American Artist Artist magazine of largest circulation. Artist profiles/interviews include multiple photos and reproductions over multiple pages, PLUS: Illustrations, technical features, columns, vintage ads and MORE --Exclusive MORE MAGAZINES detailed content description, below! Issue Date: JUNE 1974; VOLUME 38, ISSUE 383 IN THIS ISSUE:- This description copyright Edward D Peyton. Any un-authorized use of this description is strictly prohibited. FRONT COVER: Sagg Autumn, by Robert Dash, acrylic on canvas, 42 x 30. Courtesy FAR Gallery, New York. WHY USE PLASTICS? by Norry M. Hastings. Most artists use the acrylic type of plastics, but this leading authority shows how many other forms may be used by artists, defines their basic properties and uses, and stipulates certain safety measures. ANNE TABACHNICK: LYRICAL EXPRESSIONISM IN ACRYLICS by Diane Cochrane. Tabach nick wants transparency from her acrylics. She applies her colors over a white ground and glazes thinly, layer over layer. She scrubs her surfaces so that she obtains a rubbed look, taking full advantage of the quick-drying qualities of her medium. THE WATERCOLOR PAGE: JOHN PELLEW. Although he paints in all media, Pellew has a particular affection for acrylics. He describes how he handles his medium to achieve sprightly and colorful landscapes. WET-IN-WET TECHNIQUES WITH ACRYLICS by Wendon Blake. Blake demonstrates how to control surface wetness, paint consistency, drying, and how to wipe, lift, scrape, and correct acrylics used in a wet-in- wet technique. ACRYLICS AND COLLAGE by Lawrence Jensen. Because acrylics have great adhesive strength, they are ideally suited to collage. Here is a demonstration of possible methods the artist may use in combining acrylics with collage. CASTING A PENDANT IN PLASTIC by Harry Hollander. The new plastic materials have made it possible for craftsmen to obtain unusual effects. Here is a demonstration using clear polyester resin and molds for making jewelry. ROBERT DASH: SPONTANEITY IN ACRYLICS by Doreen Mangan. Dash is attracted to acrylic for its immediate responsiveness: he can ap- ply it in thick, opaque layers and it dries rapidly, features that appeal to an impatient artist striving for spontaneous effects. PROFESSIONAL PAGE by Betty Chamberlain. TECHNICAL PAGE by Ralph Mayer. FOOTNOTES. LETTERS TO THE EDITOR. BULLETIN BOARD. ART BOOKS. ART MART. EDITORIAL. This description copyright Edward D Peyton. Any un-authorized use of this description is strictly prohibited. Magazine is COMPLETE and in VERY GOOD +++ condition. (See photo)