From the very beginning, oil painters have used mediums to extend, modify, tweak and transform their paint in one way or another. These have run the gamut from the simple use of solvents when creating an initial wash to much more complex concoctions and recipes that involve the blending of various oils, resins, balsams, and … Weiterlesen
TOOLS FOR TEXTURE Textures from left to right: Golden Heavy Body using a cake decorating tool, Heavy Body with Molding Paste using a handmade burlap wand, Williamsburg with Wax Medium using a flat scraper, and Williamsburg using a wire brush. (NOTE: Once used as painting tools, kitchen utensils should not be returned to the kitchen … Weiterlesen
Editor’s Note: Added April 26, 2022 For some time, our recommendation for artists using oils over acrylic has been to work over harder, matte acrylic surfaces and avoid working on softer gels and gloss products. Our intention was to optimize the level of adhesion that would be achieved on a toothier surface as well as … Weiterlesen
With the advent of new composite materials, artists today are able to take advantage of lightweight, dimensionally stable supports that offer a smoothness unattainable through traditional surface preparation. These “modern” substrates require little to no preparation, come in a variety of thicknesses and can range from transparent and glossy to matte and opaque. Many of these supports … Weiterlesen
Welcome to the Grit-O-Meter! We’ve ordered our mediums and grounds from smooth to gritty in an effort to show you how they may be used as grounds for Acrylics, Oils, Watercolors, and Dry Drawing Media, or as acrylic mediums for creating texture in your paintings. The Meter runs from smoothest at the top to grittiest at … Weiterlesen
Für Künstler, die mit gemischten Medien arbeiten, ist es für gewöhnlich die beste Option Ihre Arbeiten hinter Glas mit UV-Schutz auszustellen. Dies bietet ultimativen Schutz vor UV-Licht, Schmutz und Staub. Wer sich gegen eine Montage hinter Glas entscheidet, kann ein Firnis oder Decklack in Erwägung ziehen, was jedoch schwierig werden kann, wenn die Malereien in … Weiterlesen
Is there a best orientation for stretching fabric and does this really make much of a difference for primed and painted canvas? Well, the general consensus is that the weft should be in the shortest dimension since it is the most reactive. But what is the weft, how can one recognize weave directions and what … Weiterlesen
Wenn Sie einmal Pech haben und aus Versehen gegen ein Leinwandgemälde stoßen und ein Riss entsteht, kleben Sie keinen Flicken oder Pflaster auf. Löcher und Risse in gespannten Leinwänden können auftreten, und Gewebepflaster können wie eine einfache Reparatur erscheinen, werden aber nicht empfohlen. Ebenso ist das Anbringen von Etiketten mit Informationen über das Gemälde auf … Weiterlesen
Welcome to the Grit-O-Meter! We’ve ordered our mediums and grounds from smooth to gritty in an effort to show you how they may be used as grounds for Acrylics, Oils, Watercolors, and Dry Drawing Media, or as acrylic mediums for creating texture in your paintings. The Meter runs from smoothest at the top to grittiest at … Weiterlesen
You would think that we would know more by now; that the questions would be answered, the arguments settled. But we don’t, and they aren’t. Even basic and fundamental issues continue to remain unaddressed by research. Will cold-pressed or alkali-refined linseed oil yellow more? Do historical and traditional processing methods lessen that? How do all … Weiterlesen
