PAINTING "ALLA PRIMA".
This term originated in Italy means "first in the beginning." This method, due to rapid advancement of the work, keeps a lot of freshness and spontaneity in painting. This method can work in the paint " costs "that is to say, in the wet and is done in one sitting. By cons it requires a helping hand, every set of color to be visible at the final solution
MAKE SOME CHOICES: Keep
or not the white of my support? Strengthening
coating it if necessary (see preparation of media)?
Choose a general color coating which?
several possibilities for the painter:
I usually paint with cool colors, I can play contrasts with a coating of hot colors, rather like brown or orange I resolve not Conversely
too dark, I usually paint with warm colors, then I'll practice a coating with cooler colors see the gray. I can also decide to stay in the shades of the dominant color that I have chosen.
solutions are variable and multiple, but we know they will affect the final rendering of the painting. With some experience and some experimentation, we eventually find what best serves what we want to express through his painting.
A BACKGROUND COLOR THAT CHOOSE?
Whatever the chosen color it should be diluted with gasoline, but we can also to prefer the Caparol + pigment (the Caparol cuts to water in hundreds proportions), or an acrylic binder + pigment (shuts off the water too, it is necessary to carefully observe the manufacturer's instructions). Or
applying a layer of acrylic or vinyl, always diluted. From
gouache, provided to be a veil of retouch varnish if you want to avoid that this layer is trained in the application of paint and always in trouble for having a better grip of it or the temperature.
A DRAWING, WHEN AND HOW?
On a blank canvas or on a canvas coated with a "imprimatur." Charcoal, using chalk pastels, a blood or directly with a brush. (Avoid the
pencil which often tends to spread throughout the paint layer, under the action of the oil and smear the color.) Choose to imprison this trait using acrylic or vinyl paint diluted with water. Simply use a color choice diluted oil to gasoline. But first we will have taken care to remove excess powder left by the charcoal or chalk so that the powder does not mutate in color. (Suffice it to a cloth to press the cloth to remove excess powder). Use a permanent marker to water, knowing that the design will be reflected in the color, then we can decide not to do the drawing after the installation of "imprimatur".
THE COLOR LINE DESIGN?
In the final rendering, or choose not to show patches or in whole once the completed work.
can decide to choose a neutral color if it turns out that in the end it will be hidden, it is then presented that as a benchmark when running.
Practice and experience will ultimately affect those choices.
Execution:
The draft is done with paint thin, lightweight and can implement the various light and dark sides of the table. Rembrandt sketched the "greyness" that indicated the shadows, lights by gray scales.
1) The background work done by the masses and juice (the batter is very dilute gas) that is put in place with a short brush, the widest possible, preferably Silk. (The short flat brush used on the field or flat allows details and build the bottom of the table). A round brush will help to clarify the details and contours. A long flat brush and Filbert to bring color and give the painting its depth and relief. A fan-shaped brush will blend the colors together. It then leads top layers using semi-paste. We reserve the impasto if necessary later.
2) The finishing work will be carried out preferably with natural bristle brushes, softer, to complete the picture, ask glaze for example. A short sable brush will change colors in a smooth and give relief to the subject, or an object in the composition. Round sable brush may be chosen for contour brush longer or Filbert prove useful for garnish quietly about color.
(See sheet brushes for their diversity).
The knife or spatula can get relief and increase if necessary, the material of the work.
INVOICE:
This name means here "marks."
According to his sensitivity and his painting style, it leaves more or less "brands", traces of brush strokes. That in fact, his writing style in painting. This bill also allows better describe, with textures, elements of the composition. The use of different brushes is necessary. When the paint is thick enough, rendering will be better perceived.
ACHIEVE SMEAR:
The smear is done with a dry brush, finger or a cloth, leaving a thin layer of color to allow a glimpse of the underlayer. Put the color on another reacted differently under the law of optical mixture of colors, the placement of a light color on a dark shade works best. A coarse canvas texture will further increase the desired effects of this process.
impasto:
Use to give the texture and define the topic, impasto, is achieved through a layer of thick paint brush and put a knife / spatula, or even directly applied to the tube. Facilitate these special mediums impasto, thus requiring less paint and faster drying time, often long in these cases. Note that this addition of mediums special color will darken slightly during drying.
STRUCTURES AND TEXTURES:
The application of thick paint can already give texture to the table. For more current and realistic textures, we can also add to the paint material which can be sand, plaster, wood chips or clay with structures.
It should use these materials appropriately according to the subject represented.
sgraffito, or "sgraffito" Which means
scratch Italian. This technique consists of drawing designs by scratching the paint. The background color becomes visible. An accurate drawing, with fine detail, can be performed using various objects more or less sharp. This design is also Depending on the thickness of the paint laid. The best effect will be on a difference in background color from the one asked.
FOOTPRINTS:
This is apply different objects in the paint thick but still soft. Mainly used in 'modern' fingerprints allow all sorts of fantasies.
Some examples of items used:
cap, fork, saw blade, rectangular sponge, walnut shell, small fence ...
PERFORATION:
If the effects are convincing, it is necessary that the colors do not vary too much their tone. These colors are posed with the brush held, preferably, perpendicular to the substrate, preventing them mingle with the aim to obtain an optical mixture of color.
MASKING:
For a sharp boundary and perfect, often in a straight line boundaries, it covers a portion of the paint with masking tape before placing a new coat of paint. This tape may also be a cardboard cut out tentatively. To prevent paint from running under the masking, the use of thick paint is recommended. This masking is also used when projecting droplets paint a specific place in the table. Cerne trapping color.
AND SCRATCH "Repentance"
is a grinding operation, rather than paint removal is the practice with a cloth or with the blade of a knife to paint. This technique for rendering transparent and misty effects is also a painting technique. It may be a technique in itself and not only to repair a mistake.
THE Tonking: Technical
Henry TONKS due to its inventor, professor of painting. This method is used when the paint is raised too thick but still soft. Is covered with a sheet of absorbent paper overloaded area. This paper, rubbed gently to adhere to the paint is removed with care. A softer side is then obtained, details are often eliminated.
LAYING GLAZE:
It is one means of expression more typical of the oil painting. To make a glaze
should be used preferably transparent colors. Some examples of the most characteristic of transparent colors:
For reds:
Lakes, madder, alizarin crimson, bright red garnet ...
For shades of purple: Purple
permanent bluish-purple, violet
Egypt ... For the blue tones: dark and light
Ultramarine, Prussian blue, Indian, hydrangea, Hoggar, Tuareg, sapphire ...
For shades of green:
Armor, English, olive bladder
... For the orange:
Indian orange
March ... To the yellow tones:
Indian yellow ocher ...
The glaze should be placed in a thin layer, so diluted with the medium, on a dry paint. There is even a particular medium to rise. These colors change raised the appearance of colors background, but mainly gives depth
painting. The glaze also helps to unify the whole picture.
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