tag:blogger.com,1999:blog-49464902036796904402024-03-02T09:28:25.736-08:00Oil Painting MedicPractical Advice on common Problems Associated with Oil PaintingUnknownnoreply@blogger.comBlogger154125tag:blogger.com,1999:blog-4946490203679690440.post-578520861290559512023-12-02T08:35:00.000-08:002023-12-04T06:22:29.629-08:00The Shores of Infant Sea: Art exhibition at Nuneaton Art Gallery <p> </p><p class="MsoNormal" style="margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman";">An art exhibition for toddlers and young children runs from 17 November
2023 to 18 March 2024.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYbXEdJDcrk40dDnzSjVNzAXKIUU93nAHlYVT-WiKuAoipxuwYFCKIBx9Gr5RpmNGFkajAvPqEKmd8VQPIj8k0dYIRFEGCIY1EtqSun2RX1rFZrPUrzlTqwrf0pjq1sHYMU4rLOQoeXKgmuBZ9N_a_6iBA1gUWuJ4WlxkJ3ixIi_kxqTBZddUIlbEs9hQ8/s1454/TheShoresofInfantSeaAtNuneatonArtGallery.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1454" data-original-width="1442" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYbXEdJDcrk40dDnzSjVNzAXKIUU93nAHlYVT-WiKuAoipxuwYFCKIBx9Gr5RpmNGFkajAvPqEKmd8VQPIj8k0dYIRFEGCIY1EtqSun2RX1rFZrPUrzlTqwrf0pjq1sHYMU4rLOQoeXKgmuBZ9N_a_6iBA1gUWuJ4WlxkJ3ixIi_kxqTBZddUIlbEs9hQ8/s320/TheShoresofInfantSeaAtNuneatonArtGallery.jpg" width="317" /></a></div><br /><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman";">This exhibition shows
oil paintings from Rachel Shirley’s children’s books:<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Katie’s
Magic Teapot and the Cosmic Pandas</span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><i><span lang="EN-US" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Katie
and the Pandas’ Deep Sea Voyage</span></i><span lang="EN-US" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman";">And <i>Ben’s Little
Big Adventure</i>.</span></p><p class="MsoNormal" style="margin-bottom: 0cm;"><span lang="EN-US" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-US; mso-bidi-font-weight: bold; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB0z3vJUnIYRDw__-yTsuf8KioUGDAksQO8HKOzTB85SzeCBzw3ztstlloePiDChyphenhyphenw06AY8nEqDC2Y8QdJJ0K1XttR7TCunZe5pazAahnjQ9TGXPFNZsx0bgvFtepHIu5eBl-74q8FAie0v1U3IsKuYK3ESrgKsYO9RpH5oOB1R6asadn5uEluo7PysJPo/s1000/KatieExploresTheCosmosinHerTeapot.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="652" data-original-width="1000" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB0z3vJUnIYRDw__-yTsuf8KioUGDAksQO8HKOzTB85SzeCBzw3ztstlloePiDChyphenhyphenw06AY8nEqDC2Y8QdJJ0K1XttR7TCunZe5pazAahnjQ9TGXPFNZsx0bgvFtepHIu5eBl-74q8FAie0v1U3IsKuYK3ESrgKsYO9RpH5oOB1R6asadn5uEluo7PysJPo/s320/KatieExploresTheCosmosinHerTeapot.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: "Times New Roman",serif; mso-ansi-language: EN-US; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman";">Art Exhibition for Toddlers<o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-font-kerning: 1.0pt; mso-ligatures: standardcontextual;">The exhibition
consists of oil paintings from my three children’s books.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">The aim of this exhibition
is to introduce children from toddler age to art galleries. The paintings show
a child of three learning about the world from her flying teapot.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%;">Another book describes a
little boy’s quest for a midnight snack.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-font-kerning: 1.0pt; mso-ligatures: standardcontextual;">The aim of this
exhibition is to bring young children to exhibitions.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-font-kerning: 1.0pt; mso-ligatures: standardcontextual;">Without realising,
clues to my own toddlerhood have eked into these paintings.<o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghA4j1crb6tafYGEv0E7oh2HJ0C31PyzZRuHYMTEmxGQ5trFQADuLXwK4p-7CHrE24CwuQ0Kd-UW8iTxzfewTtT-CnjrNYizdFVV-munYeUTMrAJHt7EGe7Fgtk_YDfBkbXOLNejoiYdDQTXBlUbbTDYsyiTNyZ0aF2LWQc829dMcVDlVJx3xsc6hINPc-/s1100/BensLittleBigAdventure.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="1100" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghA4j1crb6tafYGEv0E7oh2HJ0C31PyzZRuHYMTEmxGQ5trFQADuLXwK4p-7CHrE24CwuQ0Kd-UW8iTxzfewTtT-CnjrNYizdFVV-munYeUTMrAJHt7EGe7Fgtk_YDfBkbXOLNejoiYdDQTXBlUbbTDYsyiTNyZ0aF2LWQc829dMcVDlVJx3xsc6hINPc-/s320/BensLittleBigAdventure.jpg" width="320" /></a></div><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-font-kerning: 1.0pt; mso-ligatures: standardcontextual;"><br /></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-font-kerning: 1.0pt; mso-ligatures: standardcontextual;">Andy Pandy and Teddy
of My Toddlerhood<o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-font-kerning: 1.0pt; mso-ligatures: standardcontextual;">The ‘panda’ come from <i>Andy
Pandy</i>, a BBC children’s programme I would have watched in toddlerhood. This
is due to the sound-echo. A teddy bear, and ragdoll (like Ted and Looby Loo)
also appear.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-font-kerning: 1.0pt; mso-ligatures: standardcontextual;">The space aspect comes
from the Moon Landings in July 1969. A lot of space exploration was on TV in my
toddlerhood.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-font-kerning: 1.0pt; mso-ligatures: standardcontextual;">Waking up to the world
is like coming to sand from the sea. This is where the oceans come.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-font-kerning: 1.0pt; mso-ligatures: standardcontextual;">The teapot symbolises
home and family. People often gather around a teapot. Here, it becomes a vessel
in which to explore.</span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgztpy1_VJrrshiWGe2G0A8CjLuuELwaZ0cnqDrFZi5nrnmVLuxyCFsYyuJu7Iv80bDzI7D8MXvYtSeU1hQzdYjHxvJ3HRBdW8EucQ9pRxdn3LrQhTMqfEKj9kzeNEcFAsUwYPBHOGg0jOH4H_KwZ0Rea2ELkeEdG9plhLzJoVg892bzR8nnX7rDrJSMnHk/s1400/KatieUnderTheOceanInHerTeapot.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="627" data-original-width="1400" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgztpy1_VJrrshiWGe2G0A8CjLuuELwaZ0cnqDrFZi5nrnmVLuxyCFsYyuJu7Iv80bDzI7D8MXvYtSeU1hQzdYjHxvJ3HRBdW8EucQ9pRxdn3LrQhTMqfEKj9kzeNEcFAsUwYPBHOGg0jOH4H_KwZ0Rea2ELkeEdG9plhLzJoVg892bzR8nnX7rDrJSMnHk/s320/KatieUnderTheOceanInHerTeapot.jpg" width="320" /></a></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><b><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 17.12px;">Opening Time Winter hours<o:p></o:p></span></b></p><p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 17.12px;">Thursday 11am-3.45pm</span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-indent: 5.65pt;">Friday: 11am-3.45pm</span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"></p><p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 17.12px;">Saturday: 10.30am-4pm</span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-font-kerning: 1.0pt; mso-ligatures: standardcontextual;">Raising Money for
Barnardo’s<o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-font-kerning: 1.0pt; mso-ligatures: standardcontextual;">I aim to exhibit these
paintings before selling them at an auction or finding them a home where they
can brighten up a public space. All moneys will go to Barnardo’s.</span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPepZHf05Qo85Qjw1ihSLqBoqBS-p7u0vMR5oDAdCyVlIUhzJygBjISInCXpF743u7RtN8lTDoB0deExzVE4laZ4z-cTvYtMs3zmcT25_L9t9itxgiasUOg1LDe6nC3g2MtWPYYhipkHxADaf16BKVcSpVqkIHi04-YJ-Ujkgfg356M4DTnQRolnTBRFwp/s964/TheShoresOfInfantSeabyRachelShirley.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="964" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPepZHf05Qo85Qjw1ihSLqBoqBS-p7u0vMR5oDAdCyVlIUhzJygBjISInCXpF743u7RtN8lTDoB0deExzVE4laZ4z-cTvYtMs3zmcT25_L9t9itxgiasUOg1LDe6nC3g2MtWPYYhipkHxADaf16BKVcSpVqkIHi04-YJ-Ujkgfg356M4DTnQRolnTBRFwp/s320/TheShoresOfInfantSeabyRachelShirley.jpg" width="320" /></a></div><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"><span style="font-family: "Times New Roman",serif; font-size: 11.5pt; line-height: 107%; mso-fareast-font-family: Calibri;">I am now using my art to raise money for
Barnardo’s.</span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 5.65pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqbimtY5cBgnUOd2-zCsuxAMDwCRbeDVRvl097b4-doJ_G0al3RV62J7g2sd9uCwMu8M8PkrDlCV6u14jI1qsWYoBLkI8wPtCSVm_t2vxpg25xhJ897asp_aL5OrIVi94Ao4DQ-3WzLmkp-9LAYrwDXEpFUA-7uKcJfmgt_bSk62dNA22E_SzLlNpPvTy8/s883/TwoCoversResized.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="516" data-original-width="883" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqbimtY5cBgnUOd2-zCsuxAMDwCRbeDVRvl097b4-doJ_G0al3RV62J7g2sd9uCwMu8M8PkrDlCV6u14jI1qsWYoBLkI8wPtCSVm_t2vxpg25xhJ897asp_aL5OrIVi94Ao4DQ-3WzLmkp-9LAYrwDXEpFUA-7uKcJfmgt_bSk62dNA22E_SzLlNpPvTy8/s320/TwoCoversResized.jpg" width="320" /></a></div><span style="font-family: "Times New Roman",serif; font-size: 11.5pt; line-height: 107%; mso-fareast-font-family: Calibri;"><br /></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-line-height-alt: 1.0pt; text-indent: 8.5pt;"><b><u><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: Calibri;">Link to Rachel Shirley Books Online <o:p></o:p></span></u></b></p>
<p class="MsoNormal" style="background: white; margin-bottom: 0cm; mso-line-height-alt: 1.0pt; text-indent: 8.5pt;"><span style="color: #222222; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><a href="https://www.amazon.co.uk/dp/B007YWD0DQ">Katie’s Magic Teapot Omnibus Edition</a></span><span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;"><o:p></o:p></span></p>
<p class="MsoNormal" style="background: white; margin-bottom: 0cm; mso-line-height-alt: 1.0pt; text-indent: 8.5pt;"><span style="text-indent: 8.5pt;"><span style="color: #222222; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><a href="https://www.amazon.co.uk/dp/B004T4LLC4">Ben’s Little Big Adventure</a></span></span></p>
<p class="MsoNormal" style="background: white; margin-bottom: 0cm; mso-line-height-alt: 1.0pt; text-indent: 8.5pt;"><span style="background-color: transparent; text-indent: 8.5pt;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: Calibri;"><a href="https://www.amazon.co.uk/Rachel-Shirley/e/B001K84FTS/ref=dp_byline_cont_ebooks_1">My Author Page on Amazon</a></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-line-height-alt: 1.0pt; text-indent: 8.5pt;"><span style="text-indent: 8.5pt;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: Calibri;"><a href="https://www.youtube.com/user/rashhajo">My YouTube Channel</a></span></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-56907854404527880352022-02-15T04:08:00.003-08:002022-02-15T10:25:44.267-08:00How to I Treat Craquelure in my Oil Painting?<p> Craquelure are fine hairline cracks that appear in an old oil painting. Some art restorers may not decide to treat it, for is the normal process of ageing and adds charm to the appearance of the artwork.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi07KZqzU_-__kT0Pu0eC_1WSTeI6c2fII41sZ44y82CQHDtI0r1feNE3xkjOimABP3rkthqLuRbZZ37JTUxNB97mimNkPyQqHtMyyEptb7OYJUSBcIEtpk3XW3KLyWzP016Zi1Z67ta3hVDKpVYV9oaBmhInhyb-L3r4fVuRFhtgqcdnbHOVUSi5--BA=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1210" data-original-width="1800" height="215" src="https://blogger.googleusercontent.com/img/a/AVvXsEi07KZqzU_-__kT0Pu0eC_1WSTeI6c2fII41sZ44y82CQHDtI0r1feNE3xkjOimABP3rkthqLuRbZZ37JTUxNB97mimNkPyQqHtMyyEptb7OYJUSBcIEtpk3XW3KLyWzP016Zi1Z67ta3hVDKpVYV9oaBmhInhyb-L3r4fVuRFhtgqcdnbHOVUSi5--BA=s320" width="320" /></a></div><p></p><p>This old oil landscape painting shows cracks in the paint layer called craquelure. This is caused by the aging process of the oil paint that has dried out over time. The proper preparation of gesso will minimize the appearance of these cracks.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhUJkeqKmqrpGB_FwMaT-UuQJJX_8ZsVTWJxbJl8hhZwsHfrPK8IIMBspkQ3-NzBpvcVWaPF3kcEiYHRyJVO6sO2XEX_av0iE5W-I60r3gXOuS4uO0qVnC0htNsxeKivFXEv9FGwyrX4rh-s6AQmDgoWFdIbP3t8YSuHQZ5rOL4q14bwPwLosdakuV65Q=s1158" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="714" data-original-width="1158" height="197" src="https://blogger.googleusercontent.com/img/a/AVvXsEhUJkeqKmqrpGB_FwMaT-UuQJJX_8ZsVTWJxbJl8hhZwsHfrPK8IIMBspkQ3-NzBpvcVWaPF3kcEiYHRyJVO6sO2XEX_av0iE5W-I60r3gXOuS4uO0qVnC0htNsxeKivFXEv9FGwyrX4rh-s6AQmDgoWFdIbP3t8YSuHQZ5rOL4q14bwPwLosdakuV65Q=s320" width="320" /></a></div><p></p><p style="text-align: center;">A close up of this painting showing craquelure.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg9dAIf0x8y8LyH7R-OXn1JfQd_V7xIWDfkSvRjT_XkVbLP0vokdG39EjOe3bgA_E41NmPm1DMEgEE0faw77KN0-sjj6G7Na3a4gXTDWheUvrSLNC8gPGjGWKGX8ds4UAYtpjmoa4gcM-g49XgNiMx8Wwt61ppNPSyu1roDFrojgMWWwSw6LlqOaXGMIg=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1800" height="137" src="https://blogger.googleusercontent.com/img/a/AVvXsEg9dAIf0x8y8LyH7R-OXn1JfQd_V7xIWDfkSvRjT_XkVbLP0vokdG39EjOe3bgA_E41NmPm1DMEgEE0faw77KN0-sjj6G7Na3a4gXTDWheUvrSLNC8gPGjGWKGX8ds4UAYtpjmoa4gcM-g49XgNiMx8Wwt61ppNPSyu1roDFrojgMWWwSw6LlqOaXGMIg=s320" width="320" /></a></div><p>Image right shows distortion in the canvas due to botched restoration. Masking tape had been stuck onto the back of the canvas to hide a hole. Sadly, the resultant stresses in the canvas have exacerbated the cracks.</p><p>Any restoration work would now require extra care.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEirzVPKJeKRLLfEa_4GFmZy3Zk229pdqM1FJ3Y4GD8fr76dase87QMx1nuDsd8ZYfC5ClkU1Z6Yh9iMNlhWkwhoYZYvXWIFn_zNHcYPlh93x17R5RkeVt-GE64iwHPaJtpi2wsMqaKJttVBnoKU5tFyWHXtwa5CfmlTaDiVUpg05wMyvVKyALmAzTE6Yg=s1792" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1384" data-original-width="1792" height="247" src="https://blogger.googleusercontent.com/img/a/AVvXsEirzVPKJeKRLLfEa_4GFmZy3Zk229pdqM1FJ3Y4GD8fr76dase87QMx1nuDsd8ZYfC5ClkU1Z6Yh9iMNlhWkwhoYZYvXWIFn_zNHcYPlh93x17R5RkeVt-GE64iwHPaJtpi2wsMqaKJttVBnoKU5tFyWHXtwa5CfmlTaDiVUpg05wMyvVKyALmAzTE6Yg=s320" width="320" /></a></div><p></p><p>The image shows the painting after I had removed the offending masking tape and repaired the holes in the canvas. I had also tensioned the resultant flabbiness in the canvas by adjusting canvas keys in the back of the painting. My other article explains how I had <a href="https://rachel-shirley.blogspot.com/2022/02/repair-hole-in-damaged-oil-painting.html">restored the surface of this painting</a>.</p><p>This article is about how I patched up an area of craquelure.</p><p style="text-align: center;"><b>Cracks in the Oil Paint</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg3WhXnZGvVVL8Dv2zONwKGkqUSdyHqPDgvDPPeWWNNVYuqwu6E1-MOH1R7M1p1H9myX76Q01oHQItnf0UnBAWsQGRKkLV31ouWx7zwy0MnYin8CjDHY4wZJkI6LHPlDYZOXMZunReYyd7XDtfej95ko8JrJifMxYO3NudsCTjPAZlzcSaQDwJWtLZMbA=s3048" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="3048" height="215" src="https://blogger.googleusercontent.com/img/a/AVvXsEg3WhXnZGvVVL8Dv2zONwKGkqUSdyHqPDgvDPPeWWNNVYuqwu6E1-MOH1R7M1p1H9myX76Q01oHQItnf0UnBAWsQGRKkLV31ouWx7zwy0MnYin8CjDHY4wZJkI6LHPlDYZOXMZunReYyd7XDtfej95ko8JrJifMxYO3NudsCTjPAZlzcSaQDwJWtLZMbA=s320" width="320" /></a></div><p>The images show the oil paint flaking off after I had removed the sticking tape from the back of the canvas and repaired the holes.</p><p>My aim isn’t to hide all the cracks in the oil painting, but to restore only this particular area. As can be seen, bare canvas is exposed. This painting hadn’t been prepared properly and the oil paint has dried out over time.</p><p>Fortunately, the neighbouring oil paint remained sound and I could work into the area concerned. But any loose paint should be removed. The bare canvas beneath can be prepared with gesso primer before restoration.</p><p>Any large pieces of flaked-off oil paint can be glued back on with impasto medium if possible, but this could be a lengthy process.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEijjKbmXyHn6JsaCha1mj7RFG9hSw-6MYDBieZrVmls4ecbGIc0fgGgVh_t6JoizfP-Dq2gPqp-z0Xa3BxVkfh0BztwLKmG65xvfwLdss1UqZZPHfq4dR6HcAkgjKlBF-pCSghiN_19RCZDlcRYgMGoCnJlLFJC26Fc45f6glisHVcgIaeTPeVKwa9lyg=s1764" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="880" data-original-width="1764" height="160" src="https://blogger.googleusercontent.com/img/a/AVvXsEijjKbmXyHn6JsaCha1mj7RFG9hSw-6MYDBieZrVmls4ecbGIc0fgGgVh_t6JoizfP-Dq2gPqp-z0Xa3BxVkfh0BztwLKmG65xvfwLdss1UqZZPHfq4dR6HcAkgjKlBF-pCSghiN_19RCZDlcRYgMGoCnJlLFJC26Fc45f6glisHVcgIaeTPeVKwa9lyg=s320" width="320" /></a></div><p></p><p style="text-align: center;">The bare canvas showing beneath the paint. Image right: applying gesso.</p><p>First, I applied a little acrylic gesso primer onto the bare canvas. A fine sable is needed for careful application. The gesso provides a stable surface onto which to apply the oil paint on top.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgBm3RlubvCQKv-gjvSYdfiltgX109XhGxkQbFDVH1Q_-bgfo-oQviVnulfi0X2JSW_HsTM1L2--gi6TSnrCYQhp6dVUOBjivxcLD9khFjkIaD1PLnLeU9Pp-KfF5W2TpepKgH2kh948FJF6PEIvQc7_amYSYMeFH4CTcRVfG3_-AiDxhBE7EpNjOx8dg=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1284" data-original-width="1800" height="228" src="https://blogger.googleusercontent.com/img/a/AVvXsEgBm3RlubvCQKv-gjvSYdfiltgX109XhGxkQbFDVH1Q_-bgfo-oQviVnulfi0X2JSW_HsTM1L2--gi6TSnrCYQhp6dVUOBjivxcLD9khFjkIaD1PLnLeU9Pp-KfF5W2TpepKgH2kh948FJF6PEIvQc7_amYSYMeFH4CTcRVfG3_-AiDxhBE7EpNjOx8dg=s320" width="320" /></a></div><p></p><p style="text-align: center;">The oil painting prepared for restoration.</p><p>All the areas of bare canvas have been touched up with the acrylic gesso primer. I can now apply the oil paint onto the areas where the oil paint had flaked off.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEigvb5Ob3cGrHbI-bHCquKxIIyV8NXotXmMoR9Gx0Kz-yTfxKjZSL_aL8gMcjCg2Nc187caFgGQFZLT8AO42vqiuRCzVeoFJ-1nijav9LAD8Xpyjy2C-0NnOehbYe-ZjiMOcrxxU6P1jRSf3Pkbc1GMrpB_gnMPEE949J57O-hOJcQvX6WbcVbLHXUGzw=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="914" data-original-width="1800" height="162" src="https://blogger.googleusercontent.com/img/a/AVvXsEigvb5Ob3cGrHbI-bHCquKxIIyV8NXotXmMoR9Gx0Kz-yTfxKjZSL_aL8gMcjCg2Nc187caFgGQFZLT8AO42vqiuRCzVeoFJ-1nijav9LAD8Xpyjy2C-0NnOehbYe-ZjiMOcrxxU6P1jRSf3Pkbc1GMrpB_gnMPEE949J57O-hOJcQvX6WbcVbLHXUGzw=s320" width="320" /></a></div><p></p><p style="text-align: center;">Treating the Craquelure.</p><p>Once the gesso primer is dry, I will place onto a palette the required oil paints and a little impasto medium.</p><p>Impasto medium is an alkyd resin that thickens the oil paint and accelerates its drying time. It’s great for impasto effects and works like Polyfilla for oil paintings. Any indentations can be smoothed out for an even finish.</p><p>For this painting, I used ultramarine, olive green, burnt sienna and a little cadmium yellow.</p><p>I mixed a little of the impasto medium into my paint mixture and applied it over the damaged area.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhfE7AqVVC_RI9HFTMpJRTlzVGhJtM-chTDI0P5t_tMdXlTPUQW0fvHawVHuEHTX24GR8btE_gtsd6du4_GfeuPKLD8mqtXQYRz6wSRTzIIBXkbbLyZxVSDNcY3Ea-LXnkgIFM-ELKfYmfzcpaluFOTcq0GaA34nknMcd6V_iADoVoA3q69uN--2XrQ6w=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="736" data-original-width="1800" height="131" src="https://blogger.googleusercontent.com/img/a/AVvXsEhfE7AqVVC_RI9HFTMpJRTlzVGhJtM-chTDI0P5t_tMdXlTPUQW0fvHawVHuEHTX24GR8btE_gtsd6du4_GfeuPKLD8mqtXQYRz6wSRTzIIBXkbbLyZxVSDNcY3Ea-LXnkgIFM-ELKfYmfzcpaluFOTcq0GaA34nknMcd6V_iADoVoA3q69uN--2XrQ6w=s320" width="320" /></a></div><p></p><p style="text-align: center;">A vast array of neutral hues can be achieved with just a few oil colors.</p><p>I will work over the damaged area a little at a time with soft sables for a smooth finish. Work the paint in various directions to create evenness in the paint layer.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhqsGri_Q_SQ1bOu2xPIoZeDVXY2sEkBTwcc49fHYczFPGt6QGnaA5MtVCyOf2wlV-y0S1NR4tpPdAtNcycnG0tZPKB7L0m3FWa09he-WUG5hAWCTofndT7ZpB7lscUYP9pNQq_voOcdwfQ1qOkH6LGljOipLbDTG_t2tVGZjqxyccVHYK4apB2MhBqOg=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1064" data-original-width="1800" height="189" src="https://blogger.googleusercontent.com/img/a/AVvXsEhqsGri_Q_SQ1bOu2xPIoZeDVXY2sEkBTwcc49fHYczFPGt6QGnaA5MtVCyOf2wlV-y0S1NR4tpPdAtNcycnG0tZPKB7L0m3FWa09he-WUG5hAWCTofndT7ZpB7lscUYP9pNQq_voOcdwfQ1qOkH6LGljOipLbDTG_t2tVGZjqxyccVHYK4apB2MhBqOg=s320" width="320" /></a></div><p></p><p style="text-align: center;">Images show how I worked over the cracked areas of an oil painting.</p><p>The images show how I worked over the damaged area in stages to bring the paint layer in line with the surrounding area.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjs4hkqjKlAvd40rV8L2SZB6S1vgHswgZ2kOQtW-eOoM9OUNhNKFjeACeFbsZozd9USqvHnwZ2nhiUkr2S7IXZnlE9HxFGGPY0eipG2n9lj-Xzl7Jc47wzH6kUF-5v82HFL3b9LEgavMrbyzb7DdmEc56RN9H4VmGqJmylpHuSxrM0BcQtIyn4GozQiiQ=s1816" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1020" data-original-width="1816" height="180" src="https://blogger.googleusercontent.com/img/a/AVvXsEjs4hkqjKlAvd40rV8L2SZB6S1vgHswgZ2kOQtW-eOoM9OUNhNKFjeACeFbsZozd9USqvHnwZ2nhiUkr2S7IXZnlE9HxFGGPY0eipG2n9lj-Xzl7Jc47wzH6kUF-5v82HFL3b9LEgavMrbyzb7DdmEc56RN9H4VmGqJmylpHuSxrM0BcQtIyn4GozQiiQ=s320" width="320" /></a></div><p></p><p>Scars in the oil paint layer will show at first until smoothing it over in stages. Any ridges can be smoothed over to bring a more consistent finish.</p><p>At first, the scars beneath will be evident. Thin layers of paint on top will add integrity to the paint layer.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh4h2GarTfZ4XonSc-B4w5ffEj4ehMwIGVx2Zt557RgMZgFz-8ztDelGxD64M-jVBGpkC7MNfgzWzG6xOhV9HqXTmAqRgSUkNslN69P-N9PLlI440jdKhbO9eFBjN230Jf9BoHMTjKcFhsB8kHzFtL_h9xIxTugmRMqGRdysE5JCe7vX-2QLgBetGAiIA=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="939" data-original-width="1800" height="167" src="https://blogger.googleusercontent.com/img/a/AVvXsEh4h2GarTfZ4XonSc-B4w5ffEj4ehMwIGVx2Zt557RgMZgFz-8ztDelGxD64M-jVBGpkC7MNfgzWzG6xOhV9HqXTmAqRgSUkNslN69P-N9PLlI440jdKhbO9eFBjN230Jf9BoHMTjKcFhsB8kHzFtL_h9xIxTugmRMqGRdysE5JCe7vX-2QLgBetGAiIA=s320" width="320" /></a></div><p></p><p>Images showing restoration in stages. The scars in the paint layer will eventually fade with careful blending.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh-qK1NC-BHouFFLULdYNSlOF1odDJbGKLs0BIBJH3S3BLnJDZ3mfuOTb8vGXDC8fPZU5lHwEfxldXiOjZFD0w_QsAmfznc1CrhWQBqRFk07B5RjdlIdyLp2QmL2OTcypxFp0Zhb0mBbd1y3LPHasb-p0H98Z1o-bMYXUCZqR_QYAxjKItuWJ8wQaRY4Q=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="852" data-original-width="1800" height="151" src="https://blogger.googleusercontent.com/img/a/AVvXsEh-qK1NC-BHouFFLULdYNSlOF1odDJbGKLs0BIBJH3S3BLnJDZ3mfuOTb8vGXDC8fPZU5lHwEfxldXiOjZFD0w_QsAmfznc1CrhWQBqRFk07B5RjdlIdyLp2QmL2OTcypxFp0Zhb0mBbd1y3LPHasb-p0H98Z1o-bMYXUCZqR_QYAxjKItuWJ8wQaRY4Q=s320" width="320" /></a></div><p></p><p>Image left shows touching up on a damaged area near the corner of the painting. Image right shows an area of matt on the area worked on. Varnishing will bring the finish in line with the rest of the painting.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiQHMbmXfKixAP0VyW4NZ3CXpljDmTfRTPblQG5KKsYsd5J_YfUoQ8UxXuN_jj02aTOtmL36u_SLjpfRZiOHzZVzi_E1S_wgA2kxioUqyojjCgZ5EJ7IMvtziRhL1xOmKtR16EDLtKFo9jPvzILcFe33YB7jolqIAm_3Rv1vD7v9C44T5BVNsD6__sMzg=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1395" data-original-width="1800" height="248" src="https://blogger.googleusercontent.com/img/a/AVvXsEiQHMbmXfKixAP0VyW4NZ3CXpljDmTfRTPblQG5KKsYsd5J_YfUoQ8UxXuN_jj02aTOtmL36u_SLjpfRZiOHzZVzi_E1S_wgA2kxioUqyojjCgZ5EJ7IMvtziRhL1xOmKtR16EDLtKFo9jPvzILcFe33YB7jolqIAm_3Rv1vD7v9C44T5BVNsD6__sMzg=s320" width="320" /></a></div><p>The image shows the unsightly lump caused by the masking tape is gone and the <a href="https://rachel-shirley.blogspot.com/2022/02/repair-hole-in-damaged-oil-painting.html">painting correctly tensioned</a>. The craquelure has also been treated locally.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjSctg70h82vplErLDZZEqBxmYUMEu1cJ3MgJiqrOvhhOL2lChWiKCKhEqOPmjGaXL7MJEtL-5rK9x_3bGt67ZS2m8ESIr2EO6vVVxkZ3zFoBhKInbBJQh7dqBb9O6sy8IiZHsiIFbCj2Qm5oZQubwfeUD0Khb21uK4pyTCRCoFK3XvnYvzUbUD12vG1Q=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1267" data-original-width="1800" height="225" src="https://blogger.googleusercontent.com/img/a/AVvXsEjSctg70h82vplErLDZZEqBxmYUMEu1cJ3MgJiqrOvhhOL2lChWiKCKhEqOPmjGaXL7MJEtL-5rK9x_3bGt67ZS2m8ESIr2EO6vVVxkZ3zFoBhKInbBJQh7dqBb9O6sy8IiZHsiIFbCj2Qm5oZQubwfeUD0Khb21uK4pyTCRCoFK3XvnYvzUbUD12vG1Q=s320" width="320" /></a></div><p>Images shows the painting restoration complete.</p><p><b>Relevant articles</b></p><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 8.5pt;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"><a href="https://rachel-shirley.blogspot.com/2022/02/repair-hole-in-damaged-oil-painting.html">Repair
a hole in an oil painting</a></span></p>
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<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 8.5pt;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"><a href="https://rachel-shirley.blogspot.com/2022/02/repair-damaged-oil-painting-dos-and.html">Repair
a tear in an oil painting</a></span></p><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-5375727938108216522022-02-14T06:06:00.005-08:002022-02-15T10:21:43.046-08:00Repair a Hole in a Damaged Oil Painting<p> This oil painting had undergone a botched attempt to hide a hole in the canvas. This old master had masking tape stuck to the back, and as a result, had warped the shape of the canvas, spoiling the look of the oil painting.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjxYf8Qd-_kykbudVyOBMFs7xij1PozwESrrQVsO4Og6yb_uwh72zkwE3-kZYlrXLDcAMM5z79g6HMSdGKfOxKn8pt8qM2Ww1_BHKY6bb1l7AYYMo-uSIYeaE_BclcDfrSI4TG0A1u2EBC3vBdej9rRs69M5pDMT0VjeT3EGV5_dne00FXNHcO0ZW1RHQ=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1210" data-original-width="1800" height="215" src="https://blogger.googleusercontent.com/img/a/AVvXsEjxYf8Qd-_kykbudVyOBMFs7xij1PozwESrrQVsO4Og6yb_uwh72zkwE3-kZYlrXLDcAMM5z79g6HMSdGKfOxKn8pt8qM2Ww1_BHKY6bb1l7AYYMo-uSIYeaE_BclcDfrSI4TG0A1u2EBC3vBdej9rRs69M5pDMT0VjeT3EGV5_dne00FXNHcO0ZW1RHQ=s320" width="320" /></a></div><p></p><p style="text-align: center;">And old master landscape painting by Willis Pryce.</p><p>As can be seen, this oil painting by Willis Pryce looks okay when viewed head-on under even light. But view it from the side, and the warp becomes noticeable. The closeup shows a hole in the canvas.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgGy1cU3Kgr7DjOT16_sx0px8sJ5j-NY2H7DjOjbH3qmc_Cqh053tfGGeTh9rnR6_0TCLZCjoFslg0rrNYzGzKbqE5_wRbDVMG-9MCYJt6S7VRHoMBes9HA711oF-uI__kb4FQwC1_J1unmRyu15Uua2RhTC6tAe9xH6zsseZbZwPXOxYn-wt-7MSzAkQ=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1800" height="137" src="https://blogger.googleusercontent.com/img/a/AVvXsEgGy1cU3Kgr7DjOT16_sx0px8sJ5j-NY2H7DjOjbH3qmc_Cqh053tfGGeTh9rnR6_0TCLZCjoFslg0rrNYzGzKbqE5_wRbDVMG-9MCYJt6S7VRHoMBes9HA711oF-uI__kb4FQwC1_J1unmRyu15Uua2RhTC6tAe9xH6zsseZbZwPXOxYn-wt-7MSzAkQ=s320" width="320" /></a></div><p></p><p style="text-align: center;">Warped canvas caused by masking tape on the back of the painting.</p><p>Notice also the cracks in the oil paint layer. This is called <a href="https://rachel-shirley.blogspot.com/2022/02/how-to-i-treat-craquelure-in-my-oil.html">craquelure</a> and can be an appealing feature of an old oil painting. The old canvas is indicative, for the cracks follow the stresses of the canvas beneath.</p><p>Sadly, I would soon discover, the oil painting hadn’t been prepared properly, for no primer had been applied beneath the oil paint.</p><p>An oil painting requires gesso primer prior to applying the oil paint. A bare canvas or wooden panel will suck the oils from the paint, causing the paint to dehydrate, brittle and crack. Worse, the flexible canvas, is not compatible with oil paint that lacks suppleness.</p><p>This painting had no primer applied onto the canvas. Hence cracks. This isn’t good.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh7aB-fjqUJvPxyrvqY5U_N1yfGOuj5O_IozpeXqLQj2eg85vvAtbICeNVFXIVNUHdTdmfOOskk6AndwGZn4iPDP6fmz21462HrsNwgK0gAj7UoEhhtAPAwcJ-EUzZAXcATRorfL6zDT4QxgnBh0iOp2LFJ8F-eCQDbx-e61k_ZX1LYag6fZIIc9wgVfQ=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="672" data-original-width="1800" height="119" src="https://blogger.googleusercontent.com/img/a/AVvXsEh7aB-fjqUJvPxyrvqY5U_N1yfGOuj5O_IozpeXqLQj2eg85vvAtbICeNVFXIVNUHdTdmfOOskk6AndwGZn4iPDP6fmz21462HrsNwgK0gAj7UoEhhtAPAwcJ-EUzZAXcATRorfL6zDT4QxgnBh0iOp2LFJ8F-eCQDbx-e61k_ZX1LYag6fZIIc9wgVfQ=s320" width="320" /></a></div><p></p><p style="text-align: center;">Masking tape stuck on the back of this oil on canvas has pulled the canvas out of shape.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjuNi2pEJvL3a_OmsX7_PD9aBlPjx3GNMPY0AcVjOHClW0dxm4A3R1hAh37636XZLJlPV5pBMyt5khKbpEXysSsRPZhyAlRGDVu202J-csZQffLO-InG9MBrTqS6FiB_93KRGxs_q2lDPfd-8LtejN8sd6RjxDod909DNY2t1Abcqs4ee5NJ_az_jTS_g=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="1800" height="121" src="https://blogger.googleusercontent.com/img/a/AVvXsEjuNi2pEJvL3a_OmsX7_PD9aBlPjx3GNMPY0AcVjOHClW0dxm4A3R1hAh37636XZLJlPV5pBMyt5khKbpEXysSsRPZhyAlRGDVu202J-csZQffLO-InG9MBrTqS6FiB_93KRGxs_q2lDPfd-8LtejN8sd6RjxDod909DNY2t1Abcqs4ee5NJ_az_jTS_g=s320" width="320" /></a></div><p></p><p style="text-align: center;">Removing the tape from the canvas.</p><p><b>Step 1</b>: The tape had to come off. Here, I turned the canvas onto its front and worked carefully from the back. Sadly, the tape wouldn’t peel off easily. A little water was necessary.</p><p>I applied a little water onto the area and gently scraped the tape off with a blunt palette knife. Great care is needed to avoid further damage. The cracks in the paint were also a concern.</p><p>I allowed the water time to soften the glue and worked steadily from the edges.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhiO4DQiAuQj2-O274sMZ1Yi2QMaDr8yBQjb7JwuSAK36s5K1410DhV1Ul_-ro9JQLoqoEvuVDzA44EXDyrGOnIV9jgS99-dIcQgim69iHwVirlNr2eP-D3NvfLU-D-ozQoLqE8cQcBYlKQqoPPaiva8ux8vGVVTM2rUmVxUxywJ_hnX7heIRie0Eewqw=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="766" data-original-width="1800" height="136" src="https://blogger.googleusercontent.com/img/a/AVvXsEhiO4DQiAuQj2-O274sMZ1Yi2QMaDr8yBQjb7JwuSAK36s5K1410DhV1Ul_-ro9JQLoqoEvuVDzA44EXDyrGOnIV9jgS99-dIcQgim69iHwVirlNr2eP-D3NvfLU-D-ozQoLqE8cQcBYlKQqoPPaiva8ux8vGVVTM2rUmVxUxywJ_hnX7heIRie0Eewqw=s320" width="320" /></a></div><p></p><p style="text-align: center;">The offending masking tape is removed to the bare canvas</p><p><b>Step 2</b>: During the work, I removed the glue, enabling me to work onto the lower layers of the tape. Gradually, the tape came off. The bare canvas is exposed from the back. The hole is laid bare and the distortion gone. The horrible square shape is no more. The canvas has reverted to its flatness.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh5jh_5bdkNG5V_iS3LJye-oR8FXwpYRJNIXEc_TYLbfUdJB_GL0YuLf3uPH4oazEA6IFxjHpISbizRZ21hSFfbRo7mLUcRDxZEXB5_VWsyd6z0J6lD5HSv4-vjXbQ8zzYva7-bPzevWaDN3wvTK-yGJRaa6QZuutLSim72LlLM6uN4RdqBwT8x3lbuwA=s3048" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="3048" height="215" src="https://blogger.googleusercontent.com/img/a/AVvXsEh5jh_5bdkNG5V_iS3LJye-oR8FXwpYRJNIXEc_TYLbfUdJB_GL0YuLf3uPH4oazEA6IFxjHpISbizRZ21hSFfbRo7mLUcRDxZEXB5_VWsyd6z0J6lD5HSv4-vjXbQ8zzYva7-bPzevWaDN3wvTK-yGJRaa6QZuutLSim72LlLM6uN4RdqBwT8x3lbuwA=s320" width="320" /></a></div><p style="text-align: center;">Oil paint flaking from the canvas due to poor preparation.</p><p><b>Step 3</b>: The hole in the canvas is laid bare. Notice the cracks in the paint layer. The image shows bare canvas beneath the oil paint layer. The painting is fragile and extra repair work is needed.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgUY2BH0A__e6JMNVChgeJC4mZZmdqdWGl0-pBfbZPXGcnccGS6ApqKbJ7DEFI0Ohask8gtJtq1Ja4wVOozam3cCiw0f-l4FBfyuUQVid6AFbg9eQJIpJp82l9R8iKOj545MtKE9FiXkiGLado-24aN9NkOK2y3x7YO0Hc8T1q4qPDctU-q6zZE1NskYg=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="848" data-original-width="1800" height="151" src="https://blogger.googleusercontent.com/img/a/AVvXsEgUY2BH0A__e6JMNVChgeJC4mZZmdqdWGl0-pBfbZPXGcnccGS6ApqKbJ7DEFI0Ohask8gtJtq1Ja4wVOozam3cCiw0f-l4FBfyuUQVid6AFbg9eQJIpJp82l9R8iKOj545MtKE9FiXkiGLado-24aN9NkOK2y3x7YO0Hc8T1q4qPDctU-q6zZE1NskYg=s320" width="320" /></a></div><p></p><p style="text-align: center;">Minimal damage to the oil painting due to care.</p><p>The images show the touch-up required after working on the back of the painting. The cracks in the paint layer warns of oil paint brittling over time. The canvas beneath has sucked the oils in the paint dry. Extra work will be needed to correct this area of craquelure.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgZgPc5xCs7c7gBrCpMVBMoBGUu9VjCxEtSwUqtkmaoh2JNyWqEh2S5ZNFlPIXUOxAK4XRHJyh8fYLSusZOzHlc9pnWjfiK_gWqpY9cKJlLFPvOaOuoFSMG66nOyqcHAxdFGzQ9SLlOaYktU-SYvzXDOdATcD3j14-UhYZN0x06MnnBN-XnpSeUh9o1ww=s1792" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="704" data-original-width="1792" height="126" src="https://blogger.googleusercontent.com/img/a/AVvXsEgZgPc5xCs7c7gBrCpMVBMoBGUu9VjCxEtSwUqtkmaoh2JNyWqEh2S5ZNFlPIXUOxAK4XRHJyh8fYLSusZOzHlc9pnWjfiK_gWqpY9cKJlLFPvOaOuoFSMG66nOyqcHAxdFGzQ9SLlOaYktU-SYvzXDOdATcD3j14-UhYZN0x06MnnBN-XnpSeUh9o1ww=s320" width="320" /></a></div><p></p><p style="text-align: center;">Repairing the holes in the canvas layer.</p><p><b>Step 4</b>: The first thing to do is to repair the holes in the canvas.</p><p>My article on <a href="https://rachel-shirley.blogspot.com/2022/02/repair-damaged-oil-painting-dos-and.html">repairing a tear in canvas </a>demonstrates never to use thick material to repair an oil painting, as suggested on some websites. This will warp the shape of the canvas. Instead, I used thin, but strong undyed (or neutral-colored) linen cotton. I traced out the size required and cut shapes that follow the contour of the holes. I fanned out the edges, to prevent unwanted ridges forming on the canvas as the glue dries.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiCDoxMaulFlwXTjzC-ieprlKnRnKr6nRC00gGlH175l3IuwCTplq6_BGbyNy6Vs6U4LMHL9NVWyZ3WgvCkeNftdjYjDz0uoaXLsYeTh5LikiPl40RFPYrlolL0xF_Rj9Zq4wj3cX9zlbBxd5tyDuq2exQc27eICAzb60t30veFqFkMmKNcvJLYpsiD1Q=s3784" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1584" data-original-width="3784" height="134" src="https://blogger.googleusercontent.com/img/a/AVvXsEiCDoxMaulFlwXTjzC-ieprlKnRnKr6nRC00gGlH175l3IuwCTplq6_BGbyNy6Vs6U4LMHL9NVWyZ3WgvCkeNftdjYjDz0uoaXLsYeTh5LikiPl40RFPYrlolL0xF_Rj9Zq4wj3cX9zlbBxd5tyDuq2exQc27eICAzb60t30veFqFkMmKNcvJLYpsiD1Q=s320" width="320" /></a></div><p></p><p style="text-align: center;">Applying the glue onto a mixing palette and applying a little water onto the canvas first.</p><p><b>Step 5</b>: I applied strong fabric glue onto a palette and, with a fine brush, applied a little water over the area for repairing. This will encourage the glue into the weave of the canvas. I then dabbed the glue onto the linen shapes and spread it evenly to the edges.</p><p style="text-align: justify;"> <a href="https://blogger.googleusercontent.com/img/a/AVvXsEgpcfkKoOsomsJ2sUzN2uk2OKNCBFY9Qroy26M7gDx0MKqHmknE77KwvT1bkIoEVOOKKv90jV1IqRI70MVnVh_Sh7o7mAYejBBsC6tXSjBcrbe8lpuJYExO2IxL7ildPEfgFwfe_klclVie_yVRoPKGdMfSySM2711H-h5FtdsnhfZc8ImBSLw162C_uw=s1776" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="648" data-original-width="1776" height="117" src="https://blogger.googleusercontent.com/img/a/AVvXsEgpcfkKoOsomsJ2sUzN2uk2OKNCBFY9Qroy26M7gDx0MKqHmknE77KwvT1bkIoEVOOKKv90jV1IqRI70MVnVh_Sh7o7mAYejBBsC6tXSjBcrbe8lpuJYExO2IxL7ildPEfgFwfe_klclVie_yVRoPKGdMfSySM2711H-h5FtdsnhfZc8ImBSLw162C_uw=s320" width="320" /></a></p><p style="text-align: center;">Patching over the damaged canvas.</p><p><b>Step 6</b>: There are two holes, so I prepared two pieces of cotton linen, both in star shapes. After spreading the fabric glue evenly over both, I grafted the pieces over the hole. The glue won’t dry immediately, so there is time to adjust.</p><p>Once the fabric is in place, I will rest the painting onto its front. A clean, firm resting platform will need to be prepared. Greaseproof paper on top will protect the painting.</p><p>I will leave the glue to dry over a day. But ten minutes later, I will check that all is well before leaving it.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgoVP_-0JHd2wFkFFmEUjZd07Y-_CJzJue4pNa992IwA6JtA1g1g8zVVpHFHAHcFgqaNgPtsaDuHdw9pDHGuG7g3XD0KnIgWlv1uEbyPJDW9WlZ6g3lGJ-V7ijbjlIKjmXZj3tMZzVpiC9oXrZMNt-Otj42NyT8C9Puo9odbbvli9HOeSc5lKOxosB6rg=s1928" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1416" data-original-width="1928" height="235" src="https://blogger.googleusercontent.com/img/a/AVvXsEgoVP_-0JHd2wFkFFmEUjZd07Y-_CJzJue4pNa992IwA6JtA1g1g8zVVpHFHAHcFgqaNgPtsaDuHdw9pDHGuG7g3XD0KnIgWlv1uEbyPJDW9WlZ6g3lGJ-V7ijbjlIKjmXZj3tMZzVpiC9oXrZMNt-Otj42NyT8C9Puo9odbbvli9HOeSc5lKOxosB6rg=s320" width="320" /></a></div><p></p><p style="text-align: center;">The offending distortion is gone, and the holes repaired. but extra work is needed.</p><p>As seen, the horrible shape is gone. But the canvas requires tensioning, as there is now too much give. The tape has pulled the canvas and once removed, has left the surface ‘flabby’.</p><p style="text-align: center;"><b>Canvas Keys</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh_o73Kcb3ExT7UtcwU3PY3ncd5GVOPHwl_qWxJ1QodssVnDwzFwEsgx78dbImbCEfgdeVNQMF92n5yng6-lFngVWy7EhARbr8YT7U9iHjg1dY1WzQB1m0DhU6Pz4-sb9uW_beLhYd0NtsqHXKmholeIFZftomynHHxWhAlBESHLXcQO_LtwOirFBeFUg=s1760" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="884" data-original-width="1760" height="161" src="https://blogger.googleusercontent.com/img/a/AVvXsEh_o73Kcb3ExT7UtcwU3PY3ncd5GVOPHwl_qWxJ1QodssVnDwzFwEsgx78dbImbCEfgdeVNQMF92n5yng6-lFngVWy7EhARbr8YT7U9iHjg1dY1WzQB1m0DhU6Pz4-sb9uW_beLhYd0NtsqHXKmholeIFZftomynHHxWhAlBESHLXcQO_LtwOirFBeFUg=s320" width="320" /></a></div><p></p><p>Turn the painting on its back and in the corners, you may find four pieces of wood sticking out of slots. These are called canvas keys. These enable tensioning of the canvas. Here, I gently tapped each key a little further into the slot. Care is needed as the wood is a little aged.</p><p>As the canvas is generally flabby, I tapped each corner in equal turn until the canvas is correctly tensioned.</p><p>The painting being old, shouldn’t be as tight as a drum, but nicely tensioned with a little give.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgyMfhEPu-YAhCh8kgIptpRNrghtFVLAW4DZhpDV3im8IA57m6AJN-pzv_7r6YpWVoIW6fgUdgWfynACHNhuI8hV_p22P8ezBDlCt-L28ANlKgpyyxQZZzFt0Rhlw4sNDKCE2ZNNBaUiq2z0sUnObcwGNbXXnbxsnbixofKKu9nBM4cx862IucxuaUJvQ=s1764" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="880" data-original-width="1764" height="160" src="https://blogger.googleusercontent.com/img/a/AVvXsEgyMfhEPu-YAhCh8kgIptpRNrghtFVLAW4DZhpDV3im8IA57m6AJN-pzv_7r6YpWVoIW6fgUdgWfynACHNhuI8hV_p22P8ezBDlCt-L28ANlKgpyyxQZZzFt0Rhlw4sNDKCE2ZNNBaUiq2z0sUnObcwGNbXXnbxsnbixofKKu9nBM4cx862IucxuaUJvQ=s320" width="320" /></a></div><p>The canvas is now tensioned, and cotton linen grafted nicely over the holes. The next stage is the touching up.</p><p>The image on the left shows the holes in the canvas prior to repair work. The image on the right shows the repair complete, ready for the touching-up.</p><p>My next article shows <a href="https://rachel-shirley.blogspot.com/2022/02/how-to-i-treat-craquelure-in-my-oil.html">how I completed this restoration</a>.</p><p><b>Relevant articles</b></p><p><a href="https://rachel-shirley.blogspot.com/2022/02/how-to-i-treat-craquelure-in-my-oil.html">How to treat craquelure</a></p><p><a href="https://rachel-shirley.blogspot.com/2022/02/repair-damaged-oil-painting-dos-and.html">Repair a tear in an old master oil painting</a></p><p><a href="https://rachel-shirley.blogspot.com/2022/02/hide-damage-to-oil-painting-old-master.html">Hide a defect in an oil master</a></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-64093448407350017102022-02-11T12:48:00.003-08:002022-02-15T10:17:57.798-08:00Hide Damage to an Oil Painting Old Master<p>The canvas of this old master oil painting has been torn.</p><p>How does the art restorer hide damage to an oil painting? This article shows how to completely hide a tear.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjSBmQ__TYs2WooWgHv-X2YUle8T8hebsD8MyNUaG7wa7vLlRRbQLB-dch45jpHdHDTfLNM0J2qMQ3gaTCeWcjgjJGe8mTs6kXJo_yqD2qB5HMscFMuxABYsUNK1ryoeB3-cph_XOZg3O_ZDECt-O0lIi8eT964z4ZgLATSe8Tkdt6UmJqtuoWqmn-Q5w=s2120" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2120" data-original-width="1776" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjSBmQ__TYs2WooWgHv-X2YUle8T8hebsD8MyNUaG7wa7vLlRRbQLB-dch45jpHdHDTfLNM0J2qMQ3gaTCeWcjgjJGe8mTs6kXJo_yqD2qB5HMscFMuxABYsUNK1ryoeB3-cph_XOZg3O_ZDECt-O0lIi8eT964z4ZgLATSe8Tkdt6UmJqtuoWqmn-Q5w=s320" width="268" /></a></div><p></p><p>The images show the tear in an old master oil painting completed previously. Lower images show the tear from the back. Image bottom right shows the tear repaired. But the tear remains invisible and requires touching-up with oil paint.</p><p>As can be seen, before applying paint to a damaged oil painting, the canvas must be repaired and the surface stable. My previous article shows <a href="https://rachel-shirley.blogspot.com/2022/02/repair-damaged-oil-painting-dos-and.html">how I repaired a tear in this canvas</a>.</p><p style="text-align: center;"><b><span style="font-size: medium;">Touching up a Tear</span></b></p><p>The painting has been repaired (see my other article on <a href="https://rachel-shirley.blogspot.com/2022/02/repair-damaged-oil-painting-dos-and.html">how to repair a torn canvas</a>), but the damage remains visible as a scar. How does the art restorer completely hide the scar?</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj3Amg6ZLyMlQlzIDTJ4kJuXHjUkb03KVy0-sT7sLKhTLDa8NVxRbULwhGoRW1Fx90kJrtQ1F-8g5AdjdqBWb3MyUScxKI_KDX7p_YSwYAj6lziaK1a0vKuP-7cSeK-BahUq84JhoE1u9Yz3tcyB9OlUobto-NtxJrcIt_WGAM8EalZHGLXLlHuyf6UyQ=s1520" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1520" height="147" src="https://blogger.googleusercontent.com/img/a/AVvXsEj3Amg6ZLyMlQlzIDTJ4kJuXHjUkb03KVy0-sT7sLKhTLDa8NVxRbULwhGoRW1Fx90kJrtQ1F-8g5AdjdqBWb3MyUScxKI_KDX7p_YSwYAj6lziaK1a0vKuP-7cSeK-BahUq84JhoE1u9Yz3tcyB9OlUobto-NtxJrcIt_WGAM8EalZHGLXLlHuyf6UyQ=s320" width="320" /></a></div><p></p><p><b>Materials required for this project are:</b></p><p><b>Brushes</b>: A selection of fine sables, from 3 to 6. A soft flat (3-6) is good for blending. Rounds are good for getting into detail.</p><p><b>Acrylic paint or artist gesso</b>: The standard white gesso is used for priming over canvas. I opted to use acrylic paints for the underpainting. This means fewer layers of paint are needed to hide the white gesso when I apply the oil paint on top.</p><p><b>Oil paints</b>: A selection of oil paints for the overpainting.</p><p><b>Artist’s spirits</b>: to clean the brushes. I used washing-up liquid in warm water or soap.</p><p><b>Impasto medium</b>. This is a thick alkyd resin, that works rather like Polyfilla for oil paintings. It will hide dimples and blemishes for an even finish. Don’t be put off by the brown color. It will not affect the colors you are mixing with.</p><p><b>Mixing palette</b>: A shallow lid or old saucer on which to mix your colors.</p><p><b>Rags</b>.</p><p><b>A magnifier or good glasses</b>.</p><p><b>Artist clear picture varnish</b> for finishing off.</p><p><span style="font-size: medium;"><b>Preparing the Damaged Area</b></span></p><p>Gesso primer must be applied onto the canvas before the oil paint. It provides a stable surface, where the oils cannot sink into the thirsty canvas beneath.</p><p>I opted to use regular acrylic paint to seal the bare canvas. This is just as good, and less underpainting will be required. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhm9r6gF3Bhg0aZfdEepR1sI8wEYsQZo1nsgBuXHHwCiG--2y13_SZLXNaOZSF1fDCj1g7cp8kisthREMGP4ARWUHINoSd-EoQlWC9UcNCsf8FaY5NHXoH1Ew34c3-LdVCw5gNdcLmSuSkObCzCD_5RsuZ7unRQOu_csWxhTboucVZe-OPjNz_c6E2Ttw=s1760" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="642" data-original-width="1760" height="117" src="https://blogger.googleusercontent.com/img/a/AVvXsEhm9r6gF3Bhg0aZfdEepR1sI8wEYsQZo1nsgBuXHHwCiG--2y13_SZLXNaOZSF1fDCj1g7cp8kisthREMGP4ARWUHINoSd-EoQlWC9UcNCsf8FaY5NHXoH1Ew34c3-LdVCw5gNdcLmSuSkObCzCD_5RsuZ7unRQOu_csWxhTboucVZe-OPjNz_c6E2Ttw=s320" width="320" /></a></div><p style="text-align: center;">Applying the acrylic underpaint onto the bare canvas.</p><p><span style="font-size: medium;"><b>Color Matching on Canvas</b></span></p><p>At this stage, getting the colors spot-on is not essential, for you are simply underpainting over the damaged area to provide a stable surface.</p><p>The hues of most old master landscapes are sombre, and few colors are needed. The secret is to aim for neutral colors.</p><p>For landscapes, I have found the following oil pigments useful:</p><p>Burnt sienna, burnt umber, raw sienna, black, French ultramarine, green (viridian, olive or pthalo green will do), cadmium and lemon yellow.</p><p>For the sky: Ultramarine, yellow ochre and cadmium yellow.</p><p>Titanium white in varying amounts is always needed.</p><p>For the underpainting, I used a blend of yellow ochre, pthalo green, burnt umber and cerulean blue.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgEgOMhEeDI-miFNetKhZSt-j9YIAkZ2LtsL9R-kC9FAia4wp_Oh1Fsn3mhYjSJOoAmRqy388wqbMYDAvViPzVLTUfByU_Uzu9wVYCFHU7iwKn2Jbon-wsRNQvRJZ0SnbEIoI1S7tHGfBYULnv56hPVAeoVYVYYKvKcgV7yG1wBzl8PoKrRhAkxVVPWaQ=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="691" data-original-width="1800" height="123" src="https://blogger.googleusercontent.com/img/a/AVvXsEgEgOMhEeDI-miFNetKhZSt-j9YIAkZ2LtsL9R-kC9FAia4wp_Oh1Fsn3mhYjSJOoAmRqy388wqbMYDAvViPzVLTUfByU_Uzu9wVYCFHU7iwKn2Jbon-wsRNQvRJZ0SnbEIoI1S7tHGfBYULnv56hPVAeoVYVYYKvKcgV7yG1wBzl8PoKrRhAkxVVPWaQ=s320" width="320" /></a></div><p></p><p style="text-align: center;">The images show an array of neutral colors that can be achieved with just a few oil pigments.</p><p><b><span style="font-size: medium;">Applying the Oil Paint</span></b></p><p>Allow the acrylic paint to dry completely. This shouldn’t take long.</p><p>Now for the overpainting. This will provide the finish.</p><p>Onto a mixing palette, carefully mix the oil colors. Here, I used yellow ochre, cerulean blue, burnt umber and olive green. I added a little white and the impasto medium.</p><p>With a fine round sable, I mixed the required color and added a little impasto medium to fill indentations.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhxIlj9WmHVkka_iZ72QfD4YVe_qEmIPEhlehI2TPm1dCfs516dlDSF5bY2xHJiVSRa-d2l5Um9MQ0VBm37SYBl2x4AlnPymXSB41tyE3gij9hHfWbbR2Gj95dWXlMLxbUZi1LUAWd3-B80aGYmV1gLyf9E6mxmOXJSiXtZzNCX26AVfl-wr1zJ2ouUZQ=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="658" data-original-width="1800" height="117" src="https://blogger.googleusercontent.com/img/a/AVvXsEhxIlj9WmHVkka_iZ72QfD4YVe_qEmIPEhlehI2TPm1dCfs516dlDSF5bY2xHJiVSRa-d2l5Um9MQ0VBm37SYBl2x4AlnPymXSB41tyE3gij9hHfWbbR2Gj95dWXlMLxbUZi1LUAWd3-B80aGYmV1gLyf9E6mxmOXJSiXtZzNCX26AVfl-wr1zJ2ouUZQ=s320" width="320" /></a></div><p></p><p style="text-align: center;">Applying oil pigments mixed with impasto medium and smoothing over with a finger.</p><p>Impasto medium accelerates the drying time of the oil paint. Here, the paint will be completely dry in a about four hours. This provides ample time to work over the paint layer and perfect.</p><p><span style="font-size: medium;"><b>Mistake of Using Different Oil Painting Mediums on the Same Oil Painting</b></span></p><p>If things don’t work out before the oil paint dries, don’t be tempted to add linseed oil to slow the drying time. Being conflicting in nature, will cause instabilities in the oil paint layer. It’s best to gently remove the unwanted paint with a rag and work on top again with the same medium.</p><p style="text-align: center;">Blending and Blending</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjcYjxf_1S_N9H2N3cgMw0Hf2n4CqwMzAXJxs19haxdKZV_l2XUzocUc3s6-S4rBlIHa0_pZkUAp-aUhlPhg1vOtMWbtEPFoQmYbx4ht_eb8QTf7BmbjL3lFIW7JmTC-jOEHZjPHXFfXsathGT0LYXQkdpx2E8j9H4BsFaZin8eY2ersABBHLVRQpiIcA=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="581" data-original-width="1200" height="155" src="https://blogger.googleusercontent.com/img/a/AVvXsEjcYjxf_1S_N9H2N3cgMw0Hf2n4CqwMzAXJxs19haxdKZV_l2XUzocUc3s6-S4rBlIHa0_pZkUAp-aUhlPhg1vOtMWbtEPFoQmYbx4ht_eb8QTf7BmbjL3lFIW7JmTC-jOEHZjPHXFfXsathGT0LYXQkdpx2E8j9H4BsFaZin8eY2ersABBHLVRQpiIcA=s320" width="320" /></a></div><p>Fine blending is essential to get it right. The tip of my finger worked quite well in getting a smooth finish. This will take time and another session will be necessary.</p><p>View the painting via a strong sidelight. This will reveal blemishes in the oil paint unseen under flat light. The images show.</p><p>These ultra-close ups under a strong sidelight shows up the scar. The colors match, but the scar remains. Work towards a seamless finish by regularly checking under this sidelight and a magnifier.</p><p>You can’t go wrong if the repair work looks good under sidelight.</p><p style="text-align: center;">Perfecting the Restoration</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj9jytBySFucZALa-1GH3vgD0E7XDyiL0J6HwNcYjdyGxUIa9SzGdtG7zHzAJXLGtizvgtCkjwkcOo_qXfWjgia3VSjhdg7atmtYn037sYSX-zXx-Tz8GGUIsi8rDChN0LIDSf61hamh1BWw7iH9wzm9ErRwBQEJKQtpeXH89VoIbLt-k5rgPub0dBkEQ=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="804" data-original-width="1800" height="143" src="https://blogger.googleusercontent.com/img/a/AVvXsEj9jytBySFucZALa-1GH3vgD0E7XDyiL0J6HwNcYjdyGxUIa9SzGdtG7zHzAJXLGtizvgtCkjwkcOo_qXfWjgia3VSjhdg7atmtYn037sYSX-zXx-Tz8GGUIsi8rDChN0LIDSf61hamh1BWw7iH9wzm9ErRwBQEJKQtpeXH89VoIbLt-k5rgPub0dBkEQ=s320" width="320" /></a></div><p>I blended and blended with a little more of the impasto medium, sometimes on separate days. Move the brush in various directions with required tint.</p><p>Don’t be tempted to work onto neighbouring areas of the painting if the color doesn’t quite match. Keep the work local and only within the damaged area via accurate color-matching.</p><p>The images show continual improvement. See how the scar is less visible.</p><p>Blending over the damaged area is the key to creating a perfect finish. The scar is softening and becoming less noticeable.</p><p>Once the paint dry, I will touch up with a tiny amount of artist’s picture varnish. This will bring consistency to the finish. If the painting is matt, a matt varnish can be used instead.</p><p>Use materials only designed for art purposes.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhnFg5yRhNyUI-7UAuFZEHs48hBuknFtzf6aaAY6M7xQKcdWNdPDOz_PipUVlePDu5A_eLAhUN84t3iqIFEQLT1dnxhe1p8p8_i-PENROx7A9JgxKZX9tZvEFqZIHb_8WHjQiyEGOvi4wHrdDG6rMwAo9GVD672CLcGIRvKUMM5q2MDWToWi2n7b-Yhiw=s2000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="2000" height="126" src="https://blogger.googleusercontent.com/img/a/AVvXsEhnFg5yRhNyUI-7UAuFZEHs48hBuknFtzf6aaAY6M7xQKcdWNdPDOz_PipUVlePDu5A_eLAhUN84t3iqIFEQLT1dnxhe1p8p8_i-PENROx7A9JgxKZX9tZvEFqZIHb_8WHjQiyEGOvi4wHrdDG6rMwAo9GVD672CLcGIRvKUMM5q2MDWToWi2n7b-Yhiw=s320" width="320" /></a></div><p>The images show the restoration complete. The tear can be seen on the image left. Repair work was necessary before touching up with oil paint. The image on the right shows the damage after repair. The damage cannot be seen.</p><p><b>Relevant articles</b></p><p><a href="https://rachel-shirley.blogspot.com/2022/02/how-to-i-treat-craquelure-in-my-oil.html">How to treat craquelure</a></p><p><a href="https://rachel-shirley.blogspot.com/2022/02/repair-hole-in-damaged-oil-painting.html">Repair a hole in a damaged painting</a></p><p><a href="https://rachel-shirley.blogspot.com/2022/02/repair-damaged-oil-painting-dos-and.html">Repair a torn canvas in an old master</a></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-42775040763685800342022-02-10T12:46:00.002-08:002022-02-15T10:15:00.417-08:00Repair a Damaged Oil Painting: Dos and Don’ts<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"></blockquote>An oil on canvas can be easily damaged during transit or stored inappropriately. A tear can work into the canvas if resting against a sharp object, and the weave, fray if under undue tension. Damp, sunlight and temperature extremes can rob the canvas of natural oils and therefore cause the canvas to brittle and liable to tear.
How does the artist repair a torn oil painting?<div><br />An oil on canvas can be easily damaged during transit or stored inappropriately. A tear can work into the canvas if resting against a sharp object, and the weave, fray if under undue tension. Damp, sunlight and temperature extremes can rob the canvas of natural oils and therefore cause the canvas to brittle and liable to tear.<br /><div style="text-align: left;">How does the artist repair a torn oil painting?</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><b><span style="font-size: medium;">Save Money on Art Restoration</span></b></div><div>Art restorers can be costly and hard to find. But I have fixed this oil painting myself. The damaged painting is an old master showing Bracebridge Pool, Sutton Park, UK by a Victorian landscape artist Willis Pryce. The painting is thought to be worth a few hundred pounds.</div><div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEho0DuaqtUqYdr_bdlTEQVeQs_io3fawh4zIdtvCeNshsfHoZ4lAhfIuTxxtLUUxgio2Cd6cpXf_hWqviPbaEF0XIZTpM1S4DiFUKyQlKdS0SiFI_haikuCAy7etNZKSSt_tUvUDyX2KWFdakTdcw81gEyPgflw10MbTbJiMibsZQd6Sf4-MnHhQkGOPQ=s1796" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1432" data-original-width="1796" src="https://blogger.googleusercontent.com/img/a/AVvXsEho0DuaqtUqYdr_bdlTEQVeQs_io3fawh4zIdtvCeNshsfHoZ4lAhfIuTxxtLUUxgio2Cd6cpXf_hWqviPbaEF0XIZTpM1S4DiFUKyQlKdS0SiFI_haikuCAy7etNZKSSt_tUvUDyX2KWFdakTdcw81gEyPgflw10MbTbJiMibsZQd6Sf4-MnHhQkGOPQ=s320" width="320" /></a></div></div><div><b><span style="font-size: medium;">The Damaged Painting</span></b></div><div>As can be seen from the images, the tear is quite substantial and in a prominent place, being about 1.5inches long and an inch from the frame. Fortunately, the hole can be knitted together. Repairing a hole is a different matter and I have written a separate article on <a href="https://rachel-shirley.blogspot.com/2022/02/repair-hole-in-damaged-oil-painting.html">how to repair a hole in canvas</a>. For now, I am knitting together a tear in canvas.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjtZcGzNC6V-7oU59TaX0wozhrMFAFW8NQLp8bsMhFiqVYTwVSDtqemUwyBvvjKcrdeWwt2pX17BO9a6dvqeyIzpHV7RAXXjkmkTQz1GdYxrcY-VBspaP8U95LGgyWXaRbdfxV-W-NtQqwueesChlzRLC6zhoqZAtrMBtYx0vYh8oO9J7_AWU0LYOt9PQ=s2000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="731" data-original-width="2000" height="117" src="https://blogger.googleusercontent.com/img/a/AVvXsEjtZcGzNC6V-7oU59TaX0wozhrMFAFW8NQLp8bsMhFiqVYTwVSDtqemUwyBvvjKcrdeWwt2pX17BO9a6dvqeyIzpHV7RAXXjkmkTQz1GdYxrcY-VBspaP8U95LGgyWXaRbdfxV-W-NtQqwueesChlzRLC6zhoqZAtrMBtYx0vYh8oO9J7_AWU0LYOt9PQ=s320" width="320" /></a></div><div><br /></div><div><b><span style="font-size: medium;">Grafting over the Canvas Hole</span></b></div><div>Some websites advise gluing thick material onto the back of the painting for strength. This is a big mistake, and this preliminary demonstration shows why. Here, I have used thick material over the tear and stuck it down with glue.</div><div><br /></div><div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgzBiYKRQiNmt_0EIRGxoN0gkP-r_DxuM27rNUiE_xP92PUpZ7o8SrfOARfkx6lzs8NSOWr4PJJFbwCgenR7n_giPoZQSnjRoGJ2IX9GrHfuv73j-5FDsm-GZmzql9cn3XwCX5i66chtZ52duqduTRjwKGdFLaHGp7VmkzE8aVsXjZT05RokiMLYsN9Ow=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="658" data-original-width="1800" height="117" src="https://blogger.googleusercontent.com/img/a/AVvXsEgzBiYKRQiNmt_0EIRGxoN0gkP-r_DxuM27rNUiE_xP92PUpZ7o8SrfOARfkx6lzs8NSOWr4PJJFbwCgenR7n_giPoZQSnjRoGJ2IX9GrHfuv73j-5FDsm-GZmzql9cn3XwCX5i66chtZ52duqduTRjwKGdFLaHGp7VmkzE8aVsXjZT05RokiMLYsN9Ow=s320" width="320" /></a></div></div><div style="text-align: center;">Cutting thick material to size and placing it over the hole.</div><div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgLcZH2I6c3o_1x5a43KUG0B_ijEHqho_-x2rBT7_dLrlZ9vUqzBxb9sJ8Qg6EXvmAzAHHTSMSmkkUybjHpm1sGhGWPg8dewD3z2ojYvYbg2e8JPJLm5XVLHFo2aewYnkm9372qbtucfiH9PCZA5XD_KUAVxRWUz9UCIMNyVWRI6L012doBnfXwHn5rwg=s2479" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="914" data-original-width="2479" height="118" src="https://blogger.googleusercontent.com/img/a/AVvXsEgLcZH2I6c3o_1x5a43KUG0B_ijEHqho_-x2rBT7_dLrlZ9vUqzBxb9sJ8Qg6EXvmAzAHHTSMSmkkUybjHpm1sGhGWPg8dewD3z2ojYvYbg2e8JPJLm5XVLHFo2aewYnkm9372qbtucfiH9PCZA5XD_KUAVxRWUz9UCIMNyVWRI6L012doBnfXwHn5rwg=s320" width="320" /></a></div></div><div style="text-align: center;">Gluing the material over the hole.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh7W6qbm6REYPtE9zBg1t7iYZ1EZWnEypvq8eR0RZMy8lBkZMTThkPywJC3xpjFORnnFhDPfoS6Vclu3QWxPvh70KnoZTuvC6M0o6q2mjQ0kJ0uOQsdPEI6dZjv03mVyK1hhN-i2m1QZO027CHLbLzp6RYFJ27TU2EGttlmVtOokFWu0XaAyxVNBdQh3w=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="927" data-original-width="1800" height="165" src="https://blogger.googleusercontent.com/img/a/AVvXsEh7W6qbm6REYPtE9zBg1t7iYZ1EZWnEypvq8eR0RZMy8lBkZMTThkPywJC3xpjFORnnFhDPfoS6Vclu3QWxPvh70KnoZTuvC6M0o6q2mjQ0kJ0uOQsdPEI6dZjv03mVyK1hhN-i2m1QZO027CHLbLzp6RYFJ27TU2EGttlmVtOokFWu0XaAyxVNBdQh3w=s320" width="320" /></a></div><div><div style="text-align: center;">Using thick material to repair an oil on canvas will distort the canvas shape.</div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiLZMfa-jqajawtJmrI7KpG4X9ZRCbxah8_m4mL6hVR8_NPSZ1hR9_n4Ln-16e3fmcBruoUkKC0uyDPm8A1cRRNowzjotFdZRfZkw96r4TA0rL6__5JFg-tMZFe4iRtwyU8LRvjx8cHnAgxqsgFXhkmGV-oSucodP6NDKDGH9UBjQD2-iSyafi3vNpwnQ=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="754" data-original-width="1800" height="134" src="https://blogger.googleusercontent.com/img/a/AVvXsEiLZMfa-jqajawtJmrI7KpG4X9ZRCbxah8_m4mL6hVR8_NPSZ1hR9_n4Ln-16e3fmcBruoUkKC0uyDPm8A1cRRNowzjotFdZRfZkw96r4TA0rL6__5JFg-tMZFe4iRtwyU8LRvjx8cHnAgxqsgFXhkmGV-oSucodP6NDKDGH9UBjQD2-iSyafi3vNpwnQ=s320" width="320" /></a></div><div style="text-align: center;">Using masking tape to repair an old master with ruin the look of the painting.</div><div><br /></div><div>The images show how the wrong material will shrink and harden with the glue, warping the shape of the canvas. Notice the round shape of the material pulling the canvas into a raised area. This isn’t good. Wetting the canvas will flatten out the distortion, but the effect is temporary. Once dry, the warp will reappear.</div><div><br /></div><div>The lower image shows a botched effort with regular masking tape. This had been used to <a href="https://rachel-shirley.blogspot.com/2022/02/repair-hole-in-damaged-oil-painting.html">repair a hole in the canvas</a>. The result is a raised square. My next article shows how <a href="https://rachel-shirley.blogspot.com/2022/02/repair-hole-in-damaged-oil-painting.html">I made the canvas flat</a>.</div><div><br /></div><div>The lesson here is don’t use thick material, the wrong glue or masking tape to repair an oil painting. These will distort the canvas surface and ruin the appearance of the painting.</div><div>And now for how I put things right.</div><div><br /></div><div><b><span style="font-size: medium;">Repairing an Oil Master</span></b></div><div>The fabric, as seen, is vital.</div><div>Further materials to avoid are wool, those with loose fibers and stretchy fabrics. Avoid fabrics chemically treated, coated or brightly-colored. Un-fast dies could leach into the glue and onto the painting. I opted for thin but strong linen cotton material undyed (although a neutral colour is suitable). This will provide an inconspicuous graft.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgEA0MbWh2d_ZTShEDlRhYpuOPShJMa64IR_VctNioNvMNqSXCFnHb26IE11XXZ7uzkZL3vOUiiY5FRu5Qymyp4cq_8xqco-u_LZu5lBpbvgT3O3kGqdUlooCyld9JilNhGxVaHXYHD6xv4R5ANrZGTotTVJ7QpvyGPBb98fMyR8EXG9uxmh13LtoCVXQ=s1788" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="718" data-original-width="1788" height="129" src="https://blogger.googleusercontent.com/img/a/AVvXsEgEA0MbWh2d_ZTShEDlRhYpuOPShJMa64IR_VctNioNvMNqSXCFnHb26IE11XXZ7uzkZL3vOUiiY5FRu5Qymyp4cq_8xqco-u_LZu5lBpbvgT3O3kGqdUlooCyld9JilNhGxVaHXYHD6xv4R5ANrZGTotTVJ7QpvyGPBb98fMyR8EXG9uxmh13LtoCVXQ=s320" width="320" /></a></div><div><br /></div><div><b><span style="font-size: medium;">Glue Suitable for Repairing Canvas</span></b></div><div>Another important matter is the glue. The wrong glue could spoil a restoration.</div><div>Avoid glues containing solvents or harsh chemicals. A pungent odor is the giveaway. The canvas is organic and should be treated as such. Avoid glues for other purposes, such as for glass or plastics, as these will dry rigid.</div><div>A trusted fabric glue is good. Make sure it is acid-free. A good fabric clue will dry water-resistant and flexible. Don’t go for cheap glues or craft glues as these may not adhere.</div><div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhTdvthZUHt1bgtmx1AIdUs8BhQS-ejdNPkXRiOtLfkZEP9yyC38nTuzvgKU0n9kYVr7ix_Atbg53oo2uUcZ-NbgOJLYIKUxk4yuNi0vfu4563HQcaSGZd3kGNO1dYc_5z1F8sTn2zadq4KwJ_9BwJ5_gAt52HKskHpPSfSCNYwntisk90N-J67V6mtPg=s1668" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1668" data-original-width="1452" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhTdvthZUHt1bgtmx1AIdUs8BhQS-ejdNPkXRiOtLfkZEP9yyC38nTuzvgKU0n9kYVr7ix_Atbg53oo2uUcZ-NbgOJLYIKUxk4yuNi0vfu4563HQcaSGZd3kGNO1dYc_5z1F8sTn2zadq4KwJ_9BwJ5_gAt52HKskHpPSfSCNYwntisk90N-J67V6mtPg=s320" width="279" /></a></div><br /></div><div><b><span style="font-size: medium;">Materials Required for Art Restoration</span></b></div><div>The following additional materials will be needed.</div><div>Scissors.</div><div>A blunt palette knife.</div><div>Greaseproof paper.</div><div>Tracing paper.</div><div>Pencil.</div><div>A soft brush to apply the glue.</div><div>A shallow lid.</div><div>A pot of water.</div><div>An old sheet would come in useful.</div><div>Clear a space for your art restoration. A table or a corner of the room would be suitable.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjfiFB6N4g5U_kjO-AxqzWnXSwP85ffRnwUAAqLJji-zx8vMgky7l9V1DqtzB6sZ6PKMn3K4lkZqnLU3BxKzqlaP5pfqS0w8YbrK7vxBzIh_w2oJcNmz_5-EYZYCkmXD7Hq_4ONSt-Fza2qO_iX1_Lnm01kQHkHq0vMDSBktgNY-OjV96n3u8KEsIeDcQ=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1800" height="128" src="https://blogger.googleusercontent.com/img/a/AVvXsEjfiFB6N4g5U_kjO-AxqzWnXSwP85ffRnwUAAqLJji-zx8vMgky7l9V1DqtzB6sZ6PKMn3K4lkZqnLU3BxKzqlaP5pfqS0w8YbrK7vxBzIh_w2oJcNmz_5-EYZYCkmXD7Hq_4ONSt-Fza2qO_iX1_Lnm01kQHkHq0vMDSBktgNY-OjV96n3u8KEsIeDcQ=s320" width="320" /></a></div><div style="text-align: center;">Removing the unwanted patch from the back of the oil painting.</div><div><br /></div><div>Carefully, I eased off the unwanted thick material using a blunt palette knife. As the material was thick, it came off easily anyway. This comes to show thick material is unsuitable for repairing a delicate oil painting. Be sparing with water, should this be required, for the damp will seep down onto the oil painting from the back. Great care was used for removing the unwanted material.</div><div>Once the material is removed, it is time to rework the area.</div><div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEilFecO8wzVweQb30zyL3Wmit30Ux7Bfk8-24zwu8-c8PXBgFmic8oJ1QOl-zbjFVeXTJEQIci5Vl9nZL53rXY_BlbXQwGptgyr4O_IfFJRKUjZEtdnWeVB20681wL5B86xU-wH3_7v8IP1qah3lsjxqU3hVhPuMFk2LQne13bHlrsT1jS1JVnl7gdhNg=s1792" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="696" data-original-width="1792" height="124" src="https://blogger.googleusercontent.com/img/a/AVvXsEilFecO8wzVweQb30zyL3Wmit30Ux7Bfk8-24zwu8-c8PXBgFmic8oJ1QOl-zbjFVeXTJEQIci5Vl9nZL53rXY_BlbXQwGptgyr4O_IfFJRKUjZEtdnWeVB20681wL5B86xU-wH3_7v8IP1qah3lsjxqU3hVhPuMFk2LQne13bHlrsT1jS1JVnl7gdhNg=s320" width="320" /></a></div><br /></div><div><b>Step 1</b>: Prepare the space for your restoration project. If necessary, place a sheet over the space. Ensure the surface is sturdy and flat. Prefer a hard floor to a carpeted area.</div><div><br /></div><div>I wanted to avoid removal of the painting from the frame, so I created a platform where the canvas (face down) can rest. This means I can repair the painting from the back.</div><div><br /></div><div>An unframed canvas doesn’t require this platform, but still needs a sturdy surface on which to rest.</div><div>For my framed painting, I used several large, sturdy books of varying thicknesses, I built a platform to the required height. This ensures the canvas is fully supported whilst the glue is drying. Place a sheet of greaseproof paper onto the surface on which the canvas is resting.</div><div>Place the painting face-down.</div><div><br /></div><div>Make sure the platform is located directly beneath the tear.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEheqH2mwamvQ_wt9xaI5ck3HeYzHhC00_hDunj8oLUL_MIlpidLgjovQDpzQ-MdmZTQ4qZWVC8h6R_DrPTAsMxVJJNSOGk0HVX9fYvHSJ3Sk0TgRBMbDWlhR4NnbByR_AMqOHV70bLxthu1WbV0V3XYyWSgPNhuyyXp7rjiuhRFHhoFm8sdjYv2lujkpw=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="1800" height="113" src="https://blogger.googleusercontent.com/img/a/AVvXsEheqH2mwamvQ_wt9xaI5ck3HeYzHhC00_hDunj8oLUL_MIlpidLgjovQDpzQ-MdmZTQ4qZWVC8h6R_DrPTAsMxVJJNSOGk0HVX9fYvHSJ3Sk0TgRBMbDWlhR4NnbByR_AMqOHV70bLxthu1WbV0V3XYyWSgPNhuyyXp7rjiuhRFHhoFm8sdjYv2lujkpw=s320" width="320" /></a></div><div><br /></div><div><b>Step 2</b>: Now cut your selected fabric into an irregular shape, echoing the contour of the tear. I used tracing paper to plan the shape of the material for grafting.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh-DK3QDHSBsT_sovNK-dP9DnIM7pK_3efhSM2C5MMZzDFf1gZK3lCO4dbCV9TsGOwmOqG1yVn6BzHJZsATXeE4ZOQIpR570ds0KoYgdWGvZBGwQUE72SKtw1w4-tWqxlLox5egiAVZ5h-UCLaeXSEJ5cFp_pJ0zdigz5yyLgrFcSEvY0kFnUDsEuq13g=s1764" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1764" height="145" src="https://blogger.googleusercontent.com/img/a/AVvXsEh-DK3QDHSBsT_sovNK-dP9DnIM7pK_3efhSM2C5MMZzDFf1gZK3lCO4dbCV9TsGOwmOqG1yVn6BzHJZsATXeE4ZOQIpR570ds0KoYgdWGvZBGwQUE72SKtw1w4-tWqxlLox5egiAVZ5h-UCLaeXSEJ5cFp_pJ0zdigz5yyLgrFcSEvY0kFnUDsEuq13g=s320" width="320" /></a></div><div><br /></div><div>Ensure the graft will completely cover the tear. I then added glue diluted with a little water.</div><div><br /></div><div><b>Step 3</b>: Ensure the material is bigger than the tear itself. I allowed a centimetre or so on each side, as seen from the image. I fanned out the edges of the fabric to allow the glue to shrink without distorting the canvas and to avoid harsh ridges. Here, I cut ‘v’s into my fabric shape.</div><div><br /></div><div>Place a cherry-sized dollop of glue into a shallow lid. (More may be required if the tear is big). To avoid sticky fingers, I held the material in place with a blunt utensil.</div><div><br /></div><div>With a soft brush, lightly brush a little water over the fabric. This encourages the glue into the fine weave. Don’t saturate it. Go for a light, damp feel. I then added a little of the glue. Spread evenly over the fabric, aiming for an even feel. Go right to the edges.</div><div>Wash the brush immediately afterwards.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjU5Rcs5b8zOeI2JtQxeggpjO31Lunsb6hrYyx56xn00mWX5s9MkLnRkVpiM51Hd7sIi7Z_x9OhiKscHmmFDD3Mz5gchlhyIxATwIZHKLjWnrXs_LJXpNhISQPMpF8HD2ocpiOaar1hsGAWyqQQ_5C6VFciW3ky2dswyLs02amrDbxz_zQhKtHNgNxwCg=s2184" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="936" data-original-width="2184" height="137" src="https://blogger.googleusercontent.com/img/a/AVvXsEjU5Rcs5b8zOeI2JtQxeggpjO31Lunsb6hrYyx56xn00mWX5s9MkLnRkVpiM51Hd7sIi7Z_x9OhiKscHmmFDD3Mz5gchlhyIxATwIZHKLjWnrXs_LJXpNhISQPMpF8HD2ocpiOaar1hsGAWyqQQ_5C6VFciW3ky2dswyLs02amrDbxz_zQhKtHNgNxwCg=s320" width="320" /></a></div><div><br /></div><div><b>Step 4</b>: Ease the grafting material over the hole. I used a blunt edge of a knife to ease the shape into place. The glue won’t dry immediately so you will have a minute or so of play. I shifted the material this way and that until it rested directly over the tear. Add a little additional glue if necessary.</div><div><br /></div><div>Press the grafted material gently but firmly over the tear, ensuring all edges are stuck down to the canvas. Place greaseproof paper over the area and rest a few books on top. Once the glue starts to adhere (in a minute or two), I checked the front of the painting to ensure the tear is grafted correctly.</div><div>Step 5: Leave to dry overnight. The glue will be thoroughly dry in a day, ready for the next step: <a href="https://rachel-shirley.blogspot.com/2022/02/hide-damage-to-oil-painting-old-master.html">touching up a damaged oil painting</a>.</div><div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiwSvUan7wyNh82yc7br-VkSrfgrLEwf_HTk0kgViJ2Mv0VIkuQdNluRniCWMp6ZiJ2ytrjHdyVEOe-FanIhktuqrgGr1pDenAyDGRmkxZihhWUEMo6L7_VHnTiC94oGGXkiYQeaKvyWuiZ7JcrY80CBxZCqoXUnt043gkX-pq8_RDOLwZZb0zN_O7BzQ=s1800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1319" data-original-width="1800" height="234" src="https://blogger.googleusercontent.com/img/a/AVvXsEiwSvUan7wyNh82yc7br-VkSrfgrLEwf_HTk0kgViJ2Mv0VIkuQdNluRniCWMp6ZiJ2ytrjHdyVEOe-FanIhktuqrgGr1pDenAyDGRmkxZihhWUEMo6L7_VHnTiC94oGGXkiYQeaKvyWuiZ7JcrY80CBxZCqoXUnt043gkX-pq8_RDOLwZZb0zN_O7BzQ=s320" width="320" /></a></div></div><div>The image shows the tear repaired and the canvas surface dried flat. No unwanted ridges or distortions can be seen.</div><div><br /></div><div>As can be seen here, the tear has grafted together successfully, and the canvas dried flat and free of warps. It is now ready for the next stage: <a href="https://rachel-shirley.blogspot.com/2022/02/hide-damage-to-oil-painting-old-master.html">touching up with paint</a>. This will render the tear invisible.</div><div>My next post shows how to overpaint a damaged painting. This will completely hide the damage.</div></div><div><br /></div><div><b>Relevant Articles</b></div><div><p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 8.5pt;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"><a href="https://rachel-shirley.blogspot.com/2022/02/repair-hole-in-damaged-oil-painting.html">Repair
a hole in an oil painting</a><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 8.5pt;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"><a href="https://rachel-shirley.blogspot.com/2022/02/how-to-i-treat-craquelure-in-my-oil.html">How
to treat craquelure</a><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-indent: 8.5pt;"><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US;"><a href="https://rachel-shirley.blogspot.com/2022/02/hide-damage-to-oil-painting-old-master.html">Hide
a defect in an oil painting</a></span></p></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-43677860511283673242019-03-24T14:08:00.000-07:002019-04-04T02:30:44.327-07:00Which Surfaces are Suitable in Acrylic Painting<br />
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Artists Guide to Preparing Canvasses, Boards and Paper for
Acrylics</div>
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Acrylics are pigment bound with a polymer medium. It is
water-soluble when wet, but water resistant when dry. It is a great base on
which to complete oil paintings if conducting the under-painting and glazes. However,
the acrylic painting surface must be properly prepared.</div>
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Any surface onto which a painting is applied is known as a
“support.” Stretched canvas is the first type of support to spring to mind when
one thinks of the artist’s practice. However, wood, card and even paper can be
used if they have been properly sized with a gesso or primer. Such a sealant is
known as a “ground.”</div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih3IuJMWViMQ_hc7WWVw-EU76IcTXB1T6MbJF4G-p7JdmnOyEmfUUU8EXqYN3QZDk4McnbUtiV5aLpfTM2iXXb85U5pVojSzY7C9uNysa8990pQcF_89NPcAY67L7pY0-6SJTrrm1eTduG/s1600/Art+Surfaces+for+Acrylic+Painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih3IuJMWViMQ_hc7WWVw-EU76IcTXB1T6MbJF4G-p7JdmnOyEmfUUU8EXqYN3QZDk4McnbUtiV5aLpfTM2iXXb85U5pVojSzY7C9uNysa8990pQcF_89NPcAY67L7pY0-6SJTrrm1eTduG/s320/Art+Surfaces+for+Acrylic+Painting.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Acrylic Painting on a suitable surface</td></tr>
</tbody></table>
<h2>
<br />Sizing the Support Ready for Acrylic Painting</h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Applying the ground is known as “sizing.” The surface must
be sized before the acrylic paint can be applied, otherwise the absorbent
nature of the surface will retard the flow of the acrylic paint and cause it to
sink, making the vibrant colours of the acrylic paint become dull. Grounds will
be further explained in a moment.</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid1h5v0AbsfyUaOTl4nO3Pd-lw-EwKqPtBPuzIVQ8p06P4cVCukOHoZo5CP1yc9yAM8b7s-WZ79ACDMylJx27aNlSEDA1FtQwZy2dXnG_nhrsHitdZbPjNe5FmEa59nejE4C08iVKtoqFm/s1600/Gesso+for+Acrylic+Painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid1h5v0AbsfyUaOTl4nO3Pd-lw-EwKqPtBPuzIVQ8p06P4cVCukOHoZo5CP1yc9yAM8b7s-WZ79ACDMylJx27aNlSEDA1FtQwZy2dXnG_nhrsHitdZbPjNe5FmEa59nejE4C08iVKtoqFm/s320/Gesso+for+Acrylic+Painting.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Acrylic Gesso is the ideal ground for Acrylic Painting</td></tr>
</tbody></table>
<h2>
<br />Suitable Supports for an Acrylic Painting</h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Different supports can be used for an acrylic painting.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Stretched canvass</div>
<div class="MsoNormal">
Wood, including plywood, MDF and hardboard.</div>
<div class="MsoNormal">
Thick card</div>
<div class="MsoNormal">
Thick paper of at least 300gsm</div>
<div class="MsoNormal">
<o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC-2lcgOQPO6AibEH84bRBfsvnJ1O7X8pmM8wAD7uDTZv5VRXrBzymD4l1hmpQ_OrGlsbEbHSPAMyQfleJF-6IFrUg3LHonRL3ZOM8ykA9SK4hH6hfji0ZSavvzEEfi0jF9cwYLegVsBVp/s1600/Art+Surfaces+for+Arcylic+Painting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC-2lcgOQPO6AibEH84bRBfsvnJ1O7X8pmM8wAD7uDTZv5VRXrBzymD4l1hmpQ_OrGlsbEbHSPAMyQfleJF-6IFrUg3LHonRL3ZOM8ykA9SK4hH6hfji0ZSavvzEEfi0jF9cwYLegVsBVp/s320/Art+Surfaces+for+Arcylic+Painting.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paper, card and MDF are suitable supports for acrylic painting</td></tr>
</tbody></table>
</o:p></div>
<h2>
Ready Stretched Canvas</h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Canvasses can be purchased ready stretched and primed onto a
wooden frame. Various textures exist, from fine to coarse texture. Some artists
take pleasure in stretching and preparing their own, but this can be time
consuming. Certain DIY and craft stores stock ready-stretched canvasses quite
cheaply. Coarse texture canvas is suitable for expressive paintings with broad
brushstrokes. Fine texture canvas is suitable for more detailed paintings.</div>
<div class="MsoNormal">
<br /></div>
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<br />
<h2>
Artists Panels</h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
MDF, hardboard and plywood provide suitable panels for
acrylic painting. The surface provides a firm support that canvas lacks, for
more control over the paint. However, wood must be properly sized so that the
acrylic paint will not sink and become dull. Simply sand the surface gently
with fine glass paper in order to provide a key for the ground.</div>
<div class="MsoNormal">
<br /></div>
<h2>
Art Boards and Daler Boards</h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The large outlet, Daler Rowney famously stock Daler Boards.
These are simply ready prepared thick card. Some are made with primed
linen-canvas stretched and glued onto board. Card can be self-prepared at home
at the fraction of the price by sizing it with a ground at home.</div>
<div class="MsoNormal">
<br /></div>
<h2>
Painting in Acrylics on Watercolour Paper</h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Watercolour paper is ideal for acrylic painting, although it
will need to be sized with a ground first. Watercolour paper is available in
countless textures and grains. HP or hot pressed paper has a smooth surface.
“Not” or cold pressed has a random texture. Rough watercolour paper is highly
textured. The most suitable paper would consist of a thickness of 300gms or
thicker.</div>
<div class="MsoNormal">
<br /></div>
<h2>
Sizing the Surface with Acrylic Polymer Primer Ground</h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
All sort of grounds are available in the market. Some
require lengthy preparations, but the easiest to use is acrylic polymer primer.
This is a brilliant white fast-drying water-based paint, ideal on which to
apply acrylic paint. Two coats in a ventilated room at an hour’s interval are all
that is required. A further coat might be necessary for very absorbent
surfaces. Sometimes, acrylic primer is sold as “acrylic gesso primer.” It is a
good guide to look for the word “acrylic” on the tin. Reading the
manufacturer’s instructions will ensure satisfactory results.</div>
<div class="MsoNormal">
<br /></div>
<h2>
Preparations Suited for an Acrylic Painting</h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
All sorts of surfaces can be used for acrylic painting. This
can include ready stretched canvasses and art boards, such as Daler Boards,
available within craft outlets, to preparing your own. Wood, card and even
watercolour paper can be used. So long as the surface has been properly sized,
the acrylic paint will flow freely and the painting will retain its bright
colours.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Acrylic paint can be used as the end medium or it can be
used for the underpainting of an oil painting or the underglaze.</div>
<br />
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Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-4946490203679690440.post-4063927976515178162018-06-05T09:58:00.002-07:002018-06-06T01:51:32.958-07:00My Painting Compositions are Off Balance: The Viewfinder Drawing Tool may Help<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Looking
at the world unedited is overwhelming for the artist. An interesting subject
matter may be overlooked with lots of elements vying for attention. Furthermore,
the drawing may end up falling off the edge of the page. How can the artist plan
the best composition for painting?<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">A
tool called the artist’s viewfinder will make things easier. The viewfinder is a
piece of card with a window cut into it, from where the world can be viewed a
little at a time. It’s rather like looking through the camera lens prior to
taking pictures.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaG6u9EwAShMRJqfVIicXMtUXoqCtjWyMwa1-UQSW7B2xCV6YM2TT45RvMT8enfRXW1qQUMMEJxrx31OFcrpWtXUmfzSbHziXgFeG40rsToEvtd2hE240Spcx0SO9mIBGn98VFdfldBj9t/s1600/Drawing+Kit+for+Artists+Oil+Painting+Medic.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="455" data-original-width="555" height="327" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaG6u9EwAShMRJqfVIicXMtUXoqCtjWyMwa1-UQSW7B2xCV6YM2TT45RvMT8enfRXW1qQUMMEJxrx31OFcrpWtXUmfzSbHziXgFeG40rsToEvtd2hE240Spcx0SO9mIBGn98VFdfldBj9t/s400/Drawing+Kit+for+Artists+Oil+Painting+Medic.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The artist's viewfinder</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">In
a separate article, I have demonstrated <a href="https://rachel-shirley.blogspot.com/2018/06/how-to-make-viewfinder-drawing-aid-for.html">how to make your own viewfinder from cheap art materials</a>. Planning the drawing ready for painting is also made
easier as the proportions of the ‘window’ are compatible with most sketchbooks.
A simple grid to aid drawing is also provided. This will help simplify a
seemingly complex subject matter, such as this line drawing of keys, as it is
sectioned into quadrants.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<br />
<ins class="adsbygoogle" data-ad-client="ca-pub-4789003892086723" data-ad-format="auto" data-ad-slot="4126682283" style="display: block;"></ins><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijv-48o3DF-C5WILKRUmAfS8vsBJ7cU28RCAUqk8YYSgf_WLHV1cLkwBdSfJsOhruLcAHCYpCGAdLbRV1qi4dp_kgyTD10XY0qpiPew4-Jo9nq0d1pTw1lMH3bfQWErcAXXCOQ-FcqfKg7/s1600/Drawing+with+Viewfinder+Oil+Painting+Medic.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="792" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijv-48o3DF-C5WILKRUmAfS8vsBJ7cU28RCAUqk8YYSgf_WLHV1cLkwBdSfJsOhruLcAHCYpCGAdLbRV1qi4dp_kgyTD10XY0qpiPew4-Jo9nq0d1pTw1lMH3bfQWErcAXXCOQ-FcqfKg7/s400/Drawing+with+Viewfinder+Oil+Painting+Medic.jpg" width="400" /></a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The viewfinder makes drawing easier</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Once
you have made the viewfinder, it’s just a matter of looking around for the best
composition for painting.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="font-size: large;">How
to Use the Viewfinder <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">If
you hold the viewfinder so that the window is horizontal, the composition will have
a panoramic quality. As can be seen from the image of apples, width of the scene
is emphasized. Allowing space on either side of the subject matter might be
necessary if interesting elements can be found here.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgUif5wRgvjDPxEg2meyONrHSTZcL_oVlDBG-QdfyhVSqRd2GUmZ7vfqhs41OzX8YE55adqf-BrIGBGrxXBANu8DyCHDZ1pgd4t3Lv8fXhxc8jlzRVGpuNvf0Oi8QhWCLF6JcogD5Ast98/s1600/Compose+Pictures+for+Painting+Oil+Painting+Medic.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="389" data-original-width="436" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgUif5wRgvjDPxEg2meyONrHSTZcL_oVlDBG-QdfyhVSqRd2GUmZ7vfqhs41OzX8YE55adqf-BrIGBGrxXBANu8DyCHDZ1pgd4t3Lv8fXhxc8jlzRVGpuNvf0Oi8QhWCLF6JcogD5Ast98/s400/Compose+Pictures+for+Painting+Oil+Painting+Medic.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The viewfinder in landscape mode</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Hold
the viewfinder in portrait mode and the top and bottom of the composition will be
emphasized. As can be seen from the apples, more of the background above and
below can be seen. This format might benefit a composition comprising tall
buildings or thunderheads.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2oBmJJjPgZ7jm2ckUVuQ975vDqATIROAl3mUL5aQ3uBjkwNr_vMAaJlyw2XgPtigXOG-4GZBJ0gIr57D5nOiIXDGSnVnT7gX-SVod3lJbKSdtAlNy0P2EnHD4HricVLciHVTA5DdPT6S9/s1600/Compose+Great+Pictures.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="458" data-original-width="384" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2oBmJJjPgZ7jm2ckUVuQ975vDqATIROAl3mUL5aQ3uBjkwNr_vMAaJlyw2XgPtigXOG-4GZBJ0gIr57D5nOiIXDGSnVnT7gX-SVod3lJbKSdtAlNy0P2EnHD4HricVLciHVTA5DdPT6S9/s400/Compose+Great+Pictures.jpg" width="335" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The viewfinder in portrait mode</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Move
the viewfinder close to the eye and the image will appear to pan out. Notice how m</span><span style="font-family: "times new roman" , serif; font-size: 12pt;">ore
of the background can be seen around the apples.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVjRGz_xqe_-PL001NNZu7lFVr6YYpMGAWSgWFn0tMLXdwjgEriotgILre7PkBLfWzq_8nqwDNQmgSPV9lBZ5YaXKsbbgNaEbl5UoOsRi7jlJNS2FjCw676Te3SsuZSV1jK_WQOJU-fJfc/s1600/Find+Inspiration+for+Painting+Oil+Painting+Medic.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="459" data-original-width="390" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVjRGz_xqe_-PL001NNZu7lFVr6YYpMGAWSgWFn0tMLXdwjgEriotgILre7PkBLfWzq_8nqwDNQmgSPV9lBZ5YaXKsbbgNaEbl5UoOsRi7jlJNS2FjCw676Te3SsuZSV1jK_WQOJU-fJfc/s400/Find+Inspiration+for+Painting+Oil+Painting+Medic.jpg" width="338" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Panning out from the subject matter</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Move
the viewfinder away from the eye and the image will appear to zoom in, cutting
out surrounding subject matter, emphasizing the height of the scene. Here, the
apples have added emphasis.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="font-size: large;">The
Viewfinder’s Plotting Points<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
two pieces of thread affixed across the window in cross formation serve as a
drawing aid when plotting key points of the composition. The centre-point can
be established as well as what lies within the four quadrants.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">This
prevents the drawing from falling off the edge of the sketching paper. Deciding
the centre-point of the drawing means that the artist knows what element will
lie at the centre of the drawing pad and work from there.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">As
can be seen, the viewfinder can be a useful drawing aid for the artist who
doesn’t know where to begin. Taking this useful took with you means that interesting
compositions can more easily be found, even in the most everyday places.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 13.0pt; line-height: 115%;"><a href="https://rachel-shirley.blogspot.com/p/articles-on-oil-painting-medic.html">Links
to my other articles</a></span><b><u><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></u></b></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-8381017711454864002018-06-04T06:30:00.002-07:002018-06-05T10:11:33.755-07:00How to Make a Viewfinder a Drawing Aid for Artists<span style="font-family: "times new roman" , serif; font-size: 12pt;">Using
a viewfinder is a great way of making drawing easier. <a href="https://rachel-shirley.blogspot.com/2018/06/my-painting-compositions-are-off.html">Composing pictures for oil painting</a> is also made possible when the artist isn’t sure where to begin.</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Finding
inspiration from life can be overwhelming. What does the artist cut out and
leave in? The viewfinder is ideal for editing out unwanted visual information
in order to simplify what is seen in front. The viewfinder is simply a piece of
card with a window cut in the middle from where the artist may view a particular
aspect. Looking through the window is rather like looking through the camera
lens before taking a picture.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Plotting
your drawing is made easier because the image can be viewed through a frame.
Here, I will show you how to create a viewfinder containing a frame that is
compatible with most drawing pads. Plotting your drawing couldn’t be made
easier.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Making
a viewfinder is simple. Here is a step by step demo on making your own.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 115%;">Demo
on Making the Artist’s Viewfinder<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
first image shows materials that will be required. These are:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">A
cutting mat or old magazines on which to cut on.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">A
piece of card measuring 11 x 8 inches (20 x 28cm).<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Scissors,
scalpel, a pencil, ruler, double-sided sticky tape and a piece of strong thread.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDeGV6e6YvKkz84dN4YgjKkXZa4DbysWk0EvRjQhRd7DC2n1Yj0cx-FUMkj5DPF1wN1K7MtNASk-cTFkhPT7bM02bXGVsGS28M8GWFzex8lBVy_rQoXCVoYxMmQ15uu3UmO0qDrfXiwhWr/s1600/How+to+Make+a+Viewfinder+Oil+Painting+Medic+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="447" data-original-width="550" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDeGV6e6YvKkz84dN4YgjKkXZa4DbysWk0EvRjQhRd7DC2n1Yj0cx-FUMkj5DPF1wN1K7MtNASk-cTFkhPT7bM02bXGVsGS28M8GWFzex8lBVy_rQoXCVoYxMmQ15uu3UmO0qDrfXiwhWr/s400/How+to+Make+a+Viewfinder+Oil+Painting+Medic+1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Materials needed for making a viewfinder</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 115%;">Making
your Own Viewfinder<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Firstly
cut the piece of card in half so that each measures 5.5 x 8 inches (14x20cm). Lightly
draw a cross in the centre of each card.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcC2WBSTwc4R1s2ndijrQA4QlKoWYmx-2AkgtISVVIQL_aU38x0zgYzlkLbH_4nbnOQeOSYnXHSAukvVDM_SACt7bDavdExhJZHsibeQkrgwWgpJ1FvMCSk5FRKPhIWyjW5TmmRu9V04Rl/s1600/Making+Your+Own+Viewfinder+Oil+Painting+Medic.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="448" data-original-width="543" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcC2WBSTwc4R1s2ndijrQA4QlKoWYmx-2AkgtISVVIQL_aU38x0zgYzlkLbH_4nbnOQeOSYnXHSAukvVDM_SACt7bDavdExhJZHsibeQkrgwWgpJ1FvMCSk5FRKPhIWyjW5TmmRu9V04Rl/s400/Making+Your+Own+Viewfinder+Oil+Painting+Medic.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cut the card in half</td></tr>
</tbody></table>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span>
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Scalpel
a rectangular-shaped hole in the middle of each card. The dimensions of the hole
should be 2.5 x 3 inches (6 x 7.5 cm). I have worked out these proportions to
match standard sketchbook sizes. This will make sketching easier.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3EKQXLb7lvaCEPxy-lEPgpD1Av4lK62JnO-8nvFTKEAVcMYbGSRx9ikEtVvvvPZGj8EkUzOc_fbFr68NuZ8KzEMC4rImuXiNNug9-x2lEYdk5PQLEev2Fx3FiDcCMMABFdRzDa4n7mt-C/s1600/Make+Your+own+Drawing+Guide+Oil+Painting+Medic.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="454" data-original-width="554" height="327" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3EKQXLb7lvaCEPxy-lEPgpD1Av4lK62JnO-8nvFTKEAVcMYbGSRx9ikEtVvvvPZGj8EkUzOc_fbFr68NuZ8KzEMC4rImuXiNNug9-x2lEYdk5PQLEev2Fx3FiDcCMMABFdRzDa4n7mt-C/s400/Make+Your+own+Drawing+Guide+Oil+Painting+Medic.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cutting a rectangular hole in the viewfinder</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Affix
the thread via the tape across the ‘window’ so that it stretches horizontally
across. The thread should be midway up the window, splitting it in two. Repeat this
process with another piece of thread, this time, stretching it vertically. You
should now have a window that appears split into equal quarters, like a cross.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKi_NwpbOXTmWBd-Ug2_kUdnTOPZZyGJZ-_q9sFsndiMsRWyZJYHdeaSoTclmNAFQTMtiQ2aIyJGjoF7U3JBUHUhemmyywKBGp_8bEP6MbdyRCRF6lvK3D78iZ8L29hO9uycvdY3L_w0hZ/s1600/Make+Drawing+Easier+Oil+Painting+Medic.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="456" data-original-width="550" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKi_NwpbOXTmWBd-Ug2_kUdnTOPZZyGJZ-_q9sFsndiMsRWyZJYHdeaSoTclmNAFQTMtiQ2aIyJGjoF7U3JBUHUhemmyywKBGp_8bEP6MbdyRCRF6lvK3D78iZ8L29hO9uycvdY3L_w0hZ/s400/Make+Drawing+Easier+Oil+Painting+Medic.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sticking thread across the viewfinder</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
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<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">This
‘cross’ can be used as plotting points for your drawing when looking through
the viewfinder and transferring the image onto your sketchbook.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Now
place the other piece of card over the first, sandwiching the sections of thread
on the card. Use extra double-sided tape for more strength.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
two pieces of card should now be stuck securely. Trim off excess thread. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC66l4IWr8_s-MwaHLLBZovLNFi_TV9r48LeB1_JkvgHhUPHZGIbU1ETwoxQbUf4034Y02OZcrtGey6Ms0xI-lTbjd-Y4wSLgEHTubD-0nSVz50CqPHbfkrtbX5RDIXkRMl7Z7uRUSEVh7/s1600/The+Best+Drawing+Tool+for+Artists+Oil+Painting+Medic.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="455" data-original-width="559" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC66l4IWr8_s-MwaHLLBZovLNFi_TV9r48LeB1_JkvgHhUPHZGIbU1ETwoxQbUf4034Y02OZcrtGey6Ms0xI-lTbjd-Y4wSLgEHTubD-0nSVz50CqPHbfkrtbX5RDIXkRMl7Z7uRUSEVh7/s400/The+Best+Drawing+Tool+for+Artists+Oil+Painting+Medic.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stick the 2 pieces of card together</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
viewfinder is ready for use.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Composing
the underdrawing for oil painting is now made easier when the artist wishes to
sketch from life.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWbrvteiaWkhAvcpdhR02eLhYQDljZ1Y2qMcefg3JYMRXxZRyZJmKv8U5QMp4NNvlgfR3TGSAAU3mq2c6bJYHTUlcufZ6Z0UBmdBGyUBjJTmnRY1mHXxK3MvYwFySpMrhGadoqp2OG1dT-/s1600/Drawing+Kit+for+Artists+Oil+Painting+Medic.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="455" data-original-width="555" height="327" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWbrvteiaWkhAvcpdhR02eLhYQDljZ1Y2qMcefg3JYMRXxZRyZJmKv8U5QMp4NNvlgfR3TGSAAU3mq2c6bJYHTUlcufZ6Z0UBmdBGyUBjJTmnRY1mHXxK3MvYwFySpMrhGadoqp2OG1dT-/s400/Drawing+Kit+for+Artists+Oil+Painting+Medic.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The viewfinder is ready for use</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">My
next article will show you <a href="https://rachel-shirley.blogspot.com/2018/06/my-painting-compositions-are-off.html">how to use the viewfinder</a>.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
images and text have been taken from my book Draw what You See Not What You Think
you See<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span>
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"></span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;"><a href="https://rachel-shirley.blogspot.com/p/articles-on-oil-painting-medic.html">Links
to my other articles</a> on this blog</span><b><u><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></u></b></div>
</div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-21097825430072629272017-09-16T12:14:00.001-07:002017-10-15T05:30:07.149-07:0010 Bite Sized Oil Painting Projects Book 1: Practice Color Mixing and Technique via Landscapes, Animals, Still Life and More<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<div style="text-align: left;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://www.amazon.com/gp/product/1537664808/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1537664808&linkCode=as2&tag=oilpaimed-20&linkId=41765b327bb2932b33126cc5a297533f" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img border="0" src="//ws-na.amazon-adsystem.com/widgets/q?_encoding=UTF8&MarketPlace=US&ASIN=1537664808&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL250_&tag=oilpaimed-20" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Buy from Amazon</td></tr>
</tbody></table>
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Learn
oil painting fast without having to look for inspiration.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">A
new set of oil painting materials is all well and good, but what does the
artist paint? Looking for artistic inspiration can be a pain. Photos do not
always translate to good oil paintings and looking for a great composition can be
time consuming. Why can’t the artist just get on with exploring art techniques and
color mixing without the fuss?<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">A
challenging project may not be looked for, merely simple exercises to get the brushes
moving. Such projects may require a few hours to complete and entail basic art
materials.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">This
is where the first of three of my oil painting art instruction books comes in.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkaSnVjtAItOtFmCG8daVjiCu1XeCDgkcRanSJcRAj-zDVovFOE2JDcZjhQ0Fak97G_KEB6KkzUkcVdCaW2OXwDLnsl43S_26ziKH02x_hz86ynPgHI6oWTRhWHiyrFMiIAwsdPbpv5DU_/s1600/Art+Instruction+Book.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="568" data-original-width="1464" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkaSnVjtAItOtFmCG8daVjiCu1XeCDgkcRanSJcRAj-zDVovFOE2JDcZjhQ0Fak97G_KEB6KkzUkcVdCaW2OXwDLnsl43S_26ziKH02x_hz86ynPgHI6oWTRhWHiyrFMiIAwsdPbpv5DU_/s400/Art+Instruction+Book.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Projects within this book</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Find
10 straightforward oil painting demonstrations on skies, landscapes, fruit,
vegetables, animals, color-mixing and oils from old masters. Each demonstration
lists the art materials required and a project overview describing an
introduction to the project, project features and challenges. Step by step
images and in depth instructions follow, guiding the artist from start to
finish.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Simple
compositions permit ample focus upon color use and technique. And each project
can be completed within two hours or so.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
back of the book details art materials required, saving money and preparing for
oil painting. A glossary is also included. Learn oil painting fast without fuss
with this book.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7AxfUnFhYFurc5pk1lcGwpZA3W-fEcE5_ReRNUQEqUBrxvlvdZz7g43o1GpXgNUfqlsyl2LvlYY_BRRkatLRH7HSWuC07Zgu6WAhyHa9FBy6nFl9nFQHOAOBp5LQftGUj-NvdRIK7oB2/s1600/Bite-Sized+Oil+Painting+Book+Preview.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="778" data-original-width="1258" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7AxfUnFhYFurc5pk1lcGwpZA3W-fEcE5_ReRNUQEqUBrxvlvdZz7g43o1GpXgNUfqlsyl2LvlYY_BRRkatLRH7HSWuC07Zgu6WAhyHa9FBy6nFl9nFQHOAOBp5LQftGUj-NvdRIK7oB2/s400/Bite-Sized+Oil+Painting+Book+Preview.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Inside preview</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12pt;">Available
on Kindle and paperback.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">With
ample color images showing in-depth step by step instructions.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">15,500
words.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Paperback
measures 10x8inches and 82 pages in length.</span><br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span>
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><a href="https://rachel-shirley.blogspot.co.uk/p/art-books-by-rachel-shirley.html" target="_blank">Buy my artbooks in paperback from Amazon UK</a></span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4946490203679690440.post-69386331096830157702016-07-23T08:23:00.000-07:002016-07-23T08:43:44.387-07:00The Most Difficult Portrait Painting in the World: A Lesson in Portraiture after Da Vinci in Oils<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Some
argue that Leonardo da Vinci’s angel within the Virgin of the Rocks is more
difficult to paint than the Mona Lisa. One only has to view the latter of his
two versions, housed in the National Gallery to see why. See exquisite sfumato shadows over the face,
ghostly highlights on the cheekbones, translucent eyes and hair like spun gold.
And the face in three-quarter view poses a further quandary for the portrait
painter.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">How can
the oil painter capture these Renaissance effects?<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span>
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Well my book, </span><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"><i>Oil
Painting the Angel within Da Vinci’s the Virgin of the Rocks</i></span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><i>Unleash
the Right Brain to Paint the Three-quarter Portrait </i>View might help.<o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-Cy5-T23k3h9oHdDE3bxD2YkOnFTQY63mb1hOctL7YTrr5nm1t5qIoNACqsCkXzMSSzz5A1KGsoDk0NAiaU6A_C7r6-BYnigqrIjyQqRs1ZfqPktZzsYn2KikWJbW9M_18pX_u4BCuz33/s1600/how+to+paint+the+Virgin+of+the+Rocks+by+Da+Vinci.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-Cy5-T23k3h9oHdDE3bxD2YkOnFTQY63mb1hOctL7YTrr5nm1t5qIoNACqsCkXzMSSzz5A1KGsoDk0NAiaU6A_C7r6-BYnigqrIjyQqRs1ZfqPktZzsYn2KikWJbW9M_18pX_u4BCuz33/s320/how+to+paint+the+Virgin+of+the+Rocks+by+Da+Vinci.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paint Da Vinci's Angel step by step</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">This book
offers practical advice on how to paint this most difficult portrait. Each stage
is broken down into manageable pieces, which makes this Renaissance painting more
achievable.<o:p></o:p></span></div>
<script async="" src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script>
<!-- midblog -->
<br />
<ins class="adsbygoogle" data-ad-client="ca-pub-4789003892086723" data-ad-format="auto" data-ad-slot="4126682283" style="display: block;"></ins><script>
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</script>
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The first
part of this book aims to unleash the right side of the brain in order to render
a portrait in three-quarter view, avoiding common pitfalls in drawing the face.
Art materials and the under painting is also explained.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Learn how
sfumato of the Renaissance style can be achieved with modern art materials and a
compact space, without the use of a studio or bulky easels.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF6Foz3oBlM69xv-E1tiBcRM3ho4caYDoV2kfkS5CUzjtJivFQP2nxpC7ehJkbqL91gdghS-I_h2fpE05aS8TcBE_Ssgg7wUan8ESzeMJKZsS_DkWWWV08clX9sWvgAQHsZJtE-jYNxbTR/s1600/Most+Difficult+Portrait+to+Paint+Art+Book.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF6Foz3oBlM69xv-E1tiBcRM3ho4caYDoV2kfkS5CUzjtJivFQP2nxpC7ehJkbqL91gdghS-I_h2fpE05aS8TcBE_Ssgg7wUan8ESzeMJKZsS_DkWWWV08clX9sWvgAQHsZJtE-jYNxbTR/s320/Most+Difficult+Portrait+to+Paint+Art+Book.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Images within this book</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://www.amazon.com/Painting-Angel-within-Vincis-Virgin/dp/1535421932/ref=as_li_ss_il?ie=UTF8&qid=1469287153&sr=8-1&keywords=rachel+shirley&linkCode=li3&tag=photomedic-20&linkId=3a47c4767e6150148c1279770c7f02ab" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img border="0" src="//ws-na.amazon-adsystem.com/widgets/q?_encoding=UTF8&ASIN=1535421932&Format=_SL250_&ID=AsinImage&MarketPlace=US&ServiceVersion=20070822&WS=1&tag=photomedic-20" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Buy from Amazon</td></tr>
</tbody></table>
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
chief section of this book comprises numerous step by step images and
instructions on how the angel was completed. Learn about glazing in oils, color
blending, applying detail and smooth shading. A troubleshooting guide and glossary
can also be found.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">A
challenging yet rewarding project on achieving Da Vinci’s early Renaissance
style by the use of modern and simple art materials. With color illustrations throughout.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Paperback
book’s dimensions: 8x10in and 48 pages. Also available on Kindle, Kobo, Google Play
and Apple.</span><br />
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-4946490203679690440.post-21539970630853253172016-06-28T15:12:00.001-07:002016-07-10T16:08:04.851-07:00I’ve Squeezed Too Much Oil Paint out of the Tube and Can’t Put it Back in<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Oil
paint tubes get cranky as they get older. The thread gets gunged up with oil
paint and the lid no longer wants to screw on tightly. No amount of cleaning or
care can prevent the lid of the tube from getting temperamental with overuse.
Eventually, the seal becomes compromised and a skin of dried oil paint develops
within the spout of the tube.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAsaElTDRZiDbN9eSulZPTH5LbJrOuh8tNdzWMO34wsXuVHPSOHmzwltZfoz_jrWb8L0LuR9URtNQRhQ_EBHS2L20_MRmupvPRiEF7fsNYNAtPUucGXxFlF30YAC2OCOMzhZKgJkhTdkF6/s1600/wasting+oil+paint.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAsaElTDRZiDbN9eSulZPTH5LbJrOuh8tNdzWMO34wsXuVHPSOHmzwltZfoz_jrWb8L0LuR9URtNQRhQ_EBHS2L20_MRmupvPRiEF7fsNYNAtPUucGXxFlF30YAC2OCOMzhZKgJkhTdkF6/s200/wasting+oil+paint.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Oil Paint Splodge</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The
next time the artist attempts to squeeze the paint from the tube, it resists
before spurting out in one go. The result is a huge blob of oil paint on the
palette that was not intended. This causes waste of oil paint and frustration,
as the pigment cannot go back into the tube.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>How
to Save on Oil Paint<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">As
with me, a tube of burnt sienna developed a wonky lid, no matter how I tried to
screw it on squarely. A little air had got into the tube over time, causing a
skin to form within the lid. With little pressure, the paint came out in one go,
which was rather annoying. No one wants to waste costly oil paint.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">But
there are ways of salvaging the oil paint for another painting.<o:p>
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<!-- midblog -->
<ins class="adsbygoogle" data-ad-client="ca-pub-4789003892086723" data-ad-format="auto" data-ad-slot="4126682283" style="display: block;"></ins>
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</script>
</o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Art
Tips for Oil Painting<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Don’t
despair. The oil paint can be salvaged. Remember that oil paint dries quite
slowly and does so by oxidization. This means providing an airtight container
where the paint is in no contact from the air. Of course, the tube is no longer
an option.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHwpSn2yFAaT0a3MXUTMzfm5DARb4vUaED5d5hGczjTjSLNNHdJqItUFgpcPatyMG7R-cQ7uG9ticyB6TX0IS-rkf35bl4ycRgEfiHl2-9KmkLP6cWptvviM8pPQNIWKkoj656vfMja1Nt/s1600/how+to+save+on+oil+paint.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHwpSn2yFAaT0a3MXUTMzfm5DARb4vUaED5d5hGczjTjSLNNHdJqItUFgpcPatyMG7R-cQ7uG9ticyB6TX0IS-rkf35bl4ycRgEfiHl2-9KmkLP6cWptvviM8pPQNIWKkoj656vfMja1Nt/s320/how+to+save+on+oil+paint.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">How to salvage oil paint</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Here
is what I did:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><b>1
</b>Scrape the paint from the palette and into a little tin foil measuring a few
inches square.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><b>2
</b>carefully parcel up the paint within the tin foil, allowing no air to remain
within.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><b>3
</b>To ensure an airtight seal, wrap the tin foil parcel within a layer or two of
tough clingfilm. Check there are no tears or holes where air can get in.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">If
no tin foil is at hand, two or three layers of clingfilm or similar plastic
should do the trick, as I did here. Don’t use plastics or tin foil with print or
dyes, or it could leach onto the pigment.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><b>4
</b>Seal the parcel tight with a twist of a food tag at the top.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><b>5
</b>Label the parcel with the pigment that is within.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
paint should remain fresh and useable for the next painting. I have yet to test
out how long the paint will last, but I have kept the parcel for a month and
the pigment within remains as fresh as from the day I had first squeezed it
onto the palette.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><b><span style="color: #e69138; font-size: large;">Wonky
Lids of Oil Paint Tubes<o:p></o:p></span></b></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">An
oil paint lid that refuses to screw onto the tube will cause the paint within
to dry out. To prevent this from happening, place clingfilm over the top of the
tube. This is not ideal and care is needed not to get paint elsewhere when opening
the tube, but is preferable to wasting lots of oil paint.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">I
keep temperamental oil paint tubes in a separate container wrapped in rags, so that
the other tubes are kept clean.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
artist’s box of tricks might not appear aesthetically pleasing as of the day the
tubes of oil paints have been purchased, but it is the paint applied onto the canvas
that matters, not the appearance of the artist’s materials. I prefer to see well-used
art materials to the pristine unused sort that languishes within a forgotten cupboard.<o:p></o:p></span></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4946490203679690440.post-3661739860620724802015-11-02T11:22:00.002-08:002016-06-30T08:12:00.813-07:00Evaluation of Oil on Canvas Painting of Old Truck in North Carolina<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">This
painting featured for appraisal is a sun drenched rusty pickup truck in North
Carolina, completed via oil on canvas with coarse bristle brushes.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div style="text-align: left;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixB_8_2s-afK49cfyLgbiVgJOmqQJugUHs8TnW9GxgrOrP4WqQ3wxoPErxx_tBLhmKcw3cS6tcm47i4imwnzC2oq8QhqEQQ4OECfAdsPAZQ5Khh7t53GuUt92urM_Cgy3EDou9x2Ax_D8t/s1600/Painting+of+PickupTruckinCalifornia.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixB_8_2s-afK49cfyLgbiVgJOmqQJugUHs8TnW9GxgrOrP4WqQ3wxoPErxx_tBLhmKcw3cS6tcm47i4imwnzC2oq8QhqEQQ4OECfAdsPAZQ5Khh7t53GuUt92urM_Cgy3EDou9x2Ax_D8t/s320/Painting+of+PickupTruckinCalifornia.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Oil Painting of Rusty Pickup in North Carolina</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">This
painting, completed by an artist who wishes to remain anonymous, is only her
fifth attempt at oil painting. She has found inspiration from a subject matter
that personally fascinates me: how things crumble and rust through time. The
artist has shown evidence of an eye for finding inspiration from the most
unlikely places. Degradation of objects, such as this old truck in ruin
provides endless textures, contours and hues to explore.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Finding
Inspiration from Rusty Objects<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
medium used is oil on canvas, and what appears to be of a limited palette comprising
mostly yellows, blues, greens with varying amounts of white. The rough texture
of the canvas has been plied over via broad coarse bristle brushes for an impasto feel. The marks
have been pasted on in different directions, creating energy and movement to
the painting, which I find appealing. An underwash of a slightly deeper hue
provides contrast against the sun-parched colour of grass in the foreground.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7We3uCBuHdriXkqGBu6UoJaTAPoi_vWp5_l-HOQvTF21dlz2d-bW46jomvUD1DoSJoQNqQ_cfPKHLfxsNze2IT-p-fx_qOvEN6FXGkOLXJfPAt5wfnht7k6Ft_tW4-5C3zxQ_NSGxg3t2/s1600/oldrustytruckinNCalifornia.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7We3uCBuHdriXkqGBu6UoJaTAPoi_vWp5_l-HOQvTF21dlz2d-bW46jomvUD1DoSJoQNqQ_cfPKHLfxsNze2IT-p-fx_qOvEN6FXGkOLXJfPAt5wfnht7k6Ft_tW4-5C3zxQ_NSGxg3t2/s320/oldrustytruckinNCalifornia.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The original photograph</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
artist has handled the complex subject matter well, conveying the feel of rust;
of a vehicle yielding to the forces within the landscape. We can see pinks, violets and
beiges, which I feel is the painting’s greatest strength and focal point. And
yet there is a dreamy appeal that conflicts against the reality of rust.
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<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Awareness
of Light and Shadow<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">It
can be seen from the photograph that North Carolina has fantastic light, almost
brutal. In England, where I come from, light like this does not occur often
enough. In this respect, I think the artist has great opportunities to exploit
this incredible light. This means being aware of light and shadow, not just the
outlines of the truck itself. Light and shadow can be seen as subject matters
in themselves.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitu1apb3RC4hrz2GTbzDG5PWqCH5p3ufWSRC8pBKILO8856jxuZJUEOrWjycBYqWZlilASK-EvIAor1lbIPprfAFCJOx-0vEvjKsD2MS-WOWaL4Cvhuzb4wjKUdv3rGE16QAmRcKfnCs55/s1600/Truckcloseup2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitu1apb3RC4hrz2GTbzDG5PWqCH5p3ufWSRC8pBKILO8856jxuZJUEOrWjycBYqWZlilASK-EvIAor1lbIPprfAFCJOx-0vEvjKsD2MS-WOWaL4Cvhuzb4wjKUdv3rGE16QAmRcKfnCs55/s200/Truckcloseup2.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shadow Shapes</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Look
for colours within shadows, for these are not merely darker versions of the
surrounding colour, but often contain definite hues. In the photograph, the
shadows on the truck display an array of blues, violets and even greens.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Light
and shadow have been suggested in the painting, but I feel these could have
been brought out more. Taking a closer look at the shapes of the shadows will yield
odd, abstract and angular shapes cast across the truck’s front. I have
simplified the shadow shapes of the truck in this illustration and blacked out the background to
make these shapes stand out.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Don’t
be afraid of expressing odd shapes in shadows, and of using bright colours if
these can be seen. Often, reflected light will infill shadows. For instance,
the sundrenched grass has created a turquoise cast on the truck’s door.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Colours
within Green Foliage in Backgrounds<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7XleBxlOrIL8WuMAWuWNM6YYWK15uBC0QMshxiuq193z7zkxZ4au9SrGfLPt-qfIHCZDjwSkAwMHmuOScv_9jsJZx_nUjOMuKvtJDWT47wNExCanV3Y9wiFWqFgGKcMakamiyGGiuNOf/s1600/How+to+Paint+Trees.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy7XleBxlOrIL8WuMAWuWNM6YYWK15uBC0QMshxiuq193z7zkxZ4au9SrGfLPt-qfIHCZDjwSkAwMHmuOScv_9jsJZx_nUjOMuKvtJDWT47wNExCanV3Y9wiFWqFgGKcMakamiyGGiuNOf/s320/How+to+Paint+Trees.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Simplifying Tree Shapes Decode their Meaning</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Green
is often a problematic colour for landscape artists, because of its label. But
when we actually look at green in nature, it is rarely pure green, but somewhat sombre. Here, the
artist has used what appears to be viridian or similar. The trees are actually quite
honey-coloured with deep shadows between. Backgrounds comprising lots of
foliage can leave the artist confused on what to do with it.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The secret is to simplify.
See illustration of how I have broken down the seemingly complex shapes of the
trees. Seeing these basic shapes decodes the background areas into what can
more easily be expressed. Here, the trees can almost be seen as two or three
colour shapes held together by a few key trunks. Of course, this can be elaborated
on, but be vigilant of over-fussing.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>How
to Paint Trees in Oil a Few Tips<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The
colours seen in the original photograph can be achieved via a mixture of
cadmium yellow, white with a dab of ultramarine. The shadows can be achieved
via ultramarine and burnt umber with a dab or alizarin or similar crimson. The
tree trunks can be expressed by burnt umber and ultramarine (or any cool blue).<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmqh9ecHplH_sqtOuUq5wES7dX-vsxic5FrSDwpmO9CoYt9ob72VKnZDcEN0Er9KQvloH5UYZRsJkVNZ46PpGsnPbjDc4SEjZ4SUBNtM7hHYlj4emSpiCqFDWk9-XVYpxX0a9lnHTJAj69/s1600/Painting+Rust+in+Oils.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmqh9ecHplH_sqtOuUq5wES7dX-vsxic5FrSDwpmO9CoYt9ob72VKnZDcEN0Er9KQvloH5UYZRsJkVNZ46PpGsnPbjDc4SEjZ4SUBNtM7hHYlj4emSpiCqFDWk9-XVYpxX0a9lnHTJAj69/s320/Painting+Rust+in+Oils.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pick up Truck, Close up View</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">When
painting a scene with many contrasting tones such as this, it is a good idea to have more
than one art brush on the go. This saves on constantly cleaning the brushes. I
might have a ‘sunlit’ brush and a ‘shadow’ brush’. This will prove useful when
painting a scene with lots of light and shadow, and will retain freshness in the
painting, as can be seen here.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #f6b26b; font-size: large;"><b>Conclusion</b></span><span style="font-size: 12pt;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Being
only the fifth attempt at oil painting landscapes, it is evident the artist has
a flair for expression. She also has an eye for where to glean artistic
inspiration, which is not in the usual places. I love the loose brush marks in
the foreground that is rather Impressionistic and also of the freshness and vibrancy.
But the real highlight of the painting I feel is the sensitive portrayal of
rust colours on the wheel arch and the bonnet of the truck.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">I
do feel the dazzling contrasts supplied by the Californian light could have
been exploited more fully. This entails placing bright highlights against cool
shadows. The trees in the background may also have overwhelmed, causing the
artist to paste green paint indiscriminately. The secret is to simplify the complex
and don’t be afraid of using bright colours if these can be seen. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">But the overall feel of this painting, is as dreamy, appealing expression of a rusted vehicle, giving way to the landscape, uniquely handled by someone at the beginning of an interesting journey.</span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4946490203679690440.post-20600163503000364662014-11-13T02:48:00.001-08:002016-06-30T08:15:06.593-07:00 New Oil Painting Instruction Book for Beginners: No Need for an Easel or a Mahl Stick by Rachel ShirleyYou have just received a set of oil colours, brushes and canvas boards as a present. This might be because you have a reputation for being a bit arty and might have dabbled with oils or acrylics in the past. You might be a complete beginner in oil painting. But what do you do with the art materials?
<br />
<br />
<span style="color: #e69138; font-size: large;"><b>Overcome Artist Block </b></span><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.amazon.com/gp/product/B00PH4JAUU/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00PH4JAUU&linkCode=as2&tag=oilpaimed-20&linkId=QBDDP5VORXWKEV7R" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://ws-na.amazon-adsystem.com/widgets/q?_encoding=UTF8&ASIN=B00PH4JAUU&Format=_SL250_&ID=AsinImage&MarketPlace=US&ServiceVersion=20070822&WS=1&tag=oilpaimed-20" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Click to buy from Amazon</td></tr>
</tbody></table>
Taking up a new hobby is always exciting. New and untouched oil tubes and brushes look enticing. The idea of embarking upon a painting project might fulfill an old dream of perhaps learning a new skill, holding an exhibition or earning a little money painting portraits or pets.
Time goes by and you still have not picked up that brush. A blank canvas may reflect an artist block that solidifies with time. The oil paints end up collecting dust in the garage.<br />
<br />
<span style="color: #e69138; font-size: large;"><b>A Beginner’s Book on Oil Painting </b></span><br />
<br />
This is where this art instruction book comes in. Find tips on how to break out into painting using the simplest art materials and painting exercises. Bulky costly easels and stretched canvases are not needed. In fact, oil painting can be made clean and compact. I use a resting board with bulldog clips rather than an easel. Primed art boards save space and money as opposed to stretched canvases. Dozens of pigments and numerous art brushes of every size would also be superfluous to requirement.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwklFF_SPtlYIsa2tBvjfT2-kXKhThikILXNdOdx3Xw0n3X9lcwcPCJgx0WFjqtyVM9bOjo5EqR8amyh-JJNFrW3qVT0K9XJZh33rJGgvEa1ORl5FJlJTJDGF_uvfjVO3OgYf3JD3Uisxq/s1600/artinstructionbook.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwklFF_SPtlYIsa2tBvjfT2-kXKhThikILXNdOdx3Xw0n3X9lcwcPCJgx0WFjqtyVM9bOjo5EqR8amyh-JJNFrW3qVT0K9XJZh33rJGgvEa1ORl5FJlJTJDGF_uvfjVO3OgYf3JD3Uisxq/s320/artinstructionbook.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Preview of Art Instruction Book on Oil Painting</td></tr>
</tbody></table>
<span style="color: #e69138; font-size: large;"><b>How to Begin Oil Painting </b></span><br />
<br />
No need for a mahl stick means that only several colours, a few brush shapes, two art mediums and primed art boards form the essentials for oil painting. Find projects that begin from the very beginning – by trying out each pigment. Knowing your colours is like learning the alphabet before reading words, as pigments form the basics of colour mixing.<br />
<br />
<span style="color: #e69138; font-size: large;"><b>Basic Oil Painting Techniques </b></span><br />
<br />
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Really, this book’s aim is to get that brush moving even if this means trying out each colour and comparing how one looks against another. Breaking artist block often entails simply squeezing the colours onto a palette and applying them. The artist confidence may build into colour mixing, shading technique, darkening colours, practicing colour theory, mark making and finally completing a first painting via high instruction within this book.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPm3UO9Nv1nE6kBUwzT_SZvF0JwB7ZPYheuuGeEClQun2m6u7M2DOfR5rh81q_FedJYTSf0SipjGyZw7gYhtEdGZcXz274ose8fTx5iokCxhNXAqmpP1YOenFVjt_rWb2dCcTyglSrB-tC/s1600/oilpainting+for+beginners.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPm3UO9Nv1nE6kBUwzT_SZvF0JwB7ZPYheuuGeEClQun2m6u7M2DOfR5rh81q_FedJYTSf0SipjGyZw7gYhtEdGZcXz274ose8fTx5iokCxhNXAqmpP1YOenFVjt_rWb2dCcTyglSrB-tC/s320/oilpainting+for+beginners.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">No Need for an Easel or a Mahl Stick Book Preview</td></tr>
</tbody></table>
<span style="color: #e69138; font-size: large;"><b>Oil Painting Tips for the Beginner </b></span><br />
<br />
Find demos that progress to painting your first landscape, still life and animal painting via highly instructional step by step images and text. Build confidence through practice and glean tips along the way. Future projects would seem more possible after getting to know your art materials first.<br />
<br />
<span style="color: #e69138; font-size: large;"><b>What can I Paint? </b></span><br />
<br />
This invaluable art book is available on Kindle as well as paperback. The paperback version is 100 pages long and 8x10in in size. Each chapter summarizes with a bullet point list reinforcing what has been learned so far. Also find glossary and a recommended shopping list for the beginner, as well as tips on making oil painting cheap. This book is bursting with colour images with invaluable advice on simply getting started in oil painting. A must for the beginner in oil painting!Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-4946490203679690440.post-59358498212443762014-09-28T01:55:00.001-07:002016-06-30T08:17:44.658-07:00Oil Pigments Color Temperature, Paint Transparency and Hue SaturationThe artists’ first encounter with oil painting will be presented with a vast array of oil pigments in art shops. Many blues, browns and reds could cause confusion on which oil pigment to choose for painting. The cost of art materials will also influence the number of oil tubes to purchase. Which are the best oil colors to buy and how does each oil color differ regarding color temperature, coverage and intensity?<br />
<br />
<span style="color: #e69138; font-size: large;"><b>Different Blues in Oil Colors</b></span><br />
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</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_5K9IUpefrhx1fOvrGklZKzp7uFLCShCm17rUq2D3qDich1PRYzQ434MX9Iz7AxPQ3vbOAeAnCakltz9qyQBoQ1ozhGtMD3e1b5Pl0_BSAuqx5PMWy9kw6TSx_LpmJZShJQu_hmX-rNgW/s1600/Learning+about+Oil+Paints.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="104" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_5K9IUpefrhx1fOvrGklZKzp7uFLCShCm17rUq2D3qDich1PRYzQ434MX9Iz7AxPQ3vbOAeAnCakltz9qyQBoQ1ozhGtMD3e1b5Pl0_BSAuqx5PMWy9kw6TSx_LpmJZShJQu_hmX-rNgW/s1600/Learning+about+Oil+Paints.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Types of Pigments in Oil</td></tr>
</tbody></table>
A walk into the art shop will educate the artist on the number of art pigments available in the art shop. For instance, in regards to blue, the following can be found: French ultramarine, cerulean, Prussian blue, Monestrial blue, Pthalo blue, cobalt blue and more. The same applies to reds, greens, yellows and browns.
I avoid packaged sets of oil colors, which do not work out cheap in the long run, as unnecessary hues are often included (and often the omission of an essential color). I will purchase the tubes separately, creating an essential collection of oil colors that will be used.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjNF3_zP3kmBvQQcfKwvlctHVeMltpvCGELw7UaJBIKJM4m-JKx9yqVCAy3MluiSqpOBDfuw9_Qr_STb3du9CPf6-E5d7kPTWpb6j8uTrNuz019LNOcaBvEElIBd-r0zN3u8u-clhyphenhyphenzq0E/s1600/Transparent+Pigments+in+Oils.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjNF3_zP3kmBvQQcfKwvlctHVeMltpvCGELw7UaJBIKJM4m-JKx9yqVCAy3MluiSqpOBDfuw9_Qr_STb3du9CPf6-E5d7kPTWpb6j8uTrNuz019LNOcaBvEElIBd-r0zN3u8u-clhyphenhyphenzq0E/s1600/Transparent+Pigments+in+Oils.jpg" width="130" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pigment Temperature</td></tr>
</tbody></table>
<span style="color: #e69138; font-size: large;"><b>Which Oil Pigments to Use</b></span><br />
<br />
Most artists will use just a dozen or so oil paints (as do I) which includes a warm and cool version of the primary colors (red, yellow and blue) as well as earth colors, a few extras and white. I find the following oil pigments will mix just about any color needed for painting: Titanium white, French ultramarine, Pthalo blue, permanent rose, cadmium red, lemon yellow, cadmium yellow (pale), burnt sienna and burnt umber. The following are also useful extras: cerulean blue, viridian and alizarin crimson (an old favorite).<br />
<br />
<span style="color: #e69138; font-size: large;"><b>Using Oil Paints for the First Time</b></span><br />
<br />
A good way of learning about the nature of each pigment is to apply each alone on a primed piece of card. The video clip informs on how each oil color differs in translucency and color temperature (how warm or cool it appears). Nothing quite equals trying out each color for yourself as opposed to reading about them, but basically, each color will have its own intensity, opacity, temperature and translucency. Find a YouTube clip on how I applied each oil pigment neat onto white card.<br />
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<div class="separator" style="clear: both; text-align: center;">
<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://i.ytimg.com/vi/O9znte__F_0/0.jpg" height="266" width="320"><param name="movie" value="https://www.youtube.com/v/O9znte__F_0?version=3&f=user_uploads&c=google-webdrive-0&app=youtube_gdata" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://www.youtube.com/v/O9znte__F_0?version=3&f=user_uploads&c=google-webdrive-0&app=youtube_gdata" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
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<span style="color: #e69138; font-size: large;"><b>Translucent Blues and Reds</b></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI4WPlJ7pMKJOLqjHLfEFCNQi0r3lHR8Ad3awQdnwgVNSpRkvPvXkpX8qLeTQdMjjGhC5UJmJNWAEcdsYjj8DIJzq4b6rDT0e4F8gOUW2ISGp0GK9VitoSETjWCyseKy0LmNAE4pJmmnPs/s1600/Transparency+of+red+and+blue+oil+color.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI4WPlJ7pMKJOLqjHLfEFCNQi0r3lHR8Ad3awQdnwgVNSpRkvPvXkpX8qLeTQdMjjGhC5UJmJNWAEcdsYjj8DIJzq4b6rDT0e4F8gOUW2ISGp0GK9VitoSETjWCyseKy0LmNAE4pJmmnPs/s1600/Transparency+of+red+and+blue+oil+color.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Color Temperature of Blue and Red</td></tr>
</tbody></table>
French ultramarine is quite a translucent color, not having the opacity of cerulean or cobalt. Pthalo blue is also quite translucent. Both require a little titanium to add coverage, but the addition of white will change the nature of the blue a little, killing its sparkle. The close up image shows translucent and opaque blues and reds. See how the translucent paint allows a little of the white gesso to show through, leaving a patchy feel to the paint layer.<br />
<br />
This can be seen with viridian, which is also a transparent color. I applied it neat, and then with a little titanium white.<br />
<br />
<span style="color: #e69138; font-size: large;"><b>Opaque Pigments in Oil Colors</b></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixX9fuF4yzi1DbrLEB7pFli24PtCC4iUxRJSHYJOFFqNNQzH_rpbhVluwMOs3JAOrzdUokAoc3Qa35_Qmjp1ekPM6DA9Qq_r_m4TRan564Y_XLMDAMf3xHErF385t2u26kttM6ihyphenhyphenIre_n/s1600/Opacity+of+Pigments+in+oil.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixX9fuF4yzi1DbrLEB7pFli24PtCC4iUxRJSHYJOFFqNNQzH_rpbhVluwMOs3JAOrzdUokAoc3Qa35_Qmjp1ekPM6DA9Qq_r_m4TRan564Y_XLMDAMf3xHErF385t2u26kttM6ihyphenhyphenIre_n/s1600/Opacity+of+Pigments+in+oil.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Color Temperature of Yellow Brown</td></tr>
</tbody></table>
Again, we can see here that lemon yellow and burnt sienna are rather translucent, where as cadmium yellow and burnt umber has more coverage. Translucent colors when applied over a white surface will appear vibrant. Opaque colors has good coverage but lacks this vibrancy.<br />
<br />
<span style="color: #e69138; font-size: large;"><b>Colour Temperature of Pigments</b></span><br />
<br />
How warm or cool does the color appear? This is known as colour temperature. A warm color will be bias towards red, a cool colour will be bias towards blue. French ultramarine has a violet cast, meaning it has a warm colour temperature. Cerulean blue and Pthalo blue appears cooler. Cerulean has a slightly greenish tinge.
Again, cadmium red has an orange-glow, giving it a warm cast. Permanent rose and alizarin crimson are cooler reds, having a violet cast. Similarly, burnt sienna is a warm, toasty brown; burnt umber is cooler.
<br />
<br />
<b><span style="color: #e69138; font-size: large;">Guide to Oil Pigments Transparency and Colour Temperature</span></b><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLm6G913z7J1_JOnbm-B7dgQhntUhzkLhYe0Nsa5iGg0CWRcVcuP-vaPx_-o4ntmYjMBtzaa-Braj2OqUz9FkGGuLqRcc41KRgHP5nnbCQfP5Gtpf-hrQFhF6G47PP96XxuVwzkEQ8kZmh/s1600/Titamiun+Opaque+Colors.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLm6G913z7J1_JOnbm-B7dgQhntUhzkLhYe0Nsa5iGg0CWRcVcuP-vaPx_-o4ntmYjMBtzaa-Braj2OqUz9FkGGuLqRcc41KRgHP5nnbCQfP5Gtpf-hrQFhF6G47PP96XxuVwzkEQ8kZmh/s1600/Titamiun+Opaque+Colors.jpg" width="111" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Adding White</td></tr>
</tbody></table>
To summarize, find a guide to the nature of each oil pigment below:<br />
<b></b><br />
<b></b>
<b>French Ultramarine</b>: a warm, violet blue, tends to be translucent<br />
<b>Pthalo blue</b>: a cool, deep blue, tends to be translucent<br />
<b>Cerulean blue</b>: a cool, greenish blue, tends to be opaque<br />
<b>Viridian green</b>: A sharp green, tends to be translucent<br />
<b>Permanent rose</b>: a cool, violet red, tends to be translucent<br />
<b>Cadmium red</b>: (deep to pale can be found) but tends to be orange-red, rather opaque<br />
<b>Alizarin crimson</b>: a deep, violet brownish red, tends to be translucent<br />
<b>Lemon yellow</b>: a pale, acidic yellow tends to be translucent<br />
<b>Cadmium yellow</b>: (deep to pale can be found) but tends to be warm, orangey, rather opaque<br />
<b>Burnt sienna</b>: a warm toasty brown, tends to be translucent<br />
<b>Burnt umber</b>: a cool, coffee brown, tends to be opaque<br />
<b>Titanium white</b>: a brilliant, opaque white. Will add opacity to any pigment it is mixed with.
<br />
<br />
<b><span style="color: #e69138; font-size: large;">More Articles about Art Pigments</span></b><br />
<br />
<a href="https://sites.google.com/site/scienceofcolour/" target="_blank">My Science of Color site</a><br />
<a href="https://sites.google.com/site/scienceofcolour/best-red-pigments-for-painting" target="_blank">Recommended Oil pigments for painting</a><br />
<a href="http://rachel-shirley.blogspot.co.uk/2010/09/how-can-i-make-oil-painting-cheaper.html" target="_blank">How to make oil painting cheaper</a>Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-4946490203679690440.post-9315503584826586982014-09-27T12:15:00.002-07:002016-06-30T08:20:44.751-07:00My Town Painting Looks a Mess: Help for Painting Houses and Harbors<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Painting
a town scene featuring lots of buildings and architectural features may cause
frustration if the detail looks splodgy and lines wonky. How can the artist
paint a town or harbour without the detail looking messy and amateurish?<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Mistakes
in Painting Towns in Detail<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQb3AhhrxkSwfZmpdpzQV22cxkLC6x67Tu5INRUBXNXoVkhyphenhyphengOZ8cmiHCKf01uNTKb0pwmBlRKlgKvlWsqZluYm_KKPl6aOZ22FiwqBWSD9dKls4SEcCQQmdevSjvLbXwwN6SJ570C4fyo/s1600/painting+intricate+scenes.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQb3AhhrxkSwfZmpdpzQV22cxkLC6x67Tu5INRUBXNXoVkhyphenhyphengOZ8cmiHCKf01uNTKb0pwmBlRKlgKvlWsqZluYm_KKPl6aOZ22FiwqBWSD9dKls4SEcCQQmdevSjvLbXwwN6SJ570C4fyo/s1600/painting+intricate+scenes.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Painting a Torquay Scene</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">An
artist presented with an intricate landscape scene for painting may be
disappointed with the final result. The following oil painting practices may have
contributed to an unsatisfactory town painting:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Completing
the painting in one go, causing the artist to rush the end through tiredness.
The result may be brush marks that appear carelessly rendered in the form of
smudgy lines or paint that bleeds into neighbouring colours.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Not
planning the underdrawing, causing mistakes to be inherited in the upper paint
layer. No amount of artist precision will make up for an inaccurate drawing.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Poor
art materials, particularly cheap brushes with no shape or springiness. This
will rob the artist of paint control, causing the pigment to go into unwanted
areas.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Applying
the oil paint straight onto the white surface. Unless the artist is supremely
confident, a degree of guesswork will result in a scene that is not centred
upon the art surface properly or an imbalance in tones.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Another
problem is that often, complex landscape scenes will feature darks and pales
against one another. The result could be unwanted colour contamination within a
small space. A messy painting may result.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;">
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<b>How to Prepare for a Town Painting in Oil<o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">This
demonstration features Torquay Harbour on the Devon Coast in the UK. To make the
painting easier I had prepared two acrylic underglazes prior to the oil
painting: one to kill the white gesso, the other to reinforce detail so that
the drawing will show beneath the glaze prior to oil painting. Prior to these, an
accurate drawing is essential.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">My
art instruction YouTube clip shows how I prepared the underglaze for painting
Torquay in Devon. Scroll to the bottom to see the second clip: the actual oil
painting.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/4zP-houDdVA?feature=player_embedded' frameborder='0'></iframe></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b><br /></b></span></span>
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b><br /></b></span></span>
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Tips
for Intricate Town Painting in Oil<o:p></o:p></b></span></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">When
faced with painting an intricate coastal town, the following are essential: a,
clear photograph, fine quality sables for detail: no’s 1, 3 or 6 will suffice.
A smooth art surface (fine canvas is OK, but the grain can make drawing smooth
lines tricky). I used primed MDF. Don’t use old oil paints that have thickened
with time.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Art
Tutorial on Painting a Detailed Coastal Scene<o:p></o:p></b></span></span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3kf1SeqAC4HYFF3xpZbMshK33I8_Nq7rlfRaRq4VyImwAgYg3yVqHUPIkeLZQpic6_nM_yAXJPqXEaIholqVxVONJgUFfxREzN-pvpR1-IQTW9CfUqYRrpUzxLO1vu8WI3dFl2A_w5nMC/s1600/Drawing+of+Torquay+Harbour.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3kf1SeqAC4HYFF3xpZbMshK33I8_Nq7rlfRaRq4VyImwAgYg3yVqHUPIkeLZQpic6_nM_yAXJPqXEaIholqVxVONJgUFfxREzN-pvpR1-IQTW9CfUqYRrpUzxLO1vu8WI3dFl2A_w5nMC/s1600/Drawing+of+Torquay+Harbour.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Under Drawing of Torquay</td></tr>
</tbody></table>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Torquay
Harbour posed challenges in that it presents lots of tight detail in the form
of houses, windows, roofs and boat masts. Rather than complete the painting in
one go, I did so in stages and on separate days. Each painting session lasted
only an hour or so with breaks.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Firstly,
I conducted the underdrawing. Time is needed to get this right, but don’t go
overboard with detail, as this will be covered with the oil paint anyway. I
simply ensured the houses were drawn with reasonable accuracy and the
composition centred upon the art surface in the way desired. A sharp HB pencil
and eraser was used.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Underpainting
with Acrylic Paint<o:p></o:p></b></span></span></div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNN5qVEQ2IrWmMomJ6-FHq9Ij7r4qxXh1Qfrwv0fXdgXUwMe7V9pxE-s2raeoXL0EM5l8XypxsKja26yQZk5ebYmZ0DNQi5C36cKmcF9W6YndAike60BUbzzMhA8lFfEXXeWLvqyr0xTVz/s1600/Underglazing+with+Acrylic+Paint.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNN5qVEQ2IrWmMomJ6-FHq9Ij7r4qxXh1Qfrwv0fXdgXUwMe7V9pxE-s2raeoXL0EM5l8XypxsKja26yQZk5ebYmZ0DNQi5C36cKmcF9W6YndAike60BUbzzMhA8lFfEXXeWLvqyr0xTVz/s1600/Underglazing+with+Acrylic+Paint.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Underdrawing and Glazing a Painting of Torquay</td></tr>
</tbody></table>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">So
that the drawing will show through the glaze (to be applied next), I reinforced
the drawing by overlaying the lines with dark brown acrylic paint from a fine
sable. Illustrating dark areas serves another purpose in that it supports the
oil paint layer. Don’t use dark lines on areas that feature no lines or pale areas,
such as the foreground reflections and the clouds, as the dark acrylic will
show through the oil paint.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Art
Lesson on How to Paint Torquay Harbor<o:p></o:p></b></span></span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE8FUTb_Uvd9aCTats4YEeqoufiqMC-26hhu52jwoHclSJ6zR-G663iBtGQe5i1Y7f-MMymLXOM9D42vKRpJYmBeQSDyxA3j6PcALxq3C9swAL_Mj5mADnlvTqI36RPUosK3ShdiSQUzQk/s1600/Painting+a+Torquay+Scene.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE8FUTb_Uvd9aCTats4YEeqoufiqMC-26hhu52jwoHclSJ6zR-G663iBtGQe5i1Y7f-MMymLXOM9D42vKRpJYmBeQSDyxA3j6PcALxq3C9swAL_Mj5mADnlvTqI36RPUosK3ShdiSQUzQk/s1600/Painting+a+Torquay+Scene.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leave Lose Brushwork Till Last</td></tr>
</tbody></table>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Once
the brown acrylic paint was dry, I overlaid the drawing with three coats of
diluted blue acrylic paint. The application of one wash often results in
unwanted streaks and brush marks. Three coats will create a more uniform
appearance to the underglaze. This means that the overlying oil paint (which
comprised mostly of pales around the houses) will be easier to key in to the surrounding.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Harbour
Painting in Oils<o:p></o:p></b></span></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Once
the acrylic underglaze had dried, I began the oil painting, which was on a
separate day. As can be seen, this preparatory technique means the artist is
not faced with the prospect of laying colour straight onto a white surface or
of guessing where to lay the paint. Fine sables are essential for detail such
as windows and guttering. I used rounds no’s 3 and 6. Wider sables were used
for the foreground reflections and the clouds.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Painting
Detail Tips Art Instruction<o:p></o:p></b></span></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Always
begin with the most exacting area whilst feeling up to it. In this case, I
began with painting the pale house frontages with varying amounts of white,
burnt sienna and cadmium yellow. Painting pale prior to dark means the dark
cannot contaminate the pales. As can be seen here, the houses vary slightly in
their cream tones. It doesn’t matter if the pale colour goes over the windows,
as the dark brown acrylic paint shows through. Reinforcement in the form of
dark oil paint can be applied later.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">This
second YouTube clip shows the oil painting stage. Again, I began with the trickiest
areas. I left the looser brushwork until last. This consisted of the sky and
reflections.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://i.ytimg.com/vi/qm8_0SAnLOc/0.jpg" height="266" width="320"><param name="movie" value="https://www.youtube.com/v/qm8_0SAnLOc?version=3&f=user_uploads&c=google-webdrive-0&app=youtube_gdata" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://www.youtube.com/v/qm8_0SAnLOc?version=3&f=user_uploads&c=google-webdrive-0&app=youtube_gdata" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Tips
for Painting Towns and Cities<o:p></o:p></b></span></span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">As
can be seen, the huge challenge of painting towns with lots of buildings can be
broken down into manageable tasks on separate days. In this case, the stages
consisted of: the drawing (take time to get this right), overlaying the lines
with acrylic paint, overlaying the composition with a series of acrylic glazes.
Finally, the oil paint can be applied on a separate day via fine sables. Often,
a touching up session is required once the oil paint is dry. This might be to
sharpen detail around windows or straighten lines. A little linseed oil will
help the paint flow.</span></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><b><span style="color: #e69138; font-size: large;">More Tips for Oil Painting</span></b></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "times new roman" , serif;"><span style="line-height: 18.3999996185303px;"><a href="http://rachel-shirley.blogspot.co.uk/2010/11/perspectives-of-my-buildings-look-wrong.html" target="_blank">Perspectives on my buildings look wrong</a></span></span></div>
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<span style="font-family: "times new roman" , serif;"><a href="http://rachel-shirley.blogspot.co.uk/2012/08/the-windows-and-doors-on-my-street.html" target="_blank">I can't paint windows and doors</a></span></div>
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<span style="font-family: "times new roman" , serif;"><a href="http://artteachersresource.blogspot.co.uk/2014/09/art-class-learn-to-draw-for-beginners.html" target="_blank">A cure for wonky drawings</a></span></div>
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<a href="https://sites.google.com/site/rachelshirleypaintings/build-confidence-in-painting" target="_blank">Build confidence in oil painting</a><br />
Torquay Harbour worked from a photo taken by Joseph Busby</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4946490203679690440.post-25659084807014603132014-08-12T12:35:00.001-07:002016-06-30T08:21:57.538-07:00The Four States of Color: How Color Looks Different in Different Art TechniquesThe pigment of oil paint can look different depending upon how it is applied. Various oil painting techniques will give the painting a different look and feel. Paint applied thickly will look different to paint applied thinly. The color label on a tube of paint is only part of the story, as can be seen here.<br />
<br />
<b><span style="color: #e69138; font-size: large;">Different Blues from One Blue</span></b><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz_m9JglC_CA__JAwP6dCi355ZVykUVDD3wTAjiMffHb-AAbB1BeVyVoJ-0eFTiibdGctpM2AKuZWeUSbkz5hs3FVXhRzUgH85X6fYZD3ziqiy0dcZoo5i197LgfUMXT1Vj41xjMmM0MFV/s1600/states2resize.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz_m9JglC_CA__JAwP6dCi355ZVykUVDD3wTAjiMffHb-AAbB1BeVyVoJ-0eFTiibdGctpM2AKuZWeUSbkz5hs3FVXhRzUgH85X6fYZD3ziqiy0dcZoo5i197LgfUMXT1Vj41xjMmM0MFV/s1600/states2resize.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ultramarine & alizarin crimson</td></tr>
</tbody></table>
When applied as a translucent glaze on white gesso, French ultramarine will possess great luminescence, because of the white gesso shining through the paint layer. The blue will almost appear to glow, like sapphire. If a little titanium white is added to the blue, the ultramarine will not only appear lighter, but this translucency will vanish. This is because adding white adds opacity and therefore reduces luminescence.
The close up image shows this treatment of ultramarine and alizarin crimson. The upper row shows a thin coat of pigment. The lower row shows the pigment with white added. Notice the nature of the color changes as well as its tone.<br />
<br />
<span style="color: #e69138; font-size: large;"><b>Oil Painting Art Techniques Shifting Color </b></span><br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDcie4YhP_x4ewSMIGYYj93tbzQEGVHY4tw1CTtrDXGWcCPSqPOZ7u33G88gRkwgZKK4ZIvmMXjPoIfI8mw72_Ziat_itf4vgg_8NXO19zXpRnMCwa6N0fqdhk4ZesKwY4zoqeuU2dyN4d/s1600/states2resize+-+Copy.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="124" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDcie4YhP_x4ewSMIGYYj93tbzQEGVHY4tw1CTtrDXGWcCPSqPOZ7u33G88gRkwgZKK4ZIvmMXjPoIfI8mw72_Ziat_itf4vgg_8NXO19zXpRnMCwa6N0fqdhk4ZesKwY4zoqeuU2dyN4d/s1600/states2resize+-+Copy.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Different applications of paint</td></tr>
</tbody></table>
There are other ways of applying a color. In this image, the upper pigment has been applied thickly. Notice little imperfections and unevenness in the layer. A single paint layer is difficult to perfect because of the white showing through in places beneath.<br />
<br />
The solution to this is to allow this paint to dry and then apply another coat on top. This can be seen in the bottom paint layer. Here, two thin glazes have been applied one on top of the other. Notice the evenness of the paint layer and how one evens out the other.<br />
<br />
See my Youtube clip that demonstrates how I applied the paint in these four different ways.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/UvpJW9ufXvY?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<span style="color: #e69138; font-size: large;"><b>Four Simple Oil Painting Techniques</b></span><br />
<br />
<b><span style="color: #e69138;">Glazing an Oil Painting for Translucent Paint over Gesso </span></b><br />
<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqygXZl5kbfSkURa2LPqhCVFydyBbTX94RRYFI0Z2G2Ih4ndFw2YjviU1bkhwRVJMZyecEhxNHetULbBtR20dPykkmG2FEYNY9aDjJg2d83TIEfGw3KZ5fo-zji7QeCnyYMbxZb5GYsNs/s1600/glazeresize.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqygXZl5kbfSkURa2LPqhCVFydyBbTX94RRYFI0Z2G2Ih4ndFw2YjviU1bkhwRVJMZyecEhxNHetULbBtR20dPykkmG2FEYNY9aDjJg2d83TIEfGw3KZ5fo-zji7QeCnyYMbxZb5GYsNs/s1600/glazeresize.jpg" width="148" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Glazing with oil paint</td></tr>
</tbody></table>
Applying the pigment of any oil color will appear different depending on the technique. A thin glaze applied straight onto white gesso will given it a transparent and luminescent feel. An example of this can be seen in the image of a garden arbor, that looks rather like watercolor washes. The oil paint can be thinned down further with a little linseed oil or artist spirits.<br />
<br />
<b><span style="color: #e69138;">Opaque Oil Paint for Flat Colors </span></b><br />
<br />
The opposite of a thin paint glaze is an opaque paint layer. None of the underlying gesso will show through. The paint is dense because a little white might be added to it, or it will be applied thickly. Opaque paint is necessary for flat, bright colors.<br />
<br />
<b><span style="color: #e69138;">Alla Prima in a Broken Paint Layer </span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi008IL0RFNqhuP_hqFEStQoP5uccoOAf6L5efhcHM6mGLsD6X9dk7D8sycx-ZbgdWhI_bFqBfVDtW_29HTIICQLpsnTODxfTDvYM_dV0Bhp1j_zJkNVeqFRsW6Fbo5KxEEaPgtMMR8ZZmS/s1600/castleriggresize.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi008IL0RFNqhuP_hqFEStQoP5uccoOAf6L5efhcHM6mGLsD6X9dk7D8sycx-ZbgdWhI_bFqBfVDtW_29HTIICQLpsnTODxfTDvYM_dV0Bhp1j_zJkNVeqFRsW6Fbo5KxEEaPgtMMR8ZZmS/s1600/castleriggresize.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Castlerigg Stone Circle alla prima</td></tr>
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This image of Castlerigg Stone Circle in Cumbria shows the application of broken paint layer. The paint is opaque and fairly thick but applied in a rough single layer. This is known as alla prima. Alla prima is difficult to smooth out. The only way round this is to allow the first paint layer to dry before applying another layer on top. This will even out imperfections in the paint layer.<br />
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<b><span style="color: #e69138;">Two Paint Glazes for Smooth Effects </span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8PqLZLdaedPwO8B9KVVBpV9aYtsaQycakqm2y9QvQ5Xi5V8bKUx0DOxQjm-zYkGtgpewGP9czL89YVxnXOnOJ0GZOjzbKYrDGQ49szKz7FIKbZ2l5IjrV1oVp7xq-UrYHv_4BbIYGxveA/s1600/radiationresize.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8PqLZLdaedPwO8B9KVVBpV9aYtsaQycakqm2y9QvQ5Xi5V8bKUx0DOxQjm-zYkGtgpewGP9czL89YVxnXOnOJ0GZOjzbKYrDGQ49szKz7FIKbZ2l5IjrV1oVp7xq-UrYHv_4BbIYGxveA/s1600/radiationresize.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Smooth glazing with oils</td></tr>
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This image of radiation fog over mountains exhibits smooth glazes, as the painting was completed in two sessions. The first paint layer was applied fairly thinly, allowed to dry and then a second glaze applied on top. Often a little linseed oil is needed for the upper paint layer to add flexibility.<br />
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<span style="color: #e69138; font-size: large;"><b><br /></b></span>
<span style="color: #e69138; font-size: large;"><b>Different Colors with Various Techniques in Oil Color </b></span><br />
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As can be seen here, a given color can appear different depending on how it is applied. A translucent layer will appear different to a thick layer. Add a little white to increase opacity and the luminescence from the underlying white gesso will disappear. Applying one paint layer over another will create a smooth, almost perfect paint layer. These four states of color can be used to create a desired effect in oil painting.
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<b><span style="color: #e69138; font-size: large;">More Articles about Oil Painting Art Techniques and Color</span></b><br />
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<a href="http://rachel-shirley.blogspot.co.uk/2010/03/confronting-art-techniques-for-oil.html" target="_blank">What are the main oil painting techniques?</a><br />
<a href="https://sites.google.com/site/scienceofcolour/" target="_blank">My science of color site</a><br />
<a href="http://artteachersresource.blogspot.co.uk/2014/09/oil-painting-technique-learn-glazing.html" target="_blank">Glazing with oils for beginners</a><br />
<a href="https://sites.google.com/site/scienceofcolour/how-to-mix-blues-in-painting" target="_blank">The nature of blue pigment</a><br />
<a href="http://rachel-shirley.blogspot.co.uk/2010/09/why-is-my-oil-painting-cracking.html" target="_blank">Why is my painting cracking?</a><br />
<a href="http://rachel-shirley.blogspot.co.uk/2013/01/im-confused-about-alkyd-mediums-for-oil.html" target="_blank">What are different alkyd mediums for?</a><br />
<a href="http://artteachersresource.blogspot.co.uk/2012/02/artclass-challenge-to-paint-landscape.html" target="_blank">Paint a landscape in 100 strokes</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-81334869661994191162014-08-12T01:25:00.000-07:002016-06-30T08:23:37.518-07:00My Terrible Drawings are Ruining my Paintings. How do I See Like an Artist?Drawing underpins painting, and oils are no different. An inaccurate drawing will continue to niggle regardless of how good the painting technique is. This is why it is important to get the drawing right before laying paint to canvas. But it goes further than this. Drawing begins before even pencil even contacts paper. Here, find a test into how visually aware you are.<br />
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<span style="color: #e69138; font-size: large;"><b>Learn to Draw Better with this Test </b></span><br />
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As drawing is vital to painting, have posted my Youtube clip here that delves into how visually aware you are. My video includes a test into visual judgment. This means looking at things and making visual estimates on their shapes, angles and coordinates.
Judging how things look includes the following by the use of the naked eye (no visual aids such as rulers, protractors, spirit levels, etc.)<br />
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The angle of a line, which might be on paper, or the inclination of an object. See how close you were to the mark only afterwards with a protractor. Bear in mind a right angle will exhibit 90 degrees; a straight line, 180 degrees. Is the angle acute? (Less than 90 degrees)? Is it obtuse? (More than 90 degrees).
The trueness of a shape.<br />
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Is a circle truly a circle, or is it subtly oval? Is the square slightly asymmetrical? Is the triangle equilateral, or is one side slightly longer?<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjELZTERwIjC189J1wwieFBXQ4kNnvofg63uIQ5PVtCvRUA9AcuvIRowaaORBJaCEgpMxlsObNIbr39iV0aGqL39mQSMVyF9Ft0neioaUIfCUJZY2DdA0-8qGD0pozE69O9_-A_e4T6ohQz/s1600/chairfin2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjELZTERwIjC189J1wwieFBXQ4kNnvofg63uIQ5PVtCvRUA9AcuvIRowaaORBJaCEgpMxlsObNIbr39iV0aGqL39mQSMVyF9Ft0neioaUIfCUJZY2DdA0-8qGD0pozE69O9_-A_e4T6ohQz/s1600/chairfin2.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Drawing Tips by Measuring</td></tr>
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Judge the position of one object in relation to another. Is it higher? Lower? How far away is it? Use an object as a frame of reference. (Is it half the width of this object? Double the width?) The image shows an example of making visual estimates of size relation. The height of the strut is roughly the same as the space between two. Again, the chair is roughly in the center of the two struts in a symmetrical formation.<br />
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Find other measurements that fit simple ratios and fractions within a scene. This is the key to making objects fit in a drawing, rather like a jigsaw.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHFzX5zazU6TXSn5rYJH4wByJMWXIXkNVM7G-HzIQcTERUkcForh6Rd6QKx16QDXwq55x8HZ2ag6fibohLfDLMO5n9e35bfy7l9Cfgv42b9ENA6ljEtdSPeE-B2LydzvlIEPs9A40gtnp5/s1600/circlesa.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHFzX5zazU6TXSn5rYJH4wByJMWXIXkNVM7G-HzIQcTERUkcForh6Rd6QKx16QDXwq55x8HZ2ag6fibohLfDLMO5n9e35bfy7l9Cfgv42b9ENA6ljEtdSPeE-B2LydzvlIEPs9A40gtnp5/s1600/circlesa.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Do your Eyes Deceive You?</td></tr>
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Judge how symmetrical a shape is. Does it skew at one side? Is it lower on one side than the other? Such visual acumen is vital in portraiture and other objects of nature such as butterflies and markings on fur. Awareness of symmetry may hold to key to creating balanced compositions, which includes the arrangement of a bunch of flowers or to design a motif.<br />
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Take note of tonal variations of any aspect. What is the darkest area? Where is the mid-tone? Can the scene be divided into basic tones? How many tones would there be? Color can often interfere with tonal judgment. Half-closing the eyes will cut out most bright colors and make tones easier to see.<br />
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<b><span style="color: #e69138; font-size: large;">Learn to See Like an Artist </span></b><br />
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How level is a line? Does it tilt a little? Which way? Look also at vertical lines. Is it truly vertical or does it tilt? Difficulty in judging the trueness of lines may explain why some people find hanging a painting difficult or to hang shelves. This might also explain why some drawings appear to lean to one side on paper. Often, over-familiarity with a drawing will cause its errors to become invisible.<br />
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<b><span style="color: #e69138; font-size: large;">When Drawing Begins</span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDFBzV0kK6_jFG5V74koXew47aMATZ5ariS8gKDAu1CelV4RvCxJdCyTYwSDHo_RiJL_V6NrT4WCKmSX2_VH0rU-Qvfg85Ai0REdkQEWRpAY5cc5N-kyKRpU5yydz8Qaa_o1dsUhUwFTd7/s1600/frameresize.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDFBzV0kK6_jFG5V74koXew47aMATZ5ariS8gKDAu1CelV4RvCxJdCyTYwSDHo_RiJL_V6NrT4WCKmSX2_VH0rU-Qvfg85Ai0REdkQEWRpAY5cc5N-kyKRpU5yydz8Qaa_o1dsUhUwFTd7/s1600/frameresize.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Judging if Something is Straight</td></tr>
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As explained in the clip, drawing starts before the pencil touches paper. A line can only be drawn once a good visual estimate is made. This might be the center point of the scene or how curved a line is.<br />
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Beware of distorted perceptions in drawing. Examples of these can be found in the clip. These can sneak into the drawing in the most subtle ways, causing errors and unwanted focal points. The angle of a door might appear twisted or the struts of a chair too thin.<br />
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Common mistakes are often due to the brain’s insistence that something is there when it isn't. Our so-called left brain, where the speech center is located, will assign labels to things. A chair has four legs and a seat at the top. But from certain angles, a chair will appear to have three legs and no seat at all.<br />
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<b><span style="color: #e69138; font-size: large;">Do Your Eyes Fool Your Brain in Drawing? </span></b><br />
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The key is to dispel all assumptions about how objects ‘should’ look and simply copy lines and shapes, but this begins before pencil contacts paper. Doing so requires high visual awareness.<br />
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The test within the clip will establish how good you are at making visual estimates before putting lines on paper. In others words, whether your eyes fool you into poor drawing.<br />
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<b><span style="color: #e69138; font-size: large;">Take This Test for Drawing Ability </span></b><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiziSYftJza37fZpg_vVeh28wezzRQeKo2gU1fcrwe0CDUWXsuOZzOaKTaS3V9NqomayJRfRPKuSk8EoYhv0VvvddlLE5u_jsPGjFq5Obaspf7OP4eUE8HFKpRdDKFEiEOJFz_4Jw8D7Z2o/s1600/resize1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiziSYftJza37fZpg_vVeh28wezzRQeKo2gU1fcrwe0CDUWXsuOZzOaKTaS3V9NqomayJRfRPKuSk8EoYhv0VvvddlLE5u_jsPGjFq5Obaspf7OP4eUE8HFKpRdDKFEiEOJFz_4Jw8D7Z2o/s1600/resize1.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Good Drawing Underpins<br />
Good Painting</td></tr>
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Within this test, you will find ten questions that look at angles, sizes, coordinates and tones. Don’t use visual aids, and resist pausing the video. Answers are given at the end.<br />
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Eight or more out of ten and good visual awareness is demonstrated. Five to seven is not too bad, but distorted perception may sneak into your drawing. Four or below out of ten and your visual awareness needs fine-tuning.
Don’t worry if a low score is the result, all that is needed is practice. Good drawing is all about making accurate visual judgments before putting down what you see onto paper. This is essential to oil painting.<br />
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In many ways, applying the oil paint forms the second part of the project. The first: drawing requires equal consideration. Good visual awareness is the key to good drawing.<br />
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<b><span style="color: #e69138; font-size: large;">Articles Related to Oil Painting</span></b><br />
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<a href="http://rachel-shirley.blogspot.co.uk/2010/10/my-oil-painting-looks-childish-and.html" target="_blank">My oil paintings look childish and lack realism</a><br />
<a href="http://artteachersresource.blogspot.co.uk/2012/04/art-class-challenge-step-by-step.html" target="_blank">How to shade a sphere</a><br />
<a href="http://artteachersresource.blogspot.co.uk/2012/06/drawing-exercise-to-improve-visual.html" target="_blank">Improve visual memory in drawing</a><br />
<a href="https://sites.google.com/site/scienceofcolour/" target="_blank">My science of colour website</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-3299335278678957902014-07-19T14:45:00.001-07:002016-06-30T08:25:11.740-07:00Oil Painting Critique of an Idealized Alpine Landscape with Lake<div class="separator" style="clear: both; text-align: center;">
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This oil painting features a romanticized mountain landscape with fir trees and a lake. Ayesha Mirza has used another landscape painting as reference material. Creating an interpretation of another’s work is challenging enough, but the artist is also a beginner in oil painting.<br />
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<span style="color: #e69138; font-size: large;"><b>Romanticized Oil Painting’s Strengths </b></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH8EKnOPrJvFuN-qkjBNnkqtJg6Cv5L2fi38uIQgCtuK47L53fE1lTeQ7Zo6T1IAA7avrKl-1otmqz7J6TzmxR22cEjiKiGW1-IkQDeFybFIYRToXdUtnasX1Hlwn_2pyXEQ1D90DOYsab/s1600/landscape1+-+Copy.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH8EKnOPrJvFuN-qkjBNnkqtJg6Cv5L2fi38uIQgCtuK47L53fE1lTeQ7Zo6T1IAA7avrKl-1otmqz7J6TzmxR22cEjiKiGW1-IkQDeFybFIYRToXdUtnasX1Hlwn_2pyXEQ1D90DOYsab/s1600/landscape1+-+Copy.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alpine Landscape by Ayesha Mirza</td></tr>
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The artist has evidenced great technique in mark-making to suggest textures. This can be seen in the smooth blending of the lake; the stippling of brush to suggest the fronds of the fir trees and what appears to be the scraping on of paint via a palette knife (or similar) to suggest icy mountain peaks. These repeating textures create pleasing echoes throughout the painting. Conflicting methods of paint application is a great way of suggesting water, ice, foliage and clouds in a landscape painting.<br />
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The artist has also created ever muting hues into the distance, to reinforce that sense of depth within the valley. The harsh outlines of the bare tree in the foreground appear stark against the mist in the valley. This contrast between soft and harsh is often used in dramatic landscape paintings to create a sense of distance and grandeur.<br />
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<span style="color: #e69138; font-size: large;"><b> Idealized Landscape Painting </b></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO_AgXO0HGXyo76kCC1RmshEN9M2dqw9zy6QMnmmCJCDA0raGdLjFN1zupAeINIDeQFSbgGvnenmmoxI5NejhV4pwMwMad6CnoGKM9Z2fyuUQBgZITlFrgDrS8AVajQZO-ijm00cZdFBEH/s1600/landscape2+-+Copy.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO_AgXO0HGXyo76kCC1RmshEN9M2dqw9zy6QMnmmCJCDA0raGdLjFN1zupAeINIDeQFSbgGvnenmmoxI5NejhV4pwMwMad6CnoGKM9Z2fyuUQBgZITlFrgDrS8AVajQZO-ijm00cZdFBEH/s1600/landscape2+-+Copy.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Michael Thompson Painting source</td></tr>
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The landscape painting worked from is by Michael Thompson, a style similar to a Bob Ross painting. The original image shows signs of idealization, which suggests a work from memory or a formula, rather than an actual landscape scene. The mountains are conical, the fir trees are regular in formation with uniform greens, and the sky, a patchy ultramarine-type blue with white.<br />
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<span style="color: #e69138; font-size: large;"><b>Bizarre Rules of Natural Landscapes </b></span><br />
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An actual landscape has somewhat a different feel to a romanticized landscape as can be seen in the photos below. Unexpected surprises can often be found, such as mountains like tissue paper, orange in fir trees, clouds like herring bones and pristine reflections. These elements are not always found within a formulaic landscape painting.<br />
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<span style="color: #e69138; font-size: large;"><b>Painting of the Alps </b></span><br />
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It is often true a painting can only be as good as the photograph or painting worked from. If the artist is interested in copying another’s work, I would suggest snow paintings of the great artists, such as the Impressionists or breathtaking photos such as these. Plenty more can be found copyright free in the Net. Copying from a photo gives the artist more free reign than copying a formulaic landscape painting, such as one by Thompson.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjebTqBCVA0WZThjS8V2eNlXIpW707yRclYQ-Vfrxa9UShRNZ4Ifhlhf9SNvqS8cWlXD4ujJwUcV9m46Bg6ukFQUSdgNb7KTCDpovKxP3YYSMBeBtYYZNvKJVsz21xwhq0k0rZXX2X0FoLW/s1600/mountain+images.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjebTqBCVA0WZThjS8V2eNlXIpW707yRclYQ-Vfrxa9UShRNZ4Ifhlhf9SNvqS8cWlXD4ujJwUcV9m46Bg6ukFQUSdgNb7KTCDpovKxP3YYSMBeBtYYZNvKJVsz21xwhq0k0rZXX2X0FoLW/s1600/mountain+images.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Breathtaking Mountain Pictures for Painting</td></tr>
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<span style="color: #e69138; font-size: large;"><b>Great Images to Paint from </b></span><br />
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Ayesha's great ability to suggest textures in landscape lends itself to working from dramatic photos. A convincing landscape painting with atmosphere is certain to result. The artist can explore dazzling blues that can be found in snow (achieved by the mixture of cerulean and ultramarine with a little white). Or pristine creams in sunlit snow (achieved with white with a little cadmium yellow or burnt sienna). Shadows in mountains will often possess opposing colors to the sunlit side (such as pink against violet, or orange against blue. Soft violets and creams in snow can be seen in the four paintings below.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ZgMcPUEA1GXE-UO4p2Jl1UKynvhX_DijNeSofCtWuQ7JZL8zSJ-Icx6E_f5Zh8JE3OKMTicrW6fanq0BYIa-2gDGWzHIb4Q3pFRHuFna6-dSP5a98XIKdSS3ugidvIS0JOGpJfLHOgx3/s1600/mountains.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ZgMcPUEA1GXE-UO4p2Jl1UKynvhX_DijNeSofCtWuQ7JZL8zSJ-Icx6E_f5Zh8JE3OKMTicrW6fanq0BYIa-2gDGWzHIb4Q3pFRHuFna6-dSP5a98XIKdSS3ugidvIS0JOGpJfLHOgx3/s1600/mountains.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dramatic Snowy Landscapes by Great Artists</td></tr>
</tbody></table>
<span style="color: #e69138; font-size: large;"><b>Development in Landscape Painting </b></span><br />
<br />
Ayesha’s oil painting appears to be worked from a stylized image of an Alpine scene. I feel that such reference material can be quite limiting for anyone who wishes to explore the truth in nature. A photograph of an actual landscape scene I feel is the way forward. The artist can then explore the bizarre nature of a grand landscape without limitations and create a personal interpretation of what is seen.<br />
<br />
Oil colors I would recommend for copying any of these images are: titanium white, cerulean blue, ultramarine, burnt sienna, burnt umber, cadmium red, cadmium yellow (pale) and viridian. These colors will enable the artist to broaden the palette and achieve high contrasts in light and dark. Ayesha’s lovely textural techniques will complement compelling landscape paintings.<br />
<br />
<span style="color: #e69138; font-size: large;"><b>Art Materials for Landscape Painting </b></span><br />
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Further, using glazing technique (the application of thin paint) for water and skies will contrast against impasto (thick paint) for trees and snow. Fine sables will be needed for sharp detail in mountains, and harsh bristles will come in useful for scudding clouds. A palette knife is great for scraping on the paint to suggest icy peaks (as already evidenced). Above all, a good photo to work from is more likely to create a compelling landscape, including an Alpine scene.
In-depth tips on painting mountains, water and trees can be found on the links below.
<br />
<br />
<b><span style="color: #e69138; font-size: large;">Tips for Painting Landscapes</span></b><br />
<br />
<a href="http://rachel-shirley.blogspot.co.uk/2010/11/my-mountain-art-resemble-inverted-cones.html" target="_blank">Tips on painting mountains</a><br />
<a href="http://rachel-shirley.blogspot.co.uk/2010/03/how-do-i-make-water-look-like-water-in.html" target="_blank">Tips on painting water</a><br />
<a href="http://rachel-shirley.blogspot.co.uk/2010/11/my-landscape-paintings-lack-drama-or.html" target="_blank">Giving landscapes depth</a><br />
<a href="http://rachel-shirley.blogspot.co.uk/2010/03/how-do-i-darken-colour-of-snow.html" target="_blank">How do I darken the color of snow?</a><br />
<a href="http://rachel-shirley.blogspot.co.uk/2010/02/my-skies-look-boring-and-bland.html" target="_blank">Painting dramatic skies</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-29866027858532344212014-07-17T15:33:00.001-07:002016-06-30T08:26:02.286-07:00Oil Painting Critique of Mary and Jesus Oil on Canvas<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
These paintings of Mary and Jesus were intended to be a pair, but the artist has expressed dissatisfaction that they do not look like they go together. Both paintings are oil on canvas. Jesus has received a coat of Dammar varnish; Mary has yet to do so. The artist Anna Strawbridge Ziegler has faced the challenge not only of completing a double portrait, but of making them appear a pair.<br />
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<span style="color: #e69138; font-size: large;"><b>An Oil Painting Set of Religious Art</b></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIu8j2s3P0yn8ciNjwd3S98F6Bn5a8iigyttbcMmJ8Kjs-JadN1PgRi5BP12me_6Wil2uEgxF7jUmbAMre592q82ftOzAQwaPubWpM5b3uUX8F1_7QZjNIcghOwBJFaM8VQa781Dd8qEzd/s1600/maryoriginal.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIu8j2s3P0yn8ciNjwd3S98F6Bn5a8iigyttbcMmJ8Kjs-JadN1PgRi5BP12me_6Wil2uEgxF7jUmbAMre592q82ftOzAQwaPubWpM5b3uUX8F1_7QZjNIcghOwBJFaM8VQa781Dd8qEzd/s1600/maryoriginal.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Painting of Mary and Jesus by Anna Strawbridge Ziegler</td></tr>
</tbody></table>
In order to make oil paintings belong together, it is a good idea to think about the light. Does the light hit the object from the same angle? Is the light of the same intensity? If one differs to the other, the pair is unlikely to appear unified. As can be seen from the two images, the quality of the light differs, and I feel this might be the reason for the artist’s dissatisfaction in making them appear to belong.<br />
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<span style="color: #e69138; font-size: large;"><b>Quality of Light of Religious Paintings</b></span><br />
<br />
The face of Jesus has a subdued light, suggesting half-light. The tones are low key and the features almost shrouded in shadow. The portrait of Mary has a higher contrast in tone. We can see her features more clearly, as though light had sought out her features. This contrast in portraits is particularly clear in the eyes – the focal point of any portrait. The artist tells me these are her third and fourth paintings ever completed. From this, it can be seen that the artist has overcome great obstacles, as portraiture is not easy. The result is quite accomplished.<br />
<br />
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<span style="color: #e69138; font-size: large;"><b>Tips on Painting Religious Portraits </b></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggK_xzf1HlwLbISgIbVObmH7ctxyaZh-LpXNiaQyE4wURL25iflpP8qN6-9b9o2SaOlYa_ZH8pzq6BaxWeB_u0az2e6bj7t-k_fQlDGrocUpAPiSKKKJECAGdXEFd-SxjgAUkJzVIegNXn/s1600/mary4.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggK_xzf1HlwLbISgIbVObmH7ctxyaZh-LpXNiaQyE4wURL25iflpP8qN6-9b9o2SaOlYa_ZH8pzq6BaxWeB_u0az2e6bj7t-k_fQlDGrocUpAPiSKKKJECAGdXEFd-SxjgAUkJzVIegNXn/s1600/mary4.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jesus with high contrast and low contrast</td></tr>
</tbody></table>
To make the portraits appear to belong, the issue of the light needs to be looked into. This can be tackled in two ways: either reduce the contrast and tonal value of Mary’s face, or increase the contrast and tonal values of Jesus. I feel the former will simply result in two subdued portraits, which I feel is not the intention. The 2 images on the right shows Jesus' face of differing tonal keys. the one on the right is the original image; the one on the left has been altered by increasing tonal contrast.<br />
<br />
<span style="color: #e69138; font-size: large;"><b>How to Alter Contrast in Images</b></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigJ-HYMQKYLrSAhZjtPDe2PgRvjGLwMKQkwPtwfGo_7G-OLS_m2Dm8xnzokdlE4inwyomrmX4sMCIzro3yajfDxL1NqLOgcbbOrE4XTV-QYtGXJU-YeMrjmprSgpa1F77ODNOX9tIQ3FpK/s1600/contrastimage.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigJ-HYMQKYLrSAhZjtPDe2PgRvjGLwMKQkwPtwfGo_7G-OLS_m2Dm8xnzokdlE4inwyomrmX4sMCIzro3yajfDxL1NqLOgcbbOrE4XTV-QYtGXJU-YeMrjmprSgpa1F77ODNOX9tIQ3FpK/s1600/contrastimage.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Altering Contrast on My Pictures</td></tr>
</tbody></table>
Altering the tonal key of an image is easy if you know how. The screenshot shows how to do this on Microsoft MyPictures. Simply increase contrast to heighten the tonal key of Jesus. This will bring out the highlights on the face. Don’t overdo it, or detail will be lost within highlights and shadows. Always save the original image. The altered image can then be printed and used as art reference.<br />
<br />
<span style="color: #e69138; font-size: large;"><b>Tones of Portraiture in a Painting of Jesus and Mary</b></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQVWfckDnxV4UU8kiFF0eje4t8LlhXQj98z9fsynXaNobUKDCFK31mWlzItvLjzvpZvlI6IJaP4mQA9Q7-r8ev8wB15sDiyhPtzgNBZGJW8gAyM5ez4ip3-R2iB9OAFnsoW6W7DYNZ3Res/s1600/marya.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQVWfckDnxV4UU8kiFF0eje4t8LlhXQj98z9fsynXaNobUKDCFK31mWlzItvLjzvpZvlI6IJaP4mQA9Q7-r8ev8wB15sDiyhPtzgNBZGJW8gAyM5ez4ip3-R2iB9OAFnsoW6W7DYNZ3Res/s1600/marya.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jesus and Mary have a better Match in Tonal Contrast</td></tr>
</tbody></table>
The altered image of Jesus has been placed next to Mary, creating a better match regarding light than the original. The artist could add a little warmth to the highlights of Jesus' face by adding a little burnt sienna to the mix. The dark backgrounds will really bring out the tones on the features.<br />
<br />
<span style="color: #e69138; font-size: large;"><b>Highlights and Shadows on Christ’s Face</b></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-JxkyY0_XGz6o49cMvrUNq6meEyJ1U5UUN0BgH-MnkTNzNO-5EoGV3cCBP-PITVGsH0GePytJKC983t9yChgK9ONSF5Q4PvnMBxU0uKCOMJ57Igz-yKt_9CF39u9TLVbk8i4cWqWwVvdB/s1600/mary3+-+Copy.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-JxkyY0_XGz6o49cMvrUNq6meEyJ1U5UUN0BgH-MnkTNzNO-5EoGV3cCBP-PITVGsH0GePytJKC983t9yChgK9ONSF5Q4PvnMBxU0uKCOMJ57Igz-yKt_9CF39u9TLVbk8i4cWqWwVvdB/s1600/mary3+-+Copy.jpg" width="116" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mary's Hands<br />
used in Painting</td></tr>
</tbody></table>
With the tonal values of the photo heightened, the artist can move forward in one of two ways: either begin the Jesus portrait afresh or work over the original one in an upper glaze. Working in an upper glaze means using thinned oil paint (usually with a little linseed oil) over select areas of the portrait. In this case, a paler color can be worked around the brow, cheeks, nose and chin of Jesus’ face. Using the altered image can be used as a guide. Blend out the edges of the highlight areas with a fine sable to create smooth gradations into shadow.<br />
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<b><span style="color: #e69138; font-size: large;">Correct Use of Dammar Varnish</span></b><br />
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It must be noted that Jesus has already received a coat of Dammar varnish. Never apply oil paint on top of varnish. It is better to remove the varnish with special varnish remover (not turps or industrial thinners) before proceeding. Follow manufacturer's instructions. I use cotton buds and work over the painting little at a time. Look out for any oil paint that lifts with the varnish. If this happens, the painting has not dried properly before the varnish has been applied. It might be best to start a new painting in this instance.<br />
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<span style="color: #e69138; font-size: large;"><b>Tips on Painting Religious Portraits</b></span><br />
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In order to make two paintings appear as a set, ensure the lighting conditions and the background colors are similar to one another. In this case, we can see the light has different qualities in these portraits of Jesus and Mary. Jesus’ face appears shrouded in shadow and lower key by contrast to Mary’s. This can be put right by increasing the contrast of Jesus’ face. MyPictures, Microsoft’s standard program can be used to do this. The photo can then be printed and used as reference for the painting. The highlights can then be worked over select areas in a light glaze or begun afresh.</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4946490203679690440.post-89982581811111424612014-07-06T06:58:00.002-07:002016-06-30T08:28:06.107-07:00Rachel Shirley Book Talk with BBC Radio Coventry and Warwickshire<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
I am most excited about a book talk I will be hosting at Coventry Central Library that will be preceded by a radio interview with Phil Upton of BBC Radio.<br />
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<span style="color: #e69138; font-size: large;"><b>Rachel Shirley Book Talk at Coventry Central Library </b></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheHr2QwsPnt7j1-_VksLrqQJdaV5bobpEvOT-1NBeHl0j2tStJRm1xzRdef9omsjl4AU_WipMsf7ccUZaL9eKm-zJycp_0sy4EcyZQOmA9S8Lu4QC-X1rMXkaGE0J6_miOCpkHN54DLGlh/s1600/radiointerview.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheHr2QwsPnt7j1-_VksLrqQJdaV5bobpEvOT-1NBeHl0j2tStJRm1xzRdef9omsjl4AU_WipMsf7ccUZaL9eKm-zJycp_0sy4EcyZQOmA9S8Lu4QC-X1rMXkaGE0J6_miOCpkHN54DLGlh/s1600/radiointerview.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rachel Shirley Interview<br />
with BBC Radio Coventry</td></tr>
</tbody></table>
My book talk is to take place at Coventry Library on Tuesday 8 July at 10.30am. BBC Radio Coventry will mention the event on the morning prior to the event.<br />
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<span style="color: #e69138; font-size: large;"><b>Rachel Shirley Talk about Paintings at Coventry </b></span><br />
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The book talk will really be in two parts, the first being about my art instruction books. I will show the audience examples of the troubleshooting guides I have been writing to help students with their creative pursuits, such as Why do My Ellipses Look Like Doughnuts? And Why do My Landscapes Look Like Cotton Wool? Original artwork will be on display for people to look at, and I will have copies of my first art instruction book published, entitled, Oil Paintings from your Garden, at only £2 each.<br />
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<br />
<span style="color: #e69138; font-size: large;"><b>Rachel Shirley Book Talk and Book Signings at Coventry</b></span><br />
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The second part of this talk will comprise the psychological thrillers that I write under a pseudonym, Charles J Harwood. I will talk a little about how I got into writing and also read an excerpt from one of my thrillers, Falling Awake.
After a break I can answer questions the audience can pose me, but will post any on my blog that I am unable to answer at that time.<br />
<br />
My thrillers are £6 each (cheaper than Amazon) and all will be signed. If there is time, I will relate on my personal experiences of book publishing.
I am looking forward to the author event, and also the chat with Phil the preceding evening. Hopefully, I will remember my lines and get the word about! See you there.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-22013083571011893342014-07-02T12:00:00.002-07:002016-06-30T08:28:38.711-07:00Oil Painting Pompeii on Canvas: an Art EvaluationAn oil painting with perpendicular structures such as this scene of Pompeii poses the issue of perspectives. Getting perspectives right can cause the artist to get sidetracked. Surrounding areas such as the sky could be in danger of being overlooked. This challenge was faced by Elizabeth Murray when painting this scene of Pompeii oil on canvas.<br />
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<span style="color: #e69138; font-size: large;"><b>About Pompeii the City </b></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3PCTVp0mduMRmx_uKOQaUwwKDQOWDYJJtlDzNzsnosbjWaJ3481VQZwj9lb_14TaNgdu0MSLBUmgI8BuzWveEqjndzfWSgPZaikDNFxl3de6cdGKdFK_x82mCpPQ1-Iu757T09GM9VQ4d/s1600/Elizabeth+Murray1+-+Copy+(2).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3PCTVp0mduMRmx_uKOQaUwwKDQOWDYJJtlDzNzsnosbjWaJ3481VQZwj9lb_14TaNgdu0MSLBUmgI8BuzWveEqjndzfWSgPZaikDNFxl3de6cdGKdFK_x82mCpPQ1-Iu757T09GM9VQ4d/s1600/Elizabeth+Murray1+-+Copy+(2).jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pompeii by Elizabeth Murray: Oil on Canvas</td></tr>
</tbody></table>
Pompeii is located near Naples in Italy. The town was destroyed by the eruption of Mount Vesuvius in 79 AD, burying its occupants within a pyoclastic flow. The town was rediscovered after 1,500 years and the buried remains preserved, creating a tourist attraction. Only a ruin remains.<br />
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<span style="color: #e69138; font-size: large;"><b>Perpendicular Lines of Pompeii </b></span><br />
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The painting style reminds me a little of De Chirico’s scenes in the repeating arches and shadows and the muted color of the sky, although the paint handling is softer than De Chirico’s style.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjExzfWCC2eixmZe-JZObLlVaJS103jK_fSDSYjwnjQwzs2eVfa2ZvXUFbb-t-cziP-XC7BUX2YX1h850x5Kj-D_6vSO50T7fLylEOVMwkkT47PjjnbSO08E5PpnGZZwWx61wklnloj88Q7/s1600/Elizabeth+Murray3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjExzfWCC2eixmZe-JZObLlVaJS103jK_fSDSYjwnjQwzs2eVfa2ZvXUFbb-t-cziP-XC7BUX2YX1h850x5Kj-D_6vSO50T7fLylEOVMwkkT47PjjnbSO08E5PpnGZZwWx61wklnloj88Q7/s1600/Elizabeth+Murray3.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Perspectives on Buildings</td></tr>
</tbody></table>
Great handling of perspectives is evident here. The columns are vertical and the supporting struts recede to a vanishing point that makes sense, as can be seen by the image overlaid with dark lines. Some paintings featuring straight lines can look rather draughtsman-like, but is not the case here. The columns appear soft, almost rendered by pastel and shadows appear to melt into the sunlit areas. As the artist is a beginner, is a great achievement.<br />
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The only (slight) issue is the arches in the foreground appear to lean forwards. This is because the arches (including one in the background) aren’t quite symmetrical in formation and apex of some appear too far to the left (see close up images). This problem is minor and can easily be fixed.<br />
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<span style="color: #e69138; font-size: large;"><b>High Detail in Buildings </b></span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzgdnq97f2-Vu9eI0GciyjpDW0nWUHRC1wIEJ1wn3SXsBBr6VXuES2PPx04cSyE2gPuqGiUN6W4SAjSckgxpRyfdbdKvdQGk-Hnqb5TtfRs-45np1jua_8RHkdiAWseB-v-JzNCYPR3Iaf/s1600/painting+arches.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzgdnq97f2-Vu9eI0GciyjpDW0nWUHRC1wIEJ1wn3SXsBBr6VXuES2PPx04cSyE2gPuqGiUN6W4SAjSckgxpRyfdbdKvdQGk-Hnqb5TtfRs-45np1jua_8RHkdiAWseB-v-JzNCYPR3Iaf/s1600/painting+arches.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Getting Arches Symmetrical</td></tr>
</tbody></table>
This painting appears to be completed with a limited palette, for the muted colors. This provides the ideal opportunity to explore textures. In this vein, the artist has requested tips on getting high detail in the buildings. A good way is to apply paint thinned with a little linseed oil from a fine bristle (number 6 or 3) over the base color. A sable may not possess the robustness required to deal with the rough surface of canvas and may not get into the weave.<br />
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Erosion can be suggested by smudging out the paint slightly and applying fine marks on select areas as guided by the photo. Oblique sunlight can bring out the imperfections in the stonework. Applying neat white (with perhaps a tiny dab of burnt sienna to create warm highlights) can be ‘skimmed’ over the palest areas of the columns to really bring them out. The same treatment can be used for the darks.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi73c9RnjFYGU9hz17K6xMt9LYfQsEcEvhZt1Vkf-YauIZxNm-CTGCgrljIrPtYWmzdOl13eRYlno6o59upufBmqG1oDD6Rwk3LUwccxw-n5u1BKpKbGVTAtWt-bJofEVhqb1Q02Ltloj1S/s1600/Elizabeth+Murray1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi73c9RnjFYGU9hz17K6xMt9LYfQsEcEvhZt1Vkf-YauIZxNm-CTGCgrljIrPtYWmzdOl13eRYlno6o59upufBmqG1oDD6Rwk3LUwccxw-n5u1BKpKbGVTAtWt-bJofEVhqb1Q02Ltloj1S/s1600/Elizabeth+Murray1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pompeii City near Naples</td></tr>
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Skimming an uneven paint layer can suggest the erosion of old relics, particularly on canvas.
Depth of tone can be achieved by deepening the darkest areas of the monuments, but only on select areas as revealed on the photograph. Exacting detail, such as the carvings on the uppersides of the columns could perhaps be dealt with on separate sessions. A painting featuring lots of detail can be completed on several session, an hour or so each. Never try to rush detail in a bid to complete the painting.<br />
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<span style="color: #e69138; font-size: large;"><b>Finding Great Images of Pompeii </b></span><br />
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Illustrating detail on buildings requires one thing: a clear photograph. This allows no guesswork when applying the paint. Textures and pigmentations can be clearly seen and copied. If something doesn’t work right, the paint can be smudged off with the corner of a rag and detail can be reapplied on top. This is the beauty of oil paint.<br />
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<span style="color: #e69138; font-size: large;"><b>Challenges in Painting Buildings and Skies </b></span><br />
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A large part of the composition consists of the sky. If much time and energy is spent upon the buildings, the sky aspect can become overlooked. This can result in a rushed looking sky or one that appears empty. Although this is not really the case here, the artist has expressed dissatisfaction with the sky. The answer is to foresee such a problem before spending too much time on foreground detail. A painting that features large areas of sky requires forward planning.<br />
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<span style="color: #e69138; font-size: large;"><b>A Painting with a Large Sky </b></span><br />
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The artist does not have to use the sky shown in the photograph if it is unsatisfactory. I have used the sky from another photograph. A painting can be created from several photos. Ensure the following when substituting the sky in a painting:
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That the light hits the clouds from the same angle as the other objects within the scene (ie, from the left or right or from above).<br />
That the sky appears to be of the same time of day (ie, evening or afternoon).<br />
That the sky exhibits similar weather conditions (sunny or inclement).<br />
That the sky could inhabit that portion of sky (ie, it is no good sticking clouds at the zenith onto a horizon).
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<br />
<span style="color: #e69138; font-size: large;"><b>How to Find an Interesting Sky for Painting </b></span><br />
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Look for an interesting sky. I like skies with textures, such as mackerel sky or cumulonimbus. A simple sky can be interesting, such as a mostly blue sky with a few wispy cirrus clouds. Clouds with definite tones (lights and darks) could be used to echo the textures of the buildings. Rather than change the sky in this painting, I would start afresh, as the soft clouds add contrast with the rigid lines of the monuments.
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<b><span style="color: #e69138; font-size: large;">Further Tips on Oil Painting Related to this Article</span></b><br />
<br />
<a href="http://rachel-shirley.blogspot.co.uk/2010/11/perspectives-of-my-buildings-look-wrong.html" target="_blank">Drawing perspectives on buildings</a><br />
<a href="http://rachel-shirley.blogspot.co.uk/2010/03/confronting-art-techniques-for-oil.html" target="_blank">The main oil painting techniques</a><br />
<a href="http://rachel-shirley.blogspot.co.uk/2010/02/my-skies-look-boring-and-bland.html" target="_blank">Painting interesting skies</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-59009275513382278012014-07-02T04:40:00.001-07:002016-06-30T08:29:29.945-07:00Oil Painting of Telescope Peak in Death Valley Oil on Wood: an EvaluationPainting breathtaking scenes poses one huge challenge: conveying the awe into an oil painting. How does the artist squeeze such wonder onto a small panel? This painting of sunrise over Telescope Peak in Death Valley posed just such a challenge for artist Jennifer Tuininga Kennedy.
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<span style="color: #e69138; font-size: large;"><b>About Telescope Peak in California </b></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkMbE4lP9PN7jdE0JqExuoQEDJAZZTf0dIBQtIvzrSoz9KqbdfJTDfPvP_kZMA0GWoFzOwYg5cLFVU7ARBsjBRxm18bIwqo7FRdZ5UEfv9PGOlc3Te9WwG4wnYq1hzinHlJKaRYF_FcLC1/s1600/Jenifer+Tuninga2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkMbE4lP9PN7jdE0JqExuoQEDJAZZTf0dIBQtIvzrSoz9KqbdfJTDfPvP_kZMA0GWoFzOwYg5cLFVU7ARBsjBRxm18bIwqo7FRdZ5UEfv9PGOlc3Te9WwG4wnYq1hzinHlJKaRYF_FcLC1/s1600/Jenifer+Tuninga2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Painting of Telescope Peak, Death Valley<br />
Jennifer Tuininga Kennedy</td></tr>
</tbody></table>
Telescope Peak at over 11,000 feet overshadows Badwater Basin, Death Valley’s lowest point. Its slopes boast the most vertical climb within the national park but will reward a view of Mount Whitney and Charleston Peak over a hundred miles away. Hence the name, Telescope Peak.
The strength of this painting can be seen in how the artist has selected detail from the photograph to create a more dynamic composition. The photograph itself contains too much information without a particular focal point. A straight copy would have resulted in a muddled painting without anywhere for the eye to go.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH2YY2WhCN2NZy-tr5bKiyaQJd52SgV_ljaHS1U2-7etlaKLw_TtyFro5NKImav-37_wRGR-ct2ijvAK5m0m8MUeDn1HpQ58_z7Fwvnxw0HPU3xc2tb2ivXP6XbblAGPme-56GuV3XNqN4/s1600/Jenifer+Tuninga.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH2YY2WhCN2NZy-tr5bKiyaQJd52SgV_ljaHS1U2-7etlaKLw_TtyFro5NKImav-37_wRGR-ct2ijvAK5m0m8MUeDn1HpQ58_z7Fwvnxw0HPU3xc2tb2ivXP6XbblAGPme-56GuV3XNqN4/s1600/Jenifer+Tuninga.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dynamic Composition of<br />
Telescope Peak in California</td></tr>
</tbody></table>
However, here, the artist has selected part of the photograph to create a forceful composition through focal points and visual channels. This has been clarified by the image overlaid by dark lines. The eye is led into the valley via a track that runs from left to right. This is balanced out by jagged peaks and cols.<br />
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<b><span style="color: #e69138; font-size: large;">Color Balance of Landscape Painting </span></b><br />
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Here we can see the artist was keen to convey the vividness of the sunlit peaks as sunrise, which in real life must have been surreal. By contrast, the violets and mauves within the shadows would appear to almost shimmer against the oranges. Such vivid hues in real life will often cause the artist to reach for the most vivid colors the palette can offer. The result however may cause disappointment at how this vivid color does not reflect what was seen in real life.<br />
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The reason for this might be any of the following:<br />
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1 The colors of real life are often not as vivid as our minds lead us to believe. For instance, green grass is often not the pure green of viridian. Take a photograph and cut out the green part, and on close inspection may appear a little brownish or blue or even grey. A blue sky will often contain pinks and yellows. A color’s local color (the color by which it is labeled) will often differ to how it appears in reality under various lighting conditions.<br />
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2 Bright colors, being a focal point are often in danger of being perceived in isolation of its surroundings. Bright colors must be balanced out with its neighboring colors to make sense. This means making comparisons. Is it cooler/warmer than the next hue? Is it more muted?<br />
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3 Finally, a painting comprises two aspects: color value and tone. Bright colors may cause the artist to forget about the tonal value of that color – i.e., how light or how dark it is. Tonal value gets overlooked by the color’s vividness.
But how can these issues be put right?<br />
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<span style="color: #e69138; font-size: large;"><b>How to Paint Mountain Peaks in Sunlight </b></span><br />
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This painting comprises steep shifts in hue between orange and violet. Such bizarre color shifts may cause tone to be forgotten. The shadow colors are quite close to the hues exhibited in the photograph; sensitive observations in tone can be seen within the contours of the foothills. Similarly, the sky color is accurately portrayed. However ,the artist has expressed dissatisfaction with the sunlit peaks.<br />
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We can see from the photograph that the pinks are in fact quite muted and similar in tone to the sky color. The oranges within the painting are deeper in tone and very bright, causing this color to appear to advance instead of receding.
My suggestion is to work over this area with thin oil paint (or start afresh if preferable). Use a stiff brush to work a little oil paint over the existing colors but go easy on the linseed oil to maintain opacity, as the color underneath could show through.<br />
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During the over-painting, notice how the soft, dusky pinks of the peaks appear to almost melt into the sky without harsh outlines.<br />
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<span style="color: #e69138; font-size: large;"><b>Tonal Value of Telescope Peak </b></span><br />
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Notice also the soft transition of tone between sunlit areas and shadow. Suggested color mixes might be (with varying amounts of white):<br />
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<b>For the sunlit peaks</b>: a little burnt sienna and permanent rose (to achieve a warm, pinkish hue). Introduce a little ultramarine for the pale violets. Most importantly, adjust the tonal value of the peaks until it is quite similar to the sky. Keep looking at how this tone compares to its neighboring color.<br />
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<b>For the shadowed foothills</b>: ultramarine, permanent rose (and a little burnt umber to temper violet overkill in select places). A little burnt umber and ultramarine can be used for the darkest areas such as the foreground and deepest shadows.<br />
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Pthalo blue, cobalt (or similar cool blue) can be added to the mix for cooler blues within the shadowed foothills.
Soften the shadow colors on the foothills (not all) to express the transition between shadow and sunlight. A little sharp detail will be needed for the crags.<br />
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Neat white via a fine sable can be used to express the snow. But add a little cobalt (or similar cool blue) to express snow in shadow.<br />
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<span style="color: #e69138; font-size: large;"><b>Color Balance on Mountain Art in Oils </b></span><br />
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Bizarre colors can often be seen in dramatic landscapes which can cause the artist to reach for the most vivid hues to express the experience. The reality is that the color is more muted than is led to believe.
This is a common problem with painting beautiful landscapes such as this scene of Telescope Peak in Death Valley. The secret is to take note of the color’s tonal value and how it relates to neighboring colors.<br />
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A vivid color in isolation will make little sense if it has no balance with its neighbors. Fortunately, this problem can easily be put right by working over select areas of the painting (in this case the sunlit peaks) with thin oil paint. By addressing how tones and colors relate to one another within a landscape painting, other problems often get resolved.<br />
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<b><span style="color: #e69138; font-size: large;">Related Articles on Painting Dramatic Landscapes</span></b><br />
<br />
<a href="http://rachel-shirley.blogspot.co.uk/2011/02/i-cant-judge-lights-and-darks-in-my.html" target="_blank">How to judge lights and darks in painting</a><br />
<a href="http://rachel-shirley.blogspot.co.uk/2010/11/my-mountain-art-resemble-inverted-cones.html" target="_blank">Tips on painting mountains</a><br />
<a href="http://rachel-shirley.blogspot.co.uk/2011/02/how-can-i-paint-light-from-life-like.html" target="_blank">Capturing light like the impressionists</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-87954892614635541042014-04-05T01:57:00.001-07:002016-09-19T04:13:49.145-07:00Create Abstract Art from Everyday Objects: the Corkscrew by Keith Busby<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Ideas for abstract art can be found in the
most unexpected places. Everyday objects stripped bare will reveal weird and bizarre
visual aspects for art exploration. The point is the creative process by which
the artwork was conceived. The subject of this article is this abstract
painting in acrylics derived from a corkscrew by Keith Busby.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><b><span style="color: #e69138; font-size: large;">Ideas on How to Create Art from Objects<o:p></o:p></span></b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVi76JhNOxW4Vp1LnVFtjMFYB0e7L7c9A69xCRYUMmXaE6_3N4iNkZhdjXN3QLsdlCKu5JDxEyLX2K2kVeCvoCSmG1vl9umz5ZBOl9Zgk9hr1VKxxu6ZTWAiCPBMC4Obg1wx2susnmONCU/s1600/abstract+art.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVi76JhNOxW4Vp1LnVFtjMFYB0e7L7c9A69xCRYUMmXaE6_3N4iNkZhdjXN3QLsdlCKu5JDxEyLX2K2kVeCvoCSmG1vl9umz5ZBOl9Zgk9hr1VKxxu6ZTWAiCPBMC4Obg1wx2susnmONCU/s400/abstract+art.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>I Wish They'd Put a Cork in It</i> by Keith Busby</td></tr>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The artist has taken the corkscrew and
processed the image until the object is almost unrecognizable, yet reveals
something of itself. The viewer may not necessarily realize this swirling, almost
psychedelic imagery is a corkscrew, but this is not the point. By distilling
this image, the artist has stripped apart the object and created a new way of
seeing it.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><b><span style="color: #e69138; font-size: large;">Abstract Painting of a Corkscrew<o:p></o:p></span></b></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The object was originally grey, yet has
revealed an array of colors and patterns by stripping apart the chromatic
components. The viewer may ask what the painting represents, feeling that the
curious patterns are not random, but have meaning. The image is derived from
something.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">In order to create this piece of artwork, the
original image went through several processes, which are as follows:</span></div>
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<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The corkscrew was photographed against a
blank background.</span></li>
<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The background was then cleaned by using
Paint (other image software can do this)</span></li>
<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Paintshop Pro was used to reduce the colours
to sixteen. This separates out the grey into its constituent colors.</span></li>
<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The image then went through an artistic
effect found on the programme. This was ‘enamel’ and then ‘topography’.</span></li>
<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The image was then twisted via a distortion
effect.</span></li>
<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The resultant image was printed.</span></li>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Creating Abstract Art <o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The artist could have used other effects to
create a different result. Doing so can create weird and unexpected effects.
The possibilities are endless. Once the image was created, the artist lightly
sketched the object onto primed hardboard (or MDF) which had been smoothed with
fine glasspaper. Flat colors were applied via acrylic paint. As acrylics dry
quite quickly, the artist applied the paint in stages and in layers. There are roughly
three layers of paint, which was applied via wide, soft brushes, but fine sables
for the detail.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Art Pigments Used for Abstract Painting<o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">To create, opaque blocks of color, the pigments
weren’t mixed, but applied straight from the tube. Titanium white, black,
cobalt blue, cadmium yellow (medium), cadmium orange. pyrrole red and Payne’s
grey were used. The paint was applied in stages to create an even opaque
finish.<o:p></o:p></span></div>
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<b>How to Create Abstract Art from Simple Objects<o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">This abstract painting in acrylics by Keith Busby
has been sourced from an everyday object, in this case, a corkscrew. Rather than
copy the subject matter faithfully, the artist has taken the image and processed
it through various stages to create a new image entirely. Here we can see qualities within the object not
realized from an orthodox approach. Stripped apart, the humble corkscrew has revealed
an alternative self that may cause the viewer to pause, take a second look and ask
questions.</span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"><br /></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 18.399999618530273px;"><a href="http://rachel-shirley.blogspot.co.uk/2014/03/get-objective-feedback-on-your-oil.html" target="_blank">Read how to enter your painting</a> for an evaluation or critique on this blog.</span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"></span></div>
<a href="https://www.facebook.com/pages/Oil-Painting-Medic/164011403624989" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 18.399999618530273px;" target="_blank">And then submit your painting via my Oil Painting Medic Facebook page.</a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4946490203679690440.post-61478911542364428522014-04-04T10:39:00.000-07:002016-06-30T08:33:02.597-07:00My Artist Inspiration has Dried Up: How do I Get More Creative?<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The artist may take pride in perfecting an
oil painting, finding ever better ways of applying detail or smoothing glazes.
Taking risks in art may get lost in the pursuit of technical perfection.
Without realizing, the artist may become complacent in one subject area or one
approach to oil painting. What can the artist do to find new ways of
expression?<o:p></o:p></span><br />
<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimMlVGIkP8OxHWSRJjJ_xR7mi9_ls9MMbqyUHcTjW1SJRmaQw-lG7hrTqstvvg-HtRD5K7MMmwefZx7EAHL1pPCQmTnCX3ps9iyVsOPcK9xFArrQQ733S7CCjWFmpSwA-OC-2K2x1wUv95/s1600/modernart1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimMlVGIkP8OxHWSRJjJ_xR7mi9_ls9MMbqyUHcTjW1SJRmaQw-lG7hrTqstvvg-HtRD5K7MMmwefZx7EAHL1pPCQmTnCX3ps9iyVsOPcK9xFArrQQ733S7CCjWFmpSwA-OC-2K2x1wUv95/s1600/modernart1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chagall's I and the Village (left) Munch's The Scream (right)<span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"> </span></td></tr>
</tbody></table>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Perfect Detail on Animal Painting,
Plants and Skies<o:p></o:p></b></span></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Exploring art techniques may yield one
particular approach the artist favors, often high detail and smooth paint
application. In a pursuit for super realism, the artist may lose sight of what
creativity means, as well as artistic expression. The result is the same
approach, but with ever more technical perfection. Common favored artistic
pursuits are:</span></div>
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</div>
<ul>
<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Expressing every fur on an animal, such as
dogs, cats, squirrels, foxes or other farm animals. The viewer may admire the
approach, saying, ‘you could almost stroke the fur!’</span></li>
<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Sweeping landscape such as mountain peaks,
canyons and valleys by the use of smooth paint layers.</span></li>
<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Seascapes exhibiting sea spray, billowing
clouds and rugged cliffs.</span></li>
<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Large sweeping with puffy clouds with
smooth blues between.</span></li>
<li><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Dramatic sunsets.<o:p></o:p></span><span style="font-family: "times new roman" , serif; font-size: 16px; line-height: 18.399999618530273px;">skies</span></li>
<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Intricate studies of still life, such as
fruit and flowers that have an illustrated feel</span></li>
<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Draughtsman-like rendition of buildings.</span></li>
<li><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">A pursuit of photographic realism.</span></li>
</ul>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Such areas of exploration are great for the
artist but pose the risk of taking over the artist portfolio. The artist may be
reluctant to try a different technique or subject matter in a fear of failure.
The sense of satisfaction gets too closely associated with this one subject
area and approach. The artist could wind up being labeled as ‘the one who is
really good at painting bricks on houses, or pink clouds on sunsets.’ As will
be seen, great tenacity in painting is not the same as creative art.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><b><span style="color: #e69138; font-size: large;">
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Tips for Artistic Growth</span></b></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><b><span style="color: #e69138; font-size: large;"><br /></span></b></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1d0NBexy5kEFR-r_6tmiDSOw52vA8UjBYejXtwHBXqA7J1KL0-kn2NDV4sg6zAqK5QUy_5wqqIuTMChRtOz5dsqnh4Wmpzum9WHFhsnN87Rl_7q_iPpe2IEhWjHzP9mWL3ozM6v1FBy8b/s1600/modernart2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1d0NBexy5kEFR-r_6tmiDSOw52vA8UjBYejXtwHBXqA7J1KL0-kn2NDV4sg6zAqK5QUy_5wqqIuTMChRtOz5dsqnh4Wmpzum9WHFhsnN87Rl_7q_iPpe2IEhWjHzP9mWL3ozM6v1FBy8b/s1600/modernart2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Malevich's Black Square (left) Kandinsky's On White II (right)</td></tr>
</tbody></table>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Few experiences can inject a creative breath
of fresh air as visiting a city art gallery. National and international artists
with diverse approaches will cause the viewer to ask questions about his/her
current approach. Expressionism, abstract art, modernism and conceptual art
will certainly bring an emotional response, whether intense dislike, bewilderment,
disconcertion or similar. </span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"><br /></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">A good shakeup, I believe, is good for the artist, as
experiencing the boundaries of artistic expression cannot fail to create a broader
view. Without realizing, the artist will view their current work with a
different perspective.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">To this end, the mages shown are: <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Credits: Edvard Munch: The Scream (1893)
National Gallery, Oslo<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Wassily Kandinsky: On White II (1923) Gallery:
Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Marc Chagall: I and the Village (1911) Museum
of Modern Art, New York<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Malevich: Black Square (1915) Tretyakov
Gallery, Moscow<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Learning to Take Risks in Art<o:p></o:p></b></span></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Gleaning art books is another way of finding
new approaches to art. Beholding Abstract Expressionism, Cubism, Bauhaus,
Vorticism, Primitive Art, Futurism, Surrealism, Dadaism, Op Art, Pop Art,
Minimalism and art installations will make the domestic artist ask himself, why
can’t I get away with this? Agonizing over every strand of canine fur or brick
on a building will suddenly seem less vital.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Overview of Art Techniques in Art<o:p></o:p></b></span></span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXm7PGzu0N2xDjN8ImEAQUUvJ5hBEdy0YXTtkuJhqjbXGDhCJ6boxCxn33qkH-ITox8kz2Zg9-0EFRVqqjhSJrEIcjsnuBqjRl_Nv3rgHY5qhcH8k4Hfx3GpT_TNFScbmzqa0gEYaiPcVq/s1600/summitresize.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXm7PGzu0N2xDjN8ImEAQUUvJ5hBEdy0YXTtkuJhqjbXGDhCJ6boxCxn33qkH-ITox8kz2Zg9-0EFRVqqjhSJrEIcjsnuBqjRl_Nv3rgHY5qhcH8k4Hfx3GpT_TNFScbmzqa0gEYaiPcVq/s1600/summitresize.jpg" width="224" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Summit by Rachel Shirley</td></tr>
</tbody></table>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Trying out <a href="http://rachel-shirley.blogspot.co.uk/2010/03/confronting-art-techniques-for-oil.html" target="_blank">different oil painting techniques</a>
is another way of broadening the creative reach. Impasto, scumbling,
pointillism, etching, dripping, scratching, smudging and dabbing can be
explored as well as glazing and detail. Combining several techniques in one oil
painting will bring out contrasting elements. Trying out different mediums to
the norm could result in unexpected effects. In my painting, Summit, I
heightened color contrasts between sunlight and shadow to create a shimmering
effect.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Odd Subject Matter for Art<o:p></o:p></b></span></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Experimenting with subject matter not
accustomed to is an exciting way of pushing out the boundaries. A habitual landscape
artist could benefit from trying out a still life for a change. A habitual still
life artist could combine subject matter not normally seen together, such as a glass
tankard next to a Mickey Mouse clock. Try odd settings or viewpoints. Placing objects
not normally seen together could result in </span><span style="font-family: "times new roman" , serif; font-size: 16px; line-height: 18.399999618530273px;"><a href="http://rachel-shirley.blogspot.co.uk/2011/01/how-can-i-make-my-still-life.html" target="_blank">a quirky </a></span><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"><a href="http://rachel-shirley.blogspot.co.uk/2011/01/how-can-i-make-my-still-life.html" target="_blank">still life</a>.</span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Creative Ideas for Art<o:p></o:p></b></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The artist feeling within a creative rut would
benefit from visiting a city art gallery to see how the great artists have tackled
their subject area. The first time visitor may come away thinking, how can they
get away with this? Maybe I can try something like that. The artist cannot help
but take a fresh view on their usual practice. Trying out different art techniques
and subject matter not used to are other ways of pushing out the creative boundaries.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Great City Art Galleries to Visit<o:p></o:p></b></span></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The following city art galleries are
recommended for the artist who may find the art of the village hall too
insular. Many are not listed here.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">UK Art Galleries</span></b><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">: The Tate, the Tate Modern, Tate Britain; National Portrait Gallery;
the Royal Academy of Arts; Saatchi Gallery (all in London) or the Walker
Gallery or the Tate Liverpool; Birmingham Museum & Art Gallery, the
Riverside Museum, Glasgow<o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">US Art Galleries</span></b><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">: The Metropolitan Museum of Art, New York; Museum of Modern Art, New
York; National Gallery of Art, Washington; Art institute of Chicago; Museum of
Fine Arts, Boston; Philadelphia Museum of Modern Art; National Portrait Museum,
Washington, Hirshhorn Museum, Washington<o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">European Art Galleries:</span></b><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"> The Louvre in Paris; Van Gough Museum, Amsterdam;</span><span lang="EN-US"> </span><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Rijksmuseum,
Amsterdam; Museu Picasso, Barcelona; Guggenheim, Bilbao; Castel Sant'Angelo,
Rome; Istanbul Modern, Istanbul; The
State Hermitage, St Petersburg<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Asia & Oceania Art Galleries</span></b><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">: National Museum of Western Art, Tokyo; the
National Art Centre, Tokyo; National Art Museum of China, Beijing; Museum of
Contemporary Art Australia, Sydney; National Portrait Gallery, Canberra</span></div>
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<b><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">South America Galleries</span></b><span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">: Centro Cultural Banco do Brasil, Sao Paulo<o:p></o:p></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4946490203679690440.post-74260318769245877512014-04-03T14:44:00.003-07:002016-06-30T08:34:02.121-07:00Oil Painting Evaluation of the Tiger’s Nest Monastery in Paro, Bhutan<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Getting feedback on oil painting practice is
a great way of gaining a fresh perspective upon a work of art. This will bring
to focus issues the artist might have been unaware of. The focus of this
article in this vein is a detailed landscape painting of the Tiger’s Nest Monastery
by Ugyen Wangdi.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Painting of Taktsang Monastery in Bhutan<o:p></o:p></b></span></span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKNKRPTeG0Uqaq6YS5wblFJzDjfjGTfip0F-3X0cl_RE_z246hi8uCEZ6XCppAEgxQKadBw3B1ZyQ9okqbYmOSOZJ3nBOjQlczJ-blx_3f8g2t2NumoMjh5Jxg8LUN0jgYgMYGKd5DRtIY/s1600/UgyenWangdi4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKNKRPTeG0Uqaq6YS5wblFJzDjfjGTfip0F-3X0cl_RE_z246hi8uCEZ6XCppAEgxQKadBw3B1ZyQ9okqbYmOSOZJ3nBOjQlczJ-blx_3f8g2t2NumoMjh5Jxg8LUN0jgYgMYGKd5DRtIY/s1600/UgyenWangdi4.jpg" width="267" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Courtesy of Ugyen Wangdi</td></tr>
</tbody></table>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Perched on the edge of a cliff, the Tiger’s
Nest Monastery in Bhutan, also known as Paro Taktsang, is one of the most
dramatic temples in the world. Above 10,000 feet above sea level, this Himalayan
Buddhist temple is considered one of the holiest of the Buddhist people. </span><br />
<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"><br /></span>
<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Many
challenges confront the artist in painting this dramatic scene, one of which is
creating a sense of space.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>The Strengths of This Panoramic Painting<o:p></o:p></b></span></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The artist has shown great patience with
rendering detail and soft blending on this painting, which must have taken many
hours to do. Effects such as this can be achieved either by a series of soft
glazes or by soft brushing with sables. The result is a fantasy-type landscape
that is illustrative in effect with great visual appeal.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Art Techniques for Tiger Monastery in Bhutan<o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The sweeping valley to the right of the
picture could have lacked interest for the large empty spaces. However, the
dappled shadows within the woodlands draw the eye to a snaking valley floor and
throughout the painting. Similarly, the artist has demonstrated visual
awareness of how the greens shift to mauves and violets in the background,
helping to suggest distance. These colours echo with the blues of the sky
bringing harmony and balance. The painting as a result has a great sense of
depth.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Painting the Temple Tiger’s Nest in Bhutan<o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">One of the biggest challenges is the temple
nestling on the Cliffside. The buildings, being quite old do not conform to the
rules of perspectives that perpendicular buildings do, so extra attention is
needed to get the angles right. The artist has sensitively observed the
outlines of the buildings and how the angles relate to the cliff face.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Areas for Development in Landscape Painting<o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The painting has illustrative qualities,
creating an idyllic feel. The artist has expressed a wish to achieve realism. Concentrating
on light and shadow rather than detail is one way of gaining a fresh
perspective upon a scene. A photograph showing the Tiger’s Nest under high
contrast, such as on a bright sunny day will enable the artist to explore tonal
contrasts above detail. Sitting too close to the painting can also cause the
style to become tight and over-refined. I find it is a good idea to stand back
and view the painting from a distance whilst it is in progress. Half-close the
eyes in order to simplify the view into a few basic shapes. Limit brushes only
to the wider variety, such as large bristle brushes to inject a looser style.</span><br />
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<b style="color: #e69138; font-family: 'Times New Roman', serif; line-height: 115%;"><span style="font-size: large;">Painting of Cloud Bases</span></b></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Again, the sky is illustrative and visually
appealing. The cloud bases appear to curve from one side of the painting to the
other, creating a vortex feel with the landscape. Cloud bases are usually flat
in formation. Standing back from the painting will help clarify how the shapes
within the painting fit together in a broader sense, where sitting too close
can conceal issues.</span></div>
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<b style="font-family: 'Times New Roman', serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><br /></span></b>
<b style="font-family: 'Times New Roman', serif; line-height: 115%;"><span style="color: #e69138; font-size: large;">A New Perspective in Landscape Painting</span></b><br />
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<span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Perfecting an art technique can sometimes get
in the way of learning new techniques in oil painting. Taking a look at how other
landscape artists tackle their subject matter will help spur experimentation and
trying new techniques. Recommended are the French Impressionists, Cezanne, Monet,
Pissarro and Sisley. Other recommended are Corot, Van Gough, Matisse, El Greco,
Kandinsky, Derain and Metzinger. These are to name but a few.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">I have written articles on:</span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"><a href="http://rachel-shirley.blogspot.co.uk/2011/01/my-paintings-look-as-if-completed-under.html" target="_blank">How to paint light</a></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"><a href="http://rachel-shirley.blogspot.co.uk/2010/03/my-cumulus-clouds-look-like-cotton-wool.html" target="_blank">Tips on painting clouds</a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">And an overview of <a href="http://rachel-shirley.blogspot.co.uk/2010/03/confronting-art-techniques-for-oil.html" target="_blank">different oil painting techniques to try</a></span><br />
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<span lang="EN-US" style="font-family: "times new roman" , serif; line-height: 115%;"><span style="color: #e69138; font-size: large;"><b>Overview of Tiger’s Nest Monastery in Bhutan<o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">The high detail and blending techniques gives
the painting an illustrative, almost fantasy feel. Empty spaces could have
afflicted the scene but the artist has provided interesting shadows in the
trees which lead the eye to the snaking valley in the distance. The subtle
shift from green to violet emphasizes a sense of distance which contrasts with the
temple.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"><br /></span>
<span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Working too closely to the painting can cause
the artist to agonize over detail with the danger of a tight style. An
impressionist feel can be brought about by obtaining a photograph of the scene
with high tonal contrasts and then working on the painting anew with large
brushes. Break down the scene into basic areas of light and shadow, and view
each area a generalized way. Stand back from the painting at regular intervals in
order to get an overall view of how the tones fit together.</span><br />
<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;"><br /></span>
<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Taking a look at how other artists approach landscape
painting cannot fail to offer inspiration and spur the artist to try new techniques.
This contrasting way of working helps the artist get a more rounded approach to
oil painting</span><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">. Read here on tips for <a href="http://rachel-shirley.blogspot.co.uk/2014/04/my-artist-inspiration-has-dried-up-how.html" target="_blank">trying different artistic approaches</a>.</span></div>
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 115%;">Reference: BBC News Asia<i>: Bhutan's cliff-top Tiger's Nest monastery (17 February 2014)<o:p></o:p></i></span><br />
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<span lang="EN-US" style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 18.399999618530273px;"><a href="http://rachel-shirley.blogspot.co.uk/2014/03/get-objective-feedback-on-your-oil.html" target="_blank">Read how to enter your painting.</a></span></div>
<a href="https://www.facebook.com/pages/Oil-Painting-Medic/164011403624989" style="font-family: 'Times New Roman', serif; font-size: 12pt; line-height: 18.399999618530273px;" target="_blank">And then submit your painting via my Oil Painting Medic Facebook page.</a></div>
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