.
5. Place in front of heater and let it dry.
6. Using a blade (20 deg angle) gently peel the paper away from the Perspex. One side will be more shiny than the other, it's important to make sure that this side is facing upward on the plate when printing.

Printing:
Remember: The procedure for Chine-Colle is simple, but it must be done without wasting any time during the critical point of gluing.

Method:

1. Cut or tear the Chine-Colle paper to the size and shape you need. It's easiest if you print the image first and use tracing paper to create a template.   - Some people may also wish to dampen the Chine-Colle paper briefly after cutting it which is fine, personally I prefer leaving it dry. If you do intend to dampen it though make sure that it is blotted well afterwards, there's nothing worse than watching someone lift up their print and realising that the glue hasn't stuck properly because it became too diluted from excess water in the paper.
2. Tear down the heavier piece of paper that will be used to support both the image and Chine-Colle. Usually Stonehenge or Fabriano Paper.
3. Ink up the plate the same way as you usually would and have it set aside ready for printing.
4. Using towels gently blot the paper in order to remove any excess water.
5. Using a paintbrush gently apply a THIN layer of the glue onto the back of the Chine-Colle and place in glue-side up on the plate in the proper place.
6. Place the plate onto the press. Remember the registration sheet.
7. Quickly place your full sheet of Stonehenge or Fabriano over the plate. If you wait too long the glue may dry.
8. Run the entire packet through the press at a normal pressure for intaglio. If when viewing the print afterwards you notice that the glue has oozed out from under the chine-colle and compromised the areas that needed to be printed with ink try loosening the pressure on the press, otherwise check that you havnt used to much glue.

~Enjoy

My Gallery

 If you're interested in checking out some of my other artworks please feel free to click on my 'Gallery', it can be found in the Tabs bar or by clicking on the link below :)
http://the-secrets-of-art.blogspot.com/p/gallery.html

How to get spray paint off your hands

Note:  Nail Polish Remover is extremely effective when it comes to removing spray paint splatters from your skin  :)

Printmaking -- Slashing the cleaning time.

As simple as this may sound, the solution is newspaper!  Before you start setting out your inks and tools grab some newspaper and lay it out over your workbench.
While the inks will still need to be mixed on glass, it will save you the hassle of constantly trying to keep your workspace tidy and will make it easier for you to keep the back of the plate clean. (This can be a particular problem when inking up Drypoint plates).
It also means that whenever the newspaper begins to resemble Jackson Pollock's studio floor, all you need to do is turn over the page and you instantly have a clean workspace again :)
   While you'll still need to clean your tools and the area of glass used to mix the inks on, using newspaper will eliminate a large portion of the cleaning time :)

Atelier Interactive; Acrylic Mediums.

For a quick lowdown on ground preparation, mediums, additives and varnishes please check out my page 'Painting Mediums and Glossary', it can be found in the Tabs bar  :)
http://the-secrets-of-art.blogspot.com/p/splash-of-whimsy.html

Aluminium Etching

Little Tomo. . .

 

I've finally figured out why I love etching so much, its one of those things that I discovered by chance, and that comes as easily as breathing. While some people listen to music or go jogging to forget their problems, I escape in my art. Its almost like meditation, because I can block everything else out except the image before me, and by the end I feel completely revitalized. 

I guess that's what Pablo Picasso meant when he said, "Art washes away from the soul the dust of everyday life."

~ ~ ~ ~ ~

Ingredients for Copper Sulfate Etch :

(Remember to put on gloves, dust mask, and safety goggles when handling the crystals to avoid touching or inhaling dust particles).

• 600g  Copper Sulfate.
• 150g  Salt (NaCl).
• 156g  Sodium Bisulfate (NaHSO4).

• 200g Water

(the solution can be used multiple times, but will occasionally need more of the dried sulfate ingredients added to it as it becomes subtly weaker each time it's used. You can tell its time to add more when the liquid begins to loose its 'blueness' and the plates start taking longer to bite).

Lighter blue sulfate = Softer bite.

Darker blue sulfate (stronger solution) = Harder bite,  lines in plate will be more defined.
 

Method (Preparing the plate) :

1.  Identify which side of the plate you wish to use (usually the side with less scratches or markings, though these can sometimes add to the character of the print).
2. Degrease the plate. - -English Whiting Powder added to a dash of water (till you get a toothpaste consistency) and apply in a circular motion using cotton wool, rinse under tap using wool.Make sure you don't touch the surface of the plate once its been degreased. 
3. Dry plate using hairdryer.  
4. Prop the plate on a 45 degree angle and lightly apply Ground using a large brush. (Soft Ground - Texture  OR  Hard Ground - Line). Once evenly applied lay the plate on a flat surface and allow it to dry.  (Unfortunately the hairdryer doesn't help during this stage).
5.  Scratch image into the plate . . . Remember that the image will be reversed when printed.  (Ive also noticed that when lines are drawn too close together there is a risk of them merging completely when put in the copper sulfate. This creates a black splodge when printed . . .as shown below).

 First Test Plate, 2010. Stage 1. (top left corner). 

- Tip: Any unwanted splodges or blemishes can be disguised using Bitumen (as shown bellow in step 5-7, Biting the Plate).    

Method (Biting the Plate) :

1. Fold some tape in half and stick it onto the back of the plate so that it becomes a handle.
2. Place the plate, image side up, into the Sulfate, making sure that it is completely submerged, and the end of the tape from the back is sticking out of the Sulfate. 
   Allow the plate to bite for around 20-40 minutes. Every so often red 'fish eggs' will appear along the lines that you scratched into the plate. Personally, I like to remove the red bubbles by rinsing the plate over a bucket in the sink, before placing it back in the Sulfate.  
   Keep in mind that the time it takes to bite the plate will vary depending on the strength of the Copper Sulfate, how dark you wish the lines to be and how fine your line work is. (My work is usually comprised of delicate line work which is why I tend to keep my plate in the Copper Sulfate for closer 40 minutes to make sure that it is well and truly bitten).
3. Using Turps and an old rag outside, remove the ground from the plate so that it is completely clean.
4. There's nothing worse than cleaning the plate and realizing that the lines are only half visible. If this does happen don't worry, the bonus for using Aluminium is that it's a rather soft metal that can be reworked without the use of the sulphate.                                                                                                                                        Tip: Using an etching tool scratch over the lines which didn't form properly in the sulphate. It'll take a bit longer, but it's better than tossing the entire plate and starting over. The reworked lines can also appear more 'clean' than the sulphate etched lines, and if applied over areas with sulphate-etched lines it can add a new layer of depth to the work - you also don't have to worry about the lines being too close.
5. At this point you have the option to print the plate as it is, or to continue working the plate and add tone.   If you do intend to continue by adding tone its good to do a test print so that you get an idea of where that  tone would work best.
6. Using Bitumen, paint over the areas which you want to remain white. For a more gradual variation in tone you can also dab the plate using a stippled brush, making sure that some areas are left untouched by the Bitumen. 
7. Once the Bitumen is dry, place the plate in the Copper Sulfate for 2-4 minutes, rinsing the plate when necessary.  
   Tip: You can also get interesting lines and textures by using a paintbrush to remove the bubbles while the plate is still submerged in the Sulfate.
   
8. Dry the plate using a paper towel and repeat steps 5 and 6, but this time rather than painting the areas that you wish to be white, you paint over the areas that you want to be light gray. Continue until you have however many shades of gray that you want (depending on exposure time to the Sulfate, you can usually get around 4 different shades before it becomes too dark). This is also a good opportunity to disguise any blemishes on the plate . . . 

First Test Plate, 2010. Stage 2

Method (Printing) :

1. Create a registration sheet so that the plate and page line up perfectly when printing.
2. Put on gloves (Trust me, you'll need them).    
3. Soak paper in a sink or tray. (Heavy paper such as Stonehenge, Dutch Etch or Fabriano).
4. Prepare the ink. . . If your soft handed its best to use Graphic Chem. ink, don't worry about mixing it with anything.  Its also good to use if your in a hurry as it isn't too sticky.  Otherwise use Van Son mixed with Graphic Chem. Easy Wipe as it will give you a rich, inky black. Just make sure that you mix it vigorously first so that it's warmed up.
5. Using cut up cardboard spread the ink over the plate and into the grooves.
6. Take off excess ink with a new piece of cardboard before wiping the plate with a scrap of Talitin.
7. Using old phone book pages, gently rub the plate in circular motions - Don't apply too much pressure.
8. Clean the edges of plate with a rag.
9. Take of gloves (double check that your hands are clean because the paper will absorb any fingerprint and smudge).
10. Remove paper from the sink and blot dry between two clean towels. preferably white towels so any dirt or ink smudges are easily visible.
11. Place your plate over the registration on the press and carefully cover with the etching paper. (The water mark on the paper can sometimes add to the print).
12. Cover the etching paper with butchers paper and padded blankets before slowly putting it through the press (I like to put it through twice if there isn't a line behind me).
13. Gently wrap the print in tissue paper and place between two 'Canine Boards' so that the paper doesn't buckle when drying.
14. Remember to clean off any smudges that you may have left on the press so that you don't end up with random ink lines on any future prints.
15. Once you've finished you can clean your etching plate using ordinary cooking oil.

How to prepare a spent etching bath for recycling  

(keep in mind that the bath tray can be used multiple times):

1. Add hot water to the bath to re-dissolve any solid sulfate particles and stir.
2. Add a pile of metal off-cuts (Aluminium, zinc or steel) to the tray.
3. Leave to act overnight.
4. On the following day, drain off the liquid into a bucket and add sodium carbonate (about two or three cups per bucket).
5. Once fizzing stops the liquid can be discarded.
6. The remaining solids can now be left to dry out. Keep in labeled, sealed containers and then treat as dry waste.

Solarplates . . .

A Solarplate created from my drawing, "Kirli's tea party". . .

What is a 'Solarplate' you ask?
It's a light sensitized steel backed plate which is exposed to U.V light (the sun) and then developed with ordinary tap water.

Tip: It's great for reproducing photos, drawings and one off prints such as monoprints and monotypes :)


Method :

1.  Select an image, be it photograph, digital print or drawing, and photocopy it onto acetate.  [This can be done earlier using a photocopier at the local library,  just remember to ask someone  at the front desk to help change the settings to 'transparency'.]
2. Take the Solarplate out of the black sleeve (it's the golden side that will be exposed to the light). Sometimes there will be a thin transparent film over the surface of the plate to protect it from scratches, so its important to make sure that you peal the contact off first . . . I learnt that the hard way, and although the abstract blotches can give the image a cool liquefied/Sci-fi feel, unless your aiming for that affect its best to double check the plate for lamination first :)
3. Rub Talcum Powder over the surface of the plate and on the matte side of the photocopied image to  remove any moisture.
4. Place plate on foam and cover with sheet of acetate and then the glass. Clamp all 4 sides shut using bulldog clips.
5. Hug the image tightly so that no light can reach it as you walk outside.
6. Make sure you stand in direct sunlight, expose the plate on a 45 degree angle for 2 1/2 minutes.
   Cover image and take it back inside.
7. Take the plate out from between the glass and foam and remove acetate. Wash in a tray of water - rub surface evenly with a sponge for around 1 minute, or until you can see the image clearly.
8. Remove the plate from the water - Keep it horizontal so that the water doesn't drip off only one side.
9. DRY IMMEDIATELY!! - wipe once with a dry cloth and then blot with paper towels (The plate will by slightly sticky, so don't worry if the paper sticks to it a little when blotting).
10. Put dry plate in front of fan heater for 5 minutes.
11. Place plate in direct sunlight for around 2 hours, but I usually keep it there closer to 3, just to be safe :)

Ink :
-When printing Solarplates its best not to used water based inks, I prefer using Van Son ink which is rubber based and mixing it with a touch of Easy Wipe to make it more manageable.


Paper :
-Enjoy experimenting with different papers!  While heavier paper such as Fabriano and Stonehenge are traditionally used, I've discovered that thinner paper such as Ho-Sho works quite nicely as well :)
Whichever paper you decide to use, make sure that you soak it well in a tray of water first and dab dry between two towels so that it absorbs the ink more.


~Have fun :)