painting is considered
Imprimatur is a simple and effective way to create color harmony in a painting. In thin-layer writing, the color of the soil, shining through the layers of paints, combines them in a coloristic sense. So, on soils with warm and hot shades of color it is easier to withstand painting in warm colors, on gray – in silver, on cold – in cold, on dark soil – in dark colors, etc. Imprimaturity facilitates the work of the artist and technologically speeds up the process of painting. The artist can not apply extra paint layers, and this, in turn, gives great strength to the paint layer and improves the safety of the painting. In addition, imprimaturism is a layer that does not allow excessive penetration of oil from paints into the ground, eliminating the phenomenon of excessive drying of oil paints, common in our time.
Sometimes even large planes of the canvas with a pronounced imprimature and texture of the soil do not overlap with other colors, but remain unwritten and enter the picturesque-plastic solution of the picture. Ground color is used to solve contrasts, to achieve realistic transmission of body modeling and light intensity.
“The color of the soil can play a big role in painting, if you use it according to the method of the old masters, that is, give it the opportunity to shine through layers of paints and thus take an active part in the overall effect of painting. Continue reading
Artistic paints consist of colored powder – a pigment and a binder that holds together the smallest particles. In painting, mainly inorganic coloring materials are used, as more persistent, less often organic.
There are pigments of natural origin and prepared artificially.
In ancient times, artists used exclusively dyes found in nature in the form of various minerals: malachite, azurite, auripigment, lapis lazuli (lapis lazuli) and all kinds of colored earths. In addition, they used dyes of organic origin, which were obtained from various plants and simple animal organisms – mollusks, worms.
But over time, many natural pigments were replaced by artificial ones. For example, blue ultramarine paint, which was valued more than gold (it was obtained from lapis lazuli minerals), was replaced in the 19th century by cheap artificial ultramarine.
Of the natural dyes, only earthy pigments have retained their value. They are usually mined when developing open pits. The produced rocks are dried, crushed and subjected to separation, separating the smallest particles. These pigments are durable, resistant to weathering, to light. They have not bright, but the most Continue reading
The basis for painting is any physically existing material or surface on which paints are applied: metal, wood, fabric, paper, brick, stone, plastic, vellum paper (thin parchment, wax, tracing paper), parchment, plaster, glass. However, only a few of them represent the traditional foundations for oil painting; They are divided into two groups: elastic (flexible) substrates, which include canvas and paper, and rigid, combining wood, sheet fiberboard, fiberboard, canvas on cardboard (board) and metal.
The most popular and widely used base is canvas. However, the status of the canvas as a standard basis for painting is relatively young. Ancient artists preferred to work in encaustic on wooden foundations, and in the Middle Ages this practice gave impetus to the development and use of egg tempera on boards – the primary and most important form of easel painting of that time. In the fifteenth century, at the initial stages of evolution, oil painting existed as a way to refine or – the final stage of tempera technology: the main focus was still on small things with careful detailing. Such paintings by Flemish artists, for example, preferred to paint in oil on primed wooden boards. Continue reading