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Thr Ilf raid And The Lantern

Thursday, July 19.1979

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Cape Episcopal Bazaar CAPE MAY-The 113th Annual Bataar and Food Sale, sponsored by the Episcopal Church Women of the Church of the Advent, will be held on Thursday, August 1. from 10 a m. until 2 p m in the Parish Hall. Franklin and Washington Streets, Cape May There will be new handcrafted articles, games for children, hot dogs, cold drinks, books, magazines, a white elephant table and an extra special beautiful gift table. GOP SOCIAL VILLAS - The Villas Women's Regular Republican Club will hold a social at the clubhouse, Bayshore and Weber Aves . Wednesday, July 25 at 8p.m.

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Cheryl Crews An artist may work in one medium or explore a wide range of materials. I happen to be of the latter bent. enjoying the manipulation of marking tools ranging from silver point to crayola. Each can be appreciated for its unique quality and service. A magic marker, for example, produces a clear juicy line, but like all magic, its spell is fugitive, and its color fades at a remarkable rapidity. There fore, I would not choose marker for "serious” work that is to be viewed for years to come, but rather reserve it for notations and underlining books. On the other hand, to an artist who is doing a piece fof reproducion, markers may be the chief working tool, for their brightness and clarity need last only until the camera has shot its image. Among the most durable coloring materials are pastels, which are composed of fine pipe-clay, gun-water, and the required pigment. If I were to select pastel over mfcgic marker, I would also be choosing a dry material that has none of the transparency of a wet one. I might be challenged to produce the effect of transparency with an opaque material, and so have a direction for working. Pastels may be applied to any porous surface, from sidewalk to velvet. My present preference is greytone rag paper. Rag paper is made with fibers rather than pulp and not only weathers time well, but also has a joyful working surface. Most domestic papers on the market that I know are rather boring, and my favorite are French. The paper can be

as much of the drawing as the marks, Michaelangelo’s drawings might not have come off so well on American Bond. The paper surface provides a resistance to the stroke and its texture is revealed in every mark. Some charcoal and pastel papers have a kind of grid processed in them which is evident to the touch or eye. (hold the paper up to the light to see this and the company’s watermark.) If this grid is not complimentary to the drawing, the work will suffer. A grey tone to the paper provides a neutral background for the applied color. I seldom use pastels on white paper without toning the areas first, as any white showing through tends to weaken the colors. (Contrast this with watercolors which thrive on lots of white space.) Pastels can be applied with linear drawing strokes or flat painting strokes, or a combination of the two. Using a drawing tool flat on its side is an expanding experience: a particular shape can be made with a single stroke when one can

control the size and shape of the pastel and also descipline one’s movements. Among my most gleeful memories of teaching elementary Art is that of braking the firstgraders’ crayons so they might try somehing other than outlining and coloring in. As with any discipline, one must practice in order to develop, and the subtleties of pastels come with effort. At first they may seem messy and easily smeared since blending is done on the working surface and not on a palette. Usually they are applied too thinly and over rubbed with tissues. May I suggest: no tissues; try building up the strokes, lightly at first, then with more and more pressure working the colors into each other, allowing underneath tone to show through. » Once a pastel drawing is complete, it must be handled with care, as jarring and smudging will disturb the surface. It can be sprayed with varnish, though this will darken the colors, and harden them.

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