The history, use and characteristics of wax-based drawing media

Ellis, Margaret Holben; Yeh, M. Brigitte

doi:10.1080/03094227.1998.9638608

Cited by 7 publications

(3 citation statements)

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“…Influenced by British and American art education, the Japanese educational system during the Taisho period the Jiyu-ga movement theorizing that free form drawing increases creativity (as opposed to teaching art through copying, which was the norm at the time) ( Okazaki, 1984 ). In 1924 by teachers Rinzo Satake and Shuku Sasaki with the consult of Kanae Yamamoto, the artist who formed the Jiyu-ga movement, sought to create a new and local art material to increase self-expression in students ( Ellis and Yeh, 1998 ). Yamamoto recommended that the new art material have vivid colors and a soft texture to enhance creativity ( Sakura Color Products of America, 2018 ).…”

Section: Discussionmentioning

confidence: 99%

Emotional Response and Changes in Heart Rate Variability Following Art-Making With Three Different Art Materials

2018

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Art therapy encourages the use of art materials to express feelings and thoughts in a supportive environment. Art materials differ in fluidity and are postulated to thus differentially enhance emotional response (the more fluid the material the more emotion elicited). Yet, to the best of our knowledge, this assumption has not been empirically tested. The current study aimed to examine the emotional and physiological responses to art-making with different art materials. We were particularly interested in vagal activity, indexed by heart rate variability (HRV), because of its association with numerous health related outcomes. In this study, 50 adults (mean age 33 ± 10.27 years, 52% males) participated in a repeated measures experiment, in which they were requested to draw with three art materials (order randomized) differing in their level of fluidity (pencil, oil-pastels, and gouache paint) intermittent with periods of music. We measured the emotional response to art-making with each material using a self-report measure and matrices of HRV using a wearable electrocardiogram device. We calculated two indices of HRV, one indicative of parasympathetic nervous system (PNS) activity, and one indicative of sympathetic nervous system (SNS) activity. Art-making with gouache paint and oil-pastels resulted in improved positive mood, while pencil did not. Art-making explained approximately 35% of the variability in parasympathetic reactivity, which may indicate changes in emotional regulation processes during the art-making task. Yet, fluidity was not sufficient to explain the reaction to art-making. Surprisingly, the largest suppression of PNS and augmentation of the SNS occurred during art-making with oil-pastels and not with Gouache. Moreover, PNS and SNS reactivity to oil-pastels were related to emotional valance, which may point to emotional engagement. We can conclude that art-making with oil-pastels, first created in Japan in 1924 to increase self-expression of students, results in a unique emotional and physiological responses. These findings might be explained by the enhanced tactile experience of art-making with oil-pastels along with their relative fluidity, triggering an arousal pattern. Further studies that take the format and presentation of the materials as well as the content of the artwork, into account, are needed.

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Section: Discussionmentioning

confidence: 99%

Emotional Response and Changes in Heart Rate Variability Following Art-Making With Three Different Art Materials

2018

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“…Whether soft, or semi-hard, and with rough chalk like or smooth oil or wax like surfaces, the pastel crayons were marketed to be used for sketching in or for providing precision details which would have been ideal for different kinds of supports. The early commercial formulations of pastel crayons still remain undisclosed 3 , 4 , and actually merit in depth analyses to elucidate the constituent materials which conferred them their specific physicochemical properties. In general, the chemical composition of pastel crayons has been considerably less studied than other artists’ materials, and very few published technical studies are available on the analysis of artworks containing them 3 , 5 – 8 .…”

Section: Introductionmentioning

confidence: 99%

An integrated analytical study of crayons from the original art materials collection of the MUNCH museum in Oslo

Nasa

Rosi²,

Braccini

et al. 2021

Sci Rep

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Among the artists’ materials of the nineteenth century, pastel crayons merit scientific interest since their early commercial formulations are mostly unknown and, until now, have been considerably less studied with respect to other contemporary painting materials. In this framework, research herein reports the results of a comprehensive multi-analytical study of 44 pastel crayons of two recognized brands (LeFranc and Dr. F. Schoenfeld) from the Munch museum collection of original materials belonging to Edvard Munch. The integrated use of complementary spectroscopic and hyphenated mass-spectrometry techniques allowed the compositional profiles of the crayons to be traced providing the identification of the inorganic and organic pigments, the fillers/extenders and the binders. All crayons resulted to be oil- based and the binder was identified to be a mixture of a drying oil (safflower or linseed oil), palm oil or Japan wax and beeswax. Among others, pigments such as ultramarine, chrome yellows, Prussian blue, manganese violet, viridian and madder lake have been identified. A significant alignment in formulations of the brands was observed with the only exception of the greens which showed distinctive pigment and filler compositions. The analytical information provided for these commercial artists’ materials will be of great interest for academia, museum and other institutions hosting art collections dating from the same period and it will be used by the Munch museum to draw proper conservation strategies of its own artwork collections.

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“…La conexión se dio fácilmente, ya que durante mis años de formación como ilustrador una de las primeras técnicas de ilustración que trabajé fueron los lápices de colores. Intrigado por su origen, encontré que esa caja tan inocente de colores Prismacolor en Latinoamérica, con una fábrica de producción importante en Colombia ("Prismacolor a Venezuela" 1996), no era otra cosa que la versión traducida del Flesh Tint, o "color carne" , de (Ellis y Yeh 1998), una caja de barras de cera de colores lanzada en la feria mundial de Chicago en 1895 cuando Estados Unidos atraviesa la etapa de segregación y leyes Jim Crow. El "color carne" o "Color Piel" se crea en el momento en el que en este país por ley constitucional se definen las personas "separadas pero iguales" (Dodson y Diouf 2004).…”

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Color Piel: un proyecto de autorreconocimiento en diálogo con la imagen ilustrada

Borja

2024

Cuad. Músic. Artes Vis. Artes Escén.

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Este es un artículo reflexivo que hace un recorrido por los más de ocho años en los que el proyecto Color Piel ha circulado. Este recopila algunas de las experiencias e itinerancias del proyecto, desde su concepción pasando por cómo muchas personas le han dado vida. El proyecto nace como una reacción al oficio de ilustrador que desempeñé por varios años, cuestiona, entre otras, las representaciones ilustradas de cuerpos racializados en medios impresos, pero con el tiempo se extendió a incluir otro tipo de narrativas.

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The history, use and characteristics of wax-based drawing media

Cited by 7 publications

References 1 publication

Emotional Response and Changes in Heart Rate Variability Following Art-Making With Three Different Art Materials

Emotional Response and Changes in Heart Rate Variability Following Art-Making With Three Different Art Materials

An integrated analytical study of crayons from the original art materials collection of the MUNCH museum in Oslo

Color Piel: un proyecto de autorreconocimiento en diálogo con la imagen ilustrada

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