The Artist's Handbook
Pip Seymour
Language: English
Pages: 522
ISBN: 0572028660
Format: PDF / Kindle (mobi) / ePub
An encyclopedic compendium of information on artistic materials, from pigments, and drawing tools, with long chapters on oil, watercolour, pastel, acrylic. Talking from brushes to pservation of finished works.
Sample from the index:
WATERCOLOUR AND GOUACHE PAINTING 335
Watercolour 335
Historical Background 335
Properties of Watercolour 337
Commercially Manufactured Watercolours 342
Hand-Prepared Watercolours 343
Lightfastness and Permanence 346
Supports for Watercolour Painting 346
Papermaking 347
Stretching Watercolour Paper 350
Care and Storage of Watercolours 352
Auxiliary Materials 353
Painting Additives 354
Combining Watercolour and Other Media 355
Gouache 356
Artists’ Gouache and Designers’ Gouache 357
Hand-Made Gouache Colours 358
Application 361
Supports 361
Preservation and Storage of Work 361
Alternative Water-Based Binding Agents 362
And similarly for each material or techcnique in painting
The Watercolorist's Essential Notebook
Chiricahua Apache Enduring Power: Naiche's Puberty Ceremony Paintings
Composition: The Anatomy of Picture Making
Caravaggio and His Copyists (Monographs on Archaeology and Fine Arts)
to paint films. When a small amount, perhaps 10% is added to oil paint, the resultant mixture is shiny and transparent. Such mixtures were employed to a great extent during the 19th century, especially in England. The defect of copal in oil paint mediums is that it forms a hard but brittle film. It also darkens excessively, changing pale colours to an orange- brown glow over time. Some paint manufacturers continue to offer copal-based mediums, despite these known drawbacks. Such mediums
to hog oil painting brushes in that the brush tips are formed into shapes that are retained and even improved with use. Synthetic brushes are usually a white colour when first manufactured, but then tinted to take on the appearance of natural hair. Sometimes, synthetic hair is admixed with sable or other natural hairs, to make a kind of hybrid brush. These may offer a good alternative to sable brushes, because they will possess a similar softness and suppleness. The dilution or admixture
Composition The accepted chemical formula for a pigment. For example, lead white is basic lead carbonate (2PbCO3). B9A3852A-97CE-4181-BE41-D71C6F8B5631 The Artist Handbook 8/4/03 3:18 PM Page 19 PIGMENTS 19 Tinting Strength The relative tinting strength of a pigment (e.g. when admixed with white). Shade A description of the shade (warm, cold, bluish, reddish, etc) of each pigment. Suitability to Media Certain pigments are not compatible with some of the binding agents used for paint
supplies are required, the same colour name, code number or colour index name can be quoted. Nickel titanium yellow Cadmium yellow light B9A3852A-97CE-4181-BE41-D71C6F8B5631 The Artist Handbook 8/4/03 3:23 PM Page 276 276 THE ARTIST’S HANDBOOK Hansa yellow light Cadmium yellow deep Hansa yellow deep Cadmium orange Cadmium red middle Permanent red Cadmium red deep Quinacridone red (permanent rose) Ultramarine blue Ultramarine violet Indanthrone blue Cobalt blue Cerulean blue
former technique. Also, one preserves the exact nature of an individual pigment. With modern paints, the “colour” may in fact contain more than one pigment, plus filler/additive material. The palette is by tradition a kidney-shaped or rectangular shaped piece of wood, normally a hardwood such as mahogany. Some palettes were weighted at one edge, so that when standing to paint, they could be easily held. Traditionally, palettes have a thumb hole in their structure so that they can be held,