#easy impasto painting

[rad-roche]

Pulp Covers And How To Paint Them

With the rise of cheap printing in the early twentieth century, mass-marked paperbacks swept the world, each offering lurid thrills for obscenely low prices. Sex, sadism, and incredible violence for as little as ten cents. An easy purchase to slot in between fifty cigarettes a day and enough bourbon slugs to kill a small garden.

Pulp fiction is where some of the greats of American literature cut their teeth, including the big three, Raymond Chandler, Ross MacDonald and Dashiell Hammett. The contents of these stories, both the dizzyingly good and astoundingly terrible, have been absorbed and digested and remixed and regurgitated in nearly every permutation imaginable, fuelling pop culture some one hundred years on. This isn't an essay on that. Nobody likes to open a tutorial and be greeted with a wall of text. The history is for another time.

But it is about how to paint it.

Don't let the pre-amble intimidate you, it's not as hard as it sounds. You will need:

Painting software with some image editing capabilities. You don't need all the bells and whistles of Photoshop, but I wouldn't recommend something like MSPaint, at least not to start with. I'm using Clip Studio Paint.

A really beat-up paper texture. The grungier, the better.

A lightly-textured brush. Here are the specific brushes I use, 99% of which is the well-named rough brush. Try and avoid anything with any impasto elements.

Go to your colour-picking tool and use the 'select from layer' option. Doing all the painting on a single layer is going to make your life easier.

A complete willingness to make mistakes and, instead of erasing, painting over them. It generates much more colour variation and interest! Keep your finger off the E key.

Good reference! That painting is a master copy of Mitchel Hooks' art for Day of the Ram. Find a style you really love and want to learn? Have no clue where to begin? Do direct studies!

Let's not worry about whatever is happening in the background. It's probably fine. Let's get started! Pulp magazine art is a lot more varied than you might first think, so don't agonize over having a style that 'fits' or not. I'm also specifically aiming for something you'd see on the cover after printing, not the initial painting they would use for printing. The stuff I'll show here is a pretty narrow band of it, but here are some general commonalities. This is a painting by Tom Lovell.

Let's dig into this.

The colours are very bright and saturated, but the actual values, the relative lightness and darkness of them, are actually grouped very simply! You can check this by filling a layer full of black, putting it on top and setting its mode to colour. If the value of a painting looks good, you actually get a lot of leeway with colour. But here's what I think is the most important thing to keep in mind.

The darks aren't that dark, and the lights aren't all that light! Covers are paintings reproduced on cheap paper. Anything you wouldn't want to happen in the printing process, you lean into. Value wash-outs, lower contrast, colours getting a weird wash to them, really gritty texturing. So let's get painting! Here's my typical setup.

That bottom folder is the painting itself. The screen layer is the grungy paper texture. To get the effect you want, put it down, invert its colour, then set it to screen. That washes out your painting far, far too much, so to compensate, I put a contrast layer up on top. Fiddle around with the settings, but this is where mine ended up sitting.

Note I'm saying this before even starting the painting: you want to do this as early as possible. This is where the 'select from layer' colour picker comes in handy. You can paint without worrying about the screen or contrast layer. Something not looking right? Enable your value check layer and keep painting. When you turn it off, it'll still be in colour. Here's a timelapse so you can see what that looks like.

And when you check the values...

They're pretty simple! This isn't a be all and end all, but I hope it serves as a decent primer. I want thirty dames on my desk by Monday!

[blueiscoool]

Scientists Identify Secret Ingredient in Leonardo da Vinci Paintings

"Old Masters" such as Leonardo da Vinci, Sandro Botticelli and Rembrandt may have used proteins, especially egg yolk, in their oil paintings, according to a new study.

Trace quantities of protein residue have long been detected in classic oil paintings, though they were often ascribed to contamination. A new study published Tuesday in the journal Nature Communications found the inclusion was likely intentional — and sheds light on the technical knowledge of the Old Masters, the most skilled European painters of the 16th, 17th, or early 18th century, and the way they prepared their paints.

Scientists confirm long held theory about what inspired Monet

"There are very few written sources about this and no scientific work has been done before to investigate the subject in such depth," said study author Ophélie Ranquet of the Institute of Mechanical Process Engineering and Mechanics at the Karlsruhe Institute of Technology in Germany, in a phone interview. "Our results show that even with a very small amount of egg yolk, you can achieve an amazing change of properties in the oil paint, demonstrating how it might have been beneficial for the artists."

Simply adding some egg yolk to their works, it turns out, could have long-lasting effects that went beyond just aesthetics.

Eggs vs. oil

Compared with the medium formulated by ancient Egyptians called tempera — which combines egg yolk with powdered pigments and water — oil paint creates more intense colors, allows for very smooth color transitions and dries far less quickly, so it can be used for several days after its preparation. However, oil paint, which uses linseed or safflower oil instead of water, also has drawbacks, including being more susceptible to color darkening and damage caused by exposure to light.

Because making paint was an artisanal and experimental process, it is possible that the Old Masters might have added egg yolk, a familiar ingredient, to the newer type of paint, which first showed up in the seventh century in Central Asia before spreading to Northern Europe in the Middle Ages and Italy during the Renaissance. In the study, the researchers recreated the process of paint-making by using four ingredients — egg yolk, distilled water, linseed oil and pigment — to mix two historically popular and significant colors, lead white and ultramarine blue.

"The addition of egg yolk is beneficial because it can tune the properties of these paints in a drastic way," Ranquet said, "For example by showing aging differently: It takes a longer time for the paint to oxidize, because of the antioxidants contained in the yolk."

The chemical reactions between the oil, the pigment and the proteins in the yolk directly affect the paint's behavior and viscosity. "For example, the lead white pigment is quite sensitive to humidity, but if you coat it with a protein layer, it makes it a lot more resistant to it, making the paint quite easy to apply," Ranquet said.

"On the other hand, if you wanted something stiffer without having to add a lot of pigment, with a bit of egg yolk you can create a high impasto paint," she added, referring to a painting technique where the paint is laid out in a stroke thick enough that the brushstrokes are still visible. Using less pigment would have been desirable centuries ago, when certain pigments — such as lapis lazuli, which was used to make ultramarine blue — were more expensive than gold, according to Ranquet.

A direct evidence of the effect of egg yolk in oil paint, or lack thereof, can be seen in Leonardo da Vinci's "Madonna of the Carnation," one of the paintings observed during the study. Currently on display at the Alte Pinakothek in Munich, Germany, the work shows evident wrinkling on the face of Mary and the child.

"Oil paint starts to dry from the surface down, which is why it wrinkles," Ranquet said.

One reason for wrinkling may be an insufficient quantity of pigments in the paint, and the study has shown that this effect could be avoided with the addition of egg yolk: "That's quite amazing because you have the same quantity of pigment in your paint, but the presence of the egg yolk changes everything."

Because wrinkling occurs within days, it's likely that Leonardo and other Old Masters might have caught onto this particular effect, as well as additional beneficial properties of egg yolk in oil paint, including resistance to humidity. The "Madonna of Carnation" is one of Leonardo's earliest paintings, created at a time when he might have been still trying to master the then newly popular medium of oil paint.

New understanding of the classics

Another painting observed during the study was "The Lamentation Over the Dead Christ," by Botticelli, also on display at the Alte Pinakothek. The work is mostly made with tempera, but oil paint has been used for the background and some secondary elements.

"We knew that some parts of the paintings show brushstrokes that are typical for what we call an oil painting, and yet we detected the presence of proteins," Ranquet said. "Because it's a very small quantity and they are difficult to detect, this might be dismissed as contamination: In workshops, artists used many different things, and maybe the eggs were just from the tempera."

However, because adding egg yolk had such desirable effects on oil paint, the presence of proteins in the work might be an indication of deliberate use instead, the study suggested. Ranquet hopes that these preliminary findings might attract more curiosity toward this understudied topic.

Maria Perla Colombini, a professor of analytical chemistry at the University of Pisa in Italy, who was not involved in the study, agreed. "This exciting paper provides a new scenario for the understanding of old painting techniques," she said in an email.

"The research group, reporting results from molecular level up to a macroscopic scale, contributes to a new knowledge in the use of egg yolk and oil binders. They are not more looking at simply identifying the materials used by Old Masters but explain how they could produce wonderful and glittering effects by employing and mixing the few available natural materials. They try to discover the secrets of old recipes of which little or nothing is written," she added.

"This new knowledge contributes not only to a better conservation and preservation of artworks but also to a better comprehension of art history."

By Jacopo Prisco.

[bloodredx]

Day 8: Savior

Beeping from the heart monitor was an incessant and unnecessary distraction. The patient’s heartbeat was clear as day, even without the visual and auditory aid, though the Lady knew well it wasn’t for her. Though it didn’t make it any less obnoxious. Her hands fiddled with the IV bag, adjusting the flow of medication as her mind focused on the hard part: what to say. Certainly she could give a detailed explanation of all the critical organ failures the young man’s body was going through, that the very essence of life was leeching out of him with each breath haggardly drawn, each flex of a muscle, each and every throb of the heart that echoed out in both his chest and the monitor.

“I take it from your expression, prognosis isn’t good?” words broken and distantly soft left his lips suddenly, resetting her thoughts entirely.

Rolling her shoulders back, Lady Serena sat gently on a stool next to the bed, folding her hands perfectly in her lap. She ran out of time, and words must come. “I won’t lie to you.”

The strained laughs faded quickly, a shine of something unsaid lingering in his steel grey eyes. “I wouldn’t expect you to.”

With the ice of restraint now broken, Dr. Rosalune’s words came fluidly, trying to place a gentleness that was wholly outside the reach of her personality. “I’m doing nothing but delaying the pain. At this point, things have deteriorated to the point where barring transplants, there isn’t much I can do for you. And even then, your fragility might not allow you to handle surgery.” She felt the tip of her toe tapping softly on the floor. “I’m sorry. You have a very short time remaining.”

He tilted his head away from her, eyes tracing the spaces mortar held between the stones of the wall, and finally landing on the single painting in the room. A bouquet of flowers, sitting still on a table with a thick, impasto style. Petals drifting off and flaking away from the group. His next breath was audible and he closed his eyes for it, perhaps to hide the pain. “You have nothing to apologize for, doctor. We both knew going in here I wasn’t looking for a miracle. Every other hospital in Glacidea turned me away.” A bitter smile drifted onto his face for a moment. “It’s the will of the gods, I was to die eventually. At least now I know it will be a comfortable one.”

A shaky hand reached at, and for a moment, Serena hesitated in taking it. But she did, feeling the warmth of his failing body against the iciness of her skin. Holding there a moment, she internalized her own prayer, and stood slowly as she gave it a squeeze. “Shall I bring in your family? Can I make any arrangements for you?”

“You can actually.” His voice turning serious a moment.

“Oh?” His hand clung tightly to hers, refusing to let go until his words were spoken.

“Make me a promise. Do better on the next one like me. I know you can’t save everyone; that is the curse of life. But you made this so easy for me. Do even more next time. In that way, I am saved.”

Of all the things to ask. She mused internally, but not letting a single change reflect across her face. I gave you everything available to me and yet it was not enough. Yet… Dr. Rosalune bowed her head slightly as she spoke, belying a tenderness that was uniquely hers, yet entirely foreign. “You have my word.”

Only then did he let go, eyes closing as he sank further into his pillow. “Thank you. Goddess preserve you.” She nodded once, and stepped slowly out of the room. He wasn’t the first patient she had lost, and it certainly wouldn’t be the last one. The gods had their demand for life, the First One and the Silent One had ensured that. But her mind chewed at the details of his case, wondering what exactly she had missed. No matter what, she would find it, and it would be used on the next patient that shared the condition. However, it pained her that with all her speed and experience, that she couldn’t grasp the wisp of smoke that was called life in time for him. But then again, lifeless as she was, she wouldn’t truly know what to look for either. Her fingers drummed against her leg as she walked back to her office, trying to put the pieces together.

(OC-tober prompts by @oc-tober2023 can be found here.)

[pwlanier]

Nicolas de Staël (1914 - 1955), Composition, signed; signed and dated Octobre 1949 on the reverse, oil on canvas.

Note: Executed in 1949, the richly impastoed Composition exemplifies Nicolas de Staël’s unique form of abstraction. According to the artist, “one simply cannot think of any object whatsoever, because there are simultaneously so many objects that the ability to take them in falters and fades” (Nicolas de Staël quoted in: Denys Sutton, Nicolas de Staël, Paris 1960, p. 61). Proceeding from this prismatic concept of material reality, de Staël pursued an evocatively abstract style that ultimately developed to incorporate representational elements. In many ways, the present work anticipates the mimetic content of de Staël’s later corpus; only a short distance separates it, for example, from Agrigente (1953) at the Kunsthaus, Zurich. Composition equally boasts an impressive provenance, hailing from a superlative private collection of nineteenth and twentieth-century art, assembled by eminent Swedish surgeon Philip Sandblom and his wife Grace over a period of seventy years. Including the finest works by modern masters such as Delacroix, Cézanne, Seurat, Picasso, and Mondrian, over time the Sandblom Collection has donated several masterpieces to the National Museum and Moderna Museet in Stockholm.

Composition epitomises the transformation that de Staël’s painting underwent in 1949, whereby dramatic, stormy, and more clearly cubist-influenced compositions achieved a new tranquillity and simplification. This distinction marks the arrival of de Staël’s mature idiom, first based upon the organisation of irregular geometric shapes into contrasting, often architecturally delineated, fields of colour. In March of 1950, the Musée National d’Art Moderne in Paris acquired a similarly transitional painting, Composition (Les Pinceaux) of 1949. In keeping with his staunch independence from artistic groups and movements, de Staël requested this work be exhibited outside of the galleries devoted to abstract art, and instead above the main staircase. He did nevertheless seek out mentors, foremost among them Georges Braque, his neighbour in Paris during the 1940s. Following de Staël’s death, Braque expressed deep admiration for his friend: “De Staël was a painter; he had the true sense of painting… he was always seeking freedom. He succeeded in evolving. Basically, painting is like love. It is direct, it is power. And it was that way for de Staël” (Georges Braque quoted in: ibid., p. 20).

In January of 1949, de Staël travelled back to Brussels, the city of his orphaned youth, and visited Amsterdam and The Hague where he particularly admired the heavy admixtures of black pigment in paintings by Rembrandt van Rijn and Frans Hals. The palette of black, red, and golden yellows that composes so many of Rembrandt’s self-portraits, and other classic paintings like The Jewish Bride (circa 1667) or Syndics of the Drapers’ Guild (1662) in Amsterdam’s Rijksmuseum, is immediately evident in Composition. Like The Jewish Bride, the present work’s brighter passages contrast directly with a mass of deep green-black pigment occupying nearly half the canvas, a formal arrangement strikingly like that of Rembrandt’s newly wedded pair. De Staël’s emulation of earlier Dutch chiaroscuro is equally matched by heavy modelling, achieved through liberal use of a palette knife. Much like Rembrandt, de Staël chose high-quality materials and only employed oil paint, in contrast to contemporaries like Jean Dubuffet who experimented by incorporating unorthodox materials like sand or sawdust.

Following the artist’s death, British art historian Douglas Cooper wrote: “de Staël was unique among the painters of his generation in that he stood out against an easy-going acceptance of the non-figurative aesthetic and insisted on the responsibility of any serious painter to try and reconcile the pattern of abstract forms and arbitrary colours, which are the constituent elements of every picture, with the facts of a visual experience” (Douglas Cooper, ‘Nicolas de Staël: In Memoriam’, The Burlington Magazine, Vol. 98, No. 638, May 1956, p. 140). Composition testifies to this drive, evincing de Staël’s place among the foremost modern painters of the Twentieth Century.

Courtesy Alain Truong

[cerulean-fireball]

So! Ive been going a little nutty about art stuff, mostly devoting a lot of hyperfixation time to making my own stuff from basic, easy to aquire, cheaper supplies, and the one I want to share is impasto paint! I've signed myself up to teach a class on something to do with art, and I wanted to teach something unique but accessible to the few that are going to be there, and I landed on impasto painting. My biggest problem was how to get the paint I had (cheap acrylic paint from walmart) to have the correct consistency to make the thicker brush strokes and petals and piles of paint, and with much experimentation I landed on a recipe I like-

1 part paint

1 part clear liquid glue

1 part baking soda

1 3/4 part cornstarch

1 part veggie oil

The order the parts are mixed matters, so mix the wet and dry ingredients separately, then add it all together

Adjust to desired thiccness by adding more of the paint or more of the cornstarch. If the paint gets too lumpy/crumbly, you need a smidgen more soda.

The research I did online suggested baby powder and glue to make a thickening paste, but I didn't have baby powder so I substituted it with cornstarch first, thinking of its thickening properties, but the paint kept cracking as it dried. The baking soda gave the paint a stretchy consistency, which prevented the cracking, but between paint, soda, glue, and starch, the mixture dried solid within a minute and wasn't workable for any decent length of time. Knowing that oil paint famously takes a long time to dry, I tried two batches to see if adding an oil could replace the glue or if the paint needed it alongside the glue, and I found that the glue helps bind the oil to the paint, and without it, the oil just leaks back out of it all, making an oily mess. So with all four ingredients plus paint, I could achieve a paint that was thick enough to maintain peaks and ridges but didn't crack while drying, but also didn't dry damn near instantly!

[sabbioneta]

( precious lee , cis woman, she/her ) — Look who it is! If you take a look at our database, you’ll find that LEONARDA FAUSTINA LIBERATA DA SABBIONETA is a 502 year old TEXTILE CONSERVATOR that’s been in Chicago for ONE MONTH. According to the file, they’re a mutant on LEVEL 3 with the power of IMMORTALITY. That must be why they’re EFFERVESCENT and FORGETFUL. If you ask me, they remind me of the full body sensuality of medieval devotion, the thick impasto of oil paints beneath your fingertips, and the scent of snuffed out candles. They are affiliated with NOBODY.

QUICK FACTS

full name: leonarda faustina liberata da sabbioneta

(leonarda from lion strength, because she's bold and strong. faustina liberata from the patronesses of childbirth because all she wants is a family and she'll never have it. da sabbioneta meaning from sabbioneta, because old timey naming conventions)

age: five hundred and two - but she thinks she stopped ageing at around thirty

gender: cis woman

personality: bubbly, outgoing, careless, nihilistic

height: 5'0 - because people used to be shorter

star sign: unsure. leo can't remember her birthday, and if she doesn't know then you can't know either x

fc: precious lee

A WHISTLESTOP TOUR OF THE LIFE AND TIMES

trigger warnings: general religious insanity, heavy historical references eg wwii, black death etc, debauchery

1520s. born to wealthy silk traders

1540s. love affair with titian. we are using artistic license because there's so few (surviving/known) portraits of fat black women so if i tell you someone painted her, pls nod. she loves being a muse, and also loved doing needlework to pass the time. talented seamstress

1560s. became apparent she doesn't age like other people. titian left her, claiming she shouldn't be with an old man like him even though they were nearly the same age. they had previously had two children together, a pair of twins, who they decided to give to the church so they had a hope of a normal upbringing. leo tries to follow her family line but has lost track in recent decades. she knows her family is out there somewhere, though.

1570s. debauchery. nothing can hurt her nor kill her, so she drinks and fucks. the following decades are filled with love affairs with artists, meaningless feasts, and frantic prayers. this culminates in her travelling to paris to see notre dame. reality of immortality setting in, she feels abandoned by god. here she meets the guardian of notre dame, ameline. she falls in love. finally feels connected with someone cursed in a similar way to her. she also takes delight in the court of miracles, having never been exposed to the more 'common' side of life.

1690s. plague outbreak. this is icky, so leo leaves europe for the first time, heading for the new world. puritanical americans did not like her lush catholic ways. she was burned for witchcraft on more than one occasion.

1700s. bored of the stuffy americans, she travelled to england thinking that'd be better. they were certainly better dressed, and she enjoyed many dinner parties and further love affairs, sitting for many portraits in this era.

1860s. secondary french era, because she loved paris the first time she was there.

1890s. back to england because she's restless, and she had liked it there and found the language easy. it was nice until...

1914. wwi. being immortal, she has a flippant attitude towards death and atrocity, so her main issue was boredom with all the eligible (or ineligible) men away at war. signed up as an army nurse. regrets that. the trenches are something she can't forget.

1920s. back to america, she wanted to be a movie star! this didn't go well for her, beauty standards of the time being what they were.

1939. another war. this time she contributes by working in a military uniform production factory, where she took great pride in the speed and quality of her work. she slept with a lot of housewives in this era.

1970s. fun decade for leo. she liked the colour and the fashion.

1980s. with the help of a newfangled computer whiz, leo fakes her records to make herself look regularly aged. she applies to university and gets her degree in museum studies! she very almost failed because of her spelling (leo's literacy is pre-dictionary), but her professors let a lot slide because of her obvious passion and knowledge of historical fashion/textiles, which was where her interests lay.

1990s. works in the met, conserving historical clothes. her colleagues find her very strange, but her intimate knowledge of medieval and early modern stitching techniques invaluable.

2010s. they figure out she's a mutant. they're surprisingly alright with it, so she carries on with her work.

2022. losing connection with god. leo drops her job without notice and sets out on a barefoot walking pilgramage to the national shrine of our lady of the snows. she stays there for a few months, reconnecting with her spirituality. modern times are difficult for her, surrounded by so much atheism.

now. already in illinois for the shrine, she decides to move to the nearest big city. chicago. she gets a job with the chicago history museum, her old boss at the met kindly giving her a good reference despite her flaking (the odd meltdown when you're centuries old is to be expected, after all).

feeling adrift, leo spends half her time offering devotion to god and the other half offering devotion to whatever hookup of the night she's found. she's tired. it's been a long life.

[candiceg3010]

Discover the Joy of Painting Classes

Painting classes offer a wonderful opportunity for individuals to explore their creative potential. Whether someone is a complete beginner or has some experience, these classes provide structured guidance to help refine artistic skills. From oil painting to watercolors, there's a class suitable for every interest.

Benefits of Attending Art Painting Classes for Beginners

Structured Learning: Beginners benefit from a step-by-step approach, making the learning process less overwhelming.

Expert Guidance: Experienced instructors provide valuable tips and techniques.

Community Engagement: Classes foster a sense of community, allowing students to share and learn from each other.

Stress Relief: Engaging in art can be a great way to relax and reduce stress.

Types of Painting Classes Available

Oil Painting Classes Near Me

These classes focus on the rich and versatile medium of oil paints.

Students learn about mixing colors, layering, and creating texture.

Suitable for both beginners and intermediate artists.

Watercolor Painting Classes

Ideal for those who appreciate the fluidity and transparency of watercolors.

Techniques such as wet-on-wet, dry brush, and washes are covered.

Great for creating landscapes, florals, and abstract art.

Acrylic Painting Classes

Acrylics are known for their fast drying time and vibrant colors.

Students explore various techniques, including glazing, scumbling, and impasto.

Perfect for artists who enjoy experimenting with mixed media.

Online Painting Tutorials

For those unable to attend in-person classes, online painting tutorials offer a flexible alternative. These tutorials provide:

Convenience: Learn at your own pace from the comfort of your home.

Variety: Access to a wide range of styles and techniques.

Interactive Elements: Many platforms offer live sessions and feedback from instructors.

Choosing the Right Painting Class

When selecting a painting class, consider the following:

Skill Level: Ensure the class matches your current skill level.

Medium Preference: Choose a class that focuses on the medium you are most interested in.

Instructor Experience: Look for classes taught by experienced and reputable instructors.

Location and Convenience: For in-person classes, consider the proximity and schedule. For online tutorials, check the platform's user-friendliness and support.

Painting classes are a fantastic way to dive into the world of art. Whether attending art painting classes for beginners, searching for oil painting classes near me, or exploring online painting tutorials, there's a perfect option for everyone. Embrace the creative journey and discover the joys of painting today.

To locate “Painting classes” effortlessly, download the Justdial app (JD App). Simply search “Painting classes” within the app to discover nearby outlets and access detailed information about their offerings and locations. easy and convienient.

[kingsframingandartgallery0]

Best Artisan Water Mixable Fast Drying Oil Paints: The Ultimate Guide for Artists

Artisan Water Mixable Oil Paints are a game-changer for artists who seek the traditional allure of oil painting without the hassle and health risks associated with conventional oil paints. These innovative paints offer the best of both worlds: the rich, vibrant colors and smooth application of oil paints combined with the convenience and safety of water-based mediums. Whether you are a seasoned artist or a beginner exploring the world of oil painting, Artisan Water Mixable Fast Drying Oil Paints are an excellent choice.

What Are Water Mixable Oil Paints?

Water mixable oil paints, also known as water-soluble or water-miscible oils, are specially formulated oil paints that can be thinned and cleaned with water instead of harsh solvents like turpentine or mineral spirits. This makes them an environmentally friendly and health-conscious alternative to traditional oil paints. Artisan Water Mixable Oil Paints are designed to retain the same working properties and quality as traditional oils, including their creamy consistency, brilliant colors, and long drying times.

Key Features of Artisan Water Mixable Fast Drying Oil Paints

Ease of Use

Artisan Water Mixable Oil Paints are user-friendly and easy to clean up with just soap and water. This eliminates the need for toxic solvents, making them safer to use in enclosed spaces and more accessible for artists with sensitivities or allergies to traditional solvents.

Fast Drying Time

One of the standout features of these paints is their fast drying time. Unlike traditional oil paints, which can take days or even weeks to dry completely, Artisan Water Mixable Fast Drying Oil Paints dry much quicker. This allows artists to work more efficiently, layering and glazing without long waiting periods.

High Pigment Load

These paints boast a high pigment load, ensuring vibrant, intense colors that retain their brilliance over time. The rich pigmentation provides excellent coverage and allows for intricate details and smooth blending.

Versatility

Artisan Water Mixable Oil Paints can be used in various techniques, including impasto, glazing, and wet-on-wet. They can be mixed with traditional oil paints and mediums, although doing so will reduce their water solubility.

Non-Toxic and Environmentally Friendly

The water mixable formulation is free from harmful chemicals, making it safer for both the artist and the environment. Clean-up is easy and eco-friendly, as you only need water and mild soap.

Flexible Application

These paints can be applied to a wide range of surfaces, including canvas, wood, and paper. They offer excellent adhesion and flexibility, ensuring your artwork remains durable and crack-free.

How to Use Artisan Water Mixable Fast Drying Oil Paints

Preparation

Before starting your painting, ensure your surface is properly primed. You can use gesso or a water-based primer to prepare your canvas or other chosen surfaces. Having a well-prepared surface ensures better adhesion and longevity of your artwork.

Mixing and Thinning

To achieve the desired consistency, you can thin Artisan Water Mixable Oil Paints with water or water-mixable mediums. For a more fluid application, add a small amount of water and mix thoroughly. You can also use water mixable linseed oil or other compatible mediums to enhance the flow and transparency of the paint.

Application Techniques

Impasto: For thick, textured applications, use the paint straight from the tube or with minimal thinning. This technique is excellent for creating bold, expressive strokes and adding dimension to your work.

Glazing: For smooth, translucent layers, thin the paint with water or a glazing medium. Apply multiple layers to build depth and luminosity.

Wet-on-Wet: To blend colors seamlessly, apply wet paint onto wet layers. This technique is ideal for creating gradients and soft transitions.

Tips for Working with Artisan Water Mixable Fast Drying Oil Paints

Layering: Allow each layer to dry completely before applying the next to avoid lifting or muddying colors. The fast drying time of these paints makes this process quicker than with traditional oils.

Brush Care: Clean brushes promptly with soap and water to prevent paint from drying on the bristles. For thorough cleaning, use a brush cleaner specifically designed for water mixable oils.

Experiment: Don’t be afraid to experiment with different techniques and mediums. Artisan Water Mixable Oil Paints are highly versatile and can be adapted to suit your unique style and preferences.

Conclusion

Artisan Water Mixable Fast Drying Oil Paints are a revolutionary product that combines the best qualities of traditional oil paints with the convenience and safety of water-based mediums. Their vibrant colors, fast drying time, and ease of use make them an ideal choice for artists of all skill levels. Whether you’re creating detailed portraits, expressive abstracts, or anything in between, these paints offer the flexibility and performance you need to bring your artistic vision to life. Embrace the future of oil painting with Artisan Water Mixable Fast Drying Oil Paints and enjoy the best of both worlds.

[muskaandelvi]

Choosing the Perfect Acrylic Paint and Brush Set

Embarking on a creative journey with acrylic painting is an exciting endeavor, but selecting the right acrylic paint and brush set can be overwhelming, especially for beginners. With a plethora of options available in the market, each boasting different qualities and features, it's essential to make informed choices to ensure a fulfilling painting experience. In this guide, we'll explore key factors to consider when choosing the perfect acrylic paint and brush set to suit your needs and artistic preferences.

Understanding Acrylic Paints:

Acrylic paints come in various formulations, each offering unique characteristics that affect their application and final appearance on the canvas. Understanding these differences is crucial in selecting the right paint set for your artistic endeavors.

Paint Consistency: Acrylic paints are available in different consistencies, including heavy body, fluid, and soft body. Heavy body acrylics have a thick, buttery consistency and retain brush strokes well, making them ideal for impasto techniques and textured applications. Fluid acrylics have a thinner consistency, allowing for smoother brushwork and easier blending. Soft body acrylics offer a balance between heavy body and fluid paints, providing versatility in application.

Opacity and Transparency: Acrylic paints vary in opacity and transparency, which determine their coverage and layering capabilities. Opaque colors provide excellent coverage and are suitable for creating bold, opaque layers, while transparent colors allow for subtle glazing and layering effects. A well-rounded paint set should include a range of opaque and transparent colors to accommodate different painting styles and techniques.

Lightfastness: Lightfastness refers to a paint's ability to resist fading or discoloration when exposed to light over time. High-quality acrylic paints are formulated with pigments that offer excellent lightfastness, ensuring the longevity of your artwork. When selecting a paint set, opt for colors labeled with a high lightfastness rating to preserve the vibrancy of your paintings for years to come.

Choosing the Right Brushes:

Equally important as selecting the right acrylic paints is choosing the appropriate brushes to bring your artistic vision to life. A well-curated brush set should include a variety of brush types and sizes to cater to different painting techniques and applications.

Brush Shapes: Acrylic paintbrushes come in various shapes, each designed for specific purposes. Round brushes are versatile and can be used for detail work, fine lines, and washes. Flat brushes feature a rectangular shape with square edges, making them ideal for covering large areas and creating crisp edges. Filbert brushes have a rounded tip, combining the versatility of round and flat brushes for blending and softening edges. Additionally, specialty brushes such as fan brushes, liner brushes, and angle brushes offer unique effects and applications.

Brush Sizes: Acrylic paintbrushes are available in different sizes, ranging from fine detail brushes to large brushes for broad strokes and coverage. Consider the scale of your artwork and the level of detail you wish to achieve when selecting brush sizes. A well-rounded brush set should include a range of sizes to accommodate various painting tasks and techniques.

Brush Materials: Acrylic paintbrushes are typically made from synthetic or natural hair bristles. Synthetic brushes, such as nylon or polyester, are durable, easy to clean, and suitable for use with acrylic paints. Natural hair brushes, such as sable or hog hair, offer superior paint retention and flexibility, making them ideal for certain techniques like blending and glazing. Consider your painting style and preferences when choosing between synthetic and natural hair brushes.

Budget Considerations:

While investing in high-quality acrylic paints and brushes is essential for achieving professional results, it's also important to consider your budget constraints. Fortunately, there are affordable options available that offer good quality and performance. Consider starting with a basic paint and brush set tailored to your skill level and gradually expanding your collection as your skills develop and budget allows.

Conclusion:

Choosing the perfect acrylic paint and brush set is a pivotal step in your artistic journey, influencing the outcome and enjoyment of your painting experience. By understanding the characteristics of acrylic paints, selecting the appropriate brushes, and considering budget constraints, you can confidently choose a paint set that aligns with your artistic vision and enhances your creativity. Remember to experiment, explore different techniques, and most importantly, enjoy the process of creating art with your chosen acrylic paint and brush set.

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(faceclaim: seol in-ah)welcome back to cozycup café, YOO MIYOUNG. will you have your usual, a MATCHA LATTE? how is it going as a HAUNTED INNKEEPER? i am sure such an EASY-GOING & SPONTANEOUS person has no problem with daily life. and even if sometimes you are a bit CONNIVING, that’s okay because you remind me of THE ILLUSORY DEPTH OF AN IMPASTO PAINTING. just lovely !

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The Science Behind Acrylic Paints: Understanding Pigments and Their Properties

Acrylic paints have become a beloved medium among artists for the right reasons, like versatility, vibrant colours, and quick drying time. However, the beauty of acrylic paints goes beyond the surface- it lies in the science behind the pigments and binders that make these paints so remarkable. 

If you are an art enthusiast fond of learning more about art and artwork, keep reading. Highlighting the intricacy of acrylic paints and exploring their different aspects let us understand the science behind them, their pigments, and their properties. 

However, to understand what are acrylic paints, one must first grasp the fundamental components: pigments and binders. Pigments are finely ground, coloured particles that give paint its hue. Pigments are finely ground, coloured particles that give the paint its hue. This element can be made from various sources, including minerals, organic compounds, and synthetic chemicals. Each pigment has unique properties ranging from opacity, lightfastness, and color intensity. Pigments are what make acrylic paints so visually captivating. 

While binders, on the other hand, are responsible for holding the pigments together and ensuring they adhere to the canvas or surface. In acrylic paints, the binder is acrylic polymer emulsion, often referred to as acrylic resin. This binder dries quickly when exposed to air, forming a durable and flexible film that locks pigments in place. 

Type of acrylic paints

Acrylic paints are formulated in various ways, typically to cater to different artistic needs. Here is a list of different types of acrylic paints. 

Heavy body acrylics: 

These paints have a thick, buttery consistency and are perfect for impasto techniques and creating textured effects. 

Soft body acrylics: 

Soft body acrylics have a more fluid consistency, ideal for glazing, airbrushing, and fine detailing. 

Fluid acrylics: 

These paints are highly liquid and can be used for pouring techniques, drips, and washes.

Acrylic inks:

acrylic inks are intensely pigmented and are often used for calligraphy, illustration, and intricate line work. 

Acrylic gouache: 

Combining the properties of acrylic and gouache, these paints offer a matte finish and excellent coverage. 

Physical and chemical properties of different pigments

The wide range of acrylic paint colours is achieved using various pigments, each with its own physical and chemical properties. Some pigments are transparent, allowing light to pass through them, while others are opaque and reflect light. Pigments also differ in terms of their permanence, with some being more resistant to fading over time. Understanding the properties of different pigments is essential for artists, as it helps achieve the desired effects and longevity in the artworks. 

Principles of colour mixing with acrylic pigments 

Colour mixing is one of the fundamental skills for artists working with acrylic paints. Acrylics allow for both traditional colour mixing on a palette and direct blending on the canvas due to their fast-drying nature. The primary colour model used in acrylic painting includes red, blue, and yellow, which blend well to create a wide spectrum of secondary and tertiary colours. 

Artists also use complementary colours to create harmonious contrasts and achieve colour balance in the compositions. Thus, it is safe to say that experimentation with colour mixing is key to discovering the endless possibilities of acrylic paints. 

The crucial role of acrylic binders

Acrylic binders play a critical role in the performance of acrylic paints. Acrylic binders ensure adhesion, flexibility, and durability. Unlike oil paints that rely on linseed oil as a binder and take days to dry, acrylic paints dry rapidly, making them a preferred choice for artists who require a shorter drying time. 

Acrylic binders also contribute to the versatility of acrylic paints. Easy to dilute with water, the acrylic binders can be used for transparent washes or mixed with a variety of mediums to achieve specific effects like impasto, glazing, or texture. Acrylic binders are also resistant to yellowing over time, thus ensuring the longevity of the artwork. 

Exploring the artistry of acrylic paints

Acrylic paint set have captured the hearts of artists across the globe due to their incredible versatility. Artists use acrylics on a wide range of surfaces, including canvas, paper, wood, fabric, and even unconventional materials like glass and metal. This flexibility encourages a world of creative possibilities. 

Acrylics also allow for experimentation with various techniques like layering, scraping, sgraffito, and pouring. The quick drying time encourages artists to work spontaneously and swiftly adjust to the compositions. Whether you are a beginner or an experienced artist, acrylic paints offer endless opportunities for self-expression and artistic exploration. 

If you are into arts and want to elevate your artistry to new heights, explore the range of acrylic paints collection at Canvazo. As a gateway into the world of premium quality colours, the finely picked collections offered by them are meticulously crafted to bring your creative vision to life. Whether you are a seasoned artist or just beginning your artistic journey, this versatile range of acrylic paints offers a spectrum of vibrant hues and specialty shades. 

Explore Canvazo’s acrylic paints and let your imagination drive the creativity into a masterpiece. 

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Artist Talk - Jack Trolove

Artist Talk, Jack Trolove, Irish Scottish, raised in Oxford, Otautahi

Lives rurally surrounded by Estuary and mangroves.

Brought up in old peoples home, big family. Space between birth and death. Practice around inbetweeness, liminality – thethered or untethering working in space inbetween, precarious sense of embodyment through suicide prevention also transgender - constellation of those places - artpractic, perforrmance and theatre - when at massey, moving image - materiality is really important – all the things he dud’t want to do - figurative representation - burnout through community work, had break for 2 years, His work explores tensions between embodiment and liminality; the politics and poetics of transition, and other states of in-between-ness. walking smelling oil paint.

13:00 large abstract lunging towards pure abstract but body gets pulled back in - paint as a skin can literally hold feeling, and what a painting is and what those stretch skins of paintings are - as a second skin to feel through, celtic traditions calling between worlds “so world can reshape to be lived in” - Have the paintings work twice, paintings hold tethering and untethering, how we behave with art work – moving our bodies in and then away, dissolves and recalibrates the artwork - Phd bodily sematic research, studio is the boss, and what happens in there gets understood afterward.  Mark making from the natural world – ideas of healing as part of transitions and shape shifting space, the thing that destroys us but how we remake ourselves from the wound, brokenness, strangeness, pig and colours changed since moving to the kaipara, muddy less saturated, was heavy impasto came from desire to but now paintings do magic in physical times occupy body space, slippery paint is one mark can change whole thing technical side is a big deal, Jack has been a practicing artist for over twenty years, showing nationally and internationally in artist run spaces, dealer galleries, public art galleries and museums. theory grappled – key theorist from the natural world, listening to the mangroves, what who they are, speak back to them through painting, Mangroves operate as storm breaks, ideas of survival – metaphors - ways into transition and threashold, ways in, muddy loveliness, paintings slow to make, but he wanted them to be slow to be with, its fine that its not easy, the more I articulate it the more it dissolves, listen to the dignity of the material,

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Corel painter 2015 education edition

COREL PAINTER 2015 EDUCATION EDITION FULL

COREL PAINTER 2015 EDUCATION EDITION FULL

Just like the full Painter, Painter Lite can adjust to your individual tablet pen stroke style. You can also adjust a layer’s colors independently of the rest of the painting, and apply effects such as motion blur or depth-of-field just to that specific layer. You can even make two alternative versions of the same part in your painting, each on its own layer, and toggle between them to decide which one you like best. These make it easy to manually trace over existing photographs, or to separate your background and your subject and experiment with different brushes and looks. Just like the full Painter, Painter Lite supports layers. Still, if you’re a beginner looking for an affordable auto-painting tool, you can always check out Dynamic Auto-Painter. I was surprised at the decision to drop this from Painter Lite, because in my mind auto-painting is mainly for people who aren’t professionals and still need a hand creating the paintings they’re after–in other words, exactly the sort of users who get into digital painting for the first time with Painter Lite. In the full Painter 12 you can load an image, pick a brush and settings, and set Painter loose to recreate it with brush strokes, resulting in a convincing painting. One interesting decision Corel made with Painter Lite was to remove the Auto Painting feature. Painter Lite comes with 97 art brushes categorized according to type and style. Still, the wide variety of bundled brushes makes it easy to create many different looks, from finely detailed pencil sketches all the way to large, expressive impasto creations. Notably missing are the Real Watercolor and Real Wet Oil brushes, two extremely realistic brush types that drip, dry, and blend in ways that impressed me when reviewing the full Painter 12. Corel bundled no fewer than 97 different brushes with Painter Lite, including markers, airbrushes, watercolor brushes, special effect brushes, and many others. The most important part of Painter is, of course, the paint brushes. When you use a pen tablet, Painter Lite reacts to your stroke pressure and the angle in which you’re holding the pen, making for a natural painting experience. Painter Lite’s welcome screen showcases a collection of art created with both Painter and Painter Lite, and makes it easy to get started.Ī pen tablet, by the way, is something you really should get if you’re serious about digital painting: You can use Corel Painter Lite with a mouse, but it feels a bit like trying to cook dinner with nothing but a spoon.

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Website : https://www.3bart.shop/

3BArt Gallery offers:

Watercolor and Ink paintings of nature

Original paintings and prints

Custom paintings with photo except portraits

Business mail : mccrackins5@gmail.com

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Impasto Kaaba mecca pilgrimage painting with whirling people swirl around it by Chuckle Tuckle

Impasto Kaaba mecca pilgrimage painting with whirling people swirl around it by Chuckle Tuckle

Masjid ul haram and Khana Kaaba is the holiest place for Muslims all over the world. Creating an illusion of humans whirling around the Kaaba with textures and modeling paste is an exciting experience. Related Videos: Wall with flowers ~ https://youtu.be/9V9mP6prgQs Easy Painting Bleeding Tree ~ https://youtu.be/aDmavXDwPPg How to Draw Flower Vase ~ https://youtu.be/KaI9vafbO7o How to draw…