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September 2007
In this issue
Zinc White: Problems in Oil Paint
Smalt: The Blue Pigment that is also a Dryer
Preparation of Wood Painting Panels
Gesso Grounds from Ancient Recipes
Tips and Tricks: Drawing Realistic Hair
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Rublev Oil Colors
Oil Colors made with natural mineral, earth and historical pigments ground in linseed oil.
Rublev Oil Colors
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Rublev Watercolors
Watercolors made with natural mineral, earth and historical pigments in gum arabic.
Rublev Watercolors
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Gilding Supplies
Gold, silver and metal leaf: Find what you need for gilding and metal leaf projects -- gilding gesso, bole, gilder's tips, knives, cushions, burnishers and size.
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Natural Pigments Forum
Get answers to your questions on casein, encaustic, fresco, oil, tempera and watercolor materials and techniques.
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Portrait, Titian ¡@
Historical Colors in Oil Paint
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Rublev Oil Colors let you experience what the Old Masters well understood¡Xthe unique characteristics of pigments. The pigments used by Old Masters in their paintings, such as lazurite (lapis lazuli or natural ultramarine), lead-tin yellow, lead antimonate yellow (Naples yellow) and smalt, were ground from natural minerals or concocted by alchemists. Rublev Oil Colors give you the colors used by the Old Masters ground in linseed oil without additives to affect their consistency as ready-made paints.

Technical Corner
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Zinc oxide paint showing cracking and interlayer cleavage ¡@
A new paper released by scientists at the Smithsonian's Museum Conservation Institute exposes long-term problems with zinc white in oil paint. The report "The Chemical and Mechanical Effects of Pigments on Drying Oils" describes the highlights of a 28-year study on the stability and strength of oil paint films. The results are revealing and have important implications for artwork made with artists' oil paints containing zinc white.

Colors
Smalt ¡@
Many colors can be made from cobalt, but smalt was the only pigment to be made from it before the element was isolated in the 18th century. Smalt was an important pigment in European oil painting, particularly in the sixteenth and seventeenth centuries. Its origins probably lie in the blue pigment used by the ancient Egyptians, known as us as "Egyptian blue"; both pigments are made from glass that has been colored blue and both are also used as glazes on ceramics.

Supports
Bracing wood painting panels ¡@
The installation of braces and the shaping of the board are the last stages in the production of a panel painting. However, the board is not yet ready for painting. The paint layer is applied on to a ground consisting of powdered chalk or gypsum and glue, called gesso (Italian for gypsum) or levkas (Russian: левкас). Sizing the board and applying the pavoloka (Russian: паволока) precedes the application of the ground. Impregnating the painting boards surface with hot, liquid glue is called sizing. Pavoloka is a loosely woven cloth glued on top of the size.

Grounds
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In her book, The Art of Arts, Anita Albus discusses materials and practices of oil and tempera painting that have either been lost or fallen into disuse. Albus makes a poignant observation that ever since the industrial revolution, it has been industry that dictates what materials are available to artists. Gesso production falls into this category alongside the preparation of paints and mediums.

Tips & Tricks
Drawing by Butch Kreiger

To draw realistic hair in your portraits, learn to see it as a whole form instead of just a collection of strands.
By Butch Krieger

Lifelike hair is an indispensable feature of a natural-looking portrait. Hair is not only a key indicator of how skillful a realist the artist is, but it¡¦s also one of the most expressive parts of a person¡¦s body.
The most important thing to understand for drawing hair is that it¡¦s futile to try to draw all the individual hairs on a person¡¦s head. You may have seen drawings in which the artist seems to have meticulously drawn a head of hair in very fine detail, but if you look closer you¡¦ll find that the artist has merely created the illusion of having drawn each and every hair. To create this illusion yourself, ignore all those thousands of separate shafts of hair and concentrate instead on the major shapes in the body of hair.
You must see the hair in this simplified way before you can draw it this way, however, so a good way to begin is to close one eye and squint while looking at your model¡¦s head. What do you see?
Is it one distinct outline containing an even distribution of mass? Or is it a major shape with several smaller shapes protruding from it? Or is it a roughly consistent series of waves?
Also, don¡¦t just note the positive shapes but the negative ones, too. Are there any significant gaps in the hair? Where are the major shadows? Answering these questions at the beginning allows you to bypass all the superfluous details and go straight to what¡¦s most useful for you as an artist.
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To learn more about the author, please visit Butch Krieger's web site.