Materials and techniques of painting

Materials and technique of painting with oil paints work
 Stylistic changes in oil painting is closely connected not only with changing artistic and aesthetic views, but also with the development of technology, oil painting - the materials used, methods and techniques of writing. For centuries in this area led a tireless search for artists trying to find better means to implement their creative ideas. The painters of the Middle Ages until the fifteenth century, used the tempera-paint binder which was usually an egg yolk with various additives. Temperature required by the artist of high discipline and meticulous forethought just beautiful process. She quickly dried up, changed its color when covered with paint. Time, number and color of paint, all that had to be calculated in advance. But the main drawback of distemper was that it fettered the creative possibilities of the master: the work had to local spots, and create a sense of dimension with small, dry strokes. The transition to an oil painting in the fifteenth century, associated with the names of Jan van Eyck and Antonello da Messina, has made a revolution in easel painting, making its process more liberated and free, both in terms of expression and execution time. The combination of hull slides with transparent glazes, most of the relationship and fused layers of paint, emalevidny nature of the surface, the possibility of diversity in the movement of the brush-all this led to a freer interpretation of the images that enrich the color and the cut-off treatment of the environment, the development of linear and aerial perspective. However, providing an oil painting and freedom combined with certain laws in its use: it was developed so-called three step-wise method of painting with oil, which included as milestones prescription underpainting, glazing and finishing. This method was used by many masters of the past. Painting, performed by classical methods, often composed of many layers of paint, applied one over another, and the number of colors used were very limited, various pigments are rarely confused with each other. Colors and shades were obtained mainly through optical mixing, and played a major role here transparent glaze, regulate not only the color characteristics, but also the intensity and textural characteristics of the underlying layers.
 Since the second half of the nineteenth century to replace three stage methods and techniques come - la prima. The paint layer in this method is constructed as a once in a single step without dividing into underpainting, glazing and prescribing.
 The order of imposition of strokes in this case is not determined by a sequence of technological and creative nature of the tasks set before a painter

However, before proceeding to the analysis of this powerful and essential means of painting, we must examine the various techniques of performance art works and various techniques of performance art works and artists used to paint materials. The most common is oil painting. Their property to dry for several days, their strength not only allow for a long time to work on a canvas with no significant changes from the drying process, but infinitely varied use of color mixing and layering them. An artist, masterfully wielding technique of oil painting, can reach the most complex and subtle coloristic decisions. The basis for the oil painting is usually a linen canvas covered with an adhesive or semi-oily soil.
 But you can write in oils and other soils, wood, paper, coated with gelatin or glue on the iron, glass. In general, there are two ways to work with oil paints: multilayer, calculated for a long time, and a quick, single-"alla prima".
 The old masters used the first method. The lower layer of paint, mixed up in the White, so bright a dense layer after drying were deposited one on another thin layers of transparent paint. Because of this general color is rich and has a dense, dynamic texture. This technique, called glazes, combined with a letter corps (opaque) colors can give a very rich coloristic effects. Painting "alla prima" allows you to fully reveal the temperament of the artist, the direct impulse of feeling.
 Hull and transparent colors are placed next to it, then mixed, and sometimes in some places the soil remains intact, this method created a special popularity in the nineteenth century French Impressionists. There are paint, not farmed oil and water, and painting them in watercolor paint is called. Usually it is not primed to write a paper. This pure watercolor has no whitewash, which performs the role of the white paper show through the transparent layer of paint. Therefore, watercolor different from other kinds of painting clarity and freshness of color, since the introduction of white paint in all other kinds of art is always somewhat turbid, or, as artists, Bleaching color mixed colors.
 Perfectly mastered the classical technique of watercolors by overlaying several layers of paint in many Russian artists of the past Bryullov K., Sokolov, etc. But there is a technique where watercolor write on wet paper. This technique, which requires speed and accuracy, Soviet artists used Tyrsa N., V. Konashevich, Baltic wizard. Unlike watercolor and gouache bred water has a very thick consistency and a high density, so gouache paints do not have a transparency, and the palette of gouache are always white. Often applied paintings in tempera, ink is diluted with water and are prepared to casein, oil, egg, or a synthetic binding agent.
 The temperature of an ancient technique of painting with oil. Color it has an especially beautiful sound: dense color slightly, "passed" the bottom layer, transparent colors fit quite intensively, the general color of slightly muted, velvety, full of calm, steady. The work is complicated by the distemper, which quickly dries, paint is not amenable to confusion. Therefore, in tempera often write a pure color, applying the glaze and smooth tonal transitions simulating strokes. The interest in the technique used until the High Renaissance, recently re-grows.
 After drying, gouache and tempera paint some change their color, which to some extent makes it difficult to work with them or to require at least some experience in accounting for these changes. Less common painting pastel-colored chalk beautiful velvety-soft tones. Pastels are usually written in a soft gray paper, or in rare cases, the suede.
 Lack of pastels, her free-flowing, so the works made in this material are stored difficult. Watercolor, gouache and pastels are often considered graphics, not the art of painting, because they do not run on primed paper, the basic material of graphic art. However, the specific means of painting-color-is equally fundamental, and in oil painting, watercolor, and, in gouache, etc. That's why many centuries, there is mural painting.
 Colorful pigment (powder) is diluted with water and applied to the raw plaster, which dries very firmly holds the paint layer. This type of painting used for painting walls. Used as a mosaic, in which colors are used instead of pieces of smalt (glass alloys), marble, stone, enamel and ceramics. Mosaic, as well as fresco, basically refers to the murals, intended to decorate the houses and public buildings, although there are small mosaic paintings, portraits, still lifes. Despite the fact that, over time varied considerably stylistic features murals, as compared with the corresponding period of easel painting, it always seems to be more concise, enlarged on the forms, less nuanced in color, which is associated with features of technology and perceptions of monumental painting. The nature of the binders and technology work depends largely on sound color, and every kind of painting technique has its own special color experience.
 Thus, it is almost impossible to copy a sheet watercolor or tempera, oil paints, and vice versa. The choice of technique and material is preliminary and very important task of the artist. Source > http://portretpofoto.ru