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Showing posts with label color basics. Show all posts
Showing posts with label color basics. Show all posts
Wednesday, February 5, 2020
Wednesday, January 29, 2020
Wednesday, January 15, 2020
Art Supplies - Buying and Cleaning Paint Brushes
Remember when you were in grade school and painting seemed so simple because your teacher just handed you art supplies and helped wash brushes afterwards? Approaching the medium as a more mature artist, you must learn about paintbrush materials and how to properly care for your brushes.
First, you must decide whether you will need soft or stiff hairs for your paintbrush. Either can be made of natural hairs or synthetic fibers. A thin paintbrush is ideal when you want to do detailed work or precise painting. It allows you to spread paint easily. Hard bristles on the other hand are better for manipulating thick paint. This allows you to create brush marks in the paint that can be seen on the canvas. Vincent van Gogh's work is famous for this technique, as evidenced by his painting The Starry Night.
Most purists will say that natural hair will always be superior to synthetic fiber because of its flexibility and strength. The hair for paintbrushes comes from animals including Sable, squirrel, hog, camel, ox, pony and goat. If the thought of using hair from one of these animals makes you squeamish or you have ideological problems with this, do not fear: modern synthetic brushes have come a long way and are even less expensive than their natural hair counterparts.
The next step is to learn a little bit about paintbrush anatomy. The handle is usually made of wood and is called the ferrule. This holds the hairs or bristles. The tip of the bristles is referred to as the toe.
When deciding which paintbrush to use it is important to know the size of the brush. This can be determined by looking at a number on the side of the handle. The smallest size is 00 followed by 0, 1, 2 and so on. If you are buying online it is important to see a picture of the brush you're purchasing. Two brushes sized the same can actually be very different because of the number of bristles and the width of the handle. This problem can be alleviated if you shop in an actual store or are already familiar with the brand of brush.
It takes a lot of time and money to get the right paintbrush, so it makes sense to take care of them, which includes proper cleaning after each use.
Before you get started, make sure you have mild soap (or turpentine if appropriate) and some tissue. You will also need lukewarm water and a place to dry your brushes.
Wipe off the excess paint using a soft cloth or tissue. Then, rinse your brushes in turpentine if you are using oils, but use lukewarm water if you're paint is water-based. Hot water can cause the hairs of your brush to fall out. Afterwards, gently wash your brushes with mild soap. Rinse and repeat as many times as necessary until no color comes out and your brush returns to its original color. Next rinse your paintbrush in clean water. Remember to shake off the excess water after this. If the brushes seem misshapen, use your fingers to gently bring the brush head back to its original shape.
Now you are ready to dry the paintbrushes. Wrap the bristles in tissue or toilet paper while they are wet. When the bristles dry they will contract in this way and will maintain their shape. Let the brushes dry at room temperature. Be sure not to rest them on their head because this is another potential hazard to maintaining appropriate shape.
Since some of these materials can be toxic protect your skin with a pair of gloves. These can be purchased at an art store or even at a drugstore or hardware store.
Anne Clarke writes numerous articles for Web sites on art supplies, fashion, and home decor. Her background also includes teaching, gardening, and parenting. For more of her useful articles on art supplies, please visit Art Supplies, home of helpful tips and information about art and art supplies.
Article Source: https://EzineArticles.com/expert/Anne_Clarke/33662
First, you must decide whether you will need soft or stiff hairs for your paintbrush. Either can be made of natural hairs or synthetic fibers. A thin paintbrush is ideal when you want to do detailed work or precise painting. It allows you to spread paint easily. Hard bristles on the other hand are better for manipulating thick paint. This allows you to create brush marks in the paint that can be seen on the canvas. Vincent van Gogh's work is famous for this technique, as evidenced by his painting The Starry Night.
Most purists will say that natural hair will always be superior to synthetic fiber because of its flexibility and strength. The hair for paintbrushes comes from animals including Sable, squirrel, hog, camel, ox, pony and goat. If the thought of using hair from one of these animals makes you squeamish or you have ideological problems with this, do not fear: modern synthetic brushes have come a long way and are even less expensive than their natural hair counterparts.
The next step is to learn a little bit about paintbrush anatomy. The handle is usually made of wood and is called the ferrule. This holds the hairs or bristles. The tip of the bristles is referred to as the toe.
When deciding which paintbrush to use it is important to know the size of the brush. This can be determined by looking at a number on the side of the handle. The smallest size is 00 followed by 0, 1, 2 and so on. If you are buying online it is important to see a picture of the brush you're purchasing. Two brushes sized the same can actually be very different because of the number of bristles and the width of the handle. This problem can be alleviated if you shop in an actual store or are already familiar with the brand of brush.
It takes a lot of time and money to get the right paintbrush, so it makes sense to take care of them, which includes proper cleaning after each use.
Before you get started, make sure you have mild soap (or turpentine if appropriate) and some tissue. You will also need lukewarm water and a place to dry your brushes.
Wipe off the excess paint using a soft cloth or tissue. Then, rinse your brushes in turpentine if you are using oils, but use lukewarm water if you're paint is water-based. Hot water can cause the hairs of your brush to fall out. Afterwards, gently wash your brushes with mild soap. Rinse and repeat as many times as necessary until no color comes out and your brush returns to its original color. Next rinse your paintbrush in clean water. Remember to shake off the excess water after this. If the brushes seem misshapen, use your fingers to gently bring the brush head back to its original shape.
Now you are ready to dry the paintbrushes. Wrap the bristles in tissue or toilet paper while they are wet. When the bristles dry they will contract in this way and will maintain their shape. Let the brushes dry at room temperature. Be sure not to rest them on their head because this is another potential hazard to maintaining appropriate shape.
Since some of these materials can be toxic protect your skin with a pair of gloves. These can be purchased at an art store or even at a drugstore or hardware store.
Anne Clarke writes numerous articles for Web sites on art supplies, fashion, and home decor. Her background also includes teaching, gardening, and parenting. For more of her useful articles on art supplies, please visit Art Supplies, home of helpful tips and information about art and art supplies.
Article Source: https://EzineArticles.com/expert/Anne_Clarke/33662
Saturday, January 11, 2020
Monday, December 30, 2019
Friday, December 20, 2019
Choosing The Right Brushes For Oil Painting
Paint brushes come in a variety of shapes, sizes, materials, and costs. Determining which one is right for you, and when it is the right one, depends largely on how you want to use it. The main types of brushes are china bristle, soft hair, and synthetic bristle.
China Bristle Brushes
China bristle brushes, also called hog bristle or Chungking bristle, are made from natural pig hair. They are tough, durable brushes, able to stand up to the oil while still cleaning up nicely. They can hold a lot of paint, making them ideal for alla prima painting or impasto.
Soft Hair Brushes
Soft hair brushes are made from Kolinsky sable or ox hair, or more rarely squirrel, pony, goat, mongoose or badger. Soft hair brushes are much softer than china bristles, and a lot more expensive. It's not unheard of to pay several hundred dollars for a large sable brush. But for more delicate work, like blending and glazing, soft hair brushes are indispensable.
Synthetic Bristle Brushes
For quality and affordability, you can't go wrong with synthetic bristle brushes. Though turpentine or thinners used in oil painting can destroy some types of synthetic brushes, recent innovations in synthetic bristle technology have produced solvent resistant brushes.
Be careful, though. While affordability is a legitimate consideration when choosing your brushes, don't let it be the main one. Those brushes in the multi-packs may look just as good as the others, at a fraction of the cost, but you will end up with brushes warped and falling apart in no time.
Brush Shapes
Paint brushes come in several shapes, each designed to apply the paint in specific ways. The most useful shapes you will use in oil painting, in no particular order, are:
Flat - Designed to spread paint quickly and evenly to an area.
Bright - Similar to a flat brush, but with short, stiff bristles. Great for impasto work.
Round - Long, closely arranged bristles used for drawing or detail work.
Filbert - These almond-shaped brushes offer good coverage and the ability to perform some detail work
Fan Brush - Used for blending broad areas and creating different textures.
Liner Brush - Used for lettering and fine detail work.
By no means do you have to use, or even have, all of these brushes. Experiment and find the shape that works for you.
Brush Sizes
Brushes are sized by numbers based on the width of the brush at the metal sleeve, or ferrule, which holds the bristles in place. The size of your painting surface will help determine the size of the brush you use. For example, a brush that is 2 inches wide will be used on a canvas that is at least two or three feet in either direction.
However, this is just a rule of thumb. As with brush shapes, the sizes you choose will ultimately be determined by personal preference. So go get some brushes and start painting.
To learn more, please visit me at [http://www.oilandpigment.blogspot.com] for a look at my own paintings and works in progress.
Article Source: https://EzineArticles.com/expert/Rob_Pitts/88587
China Bristle Brushes
China bristle brushes, also called hog bristle or Chungking bristle, are made from natural pig hair. They are tough, durable brushes, able to stand up to the oil while still cleaning up nicely. They can hold a lot of paint, making them ideal for alla prima painting or impasto.
Soft Hair Brushes
Soft hair brushes are made from Kolinsky sable or ox hair, or more rarely squirrel, pony, goat, mongoose or badger. Soft hair brushes are much softer than china bristles, and a lot more expensive. It's not unheard of to pay several hundred dollars for a large sable brush. But for more delicate work, like blending and glazing, soft hair brushes are indispensable.
Synthetic Bristle Brushes
For quality and affordability, you can't go wrong with synthetic bristle brushes. Though turpentine or thinners used in oil painting can destroy some types of synthetic brushes, recent innovations in synthetic bristle technology have produced solvent resistant brushes.
Be careful, though. While affordability is a legitimate consideration when choosing your brushes, don't let it be the main one. Those brushes in the multi-packs may look just as good as the others, at a fraction of the cost, but you will end up with brushes warped and falling apart in no time.
Brush Shapes
Paint brushes come in several shapes, each designed to apply the paint in specific ways. The most useful shapes you will use in oil painting, in no particular order, are:
Flat - Designed to spread paint quickly and evenly to an area.
Bright - Similar to a flat brush, but with short, stiff bristles. Great for impasto work.
Round - Long, closely arranged bristles used for drawing or detail work.
Filbert - These almond-shaped brushes offer good coverage and the ability to perform some detail work
Fan Brush - Used for blending broad areas and creating different textures.
Liner Brush - Used for lettering and fine detail work.
By no means do you have to use, or even have, all of these brushes. Experiment and find the shape that works for you.
Brush Sizes
Brushes are sized by numbers based on the width of the brush at the metal sleeve, or ferrule, which holds the bristles in place. The size of your painting surface will help determine the size of the brush you use. For example, a brush that is 2 inches wide will be used on a canvas that is at least two or three feet in either direction.
However, this is just a rule of thumb. As with brush shapes, the sizes you choose will ultimately be determined by personal preference. So go get some brushes and start painting.
To learn more, please visit me at [http://www.oilandpigment.blogspot.com] for a look at my own paintings and works in progress.
Article Source: https://EzineArticles.com/expert/Rob_Pitts/88587
Wednesday, October 9, 2019
Saturday, October 5, 2019
Monday, September 23, 2019
Isn't Watercolors Hard?
It seems that each time I show my watercolor paintings at shows or events, someone will say to me, "Watercolors are hard."
I smile and ask, "Why do you say that?"
THE MYTH : There is a myth circulating that painting with watercolors is difficult. Why? Is it because watercolors can become uncontrollable and people tend to want to be in control? Is it the effects of the medium? Or, what, I do not know? This myth continues to fascinate me and who knows, maybe, someday, I will have an answer.
THE TRUTH : Watercolor painting is not unlike other disciplines. Whenever a person undertakes a new experience there seems to be a "training period" where learning and skills are acquired. At this stage in the game, most people seek out an experienced person who they admire and who possesses that which they would like to emulate. This is true with any endeavor, so why not watercolor painting?
What makes watercolors different? What makes them so different is that you never know what will happen. Are you a person who likes surprises? Watercolors will surprise you each and every time you paint. A colleague of mine has a favorite saying which is "Let's see what will show up when I paint today." It is absolutely fascinating what water and pigment will do. To repeat an effect is challenging or not possible. Each time it is unique.
There are established techniques for watercolors as with any other art medium. These skills are helpful yet not necessary to express your self in watercolors. Many artists, and I believe everyone is an artist at heart, freely paint and allow what appears to tell them where to go or what to do next. Sometimes "what is" can be pleasing by itself. There are NO RULES! It is my belief that artistic expression lies in all of us and requires only a sense of trust and the freedom to allow the flowing for magic to happen.
A favorite way I freely express myself with watercolors is to paint Mandalas. Basically, painting within a circle, a mandala, creates a meditative state whereby a person freely paints anything they wish. In my experience sharing mandala painting with students, we have witnessed an array of all beautiful, unique mandala creations.
The one thing that sets watercolors apart from other painting media is that it is a spontaneous method. First impressions are vital. You cannot go back and change it, or rarely. This might be a little intimidating to people, yet it can be very refreshing, too. I have found that my favorite paintings have had this light, first impression touch which magically flows, no effort. It is just there.
Not every piece is a masterpiece. Of course, there is always more paper. I must admit that I have turned less successful paintings into new paintings with collage. Watercolor paintings are full of happy accidents. You will never know what to expect and this is the nature of watercolors and most likely fuels the myth.
ARTISTIC EXPRESSION: The fun of creating is what it we are all about, right? It is our connection with our soul. I feel as if I learn everyday when I sit down to create a watercolor painting. Watercolors change, I change, the subjects change. People tend to avoid change because it requires letting go of external layers of beliefs. Maybe the myth is true that watercolors are difficult, what do you think?
Joanne Osband is an accomplished artist and registered art therapist who is a kind and masterful guide for assisting others to discover the gifts that live within us.
http://www.ColoringOutOfTheLines.com
Article Source: https://EzineArticles.com/expert/Joanne_Osband/102601
Article Source: http://EzineArticles.com/604367
I smile and ask, "Why do you say that?"
THE MYTH : There is a myth circulating that painting with watercolors is difficult. Why? Is it because watercolors can become uncontrollable and people tend to want to be in control? Is it the effects of the medium? Or, what, I do not know? This myth continues to fascinate me and who knows, maybe, someday, I will have an answer.
THE TRUTH : Watercolor painting is not unlike other disciplines. Whenever a person undertakes a new experience there seems to be a "training period" where learning and skills are acquired. At this stage in the game, most people seek out an experienced person who they admire and who possesses that which they would like to emulate. This is true with any endeavor, so why not watercolor painting?
What makes watercolors different? What makes them so different is that you never know what will happen. Are you a person who likes surprises? Watercolors will surprise you each and every time you paint. A colleague of mine has a favorite saying which is "Let's see what will show up when I paint today." It is absolutely fascinating what water and pigment will do. To repeat an effect is challenging or not possible. Each time it is unique.
There are established techniques for watercolors as with any other art medium. These skills are helpful yet not necessary to express your self in watercolors. Many artists, and I believe everyone is an artist at heart, freely paint and allow what appears to tell them where to go or what to do next. Sometimes "what is" can be pleasing by itself. There are NO RULES! It is my belief that artistic expression lies in all of us and requires only a sense of trust and the freedom to allow the flowing for magic to happen.
A favorite way I freely express myself with watercolors is to paint Mandalas. Basically, painting within a circle, a mandala, creates a meditative state whereby a person freely paints anything they wish. In my experience sharing mandala painting with students, we have witnessed an array of all beautiful, unique mandala creations.
The one thing that sets watercolors apart from other painting media is that it is a spontaneous method. First impressions are vital. You cannot go back and change it, or rarely. This might be a little intimidating to people, yet it can be very refreshing, too. I have found that my favorite paintings have had this light, first impression touch which magically flows, no effort. It is just there.
Not every piece is a masterpiece. Of course, there is always more paper. I must admit that I have turned less successful paintings into new paintings with collage. Watercolor paintings are full of happy accidents. You will never know what to expect and this is the nature of watercolors and most likely fuels the myth.
ARTISTIC EXPRESSION: The fun of creating is what it we are all about, right? It is our connection with our soul. I feel as if I learn everyday when I sit down to create a watercolor painting. Watercolors change, I change, the subjects change. People tend to avoid change because it requires letting go of external layers of beliefs. Maybe the myth is true that watercolors are difficult, what do you think?
Joanne Osband is an accomplished artist and registered art therapist who is a kind and masterful guide for assisting others to discover the gifts that live within us.
http://www.ColoringOutOfTheLines.com
Article Source: https://EzineArticles.com/expert/Joanne_Osband/102601
Article Source: http://EzineArticles.com/604367
Saturday, September 21, 2019
Wednesday, September 11, 2019
Monday, August 26, 2019
Wednesday, August 21, 2019
Monday, August 12, 2019
Friday, August 9, 2019
Acrylic Painting - Color Palette Basics
Today I am going to be talking about choosing your palette of colors, color mixing, and how I choose to apply my acrylics to my painting surface of choice.
I don't have a very extensive array of acrylic paints, but I think it is a lot of fun mixing colors. I think the color wheel is a good tool and starting off place for me (as well as for most artists, whether a beginner or professional), and experimentation is great fun and as artistic expression. I also read a lot of books and talk to a lot of artists to get hints and suggestions about everything from all directions. I think that is helpful to us all and I highly recommend it!
For starters, as a "color basis 101", I have been told to use black very sparingly, and I do. If I do use anything close to that, if is "Payne's Gray", but usually I like to mix complimentary colors for the darker areas and try to put lots of colors in my shadows. This really adds a lot of interest and beauty to your painting. Besides, if you are a true observer of nature you will notice that shadows are not black at all, but are made up of multiple and varied colors, values, and hues. Try to be a great observer!
I choose to paint with a pretty limited palette and mix my paints to achieve the effects that I want to achieve. This accomplishes several things. This will save you money (if that is a concern of yours) by limiting the number of tubes of paint you are required to purchase. This will teach you a lot about mixing paint to achieve the colors you require ( by referring to the color wheel). I feel that your colors are much more stunning and true to life by painting this way than using colors straight from the tube, anyway. I never use any colors directly from the tube anymore. And, by mixing your own colors, you will have a continuity through out your painting that can only be achieved in this way.
When working with a painting that will have a large amount of green in it, I like to first start out by placing a wash of red over the entire canvas (surface). Red being the complement of green "greys" down the green making it a more natural color in the end. This is a great tip to use when painting landscapes, etc. that will require a lot of greens, but that you don't want to have a harsh, or "kelly" green look to them. Another thing that I would definitely suggest is to mix your own greens (using blues and yellows) instead of a tube green - unless you go to a sap green or one of the already "greyed down" greens. Even those greens I mix with something else, I as said, previously.
I almost always like to do a wash on the surface before starting the painting as this does give a nice sense of cohesion to the painting. I have been told by a lot of artists that they feel the same way. Many times this is a complimentary color that will come shining through the subsequent layers of paint.
I usually start at the back of the painting and work toward the foreground saving the greater detail and stronger colors for the main subject and the aforementioned foreground area. When painting masses, such as muscles on an animal for example, these are usually darker areas and I start with these first when starting the subject. Then I work in many, many layers until finally reaching the lighter areas and highlights. My paintings always consist of multiple layers of glazes and/or washes - many times in the double digits - in order to achieve the effect that I wish to achieve.
Most importantly when working with colors, as with any aspect of painting, is to have fun with it! I think that if you do that it really comes through in your work. For examples of my acrylic paintings please visit http://www.hughbanksart.com I hope you can see that I have a passion about my work and that the "fun" I spoke of is coming through in my own pieces!
Debbie Hughbanks
http://www.hughbanksart.com/
Article Source: https://EzineArticles.com/expert/Debbie_Hughbanks/89611
Article Source: http://EzineArticles.com/528318
I don't have a very extensive array of acrylic paints, but I think it is a lot of fun mixing colors. I think the color wheel is a good tool and starting off place for me (as well as for most artists, whether a beginner or professional), and experimentation is great fun and as artistic expression. I also read a lot of books and talk to a lot of artists to get hints and suggestions about everything from all directions. I think that is helpful to us all and I highly recommend it!
For starters, as a "color basis 101", I have been told to use black very sparingly, and I do. If I do use anything close to that, if is "Payne's Gray", but usually I like to mix complimentary colors for the darker areas and try to put lots of colors in my shadows. This really adds a lot of interest and beauty to your painting. Besides, if you are a true observer of nature you will notice that shadows are not black at all, but are made up of multiple and varied colors, values, and hues. Try to be a great observer!
I choose to paint with a pretty limited palette and mix my paints to achieve the effects that I want to achieve. This accomplishes several things. This will save you money (if that is a concern of yours) by limiting the number of tubes of paint you are required to purchase. This will teach you a lot about mixing paint to achieve the colors you require ( by referring to the color wheel). I feel that your colors are much more stunning and true to life by painting this way than using colors straight from the tube, anyway. I never use any colors directly from the tube anymore. And, by mixing your own colors, you will have a continuity through out your painting that can only be achieved in this way.
When working with a painting that will have a large amount of green in it, I like to first start out by placing a wash of red over the entire canvas (surface). Red being the complement of green "greys" down the green making it a more natural color in the end. This is a great tip to use when painting landscapes, etc. that will require a lot of greens, but that you don't want to have a harsh, or "kelly" green look to them. Another thing that I would definitely suggest is to mix your own greens (using blues and yellows) instead of a tube green - unless you go to a sap green or one of the already "greyed down" greens. Even those greens I mix with something else, I as said, previously.
I almost always like to do a wash on the surface before starting the painting as this does give a nice sense of cohesion to the painting. I have been told by a lot of artists that they feel the same way. Many times this is a complimentary color that will come shining through the subsequent layers of paint.
I usually start at the back of the painting and work toward the foreground saving the greater detail and stronger colors for the main subject and the aforementioned foreground area. When painting masses, such as muscles on an animal for example, these are usually darker areas and I start with these first when starting the subject. Then I work in many, many layers until finally reaching the lighter areas and highlights. My paintings always consist of multiple layers of glazes and/or washes - many times in the double digits - in order to achieve the effect that I wish to achieve.
Most importantly when working with colors, as with any aspect of painting, is to have fun with it! I think that if you do that it really comes through in your work. For examples of my acrylic paintings please visit http://www.hughbanksart.com I hope you can see that I have a passion about my work and that the "fun" I spoke of is coming through in my own pieces!
Debbie Hughbanks
http://www.hughbanksart.com/
Article Source: https://EzineArticles.com/expert/Debbie_Hughbanks/89611
Article Source: http://EzineArticles.com/528318
Wednesday, July 24, 2019
Sunday, July 14, 2019
Wednesday, July 10, 2019
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