Preamble
This is the nineth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
There have been one hundred and thirteen posts in a previous Art Resource series that focused on the following topics:
(i) Units used in dyeing and printing of fabrics.
(ii) Occupational, health & safety issues in an art studio.
(iii) Color theories and color schemes.
(iv) Optical properties of fiber materials.
(v) General properties of fiber polymers and fibers - Part I to Part V.
(vi) Protein fibers.
(vii) Natural and man-made cellulosic fibers.
(viii) Fiber blends and melt spun fibers.
(ix) Fabric construction.
(x) Techniques and woven fibers.
(xi) Basic and figured weaves.
(xii) Pile, woven and knot pile fabrics.
(xiii) Napped fabrics, double cloth and multicomponent fabrics.
(xiv) Fabric finishes.
(xv) Schrinkage, durable press and wash-wear finishes.
(xvi) Classification of dyes and dye blends.
(xvii) The general theory of printing.
To access any of the above resources click on the following link - Units Used in Dyeing and Printing of Fabrics. This link highlights the one hundred and thirteen posts in the previous Art Resource series.
There are eight data bases on this blogspot, namely: (1) the Glossary of Cultural and Architectural Terms; (2) Timelines of Fabrics, Dyes and Other Stuff; (3) A Fashion Data Base; (4) the Glossary of Colors, Dyes, Inks, Pigments and Resins; (5) the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns; (6) Glossary of Art, Artists, Art Motifs and Art Movements; (7) Glossary of Paper, Photography, Printing, Prints and Publication Terms; (8) Glossary of Scientific Terms.
Note: From time-to-time all the above data bases will be updated.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g., click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (e.g., click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or any of the other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember, these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student. Undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and whilst other parts may be too simplistic with respect to your level of knowledge (ditto the skip). Hopefully, the trade-off between these two extremes will mean that the Art Resource posts will be useful in parts to most, but unfortunately, may not be satisfying to all!
Quality in Ready-Made Artists' Supplies - Part I [1]
While the use of students' grade material may be justified on economic grounds, for the beginners in their very early stages, it is questionable whether this practice should be carried out too far in the future. If, as soon as the sudents have completed their very early attempts and have begun to think and act for themselves, they should continue their training with the best professional materials they can possibly afford, and as a result, they should be on the road to better control of their materials and methods than if they were introduced to the sorts of materials that make all the difference in the world, after they have already established their technique, or the background for their future technique, on a basis of inferior materials beyond the need for strict economy.
Left: Amateur. Right: Professional Photographer.
Comment: Clarity of the photograph, more interesting pose and a happy disposition makes all the difference.
The development of the easel and mural painting has been based on the use of superlative grades of materials; artists in past generations have always realized that no degree of perfection was too small to be overlooked in their preparation or choice.
Melbourne Street Artist & Muralist HAPPY DECAY (Australia).
They were held to be products that stood in a class beyond that of common goods of trade. On the other hand, the extreme preciousness that existed during some past periods has been eliminated, and on the whole our own best grades of supplies are, within reasonable limits, as good as we can desire, according to our current knowledge and beliefs. However, because of the numerically greater demand for non professional materials (the kind sold for less exacting purposes - for school work, for commercial applications, for amateurs etc.), the smaller supply shops and departments of other stores are frequently found lacking in the better grades of canvas, paper, colors and brushes.
Sketch paper is meant for large, quick sketches in dry media, without much detail. They aren't usually meant to be permanent. So sketch paper is usually wood-pulp based, thin and cheap, and sold in large, thick pads. If you want your sketches to last, choose acid-free sketch paper, and if you prefer a thicker paper, choose a heavier weight, at least 125 grams per square meter (gms) or 80 pounds. Check the dimensions to be sure you get the right size for your work.
Apprentices in any of their manual or mechanical trades soon learn all about the quality of their tools, and acquire high-grade professional ones early in their careers. An ordinary house painter engaged in the most commonplace sort of work would scorn to use a brush comparable in quality and condition to some of the artists' brushes with which paintings are done. Artists should know the use of cheap materials not only affects the quality of their work, but it is not economical to purchase the best; nevertheless, a pure strong color will go further than a weakened one, and a good brush will outlast several poor ones.
Nylon bristle brushes.
The Good: Nylon brushes are durable, have excellent paint pickup, and a smooth finish. Polyester brushes maintain their shape and control which is great for detail work. Nylon/Polyester blend brushes combine all the positive qualities and are the most popular choice. The smooth texture and springiness of the bristles make for an even finish and great for woodwork and furniture using water based satin,eggshell and gloss finishes. Modern synthetic brushes are excellent and have the advantage of being cheaper than natural hair.
Note: If you look after these brushes, they will last for years.
The Bad: Nylon brushes soften in hot weather or after a lot of use with latex paint. Brushes can lose the ability to create a smooth, precise finish. Polyester brushes have a lower paint pick up which means you will need to reload your brush more often. Paint with fast-drying ingredients (the majority on the market right now) will stick to polyester making them harder to clean.
The one way a student can judge such materials - after they have been taught all that can be imparted to them regarding their slection, requirements, characteristics etc. of their tools - is to be allowed to work with them. Possibly some of the lack of interest in this subject is due to an overreliance on the truism that no amount of opulance in materials will made a good artistic painter, and that a good artistic painter can turn out surprisingly good things under adverse conditions.
Below are artworks featured in Hoisier Lane, Melbourne Australia.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer, (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
This is the nineth post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
There have been one hundred and thirteen posts in a previous Art Resource series that focused on the following topics:
(i) Units used in dyeing and printing of fabrics.
(ii) Occupational, health & safety issues in an art studio.
(iii) Color theories and color schemes.
(iv) Optical properties of fiber materials.
(v) General properties of fiber polymers and fibers - Part I to Part V.
(vi) Protein fibers.
(vii) Natural and man-made cellulosic fibers.
(viii) Fiber blends and melt spun fibers.
(ix) Fabric construction.
(x) Techniques and woven fibers.
(xi) Basic and figured weaves.
(xii) Pile, woven and knot pile fabrics.
(xiii) Napped fabrics, double cloth and multicomponent fabrics.
(xiv) Fabric finishes.
(xv) Schrinkage, durable press and wash-wear finishes.
(xvi) Classification of dyes and dye blends.
(xvii) The general theory of printing.
To access any of the above resources click on the following link - Units Used in Dyeing and Printing of Fabrics. This link highlights the one hundred and thirteen posts in the previous Art Resource series.
There are eight data bases on this blogspot, namely: (1) the Glossary of Cultural and Architectural Terms; (2) Timelines of Fabrics, Dyes and Other Stuff; (3) A Fashion Data Base; (4) the Glossary of Colors, Dyes, Inks, Pigments and Resins; (5) the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns; (6) Glossary of Art, Artists, Art Motifs and Art Movements; (7) Glossary of Paper, Photography, Printing, Prints and Publication Terms; (8) Glossary of Scientific Terms.
Note: From time-to-time all the above data bases will be updated.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g., click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (e.g., click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or any of the other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember, these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student. Undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and whilst other parts may be too simplistic with respect to your level of knowledge (ditto the skip). Hopefully, the trade-off between these two extremes will mean that the Art Resource posts will be useful in parts to most, but unfortunately, may not be satisfying to all!
Quality in Ready-Made Artists' Supplies - Part I [1]
While the use of students' grade material may be justified on economic grounds, for the beginners in their very early stages, it is questionable whether this practice should be carried out too far in the future. If, as soon as the sudents have completed their very early attempts and have begun to think and act for themselves, they should continue their training with the best professional materials they can possibly afford, and as a result, they should be on the road to better control of their materials and methods than if they were introduced to the sorts of materials that make all the difference in the world, after they have already established their technique, or the background for their future technique, on a basis of inferior materials beyond the need for strict economy.
Left: Amateur. Right: Professional Photographer.
Comment: Clarity of the photograph, more interesting pose and a happy disposition makes all the difference.
The development of the easel and mural painting has been based on the use of superlative grades of materials; artists in past generations have always realized that no degree of perfection was too small to be overlooked in their preparation or choice.
They were held to be products that stood in a class beyond that of common goods of trade. On the other hand, the extreme preciousness that existed during some past periods has been eliminated, and on the whole our own best grades of supplies are, within reasonable limits, as good as we can desire, according to our current knowledge and beliefs. However, because of the numerically greater demand for non professional materials (the kind sold for less exacting purposes - for school work, for commercial applications, for amateurs etc.), the smaller supply shops and departments of other stores are frequently found lacking in the better grades of canvas, paper, colors and brushes.
Apprentices in any of their manual or mechanical trades soon learn all about the quality of their tools, and acquire high-grade professional ones early in their careers. An ordinary house painter engaged in the most commonplace sort of work would scorn to use a brush comparable in quality and condition to some of the artists' brushes with which paintings are done. Artists should know the use of cheap materials not only affects the quality of their work, but it is not economical to purchase the best; nevertheless, a pure strong color will go further than a weakened one, and a good brush will outlast several poor ones.
The Good: Nylon brushes are durable, have excellent paint pickup, and a smooth finish. Polyester brushes maintain their shape and control which is great for detail work. Nylon/Polyester blend brushes combine all the positive qualities and are the most popular choice. The smooth texture and springiness of the bristles make for an even finish and great for woodwork and furniture using water based satin,eggshell and gloss finishes. Modern synthetic brushes are excellent and have the advantage of being cheaper than natural hair.
Note: If you look after these brushes, they will last for years.
The Bad: Nylon brushes soften in hot weather or after a lot of use with latex paint. Brushes can lose the ability to create a smooth, precise finish. Polyester brushes have a lower paint pick up which means you will need to reload your brush more often. Paint with fast-drying ingredients (the majority on the market right now) will stick to polyester making them harder to clean.
The one way a student can judge such materials - after they have been taught all that can be imparted to them regarding their slection, requirements, characteristics etc. of their tools - is to be allowed to work with them. Possibly some of the lack of interest in this subject is due to an overreliance on the truism that no amount of opulance in materials will made a good artistic painter, and that a good artistic painter can turn out surprisingly good things under adverse conditions.
Below are artworks featured in Hoisier Lane, Melbourne Australia.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer, (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
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