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Still life (from the French. Nature morte - dead, inanimate nature) - an artistic image of various household items. In the XV-XVI centuries, a still life was considered as part…

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HOW TO TENSION CANVAS ON A FRAME
FRAME The stretcher serves as the basis for stretching the canvas. Subframes are of 2 types: modular (prefabricated, wedge) and deaf. Modular (prefabricated, wedge) subframes can be bought in almost…

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VARIETIES OF FIGURE PAINTING
At the end of the 20th century, the term figurative art, figurative painting, began to be used in England. Figurative art - non-abstract paintings, subject painting - the antithesis of…

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CHOOSE PAPER FOR AQUARIUS

If you have recently started to paint with watercolors, you must have already had questions about the different types of watercolor paper. Whatever the paper, it has its advantages and limitations, and your choice can play a big role in achieving the desired result.
At first, the question of choosing paper may seem complicated and incomprehensible, but as you understand the essence of the importance of paper in the process, you can focus on the type of paper that will help you achieve your plan.

Paper is made from two ingredients – cellulose and water. Most popular varieties of watercolor paper, such as: Arches, Bockingford, Cotman, Langton, Saunders Waterford, Fabriano, Hahnemuhle, are produced industrially. There is also handmade paper like Ruscombe Mill and Two Rivers. They say it is beautiful, but, of course, much more expensive. I have not had to work for them yet.

There are 3 types of surface in the paper of all these manufacturers.
HP – Hot Pressed – Satine (french) – smooth
NOT – Cold Pressed – Grain Fin (french) – small invoice
Rough – Torchon (french) – with pronounced texture

Types of Watercolor Paper

HP – hot pressed – is called so because it is passed through hot metal cylinders during production. If you work with a line and washing (filling),
choose her. It is best suited for those who like to control the process “from and to.”
CP – cold pressed – is called so because in the production of wet sheets of paper are passed between cold metal rollers. As a result, it turns out
light surface texture. This paper is suitable for most techniques.
Rough – torchon – as the name implies, this paper has a rough pronounced texture, as it is dried without further squeezing during production. This type of paper is the choice of those who prefer expressive texture, brush strokes, a dry brush, scraping and slipping.

It is important to pay attention to the thickness of the paper, which is indicated in grams per square meter. meter. The most popular thickness is 300 g / sq. m, and it happens 185 g / sq. m 640 g / sq. m and 800 g / sq. m. The thicker, the more resistant paper, the more stable it is to wash off, hard brushes, etc., but also more expensive.

It is believed that it is better to take natural paper without chemical additives, since they cause yellowing over time. But on the other hand, these same chemical additives protect the paper from atmospheric pollution and various influences. They are even featured manufacturers such as Bockingford and Saunders Waterford.
The choice can also be between a notebook and individual large sheets. A pack of individual sheets 56×76 in my opinion is more economical. They can be cut into any convenient size and format.
It also always raises the question of which side is the front. All serious manufacturers make watercolor paper that can be used on both sides. Usually, the front is considered the side on which the brand of the manufacturer is not presented in a mirrored form. But you can just as well use the other side.
For the best effect, the paper needs to be pulled by wetting it first. In academic practice, paper is pulled onto the tablet, bending the edges and securing them with glue or buttons on the back. There are downsides to this approach: the paper used is thinner and the bend consumption is larger. And it is more suitable for long detailed studies. I usually write Ala Prima – all quickly and immediately. Therefore, I often don’t even wet the paper beforehand, but pull it and fasten it around the edges with a simple masking paper tape, and in the case of large formats with transparent wide tape. Adhesive tape is easily removed, and smudges of paint can be removed from it so that they do not distract from the actual part of the painting.

There used to be such paper – Agate. It was perfect for pulling on a tablet. But she was very thin and torn. And the washout could not stand it. And the color was sonorous and the texture also gave effect. Ideal for writing thin parts without corrections!
I also read about the exotic Khadi paper. I didn’t see her in the eye, but I found out about her from an article perfectly illustrated in The Artist magazine. But more about that next time …

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