Beruflich Dokumente
Kultur Dokumente
ft
S15.95
cTWAKING
ARTIST'S
TOOLS
^ance Stualey
to
carve a lettering
brush,
feather,
or grind your
found an
artist's tool
make
quill
own
a watercolor
from a swan
ink?
Have you
highest
the
medium
color,
If,
is
papermaking, or drawing.
own
pastels
that
The hundreds
and
drawing pens that the author has made and
crammed into breathtakingly inadequatequarters are simply the working tools of his trade in
which he takes special delight. He even uses
of tools, brushes, quills,
them daily.
BOSTON
PUBLIC
LIBRARY
cTVlAKING
c^RTIST'S
TOOLS
cTWAKING
ARTIST'S TOOLS
^ance Stualey
CINCINNATI
Acknowledgments
I
would
like to
ing individuals
express
who
my
Margo Studley.
No
All rights
reserved.
part of this
in
17
New
Street,
Pty. Limited
16
14
13
12
11
10
Making
Company
in
1.
I.
p.
Includes index.
Artists'
Title
N8543.S88
702'.8
ISBN 0-442-27903-5
78-18233
Publication Data
artist's tools.
Bibliography:
Queen
Studley, Vance.
Printed
Published
etc.
Contents
Foreword by Walter Askin
Introduction
1.
2.
4.
5.
Historical Precedents
10
Designer 10
Early Contributions
15
15
Artist and Environment
Tools and their Characteristics 17
17
Tools, Equipment, and Materials
Assessing Your Needs 21
3. Tools for Drawing
23
History 23
Artist and Medium
24
Charcoal 26
Sticks, Twigs, and Dried Plants
29
Pens
Bamboo
30
32
Pastel, Charcoal, and Lead Holders
Silverpoint 33
Aluminum Cigar Container 33
Pigments 34
Tools for Painting 38
Types of Brushes 38
Making Your Own Brushes 41
Spray Devices 52
Knives 53
Palettes 54
Pigment Containers 54
Tools for Lettering and Calligraphy 55
The Reed or Cane Pen 56
The Role
of the
The
Pen
Quill
61
Bamboo Pens
68
Fountain Lettering Pens
6.
Tongue-depressor Pen
Felt-tip Markers
77
Hacke Brushes 78
Drinking-straw Pen 79
Plastic-tube Pen 79
Lettering Guide 80
Tool Stands 81
Scroll Pens
82
Crayons and Pastels 84
Crayons 84
Pastels
73
76
85
86
Measuring Devices 94
T-squares 95
Templates 96
Ship's Curves and French Curves 97
Modified Carpenter's Scribe 97
Proportional Dividers 98
8. Printmaking Tools and Materials
99
The Etching Needle 104
The Linoleum Block 106
The Linoleum and Woodblock Frame 106
Plastic Plates
107
Brayers and Rollers 107
Brayer Storage Rack 110
Woodblock and Linoleum Press 111
C-clamp Press 114
Bookbinder's Press 115
Hydraulic Press 115
Solvent Containers 116
Ink Applicators
116
Two Useful Resists 119
120
9. Papermaking
Background 120
Materials for Making Paper 121
Forming the Paper 128
10. Miscellaneous Tools
133
Artist's Toolbox
133
A Simple Worktable 134
Weights 134
Humidor 135
Rubber-cement Lift 135
Lead Sharpener 136
Bookbinder's Bone 136
Agate Burnisher 136
Marker Holders 137
Sharpening Stone 137
7.
Wood
Mallet
137
138
Tbreword
G
by Waiter
many artists the weeds between the fields
media have become more nourishing than all
the tame potatoes within the boundaries.
for
of the
Fred
Martin
^kin
evitably
becomes a change in
many factors,
Style involves
content.
is
work en
long
Life
searches
is
greater than
after
art.
If
artists are to
unprecedented number of materials, tools, compounds, formulas, processes, and recipes) the artist is
not far behind in using and extending every process
and material toward a new art. Artists have indeed frequently led the way in the development of new technology, but even so we have today almost too many
means rather than too few. If anything, we need to
refine the creative tools that we now have so that we
can realize our potential more tully and render those
tools rather as a path to our ends than as a dictator of
and an irreverence
for materials, tools, and techniques; for forms and
colors; for images, associations, and illusions; for con-
our expression.
Even to talk about means and ends as two separate
concerns in art is absurd. They are both part of one and
the
make
deny an
ready-made mate-
acceptable, less
is magic in the artist's box of tools and mateone is enthusiastic about modern life, one is
almost certain to be engaged in the great synthesis
the confluence of spirit and matter. For many artists
this encounter requires the development of their own
extraordinarily expressive means, tools that bring
There
rials.
If
It
The
that
makes no
creative process.
It
follows that,
if
means and
vice versa.
introduction
The purpose
assist the
of
artist in
Making
Together we made crayons from hopeless candles, added linseed oil and thinner to cans of
dried printer's ink, fashioned primitive pens from thin
garden stakes. An airbrush was made from an exhausted cologne bottle with an attached bulb. We torlocal printer.
specific purposes.
is
raged that
someone
it
is
my
fashion the item by himself at home or in the classroom. The artist is conditioned to rely heavily on the
availability of supplies carried by the local store, and
there are indeed many manufactured products that
require advanced technology, specialized tooling, and
store.
My
their
students,
own
times,
is
tool itself
materials.
You may
ask,
"Why
all
make
sup-
oneself.
The imagination
results.
It
is
hoped
that
you
quickly realize
how one
will find
some
shape and
that
spiritual
you
will
You will
have. As you
images.
historical Precedents
THE ROLE OF THE DESIGNER
If
a design
is
to be considered as an object,
it
is in
effect
made.
A carpenter's square,
and wood.
spirit level
made
in
1878.
of this object
manufacturing process.
10
3&
*>-*>
i
,.*
V-'"'.^^
'.V-
An East Indian
as these are
the area.
11
Oriental baskets
tools or machinery.
Late-19th-century
wood
type. Usually
The
benefit of
type was used for large posters and announcements. The fine
detail is an obvious reflection of the care and crafting of these
items
to the
Hand wood-carving
12
in
such
inlaid to create
woods
are
14
EARLY CONTRIBUTIONS
It is openly acknowledged and believed that objects
created by early man have from the most ancient and
prehistoric times constituted an extension of himself,
a manifestation of his physical and emotional makeup.
The early and naive utensil, such as a sharpened flint,
hand ax, wooden spoon, or hunting spear, and the
most sophisticated and refined item, such as a watch,
telescope, or computer, both possess two characteristics: that of having a specific function i.e., to subdue, to chop, to hold, to perform an operation and
that of summing up the state of technology or "knowhow" for the particular period in which the object was
made. It is with the artifacts of earlier times that we
measure and attempt to know what took place thousands of years ago. Self-conscious sty ization of goods
and materials is a relatively new contribution to the
man-made object compared to the primitive's feeble
Early man formed his tools by chiseling flint and shale into
shapes resembling spears, hatchets, and knives. These primitive
weapons were used for cutting, chopping, and hunting.
on
city streets
and
monolithic. Paintings, graphics, and weavings adorn
the walls of hotels, civic structures, and publictheaters
and become part of the structural fabric in which art is
no longer relegated to surface decoration.
fore.
Sculpture
is
flint
weapons
tool
is
Two
produced
15
2Tbols&
Their Characteristics
The equipment used
little
in
the
way
of specialized
Hand tools
The following hand
hammer
wooden mallet
pliers
needle-nose
situations ortostudio
tin
accomplish results
within his limitations. Lack of expensive or sophisticated equipment need not prevent anyone from experiencing the pleasure of making artist's tools. The
dedicated craftsman who catches the tool-making
"bug" will slowly, out of personal need, acquire more
elaborate tools to extend his abilities.
tute or improvise in various
to
pliers
snips
square
steel
metal ruler
sailmaker's needle
shears
punch
awl
chisel
C-clamps
hacksaw
not intimi-
date the beginner, for he can start simply and add extra
materials as he goes along to facilitate the design and
construction of desired tools. A list of basic tools and
equipment includes many items that may already be at
hand or may be easily obtained.
steel straightedge
pocket knife
spring dividers
drill with assorted
drill bits
small scissors
large scissors
coping saw
Arkansas stone
Carborundum stone
X-acto knife with #11 blades
kitchen scale
wood
file
screwdrivers
staple
gun
coarse
mason
jars
to IV2"
brushes
17
An X-Acto
kitchen scale
is
A hand
drill is
drill bits is
An assortment
in
of
each
chapter.
18
and
leather.
A heavy-duty
papermaking.
staple
gun
is
Recommended
Equipment
You need the following
electric hand drill
in
the
way
of
equipment:
vise
pressing iron
electric blender for papermaking
hot plate
jig
press (optional)
saw
(optional)
fit.
Materials
wood
bamboo
small bottles
thread
brass wire
fiberglass-screen cloth
coarse fabrics
brass brads
assorted finishing nails
wool
chipboard
butcher wrap
hair and bristle fibers
steel
reeds
plastic tubing
straws
mortar and pestle
measuring cup
tablespoon
graph paper
weights
quills. Quills
implements.
19
Worktables
The worktable should be sturdy, well
Adhesives
These adhesives are necessary:
built,
and on a
and does
white glue
epoxy
resin sealer
plastic tape
5'
to 6' long.
Shelving
If there is sufficient space accessible, freestanding or
wall-hung shelves are ideal. If shelves are too wide,
things tend to be mislaid or hidden. It is useful to have
some wide shelves for storing paper and other large
items. Shelves may befitted under the worktable, especially if space is limited. Make sure to allow comfort-
able foot
room
at the front.
Lighting
To make
light,
con-
is
adjustable to
it
is
lighting
needed.
Drying Area
It seems that, whenever tool-making activities are underway, there is something that requires drying space
and time. have found by trial and error that drying
surfaces should be located away from the main toolmaking area and close to a source of circulating air for
ventilation. Airborne particles, sawdust, metal filings,
or droplets of oil and water always seem to be present
at the wrong time on the wrong project. To prevent this,
use a waist-high flat table and place it on the opposite
side of the classroom or studio. Whenever possible,
drape a piece of fabric from overhead to curtain off the
drying area. This need not be an elaborate arrangement merely something functional and simple. It will
contribute to your peace of mind as you work on other
projects during the waiting-drying time.
I
20
of
Miscellaneous Necessities
A metal storage bin is necessary to house flammable
solvents and soiled rags. The bin also makes a handy
storage area for liquids, adhesives, and measuring
cups. Electric receptacles and a source of clean water
must also be provided, and a large trash can is an obvious necessity. Many tool-making procedures require
a standing position, but the wise craftsman keeps
stools around and uses them whenever possible.
A well-equipped
It
tool maker's
is
21
tion of
The
themselves
other hand,
concept of
is
ideal form.
How much
Function
A handmade
object
is
of years, nor
22
materials used
in
making
artist's
tools should be
taken
at
Aluminum
cheap, and
and it does not corrode easily. It is not
the same as brass, which is more expensive, but it can
perform many of the same jobs. Plastic offers a unique
surface for engraving. It can be experimented with to
elicit new and different modes of expression. Its more
precious counterparts, copper and boxwood, are not
the only materials to attract the engraver's burin.
If you are willing to accept the clear and natural form
of raw materials, then you have taken a giant stride
towards understanding their nature and limitations.
For these reasons keep a variety of miscellaneous
materials around you and, whenever an idea surfaces,
be prepared to draw from your stockpile of supplies
the one that is most able to give visible form to your
mental concept.
attractive.
is
reliable,
readily available,
destroy
It
is
will
it
If
entirely.
in
a handcrafted
to
pleasure
in
it
is
Tools Tor
drawing
HISTORY
The world, as Norbert Wiener once remarked, may be
viewed as a myriad of "to whom it may concern" messages. The import of this comment becomes obvious
when one realizes that everything that exists and happens in the world, every object and event, every plant
and animal, almost continuously emits its own characteristic identifying signal. Messages take unique
forms, forms that are patently clear or imbued with
mystical signs and symbols that elude the viewer at
every turn. It is an undeniable fact that man has shown
a strong penchant for making images. He makes
images of himself, images of the world around him.
This world encloses him like an envelope of space,
much
of
it
retrieval
developed, creative
bombardment.
Early man drew out
sorial
of necessity.
It
parchment, and,
man recorded
his studies of worldly investigations took the form of
reeds, pens, brushes, graphite, and mixtures of black
and earthen-colored charcoallike substances.
tortoiseshell, bone, ivory, papyrus,
eventually, paper.
The
23
It
is
not
known
precisely
to apply
Much of
came from
View of
c.
to a surface or
ground. In most cases the ground must be somewhat
rough or coarse. On this surface pictures are made
with media that leave a small amount of residual material in the wake of the stroke. The very coarseness of
the surface abrades the media to an extent depending
on the force with which the tool makes contact. This
is characteristic of all abrasive media, as opposed to
aqueous media, which impregnate the paper or board.
Tonalities are achieved with pressure, the softness or
hardness of the tool, and rubbing of the surface with
the finger or palm of the hand. Stick charcoal, chalks,
pastels, and crayons permit a wide range of drawing
experiences. Paper with a moderate tooth can bring
out the hidden qualities of the material used for drawing purposes. There are many improvisational items
that can be made from materials which leave satisfactory lines on your chosen surface.
Wooded Landscape
chalk, pen.
24
Rome
in
The
its
industrially
made
counterpart
25
CHARCOAL
The charcoal
left
to dry naturally or in a
warm
gum
arabic
powdered or
it
results.
is
possible to
Gum arabic is
liquid form.
must be
available
in
mixed
their
in
molecular
properties.
natures
require
It
different
physical
binder strength for the particular pigment. This invariably requires some experimentation.
Ivory black is an impure carbon and is the type most
made by
it
is
finer,
more
same
intense,
and higher in carbon content. This is probably so because it is made with greater care, due to the value of
the raw material. Other acceptable blacks are ironoxide or Mars black, carbon black, and lampblack.
Compressed black charcoals can easily be made from
these materials, and each has a different complexion
and intensity. It is also possible to reconstitute short
pieces of charcoal, reform them, and create altogether
new charcoal sticks from old remnants. Instead of
going to waste charcoals that are too small to hold in
the fingers can be used as raw material to make new
sticks. The bits and pieces are ground in a mortar and
pestle and kept sealed in small marked jars until
is
classroom.
a fireplace or
pit.
hardwood such as
and allow
to
ash,
burn completely
in
incin-
needed.
ald green
are better
left
They
of arsenic or
If
in
26
lid.
To
the
will
bear
powder. Grinding
down
this material
is
a slow process.
Be sure
in
to
swirling motion.
A glass
pestle
and
slab.
of
in
the preparation
pastels.
pastels.
The powder
The
products companies.
before use.
The
make
is
light.
in
sight.
of the
gum-arabic mix
to 3
27
When
on a
tin.
solution.
purposes.
on
all
The
stick with a
down
as you
roll
sides.
28
Proportions for the lampblack are three parts powder to one part
binder solution.
Stir in the
until a
proper mixture is
same procedure as for
STICKS, TWIGS,
cannot.
Every
community
offers
an extensive variety of
and
for different
Sticks, twigs,
into
and receptivity, making visualization interact with the work of the hand to enhance disciplined
control. Drawing is an experience. It helps to mold and
sharpen purpose and develops above all a keen perception of shifting and transient moods in the world
around us. Responsive drawing asks that the artist
continually push toward a closer examination of
phenomena subject matter which may or may not
intuitions,
be tangible.
On my
and
five points.
The
29
To shape
the point, use a small pocketknife or penknife and cut thin shavings from the end of the stick.
The sharper and more pointed the tool, the finer the
You
will
is
made
forms.
human
vincing
carved
pen has only one carved point: the other end conceals
may be
dipped into ink, offering the convenience of both pen
and brush within the same tool. The pen portion usually does not contain a reservoir to hold ink, but one
can be added in order to retain more ink at a time. This
will not interfere with the stylus, nor does it take great
skill to make. Thin strips of brass or aluminum are all
that is needed.
It
is recommended that you lightly spray-seal or
brush-seal the inside of a pen nib that has been
a small sumi-e brush within the cap. Either end
for shading.
It
BAMBOO PENS
terms.
be made visible
in
In
rival.
freshly cut.
Use
a thin coat of
wood
sealer or plastic
is
It
shirt
pen.
You
will
need
bamboo stem
to locate a
with
if
On
outings.
Sticks
knife to
design.
It
is
handy,
The use
inexpensive,
of this type of
small plastic
amount
of ink
35mm
film
and can be
writing
30
in
use.
It
is
airtight
and
will
[in
ST
im
?!5
ii
*
V
it
jgi
"
ii,
All
types of
points can be
easy to carve.
is
Add
T.
Hi
ink
and extremely
_E
of
which
is
sharpened
to a point,
bent to a right angle, and forced into the bamboo. The other
end
series of sketches
sticks, twigs,
made by
of lines
and shapes
jt
Coffee cans and small jars should be saved rather than discarded.
useful for mixing inks, pigments, and paints.
They are
31
PASTEL, CHARCOAL,
A device
which provides
only holds the material but extends it to its full measure. Make several out of tin or
much simpler bamboo. Bamboo, as you will notice, is mentioned throughout this book as a very useful material for making
artist's accessories. Its availability, pliancy, and fibril
nature make it an ideal substance for a variety of uses.
It is always necessary to allow the bamboo to dry before using it in your projects. The drying process can
be facilitated by cutting the bamboo strip into several
sections and storing in a warm, dry area of the studio.
An
is
It
is
If
the
slits of
bamboo
are
made
accommodate
television aerial
flared
and
32
flares the
off.
file
if
necessary
in
order to
re-
If
silverpoint paper
is
SILVERPOINT
One of the more ancient drawing media is silverpoint.
When metallic silver is drawn across paper coated with
applied.
metal are
tional
modes
of rendering.
While
is
for
and
sharpened by lightly pulling the wire across a mediumsurface Arkansas stone. Carborundum paper (#600)
may be substituted for the stone. Pull the wire towards
you in repeated identical motions while slowly turning
the wire. The degree of sharpness is a personal matter:
the finer the tip, the finer the line. Insert the other end
into the holder and tighten. The act of drawing on the
textured coating helps to keep the point sharpened,
provided that the holder is slowly rotated while drawing.
silver
the
If
tarnishing
is
sparingly.
.NWV^SWYNtt^ ^tLd
utilizes a
sharpened
silver rod.
make
to preserve the
excellent containers
Once
further tarnishing
fixative.
made on
of an appropriate
An aluminum
cigar
humidor serves as
container
33
PIGMENTS
Inks
employed as a
writing fluid.
As ancient
civilizations
now manu-
almost every conceivable color. Modernday chemistry has provided numerous ways of concocting rich and varied shades of all colors of the
spectrum. The introduction of coal-tar or aniline dyes
factured
in
inks.
A perfume, such
and musk,
is
iron
compounds
in
writing
This ink
considered a high
down
is
ritual in
done
invari-
near ultraviolet
light
lightproof pigments
but
if
permanency
is
Making Inks
It
is
in
possible to
and shades
in
of
is
until their
long-range
the Studio
a selection of inks in many colors
the studio with a few miscellaneous
make
gum
arabic,
and a
stirring apparatus.
To
test the
color, use a pen fitted with a nib and a wide brush. The
wide brush imparts a band of the color to the paper,
which will reveal the overall density of the ink.
and lustrous
controls the thickness of the ink by the
of rubbing on the ink stone. In the Orient the stick and
qualities.
amount
The
artist
works
34
of art.
A man-made
A portable
Japanese instrument
A Japanese
ink stone
suzuri stone
form
made from
was hand-carved
selected
Amabata
its
traditional shape.
stone. This
stone
order to facilitate fast, smooth, even, fine grinding of the ink.
Each stone is selected by a trained and skillful stone maker.
to utilize the natural grain of the
in
35
itn'fi
Mw
V):.. M>r-.rni.r
mum
t'ttW.
Ml
'.'
tc jHziutuift
IhMm'rqt
may be gathered
from tundra and forest, canyon and river, peak and
glacier or from some secluded cornerof the hills where
weathering has brought its own particular palette to
trie crust of the earth, as seen in the upended rocks and
the mulch of the autumn leaves. Each fragment and
particle of earthen substance contains within its own
sphere a unique, characteristic color property. Find
these spectral differences and use them in yourexperithe backyard or local quarry. Colors
ments.
Small plastic bags can be of immense help in your
forages for earth colors. Label them and draw from
your own color collection to make inks and thinned
media for drawing and painting. The homemade drawing implements described above create an ideal marriage between pen and ink, for the intent here is not
one of permanency but of the pursuit of pleasure. To
paraphrase a noted oriental-art historian, our minds
are the canvas on which the artist lays his color; his
pigments are our emotions; his chiaroscuro the light
of joy, the shadow of sadness. The masterpiece is of
ourselves, as we are in the masterpiece.
U.
v. -fir, _./
.'/
v - fulfil
IJI4
crivsni -AbU*
ikiisinki, Tiiko
traditional
m.
7ssa
'OKu'l
wo,
Zizioyw-qvijci'-ntuii
J
ika
zo&ita yuki
to
Cjoi
slinnu
11 I'd
[fm-Neya nifimm.Bi
mite-,
Ware-
io,
wa Mono
Jiatsii
via, Chutojo
Hi no
chiqb
isi
ija
Wi wn
'.
ruiai,
hi
it'll
36
[ttihts ^hltx
Slilfcl
'Tiw
tse-
no,
Qcta
idol
^'
^^
Jfa
ia
'
L>cfli
'^^^^B ^^m ^%
m. :\ito -M^^Mtsnkii nit ,70a
nun Cm i7n&U'jafo ui tarn
sa
in 1
<Muqi no ; unia
tin
o'
toki
Tfl
-ijikii
auashir,
>
stjim- tsuufu
him
Sim a
7\fezii;
e{an t-k~dze
ka
-Mua.'Jsi iyisetsu
Tuk
71
Or,
Til
vzatsu CMj. ik
yd
J
>
%\i ^'^WP^B^B^i^ we - ki i)
[Nakzi
ijti'Askiato as
SfwufawkA
'Bason
i/si!
"1, Jspjlkl
"'
'-,-;-
\iuinai
Wi
-?
it.
yjid
Some
blank surface.
creativity.
color
idea.
Solvent cans are useful for storing and dispensing ink. They
can be purchased in auto-supply stores. The thin resealable
spout can be used to fill small mechanical-pen cartridges.
37
4 Tools Tor
fainting
TYPES OF BRUSHES
Of
all
Bristle
in
the
artist's
box
of supplies
Hair
The
The
comes from
the tail of a
weasellike animal called the kolinsky mink, also known
as the Siberian mink or the red tartar marten. No other
hair has the same spring, durability, and other desirable properties. Only the tail hair, which is pale red in
used. Skilled brush makers dress the hair and
carefully insert it into the ferrule of the brush, which is
color,
is
hair.
38
oil
brushes and
Nylon
To meet
nylon bristles
is, particularly in the last decade, an ever-present reminder that it is entirely possible to use new and untried experimental fibers in brush making. In the last
few years an even finer, more sophisticated nylon
brush has been introduced to the market, which, according to some experienced painters, is close in quality to that of the kolinsky sable.
am afraid that at this
time can offer little information to support this claim.
But have tried the finer-grade nylon painting brushes
and found them to be excellent for gouache and waterthis relatively
of
colors.
Shredded
Fibril
Bamboo brushes
are made of selected pieces of bamboo. Their durability and distinctive texture impart a
special crispness to calligraphy, painting, and drawing.
this chapter.
is
covered
later in
6V2".
(Courtesy of
purposes.
Little
39
Black Bell in the Forest. Paul Klee, 6Vb" * 7 3A". (Courtesy of the
Norton Simon Museum. The Blue Four. Galka Scheyer
Collection.)
the
New
40
traditional tools.
Hair
I
was
distant relative.
precisely what
The
I
an heirloom, was
hypothesis that
hair could be used to make
needed
to test
my
good-quality animal
brushes in the studio. By carefully removing small
clumps of fur with strong tweezers was able to stock
a dozen plastic bags with potential brush material. In
addition to the fur
obtained some aluminum and
brass shim for constructing the ferrules and a few feet
of
and %" doweling for brush handles. My method
of making the brushes is outlined here.
I
Bamboo
this
unique
plant.
41
A brush made
the handle.
42
bone
ferrule,
left
to right, deer,
and bamboo
for
Detail of a brush
made
of a
brush
made
of goat hair
and bamboo.
thumb and forefinger and lift them off the paper. With
the other hand slip a very small, thin elastic band over
the opposing end of the hairs. Release the band about
1/3"
down
for a
permanent hold.
The simplest
is
The
slipping.
on a piece
of white paper.
The
The
tied
tips of the fur are gathered together by size and shape and
together as a bundle or small clump.
Once
the hair
ferrule,
is in
place, glue
cementing the
bristles
is
and
ferrule together.
43
the round
ferrule.
Coax
the hairs
taper, and allow to set. When dry, ease the clump into
the ferrule. Pour a few drops of strong waterproof
cement or glue
and allow
to
dry overnight.
An enlarged view
It
is
Vi"
ends
of the ferrule.
is
nail
the
wood
handle.
pushed
freely cir-
do not extend
Bamboo and
painting brush.
44
in
where
ferrule.
bamboo
shaft.
of
it
ferrule. In either
least
'
i"
for
nd method is to taper
snugly within the
must extend into the ferrule at
until
it
fits
The
may be removed
with tweezers
45
When you
described above.
46
down
mM
KTS
oNi
!
47
the
collection of late-19th-century
E.
brush.
A modern-day Japanese
brush with
bamboo cap
bristles.
attached.
48
of
Pong.)
of
bamboo
together.
elastic
How
the
bamboo brush
must be shaped
small
amount
bristles,
fits
within the
bamboo
cap.
The
bristles
of liquid starch
is
the
tip.
Synthetic Bristle
Synthetic fibrous material is often employed in the
fabrication of experimental brushes. Strands of plastic
monofilament, thin wire, bristles from existing housepainting brushes, string, jute, stiff cord and yarn, and
strands from polyvinyl rope can all be used in provocative and challenging attempts to make unique brushes.
Natural fibers such as grasses, long and thin twigs,
leather, strands of papyrus, and reeds should also be
tried to ascertain which are most suitable for the particular use.
Another view
of the quill-ferrule
An experimental
Vt"
wire
brush
lashed
to
handle
made
make
method
of
a watercolor
mop
brush.
with
doweling.
place of a
quill
In this
In
is
plastic ferrule.
must
in
still
place.
49
Bamboo
The bamboo brush pictured in the adjacent photographs was made by burying one end of a length of
dried bamboo in the ground for several months until
bacterial action broke
down into rough filaments.
it
This is a remarkably simple procedure. The biodegrading action of the earth does all the work. Depending on the number of brushes you require, place a
quantity of dried bamboo shoots of various diameters
and lengths in the ground so that the shaft is perpen-
tity
of bleach
water will
lighten
ground
to
an area of
quently present. Earth that is continually soaked does
not expedite the bacterial process; earth that is too
dry, with
is
weeks
pull
Three sizes
Swamp
50
in
place of
to cut.
bamboo
for
brush handles.
of
shredded-fibril-bamboo brushes.
A closeup
The manner
allow for
in
node
of the
bamboo
maximum
is
section.
held.
ink absorption.
Once
the
long
i a.H/f,'.
m.W-&;'rj B'iJ
1]
fibrils into
discrete strands.
MA.i^.^.
soil.
with
an additional spike.
51
is
damp,
it
is
necessary to pound
SPRAY DEVICES
A wooden
or leather mallet
may be used
to
perform
this step.
choose. Although there are alternatives to the compressors (i.e., an aerosol can or prefilled tank), the
pen itself is a costly little item that seems to be steadily
climbing in price each year.
Most households have bottles of perfume, cologne,
and aftershave lotion that come with a squeeze-bulb
apparatus known as an atomizer. As the bulb is
squeezed, air is blended with tiny particles of the perfume and expelled through the small aperture of the
nozzle. The mist can be directed to any surface with
excellent coverage. Once the perfume or cologne is
exhausted, rinse the bottle thoroughly if the cap has a
screw thread allowing it to be removed. If the cap and
nozzle apparatus are permanently attached to the lip
of the bottle,
nozzle
in
it
is
warm water
alternately
fill
substance is
ner. Of course,
it
is
far
more convenient
to
use a bottle
functional properties of
bamboo
are
52
one
time.
KNIVES
Palette Knives
Palette knives are used to mix colors
palette.
knife
is
on the slab or
They
both round and tapered tips. The jog in the metal prevents knuckles from getting in the paint. If you follow
the illustration, it is simple enough to make a palette
knife, provided that the raw materials are accessible.
The chosen metal must be flexible and springy. Better
yet, if the metal has previously been hand-tempered,
the spring will already be evident. Handles for the
handle
or a piece of V2" doweling. Drill a hole in the handle to
hold the metal rod to which the blade portion has been
attached by means of welding or liquid solder. Seal the
handle to prevent paint from staining the wood.
palette knife can be fashioned from an old
Airbrush techniques
bottles.
These
The nozzle
is
bottles
Windex
file
Painting Knives
Painting knives are clearly different in shape and purpose from their close counterparts, palette knives.
They are used for painting directly on thecanvas. They
can be used in conjunction with a brush. The blade is
very, fragile and thin and responds sensitively to the
hand's movements. The handle tends to be longer than
that of a palette knife or of a knife that is used for
heavy-duty mixing and grinding. By trying different
blades long, short, wide, thin with an assortment
of handles you will eventually arrive at personal designs that complement your needs.
Painting and palette knives may be made from thin, flat pieces of
metal, which are welded or soldered to metal rods. The metal
rods may be shaped to fit the needs of the artist. Make the
53
PALETTES
In order to mix paint easily, the artist should work from
surfaces that are readily cleaned and occasionally from
containers that can be disposed of when varnishes and
other media accumulate, making the utensil worthless
for extended use. Collect small tins and scour them
Porcelain plates
make
excellent palettes.
in
PIGMENT CONTAINERS
Storage of small quantities of pigment, both wet and
dry, can be complicated by the use of containers that
do not fully seal off the air. Glass jars, with the exception of baby-food jars, are often too big for practical
purposes and are cumbersome to store. have found
the plastic 35mm film canisters made by Kodak and
other companies to be ideal capsules for preserving
an assortment of paints. They are airtight, free for the
asking at film dealers (they discard them anyway), and
I
54
life
in
vials also
the
artist's
meet
of paint
and
inks.
this
paintbox.
need.
The
water,
5 Tools For
c
Lettering& Calligraphy"
can be safely said that one experience that is common to everyone is the act of writing with a pen or
pencil. From grade school through our adult lives we
use writing instruments practically on a daily basis.
We write letters to friends, make grocery lists, sign
checks, write stories, and doodle endlessly with the
ballpoint pen. Everyone knows the frustration of having to search for a pencil or pen at desperate moments,
only to find the lead broken or the cartridge empty. The
It
dependency
that
is
were not around. For this reason most people are totally unaware of early writing tools what
form they took, how they were made, let alone how it
feels to draw, letter, and write with them.
ballpoints
hardly
is still
in
is
drawn
into the
rubber
in
archives
55
coal,
first
some
drawn image. Bison, mammoths, and other animals were depicted in whole and piecemeal form. Later
picture stories or pictograms were developed. Animals
were shown galloping, fighting, and fleeing from the
hunter with his spear. Primitive man created the first
narrative by visually recording, with the flimsiest tools,
his observations of the earthly struggles for existence.
to the
pigment was a
rial.
This
in
Roman
The Ideogram
time the pictogram gave way to the ideogram, or
ideograph. The ideograph is a definite picture, conventional and simplified, selected by agreement or
custom from many experimental pictures. The chosen
picture thus becomes a fixed pictorial symbol of its
name. For example, the sun is depicted as a circle with
lines extending outward from it to suggest its rays.
This is a very common symbol known the world over
for thousands of years and is accepted as a fixed picture or visual conception of how the sun appears to us.
In
internal
The Egyptians
The Egyptians made an enormous
contribution to the
sympathetic to ink
in-
commerce and
exportation.
Along with the development and refinement of papyrus the Egyptians formed a writing tool from common
swamp reeds that was the prototype for the reed pen
used by students of lettering and calligraphy today.
must be
and paper.
and hence
is
more
Other Countries
other countries, notably the Middle East, Persia,
and North Africa, special and unique materials were
employed in the making of pens, each of which was
endowed with significant symbolism. A marriage was
sealed on wax tablets with a pen of red copper. To
honor a comrade or friend, a pen fashioned of silver
In
56
felt
stork beaks
ft
A$ Au^tnfo
(Lsaftfjjuia,
abundance
^tcm,Moudty offltii&utfi),
A poem
Scribe: W. M. Gardner.
Reed
which to work once a supply is discovered. Other hollow-stem plants can also
be used. Bamboo is ideal and is covered in another
section. Rushes (Junacaceae Juncus), cattails (Typhaceae Typha), and ordinary garden reeds are reliable
materials for making excellent pens to form letters
both large and small.
of material with
lettering
of detail
and
fluidity of line
Common swamp
reeds
57
In
hardy as
this plant
many
the distance
the reed is too
is
If
cut
your
initial efforts.
When
p-^n
The
^-*>
reservoir
is
added
in
the
The pen
is
last step.
58
in
so the
this
This
on the
left
slit will,
or right
lip
it
on an old leather
belt.
quickly learned.
After the slit is made, place the flat underside of the
nib flush (dead flat) on a piece of acrylic (hard) plastic.
To prevent the plastic from inadvertently slipping on
pulling
is
A standing magnifying
pen.
It
is
available
in
and
lite
will
or vulcanite,
made
made
at
nib.
Bake-
when
an
one
firmly
in
it
is
edge should be observable. If the edge is slightly serrated, make a second cut perpendicular to the nib. Cut
back from the nib only to theextentthatasmooth edge
is formed, not so far back that the nib is too blunt. If
an oblique nib is required, simply cut to the desired
angle with the knife.
An oblique
left
If
you are
left-
to
your
writing style.
59
fit
It
should be
the pen.
The
shimstock
reservoir
is
file
sandpaper but
which would quickly erode the
metal. Crocus cloth is available in most hardware
stores and can be used in finishing metal nibs.
a very mild abrasive that resembles fine
grit,
proportion not only of the letter but also of all the other
letters of each reed- or quill-written alphabet. It is
therefore essential for the calligrapher to cut the point
with precision and in accordance with the size of the
selected letter style. The real advantage of knowing
how to cut a well-formed reed, bamboo, or quill pen is
that it allows the user to quickly adapt the tool to specific needs. Simply shape the nib to your own requirements. You may cut pens for Roman letters, uncials,
and so on. The calligrapher, like the artist with his brushes, uses a number of
pens, eachwith its own character and feel.
60
Crocus cloth
is
nib.
>ul
Background
The quill is still the best writing tool for the calligrapher. Wing primaries of turkey, swan, goose, crow,
and raven are used. Making a quill pen is a skilled
llullriui'rilr Irhntti'ni
I
An
a quill.
An
quill.
(From L'Art
and
their
d'6crire.)
61
When
it
was published
in
Rome
in
1540, Giovanni
d'lmparare a
manual of handwriting of
translated this
little
its
masterwork
quill:
many do
to
-\9
They
f~
c 5
/^V^
W"*"*
<*
/.
'v,
'^
>*
.'-'TIS
Examples
An assortment
18th century.
62
of writing utensils
late
Each
pictoral composition.
The
quill
pen
is
quite flexible
bamboo
the reed or
tool.
narrower
in
is
how
different.
pen making.
Once
best results
it
must be cured
for
The
which
many
in
writing.
the quill to
A closeup
,utKtul>nv
sec*1
Wv
V'
iruM
***.
\ ^^
k-
lilili
v^.
>> *
f-l
^ ^i
of the feather.
*i
-i
*J
H
If X^
:
sf
J^
la
se
*s
O
Ir
if
Hi
o
i
3
H
5
portion.
63
method
is
such
Be careful not
touch the wire. Slowly rotate the quill for approximately 30 to 45 seconds. This will soften the quill and
shrivel up the internal marrowlike substance known as
pith. If the external membrane of the quill begins to
blister, move the tip back from the heat an inch or so.
Once the quill has softened, quickly scrape the front
shaft across the back edge of the small knife to remove
the thin veneer of filmy membrane. Keep rotating the
quill until you have come full circle. Closely inspect
the quill tip to be sure that you have thoroughly reto
moved
all
unwanted external
material.
When
cooled,
ready to be carved.
The dressing procedure is important. If quills are cut
without proper curing, the pen will be serviceable, but
quills cured by the above procedure are much harder
the quill
is
tie
the quills
in
bundles of
dental probe
portion of the
may be used
to
remove the
pith
quill.
be
64
made
it
is
Be sure
is
is
as necessary.
Two examples
blade at the
skin in
tip of
the knife
the event of an
is
The
raised
of the
error.
65
***#*"*
^^
j
JT\
tf
vLfi
OVUyfloV'^
"Sc>
"^
^gL
iff;
.vJVl
*6fc
'3*
^*
4.
li
/.;
<:
*T
,/\
y
^
:/
/
Examples
exercises.
activity.
66
of student
lines
67
BAMBOO PENS
In
phy;
Background
You will notice two major differences between the reed
pen and the bamboo pen. Bamboo is available in larger
and longer shoots and, when dry, tends to be much
harder than reed. You may have a bit more difficulty
in carving, but the result is more durable and capable
of
more aggressive
means
bamboo
gathered in by a
bamboo rake; his grain is sifted through a bamboo
sieve, and carried away in a bamboo basket. The mast
of his junk is bamboo; so isthe poleof his cart." A more
useful natural material could hardly be found.
of a
is
the Orient the bamboo brush is used for calligrain the West the bamboo pen sans bristles is used
relation to
Cutting the
There
68
cluster of
bamboo.
chapter
its
3.
Bamboo Pen
is little
difference
bamboo and
in
in
Bamboo and
way the
bristles are
handmade
allowed to maintain
The
bamboo and
reed pens.
69
After several long bamboo stems have been procured, set them aside to dry. This should take no longer
than a few weeks. The bamboo will turn light yellow or
band saw cut the bamboo into lengths of 6" to 8". The
initial cut can be made through the joint as shown. This
will provide you with a pen that is sealed on one end.
If you wish to hang your pens on a convenient rack for
drying or display purposes, simply screw a small eye
hook into this end, attach strong thread or colorful
string, and suspend on a hook near your drawing
board.
One
V2".
pens.
The stages
used
in
order to
of cutting the
bamboo
pen.
Bamboo, because
of
70
Bamboo
is
ideal for
making large
letters.
slit
to prevent
its
small hole
the
The stages
A view
bamboo
The channel
from
The underside
The
of the
position of the
bamboo
bamboo pen
in
the hand.
in
will
pen.
bamboo pen
There
selection of
bamboo pens
in
assorted widths.
place.
of thicknesses
and
71
72
into
The
cartridge
is
usually
made
JiBCDEFqJi
3<J
of
aocaejariijki mn
in
KLCjtiJI OP (I
ovqrstuvwxvz
x 6l
They may be
posable type.
AZCDEEFg
KJJX1MN*
VWXYZ-&
Brushes, pens, pencils, and other writing and drawing
instruments may be conveniently stored in a cigar box modified
for this purpose. The illustration shows where to attach two
U3456J890
springs.
ring.
When
artist's
box
not
of supplies.
made from
CSD
Italic
quill
73
riNci>ae
This word was drawn with a large
bamboo
^nt&Bt.ft
pen.
JDiv ^/i(l
u^
ts
*c&^&5f*g*
JcF>
/?
9ntlttf
CI
Lettering performed with a lightweight quill pen affords the
calligrapher a freedom
These exercises
tools.
the
74
quill.
Materials
will
materials:
it
syringe)
magnifying lens
Cutting The Nib
Begin with a dry pen.
filled
with
ink,
reservoir.
The cartridge
of an inexpensive fountain
different
I
An inexpensive fountain pen is transformed into a broad-edged
lettering pen. The tip of the nib is carefully cut with sharp wire
nippers. The nib is then polished on the Arkansas stone. A final
polishing is done with crocus cloth.
75
TONGUE-DEPRESSOR PEN
not unusual for calligraphers to use simple, makeshift lettering tools in order to demonstrate the anatomy of letterforms to students in the classroom.
is
It
in
front of an
come
letters
alive
Tongue depressors,
lettering
pens
to
far
examination of oversized
letters
water.
in
in
wrapped
made
in
The cardboard
or
felt is
to prevent the
beyond the
wood
make
it
back and
forth.
String
may be used
in
A simple
76
lettering tool
made from an
may be made
in
If
you need
to
make
letters with
to 5"
made using
thin
aluminum
lithographers' plates
in
An inexpensive
a session
way
or the
felt
becomes
tired, repair
or throw away.
MARKERS
FELT-TIP
Due
to the necessity of
solution
prior
to
fabrication,
it
will
be absorbent
enough
.,
to provide a stiffer
much
Felt pens may be fashioned from the handles and ferrules of old
house paintbrushes. Remove all the bristles and substitute the felt
pad. The pad may be made more rigid by adding brass or
aluminum to the top of the tool. One end of the metal is inserted
may
also be used
in
place of metal.
smaller pens.
77
HACKE BRUSHES
To my knowledge no
fortable
in
making
stiff
capable of
now manufac-
lettering tools
tured on a large-scale basis. With the need to demonstrate letter making to an audience, tools such as these
are indispensable.
centuries.
A Japanese hacke
letters.
78
brush.
It
is
in
place.
after
control.
all,
to stand
up
Do
not
make
makea
It
is
too weak
broad nib
and bring the split back a fraction of an inch. Carve as
close to the hollow as possible without cutting
through. There is no need (or room) to bevel the top
.a
to lettering. Instead
blunt,
squaring the
nib.
Use
quill, charge the pen, and wipe as described in the section on cutting the quill. If you find
the interior of the straw to be too slippery to discharge
the ink properly, lightly spray the tip of the straw with
a quick burst of plastic fixative.
Keep
in
mind
of instructing
that,
if
people
you
in letter
italic-handwriting course, you should have the students bring a bunch of straws to whittle in order to
PLASTIC-TUBE PEN
in aquarium and hardware stores,
have experimented widely with an
assortment of thicknesses and sizes to find those most
Plastic tubing
is
sold
for
me
pen-making purposes.
prefer clear
plastic with a
allows
An ordinary
lettering pen.
same manner
If
a reservoir
as for the
is
to
quill.
aquarium
The
tip of
the pen
is
made
in
in
same way
tubing may be
the
as for the
fitted
stores.
79
LETTERING GUIDE
One often needs to
These
that
may be conveniently
stored
in
the
artist's
toolbox
* 5").
The paper
drill
artist to
or
drill
maintain straight
lines.
drilled into this small sheet of clear plastic. This device serves as
which the
connected.
yardstick.
holes,
The
80
TOOL STANDS
Plastic tool caddies for designers, illustrators, and
other artists are expensive for what they are. Two simple tool stands may be made with a few dollars' worth of
raw materials available from your local hardware store.
They work as
well as
if
drill, bits,
and
glue.
The
If
becomes too
in
the home.
top-
heavy, clamp a small C-clamp.to the edge of the drawing table or worktable.
Another
to hold the
one
utilizes
tools
in
an upright
81
SCROLL PENS
scroll
pen
is
to carve
scroll
bamboo
is
illustrated.
It
is
entirely possible to
make
expressive purposes.
An
instructor
that
who works
To make
is
a helpful complement.
you will need two wellsharpened pencils, masking tape or rubber bands, and
a piece of pine or other softwood measuring 1 " square
by 6" in length. Lash the pencils to both sides of the
pine strip, which should be lightly sanded on theedges
for a
a pencil-scroll tool,
more comfortable
yond the
tip of
the
wood
grip.
The
2" to 3".
A hard
lead requires
be light.
sharpener can be used to sharpen the
pencils as they wear down. Both pencils should match
in length and be perfectly aligned so no one side of the
plastic pencil
tool
is
biased.
The pencil scroll is not meant to be held as one normally holds a pen or pencil. It must be grasped as if in
a handshake. Several exploratory lines drawn over the
surface of large sheets of white butcher wrap quickly
introduce your hand and eye to the tool. There is a feeling of inordinate
freedom
in
lines
difficult
life
82
The
lines
metric
in
and
and character
to the
word or phrase.
A
to
scroll
make
is
of a thin strip of
notched
pencil scroll
This tool,
parallel
83
6 CrayQns &Pastels
CRAYONS
The Greeks and Romans employed a metal lead to
make lines on papyrus for lettering purposes. At a later
time the lead was encased in a wood shaft, becoming
into sticks.
"stick" or "pencil,"
In
are sometimes called crayons. Due to their waxy nature crayons do not smudge easily, making them ideal
clay,
materials to use when color brilliancy is required without the usual dusting problems so often encountered
in traditional chalks and pastels. Artists such as Seurat,
Matisse, Toulouse-Lautrec, and Delacroix used crayons to achieve notable imaginative effects, yet the
crayon is one of the most underrated materials of its
time. In many ways it is an ideal drawing and coloring
the
and water.
tool.
The top
illustration
Beneath
shows
Romans
for
encased in a
14th-century wood shaft. The lead disk was used by the Greeks
and Romans to rule guidelines on papyrus in order to keep the
lettering.
lettering even.
84
is
Top: Solid graphite ore wrapped with string formed the first
graphite pencil. Middle: A metal holder for graphite, used in the
18th century. Bottom: In early pencils the graphite was sawed
into a square shape and encased in wood.
PASTELS
and there
strength, shade,
will
vided that only the purest colors are used, the pastel
fixative,
Pastels
last
is
and hardness.
Any manufactured
hold the
painting can be lightly sprayed with fixative to add a
modicum of permanency to the surface. Too much
Woman
85
Be sure to
designated:
made by
reputable color
in
Avoid pigments with nongeneric names such as sunrise yellow, dawn gray, passionate fuchsia, and so on.
Tempera powders may be used in place of pure powdered pigments, but the color strength will not be as
saturated and intense. Tempera powders, however, are
far cheaper, and provide an interesting range of paler
personally find
and more subdued colors, which
attractive when used with the more brilliant colors.
Heat V2 pound of the cake wax (half a standard-size
box of supermarket paraffin) on a low flame until
melted. Pour a small amount into a small tin. The
amount is determined by the size and number of crayons desired. You will know the range of the material
I
after
some
An assortment
of
for
pastels.
spoons for each medium-sized crayon. Mix 1 to 3 teaspoons of pigment depending on the intensity of color
that you want the crayon to have. For example, 3 teaspoons of ultramarine will give you a crayon with a
deep and fully saturating blue. Stir the pigment and
wax quickly before it begins to set. To shape the
crayon, pour the mixture into a paper cylinder made by
rolling a piece of paper5" squareintoatube and taping
one end closed. Thesideof the papertubeisalso taped
If
this
experience
will
A block
of paraffin
wax
is
melted
in
to
be a
pleasant surprise.
Pigment
and set.
86
is
added
to the molten
wax before
it
is
allowed to cool
Care must be taken when slicing the straw. The blade must not
be allowed to cut the crayon, which would weaken an already
fragile tool.
The blend
is
poured
into a rolled
Air
set
until dry.
When
for
easy crayon
release.
87
The ends
wax from
has
of the
spilling out.
The
foil is
kept
in
foil
place
to prevent residual
until
the
wax
The crayon
the
set.
artist.
The block
procedure
will
is
drilling large
then cut
in
holes
in
2"-*-4"
wood
Although this
round crayon, its design and
half lengthwise.
tin
place.
The mold as
The top is positioned over the mold containing the liquid wax.
The crayons should be allowed to dry for 1 hour at room
temperature before the mold
removed.
is
88
to
one another
and drastically change the hues, probably forming a
grayish-brown color. Another procedure to try is to
melt clear wax in thetin and sprinkle ground-up crayon
chips of various colors into it. Quickly pour the crayon
into the mold and allow to settle and cool. The result is
a confetti-colored crayon capable of laying down
many
colors simultaneously.
To obviate
this
mold on the table a few times after the wax has been
poured into it. This serves to bring the bubble to the
surface, thereby eliminating trapped air pockets.
air
In
real
To keep
Ci
will
remain
in
wax cools
place.
j" ^^^
""
Two crayons
after the
fl^M^NT
k&^^-^/y
Detail of a
waxed crayon
after
it
mold.
asra
The variegated crayon chips may also be poured into a straw.
The straw is then slit as above and the crayon removed. The
crayon may also be wrapped with paper.
An assortment
of small
made
crayons.
89
MAKING PASTELS
Like crayons, pastels are as strong and vivid
as the percentage of pigment
recommended
will allow.
in
color
The propor-
examples of
the years.
successful
over
and
have
been
found
pastels
It is important that you keep notes of percentages, proportions, and procedures for future reference. In order
to keep pastel making a lively experience, you have to
be something of a "chef" with a creative hand, seasonings and all.
tions given are
Procedure
following binders.
Gum
arabic:
when touched
1.
3 teaspoons
in
a swirling motion
in
order to
make
a colloidal solu-
powdered gum
arabic
16 ounces water
1
/2
teaspoon preservative
Oatmeal water:
3.
Rice-flour binder:
Regardless of the binder you choose, it must be simmered on a low flame with occasional stirring. The
gum-arabic solution must be boiled until the fine gum
particles have completely dissolved. Store the solu-
handmade
pastels.
90
In
order to
make
talcum powder
pastels,
To
is
in
placed on a glass
If
more powder
Add
a small
or pigment
amount
is
necessary, add
at this time.
it
is
colorant.
Stir
and grind
absorption.
all
Do
91
Once
isolated
and rubbed
92
surface.
The dry
stick
stick
is
The
further.
may be formed
in
the hand.
may
flake or explode.
one pictured
here.
The
in
pastel can be
left
pilot light.
Color Gradations
To make
mound.
Start
pastel.
N^.
^Kkvv
'
V;..
In
store
them
in
when not
in
use,
93
7 o7Vleasuring
Devices
measuring devices
countless ways. Multiview drawings,
perspective studies, orthographic projections, scale
drawings, and simple forms of measurement require
tools that are consistently accurate and designed to
facilitate drafting and freehand-drawing techniques.
The graphics of measurement and the tools required
can necessitate the use of relatively sophisticated
materials, butthe job can often be done with much less.
The purpose of this section is to demonstrate how a
few rulers, guides, and templates can be made to serve
the artist.
It would
be very difficult to deal here with how to
measure increments on rulers and how to transfer
complex scales to improvised rulers. This is a job best
left to manufacturers of professional tools with demanding standards of universal measurement. In a
pinch, however, plastic materials can be scribed with
a stylus and can often get the job done. T-squares
rarely have inches marked off along the ruling edge.
By
serve the
artist in
made
of solid
IT
**"
-
^m
1
in
contemporary counterparts.
94
many
of
its
reliable accuracy.
Ve"
thick will be
needed along with some hand tools. Access to a bandsaw or jigsaw would also be helpful. Schools invariably have a shop housing these larger pieces of equipment. Enrollment in an evening class will perhaps
afford you the opportunity to make a complete set of
plastic guides and templates if you are not already a
student.
T-SQUARES
will
cut
it
to
madeof plastic
is
notterribly important.
The cursive
form
in
traditional
Once
may be customized
to suit the
needs
of the
designer's hand.
95
TEMPLATES
A
template
metal,
copy
is
a pattern, usually
wooden, or
making an accurate
The
pattern consists of
of an object or shape.
graduated
in
circles, ellipses, or
mixed shapes
for indi-
for
drawing
circles,
artist.
It
may be
making
such as
handy
for
circle templates.
drill bits
Ms"
and a few
clear plastic
human
hair.
If
OOQOOO^o'
oopoO^OOOOOO
Drill bits in
sheet.
and circumferences.
circle template
drill
holes
in
the plastic
plastic
and leaving
To acquire
little
if
in its
path.
96
made
SHIP'S
be made to conform to
Some improvisational moves
is
moves
is
all
that
is
required.
made
lines for
enough
to
own
If
you
Ship's curves and French curves cut from thin pieces of plastic plate.
Stages
in
scribe.
97
Drill %" holes in the center of the 8" bar every Va"
With the aid of a large drill bit, drill a hole in the center
of the 2" x 2" wood block. File the inside diameter with
a thin wood file to make a square large enough to
accommodate the wood bar. The bar should travel
freely up and down in the hole with no binding but
should not fit sloppily. This would make the scribe too
flimsy. On the side of the block drill a Vi" hole through
the material. This should also be centered. This hole
accepts the dowel, which keeps the bar in place. The
last drilling takes place on the end of the bar. This small
hole, originally designed to hold a sharp nail for scribing purposes, will now hold a mechanical-pencil lead.
Instead of making a depression the tool draws a penciled line. Adjust the shaft of wood to the required
length by pushing the dowel out with the back end of a
.
pencil,
dowel
this
for a
PROPORTIONAL DIVIDERS
Proportional dividers help the
artist to
some form
An elementary
The scribe
cutting.
Proportional dividers
above.
The
98
in
a practical situation.
to the steps
shown
8 ^rintmaking
Tools (^Materials
One
of the
first
stages
in
the creation of a
handmade
took the form of portraiture, landscape, and other recognizable images. A wealth of new techniques has
recently appeared to augment the more traditional
approaches. Etching, engraving, and lithography have
been joined by screen prints, photolithography, and
the collagraph (collage and graphics), extending the
range of graphic possibilities to new and exciting
dimensions.
A comfortable symbiosis between abstract form and
print medium allows the artist to explore human emotion without the need to adhere to strict and conventional images. The handmade print may be one of a
kind (unique) or part of a large edition. The artist usually determines the extent of the edition and how it is
to be printed.
There is a very intimate relationship between hand
and material. Noted wood engraver Fritz Eichenberg
states: "The first cut made into the darkened surface
of a woodblock, with the point of a steel blade or a
burin, releases hidden forces which one can hardly
gauge beforehand. The steel locates a spark, a source
of light spreading slowly over the face of the block as
the design emerges, white against black."
A Way
of Flying. Francisco
350mm. (Courtesy
De Goya.
of the
artists to realize
99
much
It
is
bristles are
still
as reliableand springy
of
as seen by the
artist's
materials used
into
in this
new areas
of greater expressiveness.
The
Dead
Bird.
linear study
executed by incising
100
was used
to
draw the
fine lines
A sharpened
and dots
in this
work.
dental probe
Printmakers use a wide variety of hand tools to supplement purchased items. These tools may take mysterious form and are made of diverse materials such
as wire, wood, metal, rubber, plastic, paper, cardboard,
cloth, stone, and glass. They can be used in the techniques of drypoint, monoprint, engraving, and so on.
Each tool makes a unique contribution to the printmaker's stable of devices for making marks. To help
you in your search for interesting and novel supplies,
consider starting with simple and basic items encountered within the printer's studio. The etching needle
common
to
Silver Trees.
most
in
artists
who
is
explore the
of the collagraph
Cardboard plates are combined with a zinc plate, which has been
photographically sensitized and developed to capture the focal
point of a large flower.
etching needles
101
lilt
in this
was combined
work.
fk
H^HHHHiHHHilH^MBHMH
Bust
in Profile.
first state,
102
x 19V4".
16, 1957.
Lithograph,
347 Series, Leiris #767. Pablo Picasso. Aquatint, 13V4" * 19V2 ".
(Courtesy of the Norton Simon Museum.) Aquatint is used in an
entirely different manner than in the work of Francisco Goya
illustrated at the beginning of the chapter.
tm-
9*9*fe3?
'3M
GULi
MP
m
7rte
tirer,
Simon Museum.)
cut,
block,
Simon
cut,
Museum.) Picasso forces us to take a second look at the linoleum-block technique and brings out its inherent character.
103
artist
s*d
An etching
stylus
made by
driving
one or more
nails into a
slender block of wood. The heads of the nails are removed with
metal nippers. This tool, especially the one with three nails, is
used
for cross-
hatching effects.
The
104
-/
-/-
\~
nails
may be
wood
at a
diagonal angle.
wide range of
finishes. Tips
may
also be
flattened by slightly
to
further.
One
for this
ll
It
is
useful applications.
is
Compared
usually a
and capable
of
many
more expensive
tool.
However, all dentists use these tools and usually discard them once they have outlived their usefulness or
have become unreasonably dull. A family dentist will
most likely be glad to set a few of these items aside
if you make previous arrangements with him. They are
absolutely superior tools and well worth the trouble of
obtaining them. If you are concerned about hygiene,
ask your dentist to sterilize them for you. Another
possible source is a military-surplus store. Many of
these stores sell dental probes (government issue) at
ridiculously low prices. They are available in many
designs, some requiring no modification for your
purposes.
If you want to change the existing tip, you will need
to cut off the metal about yB " from the end. This is best
done with a pair of wire cutters designed to cut strong
material such as thin cable or electrical cord. It does
not require much strength, just sharp metal. If cut
properly, the tool will still have an obvious taper measuring about 1" in length. With the aid of a grinder or
coarse Carborundum paper, begin to sharpen the tip
by rotating the tool as you scrape back and forth in a
side-to-side manner. This is slow going but essential
to the formation of an even point. Stop when you think
that the tip is formed. Make a few test scratches on a
small zinc plate as if making a drypoint. Try the same
tool on a plate coated with hard ground. Notice how it
feels as it is drawn across the surface of the metal. Is
and consistent with the tactile experience
it smooth
have found that this is the ultimate test
of drawing?
of the point. have always found the commercial etching needle to be anathema to the touch. It is like the
iron lawn dog in the front yard, feigning a welcome
greeting to the visitor. It is impersonal, aseptic, and
without feeling. Those that you make will be a handsome addition to your box of artist's tools and will provide you with the exceptional quality that you would
expect from a well-made tool.
I
41-
-^'
The
point.
105
A frame such
Linoleum,
like
manufacturer,
in
1863.
It
was conceived
of as a hard,
The
patterns
may
hands
this
is
difficult to
is
supposed
The measurements
in
just
what
it
the illustra-
decrease the proportions depending on the size of the block that you
intend to use. Any type of wood may be used. When
rotating the linoleum or woodblock for carving curved
lines, consider placing a quarter or a large metal
washer under the plate to facilitate the revolving
motion.
interfere
more due
to the
stocks of battleship linoleum in the larger floorcovering stores but always find a sizable cacheof it in homeimprovement centers. It may be worth the cost to buy
a few square yards of linoleum and to store the unused
portion for future use. The linoleum may be used as is
or glued to a block of wood with mastic adhesive. The
reason for the wood backing is to raise the linoleum to
type-high measurement (.918") for use on the bed of
the proof press. The block may also be locked up in
the printer's chase for letterpress printing. If the linoleum is to be used with the adjustable etching press,
wood backing is desirable but not essential to the
It
may be
106
PLASTIC PLATES
A thin
drill
amount
of talc.
To
wrap
in
a piece of
ment
The technique
is
used
for
all
brayers was to
of brayers
for practically
make them
to
my own
specifications.
engraver's burin.
of burnishing the surface of a woodblock
Japanese baren covers the greatest area and
does not force the paper into the valleys of the block.
Three
print.
different
The
ways
traditional
107
found
will
it
this to
play
in
is
down
thin lines or
the plate.
narrow
in
it
in
is
rolled over
diameter but
goods
fall
Handles
108
more
need
to
be
made from
wood,
plastic, or metal.
and support.
oil in
it
(i.e., if
it
purpose.
If
a thin veneer of
or
aluminum
will
dry or
stiff,
foil.
in
a plastic bag
future use.
If
the leather
is
it
onto the
a small amount
surface and then to scrape it with a spatula, first against
the grain, then with the grain of the leather. Then add
a harder varnish (#5 or #6) and work the emollient into
of soft lithographic varnish
It
is available by the yard and can usually be purchased or ordered from an upholsterer. It costs a few
dollars per yard and can be turned into a dozen or
more brayers. A visit to a yardage store will turn up
a few possibilities. Synthetic materials such as plastic
good basis
making process.
are a
for
experimentation
in
the roller-
the leather with the hands. Roll the roller over a slab,
preferably glass or marble, for 20 to 30 minutes, cleaning the slab every 10 minutes or so to remove small bits
and
strips of rubber.
on the
wood
It
is
plate.
Leather
is
roller surface.
to provide a professional
roller in the
lithographic technique.
109
8" (wide)
same
stock.
Dowels
to
into predrilled
rack.
A storage
110
The
traditional
plant.
is
in
a knot.
The
bamboo
The
tied.
detail
111
v
QL&k
'
S3
I '
I
mm.
113
of the
felt,
in
each corner
are to be 1" or
The plywood
should have no knotholes on the two opposing surfaces. The wood should be sanded and sealed with
the appropriate wood sealer. Four %" carriage bolts
are inserted into the holes and serve to fasten both
boards together as the wing nuts are tightened.
To effect a print with a clear and full image, it is
necessary to turn the wing nuts quite hard. Once this
is done, the wing nuts are loosened and the top panel
and felt removed. The print is then peeled off the plate
by gently pulling diagonally from one corner of the
paper. Examine the felt to be sure that no ink has penetrated the paper and been transferred to the felts. This
accident commonly occurs with thin papers if there
is either an excessive amount of ink or an overtightening of the wing nuts. A press of this nature is best used
for plates not larger than 14" * 17". Larger images
require substantial pressure beyond that of which the
plywood press
is
C-CLAMP PRESS
A
asset
when
additional
Pressed
felt.
felt is
one piece
Felting
is
desirable.
available
Woven
felt
yardage stores.
can be too coarse
in
to the
capable.
The C-clamp
114
BOOKBINDER'S PRESS
If
you
will
The
is
HYDRAULIC PRESS
Another version
is
the small
A bookbinder's
It
is
to
permanent
for a
The hydraulic
press. This
of pressure per
115
SOLVENT CONTAINERS
One of the more wasteful printmaking activities occurs
when plates are to be cleaned before storing or between runs. Solvents are poured onto zinc plates,
woodblocks, collagraphs, and other supports straight
from the can in which the solvent is sold. Manufacturers rarely fit the orifice of the can with a small spout
capable of being adjusted for desirable flow. The net
result of this oversight can be flooding of the plate
surfaces with excessive solvents, which run off into
the sawdust or newsprint beneath. In the classroom
have seen students go through paint thinner, lacquer
thinner, acetone, turpentine, and tolual, quickly exhausting gallons of material in the course of a day's
printing. Fumes from the overflow of thinners soon
weigh heavily in the air and can make conditions unpleasant. Gallons of appropriate solvent have become
a very expensive commodity in the overhead of printmaking studios.
Prudent use of chemicals can be promoted by using
small dispensers salvaged from other uses and clearly
I
where
One word
dispenser.
INK APPLICATORS
Etcher's ink
is
The viscous
ink
is
forced
plastic
to give
it
is
used
in
a circular motion to
116
A simple
plastic
to apply ink to
of the
that the
is
soft
was
Untitled.
The squeegee
easily inked by
lodged
in
117
Untitled.
118
TWO USEFUL
RESISTS
To
plates.
this literature
Rubber cement
when
own unique
properties.
It
is
fluid
enough
it can
and abstract forms. It offers an
almost calligraphic freedom that
find lacking in
asphaltum or other traditional resists. It is available
almost everywhere and is easy to remove. Use a brush
applicator: one composed of pig bristle is well suited
that,
to
cement.
carriage-bolt press.
Two
useful resists.
119
cPapermaking
BACKGROUND
Paper was invented by the Chinese over a thousand
years before a German immigrant, William Rittenhouse, made the first piece of paper in the British
American colonies in the late 1600s. In ad 105 Ts'ai
Lun, a Chinese court official, mixed together the bark
of mulberry trees, scraps of silk cloth, hemp, and wornout fish nets and softened them with water. The materials were then pounded with primitive wooden mallets
until the fibers were separated. The contents were
added to a bucket of water and stirred until they were
sufficiently blended. The whole mixture was then
drained through a fine screen attached to a wooden
frame. What remained was a sheet of matted material
that was then allowed to dry in the sun.
Rittenhouse's technique differed very little from
Ts'ai Lun's method. The main papermaking fibers used
by colonial American craftsmen were derived from
cotton and linen rags. These very scarce items were
subjected to a fermentation process and then beaten
with a stamping device to further reduce the material
to a pulplike consistency. The pulp was placed into a
vat filled with water, and, with the aid of a mold and
deckle, the vatman formed his glistening sheet of
waterleaf, the newly made sheet of paper.
The industrially produced paper of today tends to
disappear as a form and to become indistinguishable
from its function. Its being is its meaning and its meaning is to be useful. It is the diametrical opposite of a
work of art. However, in the past few years there has
been a revival of interest in the handmade-paper process and in handmade paper itself. The history and
technique of the handmade-paper movement are
more thoroughly covered in my book The Art and
Craft of Handmade Paper. Readers are directed to
this
ing process.
120
What follows
cxxbi
tY"
cr
Az
lonini.
(\
*]L '
\m
te
y
An
^ _
_
fe
ro mine
*w,
on vellum. Vellum
is
made from
Vellum
may
home
is
A few
have to be purchased to make the mold and deckle. A vat or tub can
be improvised from any large, watertight container
such as a busboy's tub, plastic litter box, or galvanized
tub. A vat may also be made from plywood and sealed
or studio.
materials
will
waterproof. A drain
plug should be installed in the bottom of the tub to
allow water to drain off after the paper-forming pro-
cess
is
make
it
over.
The Beater
An electric blender will suffice for the beater. It need
not be an exotic brand-name unit. A blender with afew
speeds does an adequate job
into
new
A household blender
is
used
sheets.
Felts
or woven
may be employed.
Compressea
felt
army blankets
mmjm
felt,
in
Wisconsin.
121
The Press
is
third
alternative to consider
is
if
over the next few years, this would be the press to purchase. A hydraulic press capable of delivering pressure of upwards to 15 tons per square inch is sufficient.
Sizing
is accomplished with one of the following matealum, powdered rosin, clear powdered gelatin,
polymer binder, cornstarch, or even white glue. Sizing
is an optional procedure that should be considered
and tried if only for the experience and the effect. A
small amount of sizing, regardless of the ingredient
that you choose, goes a long way and must be used
Sizing
rials:
waterleaf
made paper
with discretion.
sheet.
Color
Paper is best colored while it is in the blender. This
ensures even absorption and minimizes the risk of inadvertent contamination of other materials near the
preparation area. have used fiber-reactive dyes, proI
measuring spoon.
Sizing can be
made
122
of
pestle.
is in
the vat.
drain from
its
surface.
and
silk,
coarse sailcloth. Fiberglass screen-door mesh is a perfect alternative to the more expensive brass or copperwire mesh. Mesh gauge for the fiberglass should average somewhere between 40 and 60 strands per inch.
enough
making
You
will find
1"-x-2"
wood
to be strong
A mold
activity.
of the
is
termed a laid mold. A mold fabricated of the abovementioned fabric or fiberglass is termed a wove mold.
The deckle is the wooden frame that fits over the
mold when a sheet of paper is formed. Excess pulp is
prevented from running over the mold by this device.
The characteristic feathered or deckled edge seen on
handmade papers results from this tool. The deckle
can be made from inexpensive molding available from
most lumberyards. Again, better-quality wood will
for simplified
molds.
way
sloppy interplay.
:iE
S:
rf
wfc
XL
J
I!
nfi
i
,
J
'
M
1
\\
I,
LI
r
,
if
T'l
LLi-
Tf
:
1l
III II.
:l
a SS
SSS^SSS!
a3
ssaa
:fi
3SSB ui
mm
'.SCH
*r
ui
h. '
**'
:':
'
123
Pulp
The
can successfully be
used for making paper is as varied and exhaustive as
the plants themselves. can safely say that paper can
be made from jute, iris, gladiola, mulberry leaves, the
thistle plant, bamboo leaves, cattail, ash leaves, birdlist
paper sheet.
Iris
plants
make
ideal
raw material
for
papermaking.
The leaves
bark,
124
hills,
if
left
handmade
to
paper.
V
.
'
/
s
If
\
/
'
%,
1
\
'*.
'*
'
W
,
_
i
-
a
~
A sheet
-V
of
J
-f
'
thistle
If
i
'
/*%ef.T^I "
and cotton
TcVJ
Matsumita paper.
linters.
>
i t
*f*T
<
r*J\
wnHnsHiBHii^nB
This intriguing roughly textured sheet
straw, cotton,
and
is
iris.
125
1
IK
I'
'
...
^*
-*
5*&
.st
r.
>.
ft..?
V
1
Decorative devices may be applied to the wet waterleaf after it
has been couched on the felt. The items are gently embedded
into the still wet sheet by patting with the hand or a wet sponge.
A closeup
of
gampi paper.
* *
.-,<#:
m.
v.
Flecks of sawdust were sprinkled into the pulp before the sheet
126
bamboo
pulp,
rich
Several sacks of dried plants are gathered and scissored into 1" strips. They are placed into an enamel
or stainless-steel pot in preparation for boiling. To this
clump of plants are added several quarts of water and a
couple of tablespoons of lye in flake form. Turn up the
heat and slowly bring the ingredients to a rolling boil.
Allow the mixture to simmer for 45 minutes to 1 hour.
Remove the pot from the heat and pour off all the
liquid. Rinse the plants by transferring them to a
bucket and allowing water to play upon them. Repeat
this process several times, place the fleshy plants into
the pot once again, and repeat the first step. Go
through the entire process at least twice. A particular
delicate fern
forming.
in
Once
to the
place.
handmade
sheet.
way through
An
to
electric
simmer
to
material.
127
sheet.
vy, ..**=
Si'""-'rV^-.Jrv.i-. --'-
to flatten
and
If
the
new sheet
is
couched on coarse
128
is
squeezed
such as
and varied surface
fabric or material
the press.
the paper
is
to be sized,
it
is
best to allow
it
to dry for
two weeks before immersion inthesizing preparation. You will need a large, shallow pan or tray
at least
containing a quart or so of
warm
amount
and
water.
stir
a single layer).
Sizing formulas vary depending on the product selected for this purpose. For gelatin mixone packet with
spoon
Add
a table-
Sizing
in
handmade
sheet
each sheet
of paper. (To size eight or ten sheets, add the whole
cup of gelatin solution.) If you prefer to use cornstarch, use 2 teaspoons mixed in a cup of hot water
and add as you would the gelatin. White glue or acrylic
medium may be used by adding 2 drops of either to
the water for each sheet.
When
is
do
usually
this
drying.
handmade
Watermarks
The watermark was
sheet
its
trademark.
129
and
in
small
portions to the
into the
paper
cles,
making them
damp sponge. As
and capture the
the
parti-
Leaves can become an integral part of the paper's surface and design.
130
Pulp poured over a loom weaving. After two weeks of drying the
pulled away from the weaving, revealing this
and
textural
work
of art.
131
Men
AL
3.
made and
durable,
Oil,
it
132
is
that
15's.
for
many
years, provided
10 o?Vliscellaneous
Tools
There are many miscellaneous tools and artist's instruments that belong in no special category. They often
consist of tools converted from other more typical purposes. With a little imagination they can be improvised
or modified in the studio once the need arises. You
will no doubt want to add your own ideas, as every
artist has personal requirements and ideas for shortcuts to get the job done much more easily. Interesting
transpositions of wire, wood, plastic, and bamboo
ARTIST'S
It
is
TOOLBOX
no longer necessary
tion carrying
to trudge
tool cad-
with handles
tainers.
They are
brushes,
oil
use on location. The same tackle box, when sold as an artist's tool
carryall in the art store, is inevitably priced higher than
the same item in the sporting-goods store.
ing sets,
for
out
The introduction
of
their
creative
training
and
whether
directly
of fresh invention
A sportsman's
carryall. Many
ments
in
which
of these containers
to store the
artist.
133
A SIMPLE WORKTABLE
Here is a table made from
particle board.
WEIGHTS
inexpensive 2
to
fit
2s and
personal
bulletin board.
The panel
some
nails
134
of weights
To prevent
other laminate.
An assortment
little.
combined
in this
Plastic
the removable
in
variety stores
equipped with
fit
HUMIDOR
Many pens
to maintain
a rigid surface.
RUBBER-CEMENT
LIFT
making a rubber-cement-pickup
tool is to apply several coats of rubber cement to the
outside of the cement jar and allow to dry. The vehicle
for rubber cement is alcohol, which evaporates
quickly. With the forefinger roll the rubber cement up
and down until a ball is formed. Remove the ball and
place near the gluing area of your worktable. This
traditional
way
of
Weights are an indispensable tool for the artist's work area. These
have been made from bricks and plastic boxes filled with sand.
The bricks have been varnished to prevent dusting.
points moist.
A dampened sponge
is
placed
135
LEAD SHARPENER
may be quickly shaped and sharpened
by stropping the lead on a piece of sandpaper stapled
to a tongue depressor. For a variety of grits use an
assortment of sandpapers cut to fit the tonguedepressor blade. Staple at the top end. Tear off each
layer of paper when it is no longer effective.
Pencil leads
BOOKBINDER'S BONE
A binder's bone is used to
fold
to
tongue
depressors.
compound.
AGATE BURNISHER
Agate burnishers are used to burnish gold leaf to raised
grounds such as gesso, size, modeling paste, and other
appropriate supports. They are extremely expensive
but essential to the gilding art. The agate must be without flaw, evince no pores, and be shaped to fit the interstices of the gold-leaf letter. By rummaging through
a box of small agates found in stores selling lapidary
materials you may come across several with slender
tips of which one end can be fitted into a predrilled
wood handle. The handle may come from an old brush,
dowel, or piece of exotic wood hand-turned on a
wood
lathe.
The agate
itself
is
136
tool.
MARKER HOLDERS
On
Use
a pair of scissors
work
Vr^
foam
to
fit
the
area.
SHARPENING STONE
Arkansas and Carborundum stones can be glued to a
block of rectangular wood, thereby providing a better
base. When sharpening knives or pen points on a plastic
wood
same
WOOD MALLET
Sponge
hammers
fitted
filler
used
in
marker pens.
if
Wooden
mallets can be
is
made from
difficult to
137
of large plastic,
138
which
is
made from
for illumination.
The
drafting
lamp
is
flexible
enough
it
plastic,
brush-solvent container
made from
lamp
to the top
edge
of the plastic.
Turn the
light
so that
more even
139
bibliography"
Bridge, Paul and Austin Crossland. Designs In
A. Praeger,
Bibliobila, 1962.
Publishers, 1969.
140
Art.
Handbook of Materials
New York: The Viking Press,
Artist's
1970.
New
York:
And Form.
Company,
1966.
E.
Tuttle
Sources of Supply"
Yasutomo & Co.
Tandy Leathercraft
24 California Street
San Francisco, Ca. 94111
Leather goods
Gane
New York
Andrews/Nelson/Whitehead
31-10 48th Avenue
Long Island City, N.Y. 11101
Mills
Papermaking
felts
Specialty papers
Griegers, Inc
Plastic Mart
141
'Index
acetone 116
C-clamp
17, 81,
cement
Cennini 136
136
filler
file 17.
105
85
chancery
Robert 104
Fiedler,
31.
114
85
foam 54
82
charcoal
awl 17
Chinese white 33
chipboard 19
bakelite 59
chisel 17
clamp
bamboo
29,30-31,32.38.41,42.44.46.57,
26-28. 32-33.
56.
82
gesso
C- see C-clamp
Hunt's see Hunt's clamp
claw hammer see hammer, claw
cloth 18. 19. 64, 101, 123. 128
crocus
glass,
136
glue 20, 43. 44, 45, 46. 49. 73. 79. 81. 100. 106. 108, 122, 123.
129. 134, 135, 136. 137. 138
136
29. 33.
Giacometti. Albert 82
binder 26. 27. 28. 34. 36. 85. 90. 91. 122
gothic 60
binding 115
gouache
black
grass
board
41. 52
Goya. Francisco de
curve
135
gum
99. 102
dabber
bookbinder
116, 117
Degas. Edgar
hammer
Delacroix.
85, 99,
doweling
drawing
139
brush 8.17. 22, 23. 26. 31 32. 34. 36. 37. 38-40, 41-52, 53. 56,
,
41. 43, 46. 49. 53, 79. 88, 97. 98, 108, 109. 110.
8, 9, 10.
58,60.64, 65, 73, 77. 81.82. 84. 100, 102, 107, 110, 119. 136.
139
hand
air-
bristle 36.
hacke
46. 78
41-49
humidor 135
Hunt's clamp 77
coal-tar 34
100
indigo 34
inorganic-earth 36-37. 39
procion 122
buffing wheel 19
Eichenberg.
emery 136
enamel 22
136
butcher wrap 19
engraving
epoxy
8. 38.
Carborundum stone
Fritz
india 34
22, 99, 101. 107.
20, 134,
117
136
137
eyedropper
sumi 35
intaglio 100. 101
photo- 102
extender see
iron 19
italic 63. 73. 79,
82
filler
34. 36,
122
138
Jackson, Donald 67
fabric see cloth
-tip
Jawlensky. Alexei 39
felt-tip
55. 56. 60. 61. 62. 64. 70. 71. 73. 75. 77. 79. 99. 102. 104. 107,
142
99
casein 43. 85
ideogram 56
india ink see ink. india
indigo see dye. indigo
ink 8. 19. 22. 23. 26. 29. 30. 31 34-36. 37, 39. 41 51. 52. 53. 54.
synthetic 49
cardboard
hot plate 19
aniline 34
77.
red-sable 22, 38
calligraphy
hieroglyphics 56
Honda. Susan 36
107. 119
nylon 38
8,
fiber-reactive 122
burnishing
hand
saw see saw. hand
tools see tools, hand
hardwood see wood. hard-
holder 23. 32-33. 68. 73. 78. 81. 82. 109. 110. 137. 139
107
50-52. 68
38
107. 108
press 19
see airbrush
bamboo
18. 19.
136
23-37. 38, 55. 56. 65. 68. 70, 73. 81 82, 84, 94.
17
claw 18
Eugene 84
brad 19
bristle 19, 36. 41. 45, 46, 48. 49. 68. 77, 81, 100, 119.
132
jeweler's
jig
jeweler's
Johnston. Edward 65
drinking-straw 79
fountain
Klee. Paul 23. 39, 40
paint 53
mechanical 37, 96
plastic-tube 79
quill 8, 61-67, 74, 75
reed or cane 56-60. 63,
palette 53
scroll
knife 53. 58, 59. 61, 64, 70. 79, 82. 90. 136. 137
mat
138
17.
X-acto
snips 17. 32
73-75
30. 55,
8,
137
sponge
pencil
squeegee
82
82-83
135
stain 110
gun
17,
18
wool
19,
96
staple
8,
spring divider 17
tongue-depressor 76-77
79
138
soft-
136
steel
laminate 134
lampblack
34
latex 122
pictograph 56
lead 32-33. 55. 80. 81. 82. 84, 97, 98, 136
pigment
sharpener
22. 82.
136
55-83, 84
29,31.34-37,39.44,54,56,84,85.
106
8, 18, 19,
straightedge 17
plastic 19, 22, 30, 32. 33, 46, 49, 54, 59. 65, 73, 77. 79. 80. 90.
string 19, 49
92, 94. 95. 96. 97. 98, 101, 107, 108. 109. 116, 119. 123. 127.
Studley.
Vance
stump 85
25, 37, 39. 40. 67. 90, 100. 101. 102, 117. 118
letterpress 106
plate 60, 77, 99, 101, 104, 105, 107, 108, 111, 114, 115, 116,
117, 119
sumi
platen 115
photo- 99
Claude 24
Lorrain,
plexiglass 95
needle-nose
lye 127
see
ink,
sumi
suzuri stone 35
108
pliers 17,
17, 32,
syringe 75
49
Pliny 57
magnifying glass
79
plywood
tablespoon 19
polymer 38
Ponce de Leon. Michael 115
preservative 90
Tagliente 64
tempera
felt-tip
Martin. Fred 6
mason
127
cup
media
94-98
8,
knife,
tarlatan 117
41. 76. 77. 85. 86, 91
C-clamp 114
thinner 116
woodblock-and-linoleum 111-114
printmaking 8. 99-119, 131
titanium white 85
tools
8.
tolual 116
box 133
98
characteristics 17-22
punch
17
abrasive 24
8. 26.
proportional divider
19. 21
61-67.
82
form
22,
24
function 22
Rapidograph 96
hand 17-18
reed 19. 23. 26. 30. 49. 56-60, 63. 65. 68. 69, 70, 73
relief
metal
10,
reservoir 30, 31. 58. 60. 65, 68. 70. 71. 75. 79. 82
123
laid
resist 104.
roller
122
80
needle
17,
pliers,
painting
papermaking 120-132
printmaking 99-119
Osley,
AS
Ts'ai
133
62
sandpaper 19.
saw
band 19. 70,
coping 17
hack-
43, 45. 46. 60. 80. 82, 107, 114, 136, 137
8. 9,
5,
16,
31
70
varnish 20, 54, 81, 109. 134. 139
radial-arm 19
20, 22, 23. 24, 26. 29. 33. 34. 39. 43, 52. 56. 65, 75,
8. 18.
11. 114.
leweler's 43, 96
95.
96
scale 17, 18
versal 60
vinyl
129
vulcanite 59
screen
19, 123.
108
printing 99
Walton, F 106
gampi 126
screwdriver 17
graph 19
wash
matsumita 125
scroll
wax 92
papermaking 18. 19. 120-132
papyrus 23. 29. 34, 49, 55, 73. 80.
136
paraffin see
parchment
wax
23, 120
pen
90-93
ballpoint 30, 55
bamboo 30-31,
scroll
sealer 20, 30. 33. 43. 53. 77. 81. 110. 114, 121. 134. 137
81, 82, 83.84,98, 104. 116.
82
95
uncial 60
jig 19.
turpentine 116
paper
Lun 120
hand 136
painting
Toulouse-Lautrec, Henri de 84
T-square
needle-nose
.
oil 38.
97
Ruskin, John 6
nib 30. 34. 55. 56. 58, 59, 60. 61 63. 64. 65. 68, 70, 71 73. 75. 79.
38-54
roman 60
measuring 94-98
miscellaneous 133-139
107-109, 110
lettering
119
wove 123
monoprint 99. 101. 102
mordant 119
mortar
115
Seurat,
Georges 84
29. 30, 34, 36, 37. 44, 50, 52. 53. 54. 59. 61 65.
.
71. 81. 84, 90. 108, 120. 121, 123. 127. 128. 129. 135.
watercolor
8. 30.
shading 30
watermark 129
Wexler. Lee 24
silverpoint
33
139
weight
19. 128,
89. 104
134-135
wheel
buffing see buffing wheel
143
white
Wiener. Norbert 23
wire 19. 49. 50. 80. 101, 108, 109, 123. 129. 133. 139
cutters 17. 32. 75. 105
wood
19.20.22.25.26.28.29-30.38,43.44.52.56.
76. 81. 82. 83. 84, 95. 96. 98, 100. 101. 104. 106. 107. 108. 109.
138
see plywood
soft- 30.
woodblock
82
99, 106. 107,
111-114, 116
worktable 20. 21. 81. 110. 134, 135. 137. 138. 139
Wyss. Urban 61
X-acto knife see knife, X-acto
Yciar.
Juan de 64
144
vs B 3* 9999
No
Library
COPLEY SQUARE
CTMFPATTTRPAPV
indi-
Vance Studley,
in
a designer
Professor of Art
geles.
The
on
his
prints are
in
_. .....
printed
mulberry, bam-
'
Los Angeles
awarded
his master's
'-
"rsity of Califor-
../here he was
(Uu.
de^ ^in 1969. Since that
Cincinnati
Toronto
London
Melbc
Par
fejA&^l
^^^^HH
-.'
<<^t.