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September 2007
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Rublev Oil Colors
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Oil Colors made with natural mineral, earth
and historical pigments ground in linseed oil.
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Rublev Watercolors
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Watercolors made with natural mineral, earth
and historical pigments in gum arabic.
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Gilding Supplies
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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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Join Discussions on Painting Techniques
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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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Contact Us
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Comments
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Article Suggestions
Have a question about pigments? Making paint?
Send us your questions, and we might provide a
solution in an upcoming article. |
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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.
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Technical Corner
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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.
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Colors
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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.
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Supports
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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.
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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.
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Tips & Tricks
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.
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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.
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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?
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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?
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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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