light warm parachute oil is the best for massageIs parachute hair oil massager of good quality?
i think it is good as it is very useful for massagingIs parachute hair oil massager of good quality?
yes its good. use it every time before washing ur hairs.
Monday, April 26, 2010
What are good quality paints and brushes, to use for oil painting?
The best oils currently available are Michael Harding's. However, these are extremely costly, so you might prefer Windsor and Newton's whose Artist's Quality paints are excellent.
You need Hog Bristle brushes for oils. Again I'd go for windsor andnewton's, though robertson and Rowney's are also good.
Buy good brushes and clean them carefully after use.What are good quality paints and brushes, to use for oil painting?
ya, the world desperately needs another failed artist.What are good quality paints and brushes, to use for oil painting?
Sable bristle brushes are my personal favorite. Expensive, but long lasting and give quality results. worth the money. Here is a great source: http://www.cheapjoes.com/
Traditionally it is Grumbacher, but if you ask, there might be lless expensive brands that are just as good
I have played around with a lot of oil paints and I have found the soft creamy paints to be easier to apply and handle. But, I am great lover of bargains so I also purchase oils that are cheaper and seem stiff. If the oil paints that you buy are really stiff, simply put the lid on tight and then submerge the tube into very hot water. This will losen up and melt down the stiff paint. Artist use a product called ';MEDIUM';., this slick ,glossy liquid will allow you to soften up any oil paint to the texture that you want.With medium, you can use almost any oil paint and get excellent results.
sennelier paints and i have to go to the art shop to feel the brushes. it depends on what i want to paint.
You need Hog Bristle brushes for oils. Again I'd go for windsor andnewton's, though robertson and Rowney's are also good.
Buy good brushes and clean them carefully after use.What are good quality paints and brushes, to use for oil painting?
ya, the world desperately needs another failed artist.What are good quality paints and brushes, to use for oil painting?
Sable bristle brushes are my personal favorite. Expensive, but long lasting and give quality results. worth the money. Here is a great source: http://www.cheapjoes.com/
Traditionally it is Grumbacher, but if you ask, there might be lless expensive brands that are just as good
I have played around with a lot of oil paints and I have found the soft creamy paints to be easier to apply and handle. But, I am great lover of bargains so I also purchase oils that are cheaper and seem stiff. If the oil paints that you buy are really stiff, simply put the lid on tight and then submerge the tube into very hot water. This will losen up and melt down the stiff paint. Artist use a product called ';MEDIUM';., this slick ,glossy liquid will allow you to soften up any oil paint to the texture that you want.With medium, you can use almost any oil paint and get excellent results.
sennelier paints and i have to go to the art shop to feel the brushes. it depends on what i want to paint.
Looking for a HIGH-QUALITY furniture oil (indoor) that does NOT have a strong scent, or a sticky build-up.?
I have been using ';Improvements'; brand Furniture Polish %26amp; Cleaner, but I don't like the smell. I also want to avoid oils or polishes that seem to ';attract'; dust. Thanks for your help.Looking for a HIGH-QUALITY furniture oil (indoor) that does NOT have a strong scent, or a sticky build-up.?
Lem-o-oil
sold at some Amish furniture storesfacial oil
Lem-o-oil
sold at some Amish furniture stores
Which tecnique is better in quality oil painting using black or not using black?
do not use black!!! by all means!! i was an art major in college...you need to use primary colors to create your own black...never buy it...all you should buy are white, red, yellow, and blue...create every other color from there. My painting instructor would have killed us if we came in with black paint!Which tecnique is better in quality oil painting using black or not using black?
Fooey. I'm tired of people saying not to use black in a painting. To darken a color you might want to mix with it's complement to get a richer color because using black can flatten color. However, that's how color is gauged by tint and tone: tint, white: tone or shade, black.
Now, here are artists who used black: Rembrandt, Raphael, DaVinci, El Greco, De la Tour, Turner, Delacroix, Manet, Renoir, Degas, Matisse, Picasso, VanGogh, Chagall, Dali, O'Keeffe, Rivera, Rothko, Diebenkorn, indisputably the finest in the world, and just a handful of those who use black -- SO USE BLACK.
Art Schools went through a period of color purism that taught students not to use black. It was a trend and is still taught occasionally. Use black. But again, if you are looking only to darken your colors, then look to using other colors that are darker than the color you are using. It will alter the color differently than using black. For example, adding black to red will make it more violet first, then browner, depending on the colors you are using. Adding green to red will deepen it, adding violet to red will deepen it and give it a bluer tinge.
Do an experiment with color mixing and make a color chart for some of the colors you are using and see what combinations you can make and what suits you and your work. Don't listen to anyone who says no black.Which tecnique is better in quality oil painting using black or not using black?
Cinna is absolutely right! Never use black from a tube. The reason is that prepared blacks in tubes appear as holes in your canvas and they crack and flake quickly so they will not last. The darkest 'black' you can mix (I use it alot) is about half and half Burnt Umber and Ultra-marine blue. See my stuff and wherever there appears to be black you can be assured it isn't from a tube!
http://www.artwanted.com/artist.cfm?ArtI鈥?/a>
I've heard many theories on black and some of them I agree with.
You need to be careful with black as it can deaden colors and technically it has a lot of oil (fat) so you need to be careful not to paint over it with a lean paint.
Monet did not use black, Manet did.
Hi:
There is absolutely nothing wrong with having black pigments and paints to mix in with other paints. Mixing other colors usually cannot create a dark enough tone, particularly because the paints may have white pigments in them. There are different properties in oil paints, and usually white paints contain heavier pigments, like lead, that may migrate from the top surface of a painting to a lower area - so that if a light highlight is painted over a dark background, the highlight will probably fade over time.
I usually use soft pastels now, because they have some properties I prefer. One of the nicest things about soft pastel images is that the pigments are so densely packed on the surface, if properly cared for and stored, the colors have less of a likelyhood of fading over time. There are many examples of pastel paintings done from up to a few hundred years ago (when pastels were really first developed) that really don't show any signs of age - unlike oils where the surface may crack or fade. I usually apply pastels and scumble and blend the colors together on the media surface, and I would feel really limited in values if I didn't have a black available. Usually, a good back color for pastels can be to use vine or willow charcoal because it seems to create nice darks. Compressed carbon also seems to make a nice dark. These actual components are created from charred wood, and I think my actual black pastels, from makers like Art Spectrum, Unison, Rembrandt pastels, may be from iron oxides.
A painter also has options to use a limited palette in creating an image, so it all just depends on what an artist is trying to accomplish.
Hope this helps.
it depends on what you are trying to do. black will automatically darken and DULL colors so you have to watch out for that, unless you want it to appear dull. with black your colors won't be nice and rich. another thing, if you only use black in one spot, it will disract the viewer from the rest of the painting cause there eyes will probably go right to the spot.
Fooey. I'm tired of people saying not to use black in a painting. To darken a color you might want to mix with it's complement to get a richer color because using black can flatten color. However, that's how color is gauged by tint and tone: tint, white: tone or shade, black.
Now, here are artists who used black: Rembrandt, Raphael, DaVinci, El Greco, De la Tour, Turner, Delacroix, Manet, Renoir, Degas, Matisse, Picasso, VanGogh, Chagall, Dali, O'Keeffe, Rivera, Rothko, Diebenkorn, indisputably the finest in the world, and just a handful of those who use black -- SO USE BLACK.
Art Schools went through a period of color purism that taught students not to use black. It was a trend and is still taught occasionally. Use black. But again, if you are looking only to darken your colors, then look to using other colors that are darker than the color you are using. It will alter the color differently than using black. For example, adding black to red will make it more violet first, then browner, depending on the colors you are using. Adding green to red will deepen it, adding violet to red will deepen it and give it a bluer tinge.
Do an experiment with color mixing and make a color chart for some of the colors you are using and see what combinations you can make and what suits you and your work. Don't listen to anyone who says no black.Which tecnique is better in quality oil painting using black or not using black?
Cinna is absolutely right! Never use black from a tube. The reason is that prepared blacks in tubes appear as holes in your canvas and they crack and flake quickly so they will not last. The darkest 'black' you can mix (I use it alot) is about half and half Burnt Umber and Ultra-marine blue. See my stuff and wherever there appears to be black you can be assured it isn't from a tube!
http://www.artwanted.com/artist.cfm?ArtI鈥?/a>
I've heard many theories on black and some of them I agree with.
You need to be careful with black as it can deaden colors and technically it has a lot of oil (fat) so you need to be careful not to paint over it with a lean paint.
Monet did not use black, Manet did.
Hi:
There is absolutely nothing wrong with having black pigments and paints to mix in with other paints. Mixing other colors usually cannot create a dark enough tone, particularly because the paints may have white pigments in them. There are different properties in oil paints, and usually white paints contain heavier pigments, like lead, that may migrate from the top surface of a painting to a lower area - so that if a light highlight is painted over a dark background, the highlight will probably fade over time.
I usually use soft pastels now, because they have some properties I prefer. One of the nicest things about soft pastel images is that the pigments are so densely packed on the surface, if properly cared for and stored, the colors have less of a likelyhood of fading over time. There are many examples of pastel paintings done from up to a few hundred years ago (when pastels were really first developed) that really don't show any signs of age - unlike oils where the surface may crack or fade. I usually apply pastels and scumble and blend the colors together on the media surface, and I would feel really limited in values if I didn't have a black available. Usually, a good back color for pastels can be to use vine or willow charcoal because it seems to create nice darks. Compressed carbon also seems to make a nice dark. These actual components are created from charred wood, and I think my actual black pastels, from makers like Art Spectrum, Unison, Rembrandt pastels, may be from iron oxides.
A painter also has options to use a limited palette in creating an image, so it all just depends on what an artist is trying to accomplish.
Hope this helps.
it depends on what you are trying to do. black will automatically darken and DULL colors so you have to watch out for that, unless you want it to appear dull. with black your colors won't be nice and rich. another thing, if you only use black in one spot, it will disract the viewer from the rest of the painting cause there eyes will probably go right to the spot.
Does an oil painting need to breathe to preserve it's life or quality?
I am hoping you can help me. I am trying to find out the current info and thoughts as to whether an oil painting needs to breathe to preserve it's life and quality? I was told to glue and nail a piece of plywood to the back of a torquing/twisted canvas frame on oil, and one framer said that was bad since it would prevent the oil from breathing, while another said the current discovery is actually that an oil painting should not be exposed to the air. Can you help direct me to info on this? Was there an article in your publication about this?Does an oil painting need to breathe to preserve it's life or quality?
Hi, I have about 45 oil paintings in my collection which has held up well for 25 years. All paintings are varnished when dry so they are well protected.
A few tips:
1) Its ok to expose them to air ; why have them if they are not around to be enjoyed.
2) It is best to have them in some decent humidity 4- - 50 % the museums tell me.
3) The worst enemy of any panting, oil and especially water colors is sun light. Never hang a painting in direct sunlight for any period of time other than a few minutes or an hour or two.
4) Don't stoew, especially canvasas in wet areas or you can get some rot and mold.
5) Keep them away from direct dry heat or iver time they may crack.
6) Above all never expose them to cigarette smoke!!
7) Clean oils, not acrylics with very mild soap and water and a very soft cloth.
MichaelDoes an oil painting need to breathe to preserve it's life or quality?
wow, you got some great answers
about your questions...
Max Doerner suggests stapling a kraft paper or thin cardboard to cover the back of your canvases. The paper should not touch the canvas. It will help to stop humidity from reaching the canvas as humidity will make the canvas tight or loose.
Canvas are primed before they are painted, so the back of them is exposed to humidity or oder conditions. The painted side is another story. It is completely sealed with gesso. If painters didn't do that all the oil would sink into the cotton or linen canvas. And oil makes the canvas weak and could break easily. So covering the canvas with the cardboard won't damage the painting layers.
About the air: oil dries by oxidation, so it has to be in contact with air in order for it to dry. They keep oxidating even after you think they are already dry.
I have never heard oils shouldn't touch the air. I suppose all the Titians and davincis and rembrandts would already have a glass to protect them and kept in a vacuum. But they are not, so I don't think that is true. People tend to invent stories about art conservation.
I've read in gamblin's site that it's also not good to keep paintings in dark places, you don't need direct sunlight, but just regular indoors light. As oils tend to yellow when stored in dark places.
You could also download the Oil Book from winsor and newton. It's free, you can find it in their site. Those sites have a lot of useful information.
If your oil painting is varnished then the painting layers will be protected for hundreds of years.
Try the Canadian Conservation Institute .They may be able to give you up to date info on this.
Breathe???? It needs to dry!!! Oil paint can take years to dry properly, it is dry on top but not underneath.
They both are talking about 2 different things.
1) Breathing oxygen is bad. It will oxidize your canvas and some pigments will change color. We are talking eons here not decades before this becomes an issue.
2) Breathing water/moisture out is a must. Unless you have your panting in an environmentally controlled room your painting will need to 'breathe out' water. Do not create a box like object of your painting that is (almost) airtight. Think; put a tomato in a plastic bag for a week and one in optimal conditions....you get the picture I hope.
It is just a matter of: ';Breathing is bad. Not breathing is worse.';
Re-stretching a torqued painting is probably the best option. I sure know nailing a piece of plywood to the back is one of the worst.
According to the Tate Conservation website, the research currently being done on the harmful effects of oxygen on art is in reference to art on paper and not oil paintings.
Regardless, I would not recommend sealing the back of an oil painting for the simple reason that moisture could become trapped behind the canvas and quickly cause the canvas to rot.
You could screw four triangular pieces of hardwood to the corners only (leaving the centre open) to correct the skew, or have the painting re-stretched onto new stretcher bars. Both these options are safe and inexpensive.
Here's the Tate article on ';Anoxia';:
http://www.tate.org.uk/conservation/scie鈥?/a>
here is an article that is written on the properties of oil paints. it should help you.
http://en.wikipedia.org/wiki/Oil_paint
Hi, I have about 45 oil paintings in my collection which has held up well for 25 years. All paintings are varnished when dry so they are well protected.
A few tips:
1) Its ok to expose them to air ; why have them if they are not around to be enjoyed.
2) It is best to have them in some decent humidity 4- - 50 % the museums tell me.
3) The worst enemy of any panting, oil and especially water colors is sun light. Never hang a painting in direct sunlight for any period of time other than a few minutes or an hour or two.
4) Don't stoew, especially canvasas in wet areas or you can get some rot and mold.
5) Keep them away from direct dry heat or iver time they may crack.
6) Above all never expose them to cigarette smoke!!
7) Clean oils, not acrylics with very mild soap and water and a very soft cloth.
MichaelDoes an oil painting need to breathe to preserve it's life or quality?
wow, you got some great answers
about your questions...
Max Doerner suggests stapling a kraft paper or thin cardboard to cover the back of your canvases. The paper should not touch the canvas. It will help to stop humidity from reaching the canvas as humidity will make the canvas tight or loose.
Canvas are primed before they are painted, so the back of them is exposed to humidity or oder conditions. The painted side is another story. It is completely sealed with gesso. If painters didn't do that all the oil would sink into the cotton or linen canvas. And oil makes the canvas weak and could break easily. So covering the canvas with the cardboard won't damage the painting layers.
About the air: oil dries by oxidation, so it has to be in contact with air in order for it to dry. They keep oxidating even after you think they are already dry.
I have never heard oils shouldn't touch the air. I suppose all the Titians and davincis and rembrandts would already have a glass to protect them and kept in a vacuum. But they are not, so I don't think that is true. People tend to invent stories about art conservation.
I've read in gamblin's site that it's also not good to keep paintings in dark places, you don't need direct sunlight, but just regular indoors light. As oils tend to yellow when stored in dark places.
You could also download the Oil Book from winsor and newton. It's free, you can find it in their site. Those sites have a lot of useful information.
If your oil painting is varnished then the painting layers will be protected for hundreds of years.
Try the Canadian Conservation Institute .They may be able to give you up to date info on this.
Breathe???? It needs to dry!!! Oil paint can take years to dry properly, it is dry on top but not underneath.
They both are talking about 2 different things.
1) Breathing oxygen is bad. It will oxidize your canvas and some pigments will change color. We are talking eons here not decades before this becomes an issue.
2) Breathing water/moisture out is a must. Unless you have your panting in an environmentally controlled room your painting will need to 'breathe out' water. Do not create a box like object of your painting that is (almost) airtight. Think; put a tomato in a plastic bag for a week and one in optimal conditions....you get the picture I hope.
It is just a matter of: ';Breathing is bad. Not breathing is worse.';
Re-stretching a torqued painting is probably the best option. I sure know nailing a piece of plywood to the back is one of the worst.
According to the Tate Conservation website, the research currently being done on the harmful effects of oxygen on art is in reference to art on paper and not oil paintings.
Regardless, I would not recommend sealing the back of an oil painting for the simple reason that moisture could become trapped behind the canvas and quickly cause the canvas to rot.
You could screw four triangular pieces of hardwood to the corners only (leaving the centre open) to correct the skew, or have the painting re-stretched onto new stretcher bars. Both these options are safe and inexpensive.
Here's the Tate article on ';Anoxia';:
http://www.tate.org.uk/conservation/scie鈥?/a>
here is an article that is written on the properties of oil paints. it should help you.
http://en.wikipedia.org/wiki/Oil_paint
Where can I pick up oil lamps for indoor use that are inexpensive and still of high quality?
I want to use oil and candle light at night when we are watching movies and just hanging out instead of paying the utility company for electricity. It is hard to find oil lamps in my home area of Wisconsin.Where can I pick up oil lamps for indoor use that are inexpensive and still of high quality?
http://www.auraoil.com/oillamhancra.htmlWhere can I pick up oil lamps for indoor use that are inexpensive and still of high quality?
I have seen them at Walmart and Kmart.
http://www.auraoil.com/oillamhancra.htmlWhere can I pick up oil lamps for indoor use that are inexpensive and still of high quality?
I have seen them at Walmart and Kmart.
Oil paintings reproduced in print form, best quality?
I've tried many ways to copy my oil paintings into print form, with minor success. A format camera was suggested?Oil paintings reproduced in print form, best quality?
Some of my friends who are painters have asked me to photograph their paintings for the exact same reason you are wanting to photograph your paintings.
Because my friends are usually going to print really large, poster size and above I use a ';large format'; view camera http://en.wikipedia.org/wiki/View_camera using what is refered to as chrome or slide film. In particular I use Fujifilm Velvia 100 because of its fine grain and accurate color reproduction http://en.wikipedia.org/wiki/Velvia. As for the format of the film I use, I use 4x5. When you are reproducing paintings you want to use a camera which yields the largest negative possible(there are cameras which make 8x10 negatives, but I don't have access to an 8x10), and use a camera which is able to correct for parralax which does come into play when you are photographing really large paintings.
Regarding the lighting, this really depends upon how textured the image is. However, in general what I do if the painting isn't overtextured with things like wax, and gobs of paint I use sort of a standard copystand technique except on a larger scale and horizontal with two equally balanced strobe lights fitted with large softboxes on either side of the painting http://www.marietta.edu/~mcshaffd/macro/鈥?/a> Like I had mentioned this technique works well if you don't have too much texture, but it your painiting does have a lot of texture then what you want to do is to move one of the lights in close and sort of strafe the edge of the painting so as to create shadows and deliniate the textures. Anyhow, I know this probably all sounds foreign but to be honest this is the only way I know to accurately reproduce a painting photographically. However, it really isn't all that hard to learn how to photograph your paintings, more than anything it is getting access to the equiptment, which if you live in a major metropolitain area is available for rent at large professional photo stores.Oil paintings reproduced in print form, best quality?
I've done this many, many times using diffuse outdoor light on an overcast day. Do not use a flash. Shade the picture, if there are any glare spots evident. Use Auto White Balance or the shady setting.
A soft box, as suggested by Shelly above, also works, if you can fit the painting in the box. I like the simplest way possible, though, and that's as I described.
http://www.photoartomation.com/
If I understand your question correctly, you are asking to output your oil painting (on canvas, I presume) onto photo paper. If this is the case, then use an E6 to photograph your oil painting with appropriate lighting (a soft-box works) which will capture the richness in the colors of the paint. You can then process this film at a photo lab where they can also print your choice of frame. Hope this helps!
Some of my friends who are painters have asked me to photograph their paintings for the exact same reason you are wanting to photograph your paintings.
Because my friends are usually going to print really large, poster size and above I use a ';large format'; view camera http://en.wikipedia.org/wiki/View_camera using what is refered to as chrome or slide film. In particular I use Fujifilm Velvia 100 because of its fine grain and accurate color reproduction http://en.wikipedia.org/wiki/Velvia. As for the format of the film I use, I use 4x5. When you are reproducing paintings you want to use a camera which yields the largest negative possible(there are cameras which make 8x10 negatives, but I don't have access to an 8x10), and use a camera which is able to correct for parralax which does come into play when you are photographing really large paintings.
Regarding the lighting, this really depends upon how textured the image is. However, in general what I do if the painting isn't overtextured with things like wax, and gobs of paint I use sort of a standard copystand technique except on a larger scale and horizontal with two equally balanced strobe lights fitted with large softboxes on either side of the painting http://www.marietta.edu/~mcshaffd/macro/鈥?/a> Like I had mentioned this technique works well if you don't have too much texture, but it your painiting does have a lot of texture then what you want to do is to move one of the lights in close and sort of strafe the edge of the painting so as to create shadows and deliniate the textures. Anyhow, I know this probably all sounds foreign but to be honest this is the only way I know to accurately reproduce a painting photographically. However, it really isn't all that hard to learn how to photograph your paintings, more than anything it is getting access to the equiptment, which if you live in a major metropolitain area is available for rent at large professional photo stores.Oil paintings reproduced in print form, best quality?
I've done this many, many times using diffuse outdoor light on an overcast day. Do not use a flash. Shade the picture, if there are any glare spots evident. Use Auto White Balance or the shady setting.
A soft box, as suggested by Shelly above, also works, if you can fit the painting in the box. I like the simplest way possible, though, and that's as I described.
http://www.photoartomation.com/
If I understand your question correctly, you are asking to output your oil painting (on canvas, I presume) onto photo paper. If this is the case, then use an E6 to photograph your oil painting with appropriate lighting (a soft-box works) which will capture the richness in the colors of the paint. You can then process this film at a photo lab where they can also print your choice of frame. Hope this helps!
Subscribe to:
Posts (Atom)