Art and Design A comprehensive guide for creative artists - Aaltodoc

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Wet in wet Diluting and mixing watercolour paints Minimal palettes The surface or paper is used when it is already wet. According to Blake (1997, 91) “wet-in-wet ... is sometimes called the wet paper method.” It is not so easy to use. What makes the wet method so difficult is that a brush-load of colour is supposed to be applied to a sopping wet surface. Sometimes watercolour generally runs off in some unpredictable direction. This is a watercolour method of painting where the artist applies a thick, heavy, opaque paint on a surface as it comes from the tube. And at the stage of creating pale colours, the paints are heavily diluted with water. The good point about this type of painting is the range of colour effects it produces from the separate paint consistencies. This is a method of watercolour painting. Where by, the artist uses a small range of colours during painting. For instance, a watercolour painting can be created by using the basic three primary colours along with white and black. On the other hand, painting with minimal pallets is often enhanced by under drawing markings of a pen or ink. c) Encaustic painting is executed by mixing (paint) pigments with hot “beeswax not oil” Elkins (1999, 132). Encaustic is suitable for painting on wooden surfaces and hard paper. Painters who use encaustic to produce painting artworks; do that, by sculpting or modelling a mixture of paints with heated beeswax to hold together onto a surface. For the creative artist to achieve the desired learning outcomes, special tools as well as skills may be required to execute this experimental aspiration. For example, a palette knife, bee waxes as well as ground pigments. Thus, mix powder paints or acrylic paint with hot bee wax and where necessary add linseed oil so that the paint paste changes into a semi translucent—fresh pigment. Then, start to paint. d) Mosaic painting deal with a number of hard colourful materials, for example glass, wood, tiles, metal, stone and plastic. These can be arranged together to form various variegated patterns. The process and techniques of artwork execution generally depends on the type of material the artist has chosen. Mosaic paintings are good for decorating walls, roofs and floors for houses. e) Fresco painting is a technique of applying water-based colour pigment to wet (lime) plaster/ mortar on a wall surface or a ceiling. When the colour pigments are combined with plaster, they diffuse into the wet paint plaster—not to peel when exposed to humidity and wetness. That is to say, the colours in fresco penetrate the plaster and they become fixed as it dries. Working with fresco requires the painter to work quickly and to be attentive to potential problems since mistakes are not easy to be undone. Michelangelo, Giotto, Masaccio used this method of painting in most of their work. f) Fresco secco is a technique of painting used on dry plaster. Firstly, the (paint) pigments are mixed in water before applying them on a dry wall. The fresco secco approach puts on display brilliant colours than fresco. In this method the process of working involves using “the plastered surface of a wall soaked with slaked lime ... Secco colours dry lighter than their tone at the time of application, producing the pale, mat, chalky quality of a distempered wall ... ” (Encyclopaedia Britannica) g) Pastel painting works as a pure form of pigment; it can be applied onto a surface directly. Using pastels requires no medium or vehicle such as oil or water except if the painting artist has chosen to paint by using a mixed media technique—combining several media and various materials within a single painting artwork. Ultimately, pastel painting is capable of generating greater intensities of hues than most painting mediums. h) Egg tempera painting is a method of creating artworks with a water base paint mixed with an egg yolk (as a binder) and water. It is easy to prepare and it is usually fit for use on an already primed surfaces (to prevent paint absorption). A painting done with egg tempera has got to be protected from harmful and damaging insects once it looses its wetness. Mill for a meal. A pastel painting with trimmed corners. Materials: Pastel on bark cloth. Size: 20cm × 14cm 72 73
Trowell (1951, 27) shares a rational suggestion: “it is difficult for ordinary people to buy ... poison to keep away insects.” Thus, “mix a small amount of D.D.T powder or gammexine with the paint” before you start to paint. In most cases, the outcome of such pigment is opaque. Generally, egg tempera painting dries very quickly on a slightly roughened surface such as metal or sisal sack. Andrew Wyeth painted with egg tempera on panels. i) Oil painting is pertinent to using ground colour pigments; it is often mixed with other solvents such as turpentine to obtain a thinner, faster drying paint, or it can be mixed with linseed oil for a praiseworthy drying. Elkins (1999, 1) explains, ”to make oil paint, it is only necessary for the painting artist to make inquiries about powdered rock,” then “mix it with linseed oil.” The attained results are therefore spread in an approach commonly referred to as painting “with a brush” on a surface of the support. Colour consistency is the most important. There is a considerable difference between oil and acrylic paints. From time to time, creative artists decide on using a single type or both of them (oil and acrylic paints) simultaneously on distinct surfaces. Gardner (1998, 84) asserts, “Artists find working with acrylic paint much like working with oil paint and apply it to the same surfaces as are used for oil painting.” Let us see the benefits of using each one of them. Advantages of using acrylic paints Acrylic paint can be creatively used “to paint ... wooden or plastic objects such as toys, jewellery, picture frames, or screen posters.” (Shivers 2010, 96) Other important advantages of using acrylic paints include: • Acrylic paint contains a substance of glue and this type of paint is easy to be watered down or diluted with water during painting. And when it gets dry, it becomes water-resistant. Thereby, a work of art painted with acrylics is well protected and preserved. • If acrylic paints are mixed well, they are more permanent and they do not crack easily. • Paintings done with acrylics dry well and it is possible for a painter to directly put additional layers of paint on top of the already existing colours. • Acrylic paints can work as thinned colours; they do not possess a solvent type of smell. It is easy to extract acrylic paints straight from a tube or a tin. That is to say, it is pliable. • Acrylic paints are easier to clean. The painter is only required to use water to clean a wet stain. • And also, acrylic paints can be mixed with other thinning substances in order to achieve the best— desired performances. On the other hand, during painting it is not easy to make pure mixes of blend by using acrylic paints. Nonetheless, if the artwork of a painting is big and it is likely to take more time to finish—add or mix paints with turpentine to lengthen the time for which it must dry. Advantages of using oil paints As Gardner (1998, 118) has remarked, “Tempera reigned as the most favoured medium to painters until the introduction of oil paint.” As a result of this, oil paint is distinctly known as a conventional material typically used by nearly all artists. Let us have a brief analysis of basic benefits the painter can get if he/she used oil paints: • Oil paints cause durable shiny surfaces assisted by their pure colour reflections. Accordingly, oil paint is a good choice for recreating and creating new works of art. • A painting done with oil paints can be left open for a long period of time—during public displays. • Oil paints can easily generate smooth tonal variations by using a brush or any other smudging and/or spreading tools. In an easy manner, the artist can create series of blends and intonations using oil paints. • Oil paints dry slowly during painting (or artwork) executions. Thus, it allows easy working processes. Such as adding and mixing colour straight on a canvas. 74 75
Page 1 and 2: and Design Art and deign Art and de
Page 3 and 4: Preface The goals of this book 1. T
Page 5 and 6: • Decorating fabrics with more th
Page 7 and 8: CHAPTER ONE Art and design Art and
Page 9 and 10: Several examples of geometric patte
Page 11 and 12: Architecture A basic example of the
Page 13 and 14: Elements of design A closer look at
Page 15 and 16: Inset: halftone dots obtained from
Page 17 and 18: Jung (2004, 139) remarks, “Of cou
Page 19 and 20: Principles of design Principles of
Page 21 and 22: Play. A painting with proposing act
Page 23 and 24: Exercise 1. By associating each ele
Page 25 and 26: d) Charcoal is good and it is an ab
Page 27 and 28: A lakeside Background landscape sho
Page 29 and 30: Vebell et al. (2005, 202) prefer a
Page 31 and 32: A study of a cow. In the profile vi
Page 33 and 34: Scanty waters. Acrylic painting Siz
Page 35 and 36: Liquids for painting The types of l
Page 37: Although it is sometimes necessary
Page 41 and 42: Well as computers have dominated a
Page 43 and 44: Phillips (2004, 9) reminds us that
Page 45 and 46: m) In conclusion, on any outstandin
Page 47 and 48: Lowercase The lowercase alphabets a
Page 49 and 50: Proportion It can be used to work o
Page 51 and 52: Illustrations can be done as painti
Page 53 and 54: Logo Trade Marks Label Notice sign
Page 55 and 56: Michaels (2010) points out some “
Page 57 and 58: The ultimate goal of designing a bo
Page 59 and 60: A raised surface b) Intaglio printi
Page 61 and 62: d. Outdoor signs are the major visu
Page 63 and 64: A collage artwork Materials: Dry le
Page 65 and 66: Apart from that, excess glue can be
Page 67 and 68: A small section of a floor surface,
Page 69 and 70: A pendant of a necklace Materials:
Page 71 and 72: f. Needle/long nose pliers uses it'
Page 73 and 74: The aggressive conduct of these war
Page 75 and 76: CHAPTER NINE Weaving Weaving is the
Page 77 and 78: Here we see that through trials and
Page 79 and 80: . Yarn is for fabrics as straw and
Page 81 and 82: Tod (1977, 172) laments, “Cloth m
Page 83 and 84: Exercise 1. By using found material
Page 85 and 86: To simplify the discussion, let us
Page 87 and 88: Here is an itemised set of methods
Page 89 and 90:
B A A: An already made tie-die fabr
Page 91 and 92:
Start by preparing a separate scree
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CHAPTER ELEVEN They made “clay re
Page 95 and 96:
Examples of inverse relief can be f
Page 97 and 98:
Sometimes plaster of Paris is used
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Maquette A maquette is a translatio
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Rich(1998, 250) offers a reasonable
Page 103 and 104:
“Welding equipment is largely use
Page 105 and 106:
. Porosity of clay is determined by
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• A pottery artist needs enough e
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owl, a cup. In size and shape it wi
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Along with the left hand and add so
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• Photography can be used to depi
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Explanatory photographs Descriptive
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Here is how: • Film cameras were
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Crafts other than those detailed ab
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2. In an area of 25cm by 30cm, desi
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Q quill feather 68 R raffia 148 red
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Mills, John W (1990). The encyclopa
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