On 31 Aug, 2012 With
Oil painting essential materials and techniques: Good Paints and Pigments Good Paints.—The three things on which the quality of good paint depends are good pigment, good vehicles, and good preparation. The pigments used are of mineral, chemical, and vegetable origin. The term pigment technically means the powdered substance which, when mixed with a vehicle, as oil, becomes oil paint. The most important pigments now used are artificial products, chiefly chemical compounds, including chemical preparations of natural mineral earths. As a rule, the colors made from earths may be classed as all permanent; those from chemicals, permanent or not, as the case may be; and those of vegetable origin fugitive, with few exceptions. Some colors are good when used as water colors, and bad…
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On 28 Aug, 2012 With
Oil painting essential materials and techniques: PAINTS Of all your materials, it is on your paints that quality has the most vital effect. With bad paint your work is hopeless. You may get an effect that looks all right, but how long will it stand, and how much better may it not have been if your colors had been good? You can tell nothing about it. You may have luck, and your work hold; or you may not have luck, and in a month your picture is ruined. Don’t trust to luck. Keep that element out as much as you can, always. But in the matter of paints, if you count on luck at all, remember that the chances are…
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On 25 Aug, 2012 With
Oil painting essential materials and techniques: Care of Brushes Care of Brushes.—The best of economy in brushes lies in your care of them. You should never let the paint dry on them nor go too long without careful washing. It is not necessary to wash them every day with soap and water, but they would be the better for such treatment. Quite often, once a week, say, you should wash your brushes carefully with soap and water. You may use warm water, but don’t have it hot, as that may melt the glue which holds the bristles together in the ferrule. Use strong soap with plenty of lye in it—common bar soap, or better, the old-fashioned soft soap. Hold several…
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On 22 Aug, 2012 With
Oil painting essential materials: Selection of BRUSHES Selection.—Never buy a brush without testing its evenness, as has been advised in the care of sables. Feel carefully the end of the bristles also, and see that the “flag” is there. All brushes are kept together for packing by paste in the bristles. See that this is soaked off before you test your brush. Round or Flat.—It will make little difference whether you use round or flat brushes. The flat brush is most commonly preferred now, and most brushes are made that way. So you had better get that kind, unless you have some special reason for preferring the round ones. Handles.—Whether the handles are nicely polished, also, is of no importance….
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On 19 Aug, 2012 With
Oil painting essential materials: Bristle and Sable BRUSHES Bristle and Sable.—The brushes suitable for oil painting are of two kinds,—bristle and sable hair. Of the latter, red sable are the only ones you should get. They are expensive, but they have a spring and firmness that the black sable does not have. Camel’s hair is out of the question. Don’t get any, if you can only have camel’s hair. It is soft and flabby when used in oil and you can’t work well with such brushes. The same is true of the black sable. But though the red sablesare expensive, you do not need many of them, nor large ones, so the cost of those you will need is slight. …
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On 17 Aug, 2012 With
Oil painting essential materials: BRUSHES An old brush that has been properly cared for is generally better than a new one. It seems to have accommodated itself to your way of painting, and falls in with your peculiarities. It is astonishing how attached you get to your favorite brushes, and how loath you are to finally give them up. What if you have no others to take their places? Don’t look upon your brushes as something to get as few of as possible, and which you would not get at all if you could help it. There is nothing which comes nearer to yourself than the brush which carries out your idea in paint. You should be always on the…
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On 15 Aug, 2012 With
Oil painting essential materials: EASELS The important thing in an easel is that it should be steady and firm; that it should hold the canvas without trembling, and so that it will not fall as you paint out towards the edges. You often paint with a heavy hand, and you must not have to hold on to your picture with one hand and paint with the other. Nothing is more annoying than a poor easel, and nothing will give you more solid satisfaction, than the result of a little generosity in paying for a good one. The ideal thing for the studio is, of course, the great “screw easel,” which is heavy, safe, convenient, and expensive. We would like to…
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On 12 Aug, 2012 With
Oil painting materials: Stretchers Stretchers.—The keyed stretcher, with wedges to force the corners open and so tighten the canvas when necessary, is the only proper one to use. For convenience of use many kinds have been invented, but you will find the one here illustrated the best for general purposes. The sides may be used for ends, and vice versa. If you arrange your sizes well, you will have the sides of one size the right length for the ends of another. Then you need fewer sizes, and they are surer to pack evenly. Stretching.—You will often have to stretch your own canvases, so you should know how to do it. There is only one way to make the canvas lay smoothly…
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On 9 Aug, 2012 With
Oil painting materials: Grounds Grounds.—The color of the grounds should be of interest to you. Canvases are prepared for the market usually in three colors,—a sort of cool gray, a warm light ochrish yellow, and a cool pinkish gray. Which is best is a matter of personal liking. It would be well to consider what the effect of the ground will be on the future condition of the picture when the colors begin to effect each other, as they inevitably will sooner or later. Vibert in his “La Science de la Peinture” advocates a white ground. He says that as the color will be sure to darken somewhat with time, it is well that the ground should have as little to do…
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On 7 Aug, 2012 With
Oil painting materials: CANVASES and STRETCHERS Grain.—The question of grain is not easy to speak about without the canvas, yet it is often a matter of importance. There are many kinds of surface, from the most smooth to the most rugged. Some grain it is well the canvas should have; too great smoothness will tend to make the painting “slick,” which is not a pleasant quality. A grain gives the canvas a “tooth,” and takes the paint better. Just what grain is best depends on the work. If you are going to have very fine detail in the picture use a smoothish canvas; but whenever you are going to paint heavily, roughly, or loosely, the rough canvas takes the paint…
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