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: ITS HISTORY.

The origin of the acrylic is not fully known. According to various sources, his story changes. Next
Xavier de Langlais, early research on acrylic and vinyl have taken place in Germany in the 1930s.
As for André Béguin, it is the marketing of the first versions for art in 1958, the United States, and introduced in Europe shortly after.
Others believe that the discovery of this would be acrylic oldest, Francis Perego meanwhile, claimed that it would en1843 Redtenbacher, discovered the means of obtaining the acrylic acid based on a product which polymerise spontaneously acrolein. Then in the ensuing years, various researchers Europeans began to train using this acid ester polymer.
In 1901, Otto Röhm supports a thesis on the polymerization products of acrylic acid and founded the company "Otto Haas" in Esslingen in 1907. At Darmstadt around 1909, this company would have sold the polymethylmethacrylate.
F. Perego mentions that in 1927 the first "acrylic", as well as many derivatives would have appeared, but still quite expensive they could not integrate paint for artists circa 1949 in particular the United States.
Other sources claim that the use of acrylic paint for the arts goes back to the Mexican muralists of the 1950s:
Jose Orozco (1883-1949), Diego Ribera (1886-1957), David Siqueiros ( 1896-1974) ... The acrylic that already existed for the industry were not satisfied, so they asked researchers, chemists, paint best suited for their work, a paint that dries quickly and resists weathering 's acting for them to implement their paintings outdoors and so, that painting Acrylic will become little by little, the painting's favorite contemporary art. David Alfaro Siqueiros (Mexican muralist) in his writings: "Art and Revolution" tells the development of this painting.
In the U.S., artists who used acrylics in the forties were using products that were, in fact, solvent acrylic, made from a plastic resin diluted in a solvent white spirit, they were consistent with oil. Acrylics today differ somewhat from those which were invented in the thirties or fifties. It was marketed in Europe, the sixties and are not compatible with oil paint

SOURCES:
The technique of oil painting, Xavier de Langlais, Flammarion. Dictionary
materials of the painter Francis PEREGO, Belin.
Dictionary of painting, André Béguin

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ACRYLIC: COMPOSITION AND PROPERTIES

Acrylic: CH2 = CH-CN

This is an aqueous emulsion of acrylic polymer with pigments, esters, acetylene. Polymerization of synthetic resins formed around a plastic resin pigments, when the paint is dry.

The manufacture of acrylic is complex, the pigment is first crushed in water to which are added additives and not in the medium as is usual for other paintings, the particles are then dispersed in the acrylic emulsion. These are chemical additives that will give its consistency and malleability and its brilliance. Resins often differ from one manufacturer to another, it is advisable to avoid mixing different brands between them and preferably stick to one.
is a painting which thins Water which requires no solvent, no toxic, odorless solid.
Drying is very fast, since the evaporation of water molecules polymerize by themselves and form a coherent structure. Then obtained a pictorial film matte, uniform, flexible and indelible. Film of great elasticity, which after drying the paint is expected to remain stable indefinitely, resistant to chemicals and weather. Next
dosage of painting more or less diluted with water and the gesture of the artist, it can be connected to temperature, gouache or even watercolor.
The consistency of the cheese is reminiscent of the oil and can be used right out of the tube with a brush, painting knife.
As for oil painting, there are fine colors or extra-fine (obtained from the finest pigments in high concentrations and often monopigmentaires). The quality of the painting depends on the quality of the pigments used and the amount of resin relative to the amount of water. Color pigments containing substitutes and the load are available at very low prices, they are much less stable and generally used for studies.
color tube is thicker and dries more slowly, the color pot is smoother, dries faster and is generally used for large flat areas.

Today Various mark offer a variety of shades, sometimes with metallic colors, fluorescent, and even beaded.

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ACRYLIC MEDIA, TOOLS, ACCESSORIES ...

This paint is suitable for all non-fatty materials, except for holders too smooth as glass and plexiglass, unless they have received a special coating or painting hangs in advance.

Cardboard, paper, coated sheet metal with special paint, canvas prepared or not, wood, plywood, chipboard, medium, tissue, prepared for a wall mural, are possible carriers.
Generally it on an absorbent surface than acrylic adheres best

knives paint palette, buckets, brushes, Sharpe, cloth, spatulas, air brushes, fingers, hands ... prove valuable tools for implementation of this painting.

CAUTION: Never
dry brush, brush, they can be irretrievably damaged, only strong solvents such as acetone, may in some cases save. In the cool, provided we act quickly, it is relatively simple to make from acrylic fabrics with warm water and soap plant for soap or type of Aleppo. Accessories used to implement the acrylic paint can be cleaned with water.

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ACRYLIC ASSISTANTS:

order to enrich the art made by individuals, media and auxiliary come largely in artistic creation.
gels versatile texture often allow the creation of all kinds of structures, change: they are used as an undercoat, or mixed with the colors themselves, allow implementation of collages, integrating natural elements recycled, creating impressions, Overlays, reliefs, erasures, superimpositions ... effects of various material:
Lave, Resin sand, mortar, crystal effect , pumice, thinning, thickening ...
Place directly on the support, can serve as undercoat for painting.
Place on pre-colored background or not, or the blank can then paint them.
Tinting in mass, they are applied to the substrate and their surface can be reworked.
Acrylic is particularly work well in
Mediums, matte, shiny, pearly, matte varnish, glitter, satin ...
surfaces painted with acrylic paint are very sensitive to alcohol even several months after drying. Alcohol is also a very powerful medium that can help dilute acrylic paints, as well as acetone.
-timer (often based glycerin glycol mixed 10% with the paint drying delays of 10 mins and thus increases the duration of work in the fresh paint, it is advisable to apply the retardant paint containing a thin layer for a delay drying up).
interest, increasing the painting among artists, led manufacturers to continue to innovate and now some of them, offering acrylic paintings with a longer drying time, sometimes up to 45 minutes of time drying, which avoids to use a timer and can work in the fresher longer like the oil painting.

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ACRYLIC: SOME IDEAS FOR IMPLEMENTATION:

-Printing: The marks
diverse range of materials remain in the fresh paint, producing random drawings.
-Buffer: A material
Painted leave an impression in the paint dries.
-Transfer: A document printed
applied in the cost of painting and then ripped off just before full drying to leave traces of printed text or image.
-Wash: A
support that we will be smeared with white acrylic, which will be drawn signs, write ... Using a tip, then placing a colored wash on the grounds to reveal them.
paint diluted with enough water to obtain transparent melted. Fluids, these paintings encourage the installation of glazing and layering their
undiluted for work ... knife and impasto
Mixing live in cool, working in wash, color fusion between them, but sometimes at the expense of tinting and covering, it is useful to test in advance. Proceed
by mixing or layering of colors for the application?
Acrylic paint is fast drying it is difficult to mold in the air, without exception for making acrylic slower or use of retardant, the overlay will probably be better. We proceed by layering transparent colors over the lower layers.

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ACRYLIC: ACRYLIC VARNISHES

There is no need to varnish in the final painting except to unify the shiny, matte or satin. The paintings done by an airbrush cons are scratching easily require a protective varnish. In the event that a work should be protected from ultraviolet radiation, it is preferable to apply a coating with a protective UV or in the case of wall paintings.
Painting is very stable and resistant layer is even washable with soap and water. In some cases, or when the colors are highly diluted, it is necessary to varnish.
The varnish can also change the brightness. It is necessary to wait until the paint is well taken to heart before varnishing.

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: DRAFT, MAKING ITS MEDIUM. ACRYLIC VINYL OR THEIR DIFFERENCES:

A draft started in acrylic can be completed in the oil, between a light coat of spray paint to touch up will ensure a better grip for oil.

If we do not want to use the mediums of trade, can make your own from an acrylic binder and powdered marble or plaster, a medium.
To make acrylic paint you will use powdered pigments mixed with an acrylic binder, to obtain a colored paste that is diluted with water, and we take care to keep in a sealed jar.

paints vinyl more or less similar to casein paints, painting their film is nevertheless more flexible, keeping in time this flexibility, rendering gives a matte opacity, brightness and freshness of tone.
Acrylics, sound, color brilliance, transparency and depth, speed of execution.

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Lethal & Young

It's been fun Destroying Our Bodies
It's been great Just Being Together
another car crash
Smoke another cigarette
And make love to all our favorites on the radio
Cause we don't know how to make it go
We were only told how to burn it down
And then skip town
So don't look so damn tragic
You knew this had to end
So don't look so damn tragic in front of your poor mother
She brought you here and now you have to stay, to stay
So be thankful that you're in love
Be thankful that you're in pieces
Cause baby it's a beggar being bitten by this bug
After all you're all young
're all young and lethal.

I thought I had seen the worst.
But there is always, always more monstrous.
But I'm not alone so it goes.
For that alone, that's fine.
I will learn now to live for the beautiful.
I will not let you destroy it.
I will not let you ...
destroy that spark
destroy these tears that spring is my joy to see
around me the good, the beautiful and respect.

And I'm not alone, so it goes.
For that alone, that's fine.
And I cling to them because they are better
I dedicate myself to them and begins to admit that perhaps

I can be right
I can qualify.

I will not be alone and will follow the eyes to see your
abandonment.
For I am not alone
but thou wilt be.
So it goes.
For that alone, that's fine.

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mystical crisis (once again)

* Fuck you for rejecting me by never Being There, fuck you for making me feel shit about myself, fuck you for fucking bleeding The love and life out of me ( ...) Most of All to fuck you God for making me love a person Who does not exist. *

I go back down the path of us. In the dark I see nothing but I advance because I know you're up there. My heart is beating too hard, my legs hurt, all the weight of my body weight on the steep slope. But I advance because I know you're up there. I walk between the drops of sweat, cramps and my stomach is too empty, I move forward ever faster, I climb, claw me to twist my feet and arms into holes. I walk without stopping, I swallow the stairs and degrees of dirt road. It's dark but I go, eager to find you there. I walk, I run and I waste my remaining strength but still I advance because I know you're up there, head rose into the night, to the twinkling stars and city lights. I walk, I breath and I breathe, one step after another and I expect the final meters. Last straight line, the last hell last climb even longer last effort before resting. Last steps before you. A few steps further, a few steps before the above, you last on the heights overlooking me. I walk because I know you're there. I advance, I'm, I'm looking eyes. And you're not there. You're not there.

Then I light a cigarette and contemplates the city. And smoke flew to another up there where you expect surely. Where you probably expect.

And I do not know, I wonder. If I would have to go up faster if I would have the rest or slow down the pace.

And I do not know, I wonder. If this time I would crush me down to join you where you do not expect.

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No Man's Land Waste

* Even before we were either lost
Long before we had gained nothing
Long before clubbed
I already knew everything I * know

I really liked the apartment Malo. Sufficiently large, clear, bright. There existed a serenity between white and blank walls. It was a neutral place, a break in the middle of a dilapidated neighborhood in the middle of my life in tatters. I put my suitcases and I forgot everything.

Malo offered me sometimes to take the air out. I agreed half-heartedly, to please him. My air, it was here that I took it between his scattered affairs, reassured each time I opened my eyes on an object that belonged to him. I was not afraid because each parcel of his living room reminded me that he was there. And even when he was absent, it was enough for me to caress her wardrobe to remember.

Malo's apartment was not a apartment. It was entirely Malo, his party for its brand, which was still, all the time, the tangible side of my love always gone.

What I liked best, in Malo was his window. I could stay there for hours, pretending to watch the narrow street below, or the neighbor's cat lying on the terrace. I pretended, yes, because I did not care much for these shabby streets or neighbor's cat. I was waiting Malo join me, it sticks to my back to become my wings, he kisses me and tell me we could go, while both, we no longer need his apartment for them to love, find themselves, and I no longer have to cling to bed because he would always be by my side, it would be the party for all, all for the game, he would by now his body the architecture and its my hands parentheses.

Malo has never reached the edge of the window.
And every time he slammed the door on my no-man's land, an earthquake shattered my spine and cracking clay that covered my life.

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I remember all the details.

The walls were white but on closer look, there, at the joint at the ceiling, you could see that the paint had yellowed. I remember thinking, that perhaps he smoked. There was also a crack in the left corner of the room. It should be long and he had clumsily hidden under a poster of Iron Maiden, but the last of the forks breaking up climbing up there.

What else?

Heaven. Gray. Dark. Late one winter afternoon. He had lousy all day and I saw through the window light falling more and more. He must be eighteen or nineteen hours. And I do not know how long I was there. The clock above the door was no longer working, the big hand stumbled hopelessly against the twelve, as a rough nervous tic.

I still remember the shelf above my head. I saw the books lying horizontally, and I had to concentrate to read the title backwards. Some manga. A classic. Rousseau, I think. A new Henry Miller. I have no a priori, usually, but this time I was surprised.

There was also a light bulb hanging from the end of bare electric son. Bits of tape on a wall. Heavy boxes at the top of the cabinet, crossed a sticker "Fragile". A magazine page, coarsely torn and posted near the window. A nail. Scales. Vacuum.

I remember everything you see. I remember especially his rough skin.

I told them everything, everything. Given all the details, all the information. But they said it would not be enough to stop it.

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Versus - Rodrigo Garcia

* Small excerpt of a play before leaving for the weekend post-traumatic

* You can fall in love with anyone at anytime. This discredits the romantic idea that we have of love.

is a need he must satisfy, such as thirst.

The task of love is thus twofold: to support himself and the other also but it seems to be more tolerable than live without love.

Love is so important, so necessary, that whatever else. Love excludes the beloved. Love stands out as something abstract, and it does not care who you love.

When you walk in darkness, we cling to the first ray of sunshine came.

When you're Down and Out in, you do not choosy, you go and you find what you mugs.

issue then is to convince themselves: you tell yourself that it's love and the person on whom you fell and you have brought with you is actually a ray of light.

In 90% of cases are discovered in less than 72 hours in fact this person was not really what one might call a "ray of light".

Sometimes you bring back with you people who add yet more darkness to darkness, and they make the darkness so dense that you could take it in your hand, squeeze box, and run.

But as time passed, the lover turns chronic back the person purporting to be the object of his love in ray of light in these moments of despair when we need human companionship. No being

illuminates the life of another, that's how and not make me shit.

It's all lies, because we are afraid of dying alone.

are invented every ray of light is attributed to people vulgar and disgusting, unable to think of anything but themselves, and almost always it is men and women so they are ruthless beasts, merciless with no intention of being.

When I say that, in general, I find myself all alone: there are those who go to the bathroom and never come back, or those who suddenly remember they had an appointment or something to do with their kids.

It's the same when, in moments of fragility, is trusted to strangers.

They disgust me, these people so in need of affection they are engaged in the first stranger passing by and they even manage to betray their loved ones.

They come across a stranger who's playing in a nice bar and they tell him things in their life they should never tell a stranger, and then they invite him to sleep at home, they allow to give advice on private matters, and they end up not entrust the number of their bank account.

Yet everyone should know that during the first fourteen or sixteen hours, everyone is charming, except that after a while the soufflé fall eventually.

Then there they laugh when they read in the press stories of scams kindergarten level. I can not believe that someone could have ripped off with something so obvious, they say. So they just unwrap their lives to cross the first asshole in a bar.

I prefer to deal with that bastard made me shit my whole life in the first stranger one night, drunk or stoned, wants to pass for an honest kind and nice, cultured, interesting.

Better to be plagued by ill familiar rather than explore new malicious and burst of rage or anxiety.

I'm just reading a book about it. It is called I'd rather do it Goya that keeps me close my eyes, rather than any motherfucker.

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Come on baby put out my fire.

* This morning I received the letter which you write
Take care of me and I thank you
That you'll come to me and stuff and we love each other
"And the flowers watered once a week" *

It's over.
I extinguished the fire with bombs tear
who consumed the last fuel
reduced my last ashes to nothing.

I even stopped smoking.
Suddenly, the smell of cigarettes is unbearable
and taste on my lips was like a corpse.

gonna.
I think it will. I have a few hiccups
you, sometimes turning a
address, street or subway
a bed, a hard
turning a command to the Japanese in
low when the salmon sushi is suddenly the taste of you.


I promise you I promise to be good
live my life quietly without never break my cage
to wrap
trouble and wait until
and never expect too great tomorrows.


I promise you I promise to bring myself to
flash in the pan without lightning fires
mathematics
happiness on the cheap, the tactics
I promise to give
to let me do, to be loved
let me touch
and cede my place near the stove.

I promise you everything and anything you want but do
m'étincelle
more if you're afraid of fire and its extent

You have been my last chance
You have been my last Don
You were my incineration.

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[SPOILER] Krum's Ectoplasm

* But now I feel the thrill of travel, freedom and disgust of reality and everyday life ... I know you know this.
Big, big kisses.
Matthie *

TOUGATI - Krum, I want to heal, I want to heal! What I have experienced so far, it is not called to live. I'm just prepared, I have only projects, no, it is not called to live, it is not called to live. (softly) more I hurt, the more I cling to this miserable existence. Like a fly to his pile of garbage. Lamentable. (weeps softly) What we must not swallow before giving up the ghost! (a time. He stops crying) And outside? It's spring? Obviously! If I'm in the hospital, how is it that it would not spring out?

Krum - It's cold and gray. A time of dog.

TOUGATI - Stop, I can see the sun here.

Krum - The clouds are already covering.

TOUGATI - The number of things I'll lose if I die.

Krum - Nothing.

TOUGATI - Oh, yes, yes!

Krum - You lose nothing, Tougati believe me? Look at us, look at our lives, look at all this time we'll still shoot - what do you lose? " Our neighborhood looks rotten. Our women. Think how we struggle to make money, to get a little something extra, think about our pathetic lives, so that lack of charm, beauty, love, yes, this love that we have not learned to take even when we are given, you forget all our vain turmoil, our endless quest in the night, our eternal hesitations - what do you lose? " But what you lose, Tougati?!

TOUGATI - (his voice becomes increasingly low) I lose, I lose ...

Krum - (begins to shrivel. Shkitt imitates) Look at us, Tougati is what you lose! Voila! That face! That back! These knees! These final upheavals on earth before we find out below! (Krum and Shkitt continues to turn in on themselves. Suddenly Tougati also starting to get into a ball, as if participating in the game of his friends, who, themselves, in response, curl up even more. D a sudden Tougati freezes, inert. Shkitt Krum and stop for a moment, try one or two movements to encourage it, but it does not react) Tougati? (one time) Tougati, you dig? You dig? (one time) Tougati?

Arrive in Schibeugen waterspout and the nurse. The doctor examines Tougati, straightens up, covers his face cloth and turns to Krum.

Krum - (as if defending himself) Do not tell me ... (he tries to steal) Do not tell me ...

SCHIBEUGEN - He's dead. (Krum stops) he died, he passed the responsibility of medicine to that of nothingness. This man is nothing. Years where he grew up, the food he has ingested, the books he read, drugs he has swallowed the dreams that his brain was screened, the amount of work and money spent by those who have paved the way, all, all this investment has been reduced to nil. And if he left something, it too is lost.

Krum - We still have a little laugh.

SCHIBEUGEN - Laugh? That's right, laugh, you lose nothing by waiting! You, too, falling into nothingness.

Between a nurse comes out with the bed of Tougati. The nurse follows. Schibeuge about to exit.

Krum - Dr. (Schibeugen stops) Excuse me, but you talk like a croque-word. You are a doctor. You must leave a hope, maybe not dead, but at least the living.

SCHIBEUGEN - Right. You have a little hope.

Krum - You see.

SCHIBEUGEN - Exhaustion.

Krum - Exhaustion?

SCHIBEUGEN - Yes. It is the small hope that you have left. Exhaustion. What you will heal, eventually, it will be an immeasurable weariness. You get older, you thinning, and with the weakness will rest. Certainly, you have no strength to rejoice, but not not to scream, to protest or to suffer. A gentle serenity will surround you. You will be calm, quiet, just a little stump of fallen life, folded in on itself and orderly. A thick layer of ash overwrite your loves past, present, incomplete, inaccessible, and, anyway, you will be returned to your loneliness. Then slowly, very slowly, without surge or bitterness, you will start dying one day. Nothing will interest you, nor the stirring room, neither God nor hope, nor the meaning to your life. You have just enough strength to look ahead a look closed, a look that is also gradually blur. Until you die. Yes, bet on exhaustion.

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