• Painting

    About Impasto

    Other types of paint can be used with the impasto technique: you’ll find that acrylics lend themselves quite well to this technique, though not as well as oils. If you want to use watercolours for this technique, you’ll have to add some sort of thickening agent to them to make them suitable for impasto. Most impasto paintings are done with oils – even if you’re painting with oils, you can still add mediums to the paint to make it even thicker. As for brushes, you should use any brush that’s capable of holding a lot of paint. Similarly if you’re using a knife, use one that can easily hold lots of paint.

    The impasto technique is quite easy to master. Simply load your brush or knife with much more paint than you’d normally need and apply it thickly to the canvas. Instead of spreading it out, you want to leave it in a lump of sorts – the whole idea of this technique is to have raised bits of paint. Use palette knives to help fashion the paint into the shape you want. Don’t worry about leaving marks from brushes or knives – again with impasto, you want rough texture and having marks from brushes or knives helps add to the feel of the painting.

    Oils dry very slowly indeed. This can be problematic with impasto because you’ll find that thicker layers of paint can start to crack if they’re left to dry really slowly. The good thing to know is that this can be dealt with very easily. All you have to do is add a medium to the paint. You can get specialised impasto mediums that add to the paint’s thickness and speed up the paint’s drying time without having any negative effects on the paint or the painting.

  • Painting

    Painting by Daylight

    The new enthusiasm for recording ‘impressions’ of a scene and an emphasis on using colour from a scientific perception – as a property of light – combined to enshrine the idea of daylight as best for all painters. I’m one painter firmly in opposition to that idea.

    • In the first place, surely there can be no single ‘Right Way’ of making art. In every time and place art was produced according to one over-arching style, an authoritarian system ruled the society and its artists.

    We see the evidence in the stylistic uniformity of art produced by Stone Age Australians, the art of ancient Egypt and in the prohibitions on depicting human figures in Jewish and Islamic art. In modern times, only ‘Social Realism’ gained official approval in Soviet Russia and Mao’s China and still in North Korea.

    • Other arguments against painting outdoors involve the hazards of unpredictable weather.
    1. Rain. Just a light shower may ruin a watercolour but oil paintings are vulnerable too. Although works in oil on canvas are extremely durable, as evidenced by the 500-year-old paintings in art museums around the world, moisture on a canvas in progress can lead to a condition called ‘bloom.’ This results in a whitish appearance across the work, similar to the ‘bloom’ on the skin of a grape.
    2. Wind. A light breeze will shake a canvas on stretchers, causing a ‘bounce’ that makes precision work harder for the artist. Painting on a rigid panel such as MDF board overcomes this problem but raises a worse one for the future of the painting created on its acidic surface. The watercolour artist isn’t bothered by ruffling of his paper but if the sheet was soaked and stretched in the proper way, drying-out is a worry.
    3. Glare. The intense light from the sky on a sunny day can cause the artist to make errors in judging the colour mixtures she is making on the palette.
    • My most compelling objection is the last: your paintings are never likely to be seen in daylight.When that longed-for day of your first professional exhibition arrives, guess where your art will be shown? Yes, on a wall inside a gallery lit by electricity.

    If you’re lucky, it will be in the form of warm, incandescent spotlights. If not so lucky, the hit may come from halogen bulbs. This light is favoured by jewellers because it enhances the brilliance of diamonds.

    Works on paper will suffer fading over time but for oil-paintings, the halogen is bad news from the start. This is because such light bounces from the surface of the work instead of travelling through the layers of paint to reach the white primer on the canvas and return, revealing the full depth of the work to its viewer.

    • In the worst scenario, galleries will have white neon tubes installed. This form of lighting may well soften the bite of the gallery’s utility bills. It does little to enhance the gallery’s ambience and even less for the art.

    Worse may await your artwork when the buyer takes it home. Many people enjoy putting original art into their homes or boardrooms but few engage the services of a lighting expert or ask advice from the creator of the work. Your painting may be hung above a fireplace, where damage from years of heat and smoke may need restoration the buyer can ill afford.

    • For these reasons, I have four white neon tubes above my easel. It’s the worst choice of light for viewing artwork but if a painting looks good in the studio, it will look good wherever it ends up.

  • Painting

    Face Painting Products

    With so much choice, how do you go about choosing the best and most suitable products? It is important that you do not buy paints that are not suitable for face or body painting. This is due to the fact that they are not suitable to be used on the face, especially a child’s face, so make sure that you buy face paints that are designed especially for the job. Of course, these are likely to cost more, however, given the alternative, which is the possibility of injury being caused by substandard paints; it is well worth shelling out that little bit extra.

    Of course, once you have bought the paints, you will also need to buy other items such as brushes and sponges in order to apply the paint. These will also need to be supplies that are designed especially for the task of face painting, as sponges and brushes can also cause allergic reactions if they have not been designed with that in mind.

    Painting supplies is easy. A quick search of the internet is all you need to do in order to find a plethora of different companies that are in a position to sell you professional ones. Once you have found the best face painting product seller, all you have to do is to order all of the equipment that you will need.

    As you can see, there are a number of things that you will need to consider when the time comes to buy face painting products, such as doing business with a reputable company, and purchasing face paints and accessories that are safe to use.

  • Painting

    Typography Best Practices

    Emojis = Pictures + Character (Jennifer Daniel, Google Emoji)
    Emojis are images that may translate into different meanings across different devices. Jennifer gave an example about how the “dumpling” emoji looks different across different chat platforms -every culture has a dumpling!
    I found an interesting tension in this statement -emojis should have a consistent user experience (across platforms), yet still be personalized to their users.

    Ubiquitous type is can cause user confusion (Mr. Keedy)
    Mr. Keedy created Keedy Sans, a popular font in the 90’s. The font was considered “uncool” 10 years later and used everywhere. Keedy sans is used on teenage girl makeup packaging, as well as winebars. This could create a bad user experience for people because of lack of branding. Last year, Mr. Keedy refreshed his font -to create greater customization and allow Keedy fans to layer the font for interesting visual effects.

    Braille is a form of typography (Ellen Lupton, Cooper Hewitt)
    Ellen talked about how blind individuals read Braille in a unique way -holding it across their body. She also demonstrated a blind person’s experience watching music videos by showing the accessibility voiceover.

    Brand holds content together with design (Gale Bichler, NYTimes)
    Gale foused on how the New York Times(NYT) has branded itself as a publication that experiments with many types of fonts. NYT can play around with different types and massive fonts as illustration. If someone picks up a page from the floor, they can usually tell that it’s from the New York Times because of branding.

    Picking fonts is like eating ice cream. (Veronika Burian and Jose Scaglione, Type Together)
    When combining fonts, look at mechanic and organic feels. Veronika and Jose talked about how people like humanist fonts, with a hint of a calligrapher’s hand. Ideally, you should find a balance typefaces share a common language.

  • Painting

    Use the One Stroke Painting Technique

    As its name suggests, the one stroke painting technique simply means you achieve everything in just one stroke. This includes shading, highlighting and blending – you get all this from a single stroke instead of having to use multiple strokes. All you have to do is load different colours on to a flat brush. It can be used on a variety of different surfaces.

    Both! Even though the one stroke painting technique was developed with beginners in mind, it’s fully accessible to everyone. People who have never painted before find it just as enjoyable as people who’ve been painting for years. One of the reasons why it’s become so popular is because it’s so accessible and easy to learn. It’s attracted lots of new people to painting and it’s intrigued and caught the attention of many professional painters.

    The one stroke painting technique was devised by American author and artist Donna Dewburry. She paints flowers and animals in her demonstrations, but the technique can be used to paint practically anything. Why has this painting technique become so popular? Simply because it allows you to very quickly and easily create very beautiful works of art.

    For one stroke painting you should use paintbrushes developed by Donna because they are best suited for this technique. On her website there are loads of different options to choose from. To load your paintbrush, simply make little puddles of paint on your palette. Dip one corner of your brush into one colour then turn it over and dip the corner into the other colour. Keep stroking the brush back and forth across the paint to fully load it. You can add as many different colours as you want, but for beginners, it’s best to start off with two.

    Brushes are usually flat and have a chiselled edge. To do a typical stroke, simply have the brush standing on the chisel edge then press down while moving the brush and ending up on the chiselled edge. The more pressure you apply, the wider the stroke will be. Move the paintbrush in different to create different effects. A good way to practice different techniques is to paint different flower petals.

    To create a teardrop petal shape, have the paintbrush on the chisel edge then press down so the bristles bend. Then pivot the paintbrush around till you’ve created a teardrop shape and lift the paintbrush up to the chisel. Thin, pointed petals are very easy to do; simply lean down on the chisel and slide the paintbrush up to the tip of the petal and release. Twist the paintbrush to have the petals bend. Petals with jagged edges are done by pushing down on the bristles and slowly wiggling the paintbrush up. When you’re near the tip of the petal, smoothly slide the paintbrush the rest of the way and lift it up to the chisel edge. Then reverse the direction of the bristles and lean down on them. Work your way down to the base of the petal by applying pressure to the paintbrush and slide slowly back to the base.

    The examples given are just a few of the many different things you can do with one stroke painting. Though it’s easy to get started, you need to practice to become really proficient at it and flower petals are good practice for beginners. The more you use this painting method, the more you realise how much potential it has. You can use all sorts of different colours and different types of paintbrushes to create different effects. People even decorate household items using this technique. The possibilities are endless!

  • Painting

    Appreciation to Oil Painting

    All the characters in the painting were arranged in a half round and the center was the painter’s image. The unified hot and stuffy atmosphere broke the too bright colors that appeared in Courbet’s scenery painting. The uniform colors were based on different color brown tones. The massive walls, the rose, blue and brown tone of the infinite soft terms was a masterpiece. The naked human body model was one of Courbet’s most successful human bodies, although she was based on the photos. All the volumes were expressed by the light and shadow. And the pink clothes thrown on the floor was a wonderful still life painting. Portraits of friends were taken from Courbet’s past works. So, what we saw here was a memory and a real fantasy, which did not show the intention of the realism of Courbet.

    Compared this painting with A Burial at Ornans, we can clearly see the benefits that Courbet got out from the reality of bondage and invested himself in this warmth. The characters were portrayed clearly and seemed to be independent, only relying on the strong atmosphere of independence to get the painting of unity. Therefore the comparison of self-contained unity and the elegant feelings were made. The giant painting showed the artist’s ability strong grasp of complex composition and the painter’s realistic modeling and color painting techniques. The image was filled with texture and sense. All this showed that Courbet was a great master of realism. In 1855, Paris hosted the world-famous painting exhibition and the review committee rejected this painting, because this painting possessed a socialist nature. Then the artist decided to rent a house next to the world exhibition to show this painting and entitled it “Realism Exhibition” and published “The Realism Manifesto”. Here was the name of Realism art schools from.

  • Painting

    Prepare Your Palette for Oil Painting

    My preference is for the wood palette. Wood palettes come in a variety of shapes and sizes; the most popular is the oval shape that is designed to fit in the crook of your elbow and is gripped with your thumb through the hole in the palette. The wood palette can be either a small, dinner-plate size or a large platter. As a teacher I recommend that beginners use the smaller size palette.

    Before the palette can be used for painting it needs to be prepared with a sealant. Unsealed palettes will leach the delicate oils from your paint and rob them of their lustre.

    There are three different methods for preparing a palette for painting. One can lightly apply a few coats of shellac letting each coat dry thoroughly before the next. Some artists who have invested in an expensive, counter-weighted palette will painstakingly seal it with a French polish giving it the look of a fine antique. There is, however, a serious drawback to these two preparations: the warm, umber hues of varnish make it difficult to accurately gauge color mixing.

    The better method is this: invest in a litre of linseed oil. It needn’t be artist grade. Raw linseed oil that is available in hardware stores suffices well.

    Pour a couple of tablespoons of linseed oil onto your palette and with a clean cloth rag evenly spread the oil over your palette. Let the oil sink in for about an hour then repeat six to eight times. To keep your palette from warping it is not a bad idea to work both sides evenly.

    The goal is to saturate the wood with oil. Once fully saturated set your palette aside and allow it to air dry for several days. Even after a week, however, your palette will still feel oily. This is a good sign. It means your palette is ready to begin its journey.

    Even though your palette is now fully laden with oil it will still leach the delicate emollients from your paint. But only for a little while.

    At the conclusion of every painting day you should clean your palette. NEVER, EVER use turpentine to mop up your paints. Turpentine is a solvent and it will strip your palette like a thief run amok in a foreclosed housing development.

    Instead scrape your paint off with a painting knife and rub the remainder into your palette with a cloth. In a short time a soft, wax-like surface will develop that will literally love your oil paint. This waxy surface also acquires a neutral gray color that enables you to accurately mix and gauge your color’s hue, tone and temperature.

    Your painting palette is an indispensable tool and like your brushes should be well taken care of.

  • Painting

    Decorative Painting Introduction

    Rather than trying to figure out what the painting looks like, just allow yourself to be taken in by the painting. See what emotions, sensations or memories emerge. Let your eyes relax and travel around the piece without expectation. Examine the colors, forms, materials, surface, and how they interact with each other. Take your time. Let the painting “speak” to you. Notice how the various elements like shape, color and form affect you. An intricately detailed, vibrant painting will affect you differently than a calm, cool Malevich.

    In fact, the type of the decorative and the areas involved are very wide. According to the environment, it can be divided into figure decorative painting, home decorative painting, etc; in terms of the nature, it can be divided into abstract painting, modern painting; from the production material, it can be divided into oil painting, dynamic painting, wooden painting and photography painting; in production method, it can be divided into print decorative painting, mounting decorative painting and hand made decorative painting. In addition, as a crafted art work, decorative painting involves various aspects, such as art, appreciation and craft. Therefore we can say that it is a professional product gathering diversified factors.

    There are a lot of production methods in the painting. The choice of different methods has great difference in the input and buying of equipment as well as the planning of the shop. For instance, the production of print decorative painting only needs to purchase some common devices, like computers, scanners, printers, and inkjet printers. But if you wanted to make your own frame, you should introduce frame materials as well as related production tools (because frame materials are divided into plastic, wood, metal, and glass, so tools are distributed in accordance with the material). If you also prepared to make non-frame painting, flower mud painting, hanging painting, cloth painting and three-dimensional paper sculpture painting to set up a decorative painting production shop, then you must buy more materials and equipment, such as colored mud, photos, special glue, hot melt adhesive film materials as well as cold laminating machine, flat presses, and corner cutting machines.

    In fact, for the ordinary entrepreneurs, the production of decorative painting mainly depends on copy. But for the professional art entrepreneurs, they can try hand drawing. The production is mainly manual, with no restraint on the material, technique and painting method. If a painting is produced to make the most of the material advantages in art performance to form a unique decorative beauty which can be favored and bought by the consumers, then it can be called a decorative painting. Actually, lots of homeowners make their own decoratives by using simple tools like plywood and watercolor to find the relevant pictures from the Internet and then pack it in a fixed frame. Therefore, the decorative industry may be operated in a small scale or in a large realm as a professional business, whose cost can vary from thousands to millions.

  • Painting

    Investment in Paintings

    One of the biggest advantages of investing in this art form is that it is much cheaper than investing in old paintings where the artist has passed away hundreds of years ago. A person who does not have much knowledge of paintings will normally skip this section of an art museum because they are seen as ‘cheap paintings’.

    However, there is a goldmine in investing in contemporary art because of their low profile. Since the purchasing price is relatively low, the chances of appreciation in value after the painter becomes well known can be considerable.

    The best strategy for investing in contemporary art is to purchase an artist’s work that is early in his career before he is famous. This is easier said than done. Unless you have inside information about the painter’s career it is a game of luck.

    To increase your chances of success, it is best to buy contemporary art pieces when the economy is poor and prices are down. When you see a painting that you like, do some research on the artist’s background such as his past paintings, any press about him and his length of time spent in the art world.

    It takes many years for an artist to make a mark in the industry. This means getting noticed by their peers, being covered by the press and appearing in major exhibitions. If you have deep pockets for investment, you can purchase the paintings after they are famous and sell them several years later. Unless the economy is depressed, paintings will normally increase in value with age.

    Andy Warhol is an example of the extraordinary gains that is possible with contemporary art. In 2009, one of his paintings, Eight Elvises, was sold for US$100million. Considering that Andy Warhol passed away in 1987, the amount is nothing short of extraordinary.

    The price of the art form fluctuates with the state of the economy. In 2007, the global financial crisis pushed the prices of artwork down. If one had money at that time and investors were willing to sell, it was a excellent opportunity to buy.

    In 2010, Sotheby (one of the biggest artwork auctions in the world), reported that paintings started to recover as people with wealth got back into the market. The speed at which this industry recovers is much faster than the global economy. So investing in contemporary art could be seen as a better alternative than stocks and bonds.

    This type of investment is called the passion market and contemporary art is a very popular section. Prices go up faster than the economy in a booming market and drop faster than the economy in a slump.

  • Painting

    Paint Tube Is Important

    Plein air painting

    The invention of the paint tube made it a lot easier for artists to venture outdoors to work. Plein air painting, the practise of going outdoors to paint the world as you see it, took off in popularity because of the paint tube. Artists did go outside to work before the paint tube was invented, though plein air painting became a lot more accessible thanks to the paint tube, which was a much better and more convenient option than pig bladders which could very easily burst open.

    Impressionism

    Impressionism is an art movement that started in the 19th century. It originated in Paris in the late 19th century, around the same time that plein air was gaining popularity. Impressionism is characterised by thin brushstrokes that were applied rapidly; the subject matter is scenes from typical urban and suburban life. Movement of some sort very often featured. Light and the different effects it had throughout the day was also a key component of Impressionist paintings. Impressionism grew to become one of the major art movements and has had a vast influence on modern art. Pierre-Auguste Renoir, a leading French Impressionist painter said, ‘without tubes of paint, there would have been no Impressionism’.

    Colours

    One of the best things about the invention of the paint tube is that it paved the way for lots more colours to be used. Paints, especially oil paints, took a long time to produce, so it was common practice for artists to only produce a few colours to work with. Artists who painted outdoors would only be able to take a few colours with them and would usually work on one area of a painting per session. With paint tubes and the invention of loads more pigments, artists could take all the colours they wanted with them when they painted outdoors. They could also complete each painting in a single sitting because they had all the paint they needed right there with them.