[The Nation And The Schools: A Study In The Applica Delle Marvel Mandala
Abdul Soumphonphakdy
There are three kinds of oil/acrylic brushes: the bristle ones, the synthetic ones, and a blend of synthetic and sable hairs. Both the bristle and the synthetic ones are necessary for oil or acrylic painting.
Having good brushes is critical to painting subtle transitions, texture effects and details. For detailed work, I like the Ebony Splendor by Creative Mark that are budget friendly. This brand has a variety of small brushes. However, the really good ones are by the Rosemary brushes & Co. This English company manufactures a great variety of brushes.
The Nation And The Schools: A Study In The Applica delle marvel mandala
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If you want your brushes to last, take good care of them. Squeeze all the unused paint out of your brush, using a paper towel. I Usually, I deep them in linseed oil first and then take the paint out with a paper towel.
Then you can use a solvent like Gamsol to swish them around in a glass jar, and then wash them out with a bar soap and warm water. I skip the solvent step most of the time because of the two reasons. One reason is a plain health precaution and another one is care for my brush hairs. The solvent dilutes the paint and damages the hairs. I find that cleaning with linseed oil and a bar soap works great and makes the brushes last longer.
In my opinion, it all boils down to your motivation, standing behind the very act of donation. Many artists feel sour and often become negative talking about the art donations they made in the past. Why?
To design beautiful compositions in painting and drawing, you need to understand the difference between negative and positive space in art. Every realist artist combines negative space into his drawing and painting to create visual balance and unity.
Positive space in art is the subject or object itself in art, such as a cat, cup, spoon, etc. Negative space is the empty space or background space that surrounds that object or subject.
The negative space can be an effective tool to define your center of interest in art. Every subject in your painting and drawing has edges. These edges are affected by tones and colors placed right next to or around it. Hence, the negative space can bring visual balance and unity to your composition with a specific tone, shape or shadow.
To use both negative and positive space in drawing effectively, consider picking your main focal point or a center of interest in art first. This focal point must be big enough, taking the majority of your space. Add the background elements around this focal point to lead the eye to it.
You can measure and check distances between objects visually while sketching or drawing the shapes. This is a very useful skill drawing all subjects, especially people. I often check distances between the eyes or between a hand and a waist, etc.
I made this illustration to show you the idea behind visual measuring of distances using negative space in art. Focus on these black lines (negative spaces) to see the accurate distances between the shapes. These distances help you measure, copy and draw accurate outlines of the subject (cat).
By focusing on negative space you can become more skillful drawing realistic shapes. Negative shapes look abstract in our mind. Copy those abstract shapes with as much precision as possible to improve the overall accuracy of your drawing.
The artist played with the technical aspects of the painting itself that deteriorated its surface at a much faster pace than it normally would. The exposure to light and humidity darkened and discolored the pigments. Fine details in the face got lost as dyes mixed with the paint faded. Her brightly colored attire changed to shades of browns and black that we see today. Further applied varnishes during the early restorations darkened the painting even more, and today it has a rather colorless appearance of yellowed browns.
These are computer-generated models of the famous painting showing us true colors the Mona Lisa probably had when Leonardo had just painted it. In these models we can see the pinks and the blues that Vasari mentioned that have faded over the centuries.
If you are serious about creating permanent oil paintings, always consider using the best art materials that includes the painting substrate. the longevity of art depends on the environment you place it in. The best conditions you can set in your home or office must include:
I use professional-grade oil paint. It has high pigmentation, so one small tube lasts for a very long time painting daily. Gamblin colors, Natural Pigments, Michael Harding and Utrecht oil paints are high-quality, yet affordable.
Drawing skills are super important! Prepare a full-scale preparatory drawing in accordance with classical oil painting techniques. You can read about it here: -to-use-graphite-transfer-paper-to-trace-designs-for-drawing-and-painting/
No matter what oil painting style you choose, never put acrylic paint over your oil paint! High-quality acrylic paint is ok underneath the oil paint. Always paint following the fat-over-lean rule with oil paint. Meaning that you start out with very thin paint using no medium and progress painting, building up thicker layers with more oil and linseed oil.
Direct painting in full color became very popular among the Impressionists and landscape artists who began sketching outdoors in mid. 19th century. This change happened due to the simplification of the entire manufacturing process of oil paint. Artists could finally buy colors in tubes to carry them around to paint outdoors.
It could be done in black-and-white (grisaille) or in low chroma greens ( white skin has a lot of green in the shadows). The grisaille oil painting technique allows the artist to develop values in shades of grey. Values are more important than colors because values express the 3D effect, the illusion of something being round on a flat surface. The same is true for painting in low-chroma green-greys. You can find many classical art studies in art museums when artists painted in grisaille only or made an earlier version of a finished, full-color painting. Ingres comes to mind here.
Why do you need to know about this oil painting technique? You learn to see values as opposed to color and to create volume on a flat surface in just two colors! It trains the eye to see and paint a wide range of tones. In classical oil painting training artists painted in greys and then added colors over the underpainting.
Glazing means applying oil paint very thinly over the dry layer. Glazing gives you the effect of transparency. This technique requires the use of linseed oil or walnut oil to dilute the pigments. Strong paper towel is needed to wipe off some of the paint to create the thinnest layer possible.
Sfumato is an Italian term that means super soft shading. Sfumato gives haze or smoky effect to oil paintings. Leonardo is widely credited for the invention and use of this painting technique. If you look at his late paintings, the transitions between the tones are super soft with no visible edges, especially in the skin tones. The background is hazy.
2. So the second solution is to use a soft, clean brush and blend the entire surface with it. Fix this layer with a fixative, wait till it dries and continue working on it shading in colored pencil.
Many artists are riddled with jealousy or a paralyzing fear of not being good enough or of not being able to achieve greatness. As a result we draw endless comparisons and feel bad about ourselves. I often see how jealous other artists are of me despite their achievements and accolades.
The graveyard is the richest place on earth, because it is here that you will find all the hopes and dreams that were never fulfilled, the books that were never written, the songs that were never sung, the inventions that were never shared, the cures that were never discovered, all because someone was too afraid to take that first step, keep with the problem, or determined to carry out their dream.
My greatest investment into my studio equipment is my camera Nikon D500 with the interchangeable lenses. The quality of lenses is even more important than the the body itself. The higher the quality, the better the outcome. Over the years I bought several lenses for different tasks.
I also have an inexpensive Westcott reflector kit with multiple colored surfaces (silver, gold, white) that I use for portrait photography at times. I use the reflector to bounce the natural light back onto my model or object that removes harsh shadows or adds more light into the shadows.
They can be reflective surfaces and reflections, fabric patterns and lace, rusted door locks, wood grain, colorful feathers, candy, sliced fruit, marbles, flowers, kitchen utensils or tools, and even mechanical parts of clocks. Other popular subjects are glass; portraiture; animals, birds, and pets; food; florals; seashells and sea life; trees and landscapes.
The light can be either warm or cool. In the beginning it may be difficult to spot the difference, but if you ask yourself if it is yellowish or bluish, it makes more sense. Fluorescent lights tend to be cooler, while the tungsten lights are warmer. In nature, you see a beautiful golden light twenty minutes before the sunset. The light temperature affects how you see the colors and how they unify everything in the image. You also use the light temperature to understand the color on your subject: if the light is cool, it gives cool lights and warm shadows. If the light is warm, it gives you warm lights and cooler shadows.
The most effective way to study the light on a form is to have a singular, strong directional light source set up at 45 degrees, which is often called Rembrandt lighting. This light direction creates beautiful highlights and shadows that will add dimension to your objects.
Background affects the edges and creates abstract shapes. As a beginner, stick to plain backgrounds to isolate your subject and to show contrast. After a while you can start playing with the color and complexity of your negative space as well.
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