The first acrylic paint was magna paint which was generated by Leonard Bocour and Sam Golden in the year 1947. This paint was ultimately reformulated in 1960 and is the basis of all the acrylic paints and acrylic painting techniques. Acrylic paints are fast drying paints, that are primarily made up of acrylic polymer emulsion and have pigments suspended within the emulsion. The specialty of these paints is that they get reduced with the help of water, but once they dry they turn waterproof. This characteristic of the paint has been significantly used in many different abstract acrylic painting techniques. Another well-known feature of these paints is that they dry up very quickly.
Acrylic Painting Tips and Techniques
Painters and artisans are almost never out of ideas, when it appears to acrylic painting techniques.
Preventing the Paint from drying
The quick drying of the acrylic paint is often believed to be a drawback of these paints. These paints also dry faster than the normal oil paints, when utilized on a canvas surface. The technique to prevent the acrylic paint from drying at a quicker rate is spraying it lightly with water. This keeps the upper surface of the paint moist and you can easily alter parts of this surface. Some artisans also use pallets that preserve moisture. In cases where such pallets are not available, sheets of grease-proof paper or wet color paper can also be applied.
Creation of Fluid Paints
Diluted types of acrylic paints can be easily used for glazing and washes, which have a more fluid texture. Water and paint can be used in proportion to create suitable fluid textures. The mixture of paint and water is generally known as a 'glaze'. The proportion of water and acrylic paint can be changed to create different textures. Some of the prominent textures are opaque glaze and the translucent glaze.
Depth
Painting glazes are other very generally used acrylic painting techniques, where the glaze is made by diluting acrylic paint with the help of water. This mixture of water and paint is used to add a depth to the painting. The 'debt' is achieved in the painting by making a translucent glaze that can be painted over the main subject of the painting, which gives a 3 dimensional form to the painting.
Pour Painting
Pour painting is one of the most creative of all the acyclic painting techniques. The paint is initially diluted with water. The mixture of paint and water is then artistically discharged over the canvas. In some paintings this method is used to give passive finishing touches to the painting, where the subject of the painting has already been finished. Some very skilled painters have used pour painting as a medium of painting, instead of using pour paint to provide the finishing touches.
Wednesday, April 28, 2010
Thursday, April 22, 2010
Islamic art
The term Islamic art not only explains the art created specifically in the service of the Muslim faith (for example, a mosque and its furnishings) but also characterizes the art and architecture historically produced in the lands ruled by Muslims, produced for Muslim patrons, or created by Muslim artists. As it is not only a religion but a way of life, Islam fostered the development of a distinctive culture with its own unique artistic language that is replicated in art and architecture throughout the Muslim world.
The lands newly occupied by the Muslims had their own preexisting artistic traditions and, initially at least, those artists who had worked under Byzantine or Sasanian patronage continued to work in their own indigenous styles but for Muslim patrons. The first examples of Islamic art therefore rely on earlier techniques, styles, and forms reflecting this combining of classical and Iranian decorative themes and motifs. Even religious monuments raised under Umayyad patronage that have a clearly Islamic function and meaning, such as the Dome of the Rock in Jerusalem, demonstrate this amalgam of Greco-Roman, Byzantine, and Sasanian elements.
Only steadily, under the impact of the Muslim faith and nascent Islamic state, did a uniquely Islamic art emerge. The rule of the Umayyad caliphate (661–750) is frequently considered to be the formative period in Islamic art. One method of classifying Islamic art, used in the Islamic galleries at the Metropolitan Museum, is according to the dynasty reigning when the work of art was formed. This type of periodization follows the general precepts of Islamic history, which is separated into and punctuated by the rule of various dynasties, beginning with the Umayyad and cAbbasid dynasties that governed a vast and unified Islamic state, and concluding with the more regional, though powerful, dynasties such as the Safavids, Ottomans, and Mughals.
With its geographic spread and long history, Islamic art was inevitably focus to a wide range of regional and even national styles and influences as well as changes within the various periods of its development. It is all the more remarkable then that, even under these circumstances, Islamic art has always maintained its intrinsic quality and unique identity. Just as the religion of Islam embodies a way of life and provides as a cohesive force among ethnically and culturally diverse peoples, the art produced by and for Muslim societies has basic identifying and unifying characteristics. Perhaps the most significant of these is the predilection for all-over surface decoration. The four basic elements of Islamic ornament are calligraphy, vegetal patterns, geometric patterns, and figural representation.
The lands newly occupied by the Muslims had their own preexisting artistic traditions and, initially at least, those artists who had worked under Byzantine or Sasanian patronage continued to work in their own indigenous styles but for Muslim patrons. The first examples of Islamic art therefore rely on earlier techniques, styles, and forms reflecting this combining of classical and Iranian decorative themes and motifs. Even religious monuments raised under Umayyad patronage that have a clearly Islamic function and meaning, such as the Dome of the Rock in Jerusalem, demonstrate this amalgam of Greco-Roman, Byzantine, and Sasanian elements.
Only steadily, under the impact of the Muslim faith and nascent Islamic state, did a uniquely Islamic art emerge. The rule of the Umayyad caliphate (661–750) is frequently considered to be the formative period in Islamic art. One method of classifying Islamic art, used in the Islamic galleries at the Metropolitan Museum, is according to the dynasty reigning when the work of art was formed. This type of periodization follows the general precepts of Islamic history, which is separated into and punctuated by the rule of various dynasties, beginning with the Umayyad and cAbbasid dynasties that governed a vast and unified Islamic state, and concluding with the more regional, though powerful, dynasties such as the Safavids, Ottomans, and Mughals.
With its geographic spread and long history, Islamic art was inevitably focus to a wide range of regional and even national styles and influences as well as changes within the various periods of its development. It is all the more remarkable then that, even under these circumstances, Islamic art has always maintained its intrinsic quality and unique identity. Just as the religion of Islam embodies a way of life and provides as a cohesive force among ethnically and culturally diverse peoples, the art produced by and for Muslim societies has basic identifying and unifying characteristics. Perhaps the most significant of these is the predilection for all-over surface decoration. The four basic elements of Islamic ornament are calligraphy, vegetal patterns, geometric patterns, and figural representation.
Saturday, April 17, 2010
Oil Painting
Oil paints are extremely adaptable. They can be used densely in impasto or extremely thinly in glazes; they can be opaque or transparent. Here are a few tips to help you obtain the most from your oils.
Tip 1:
Always put your oil paints out on your palette in the same categorize so that, with time, you'll be able to pick up a bit of a color instinctively.
Tip 2:
The proportion of oil (medium) should be increased for each succeeding layer in an oil painting – known as painting 'fat over lean' – because the lower layers absorb oil from the layers on top of them. If the upper layers dry quicker than the lower ones, they can crack.
Tip 3:
Avoid using Ivory Black for an under painting or sketching as it dries a lot slower than other oil paints.
Tip 4:
Pigments including lead, cobalt, and manganese accelerate drying। They can be mixed with other colours to speed up drying and are ideal for under layers. (Student-quality paints usually contain cheaper alternatives to these pigments, generally labeled hues.
Tip 5:
Use linseed oil for an under painting or in the bottom layers of any oil painting done wet-on-dry as it dries the most methodically of all the oils used as mediums.
Tip 6:
Avoid using linseed oil as a medium in whites and blues as it has a noticeable tendency to yellow, which is most notable with light colours. Poppy oil is recommended for light colours as it has the slightest tendency to yellow (although it does dry slower).
Tip 7:
Don't dry the oil paintings in the dark। This may cause a thin film of oil to increase to the surface, yellowing it. (This can be removed by exposure to bright daylight.
Tip 8:
If, the same as the paint on your palette dries it forms a lot of wrinkles, too much oil (medium) has been added.
Tip 9:
If you're not sure whether a bottle of mineral or white spirits is suitable for oil painting, put a small quantity on a piece of paper and let it evaporate. If it evaporates without leaving any residue, stain, or smell, it should be well.
Tip 10:
If you want to clean away a layer of oil paint or oil varnish, use alcohol, which is a great solvent.
Tip 1:
Always put your oil paints out on your palette in the same categorize so that, with time, you'll be able to pick up a bit of a color instinctively.
Tip 2:
The proportion of oil (medium) should be increased for each succeeding layer in an oil painting – known as painting 'fat over lean' – because the lower layers absorb oil from the layers on top of them. If the upper layers dry quicker than the lower ones, they can crack.
Tip 3:
Avoid using Ivory Black for an under painting or sketching as it dries a lot slower than other oil paints.
Tip 4:
Pigments including lead, cobalt, and manganese accelerate drying। They can be mixed with other colours to speed up drying and are ideal for under layers. (Student-quality paints usually contain cheaper alternatives to these pigments, generally labeled hues.
Tip 5:
Use linseed oil for an under painting or in the bottom layers of any oil painting done wet-on-dry as it dries the most methodically of all the oils used as mediums.
Tip 6:
Avoid using linseed oil as a medium in whites and blues as it has a noticeable tendency to yellow, which is most notable with light colours. Poppy oil is recommended for light colours as it has the slightest tendency to yellow (although it does dry slower).
Tip 7:
Don't dry the oil paintings in the dark। This may cause a thin film of oil to increase to the surface, yellowing it. (This can be removed by exposure to bright daylight.
Tip 8:
If, the same as the paint on your palette dries it forms a lot of wrinkles, too much oil (medium) has been added.
Tip 9:
If you're not sure whether a bottle of mineral or white spirits is suitable for oil painting, put a small quantity on a piece of paper and let it evaporate. If it evaporates without leaving any residue, stain, or smell, it should be well.
Tip 10:
If you want to clean away a layer of oil paint or oil varnish, use alcohol, which is a great solvent.
Thursday, April 15, 2010
How to Fix Mistakes and Remove Errors in a Watercolor Painting
- Make a decision whether it really is a mistake or whether it adds an unexpected quality to the painting. Consider letting the painting go in its own direction rather than forcing your preconceived thoughts on it.
- If you do want to get rid of something, and you've only just put down the paint, try stimulating it out with a piece of paper towel, absorbent cloth or sponge. Don't rub or press tough as you'll push the paint into the paper. Rather, strike very gently, using the paper towel's ability to absorb liquid (paint). A dry brush will also work -- clean it on a cloth to remove the moisture in it, then put the very tip onto the wet paint; the brush hairs will absorb the paint.
- If the paint has begun to dry, leave it to dry completely. This may appear a counter-intuitive, but by leaving it to dry the paint will be on the surface of the paper and painting. Then take a clean, slightly damp brush (not one that's very wet) and gently brush on the area you want to remove, functioning into an adjacent bit of the painting, then use paper towel to lift the paint.
- If the paint doesn't come off in one go, don't scrub with the brush on the paper as you're possible to damage it. Quite, leave the watercolor to dry and then repeat the process.
- If you believe the whole painting is a disaster but don't want to waste the sheet of paper, submerge it in a bowl of clean water to soak out as much paint as possible. Enlarge the piece of paper again. It'll probably keep a shadow of your previous painting, so it'll be better suited to a dark or colorful scene than a light, bright one.
Wednesday, October 14, 2009
Buying Fine Art Oil Reproductions
By Scott Miscall
Have you ever wanted to own an original artistic masterpiece, such as the Mona Lisa by Da Vinci, Starry Night by Van Gogh, or a Madonna by Raphael? As an art collector, or simply as an admirer, you probably know that most of those pieces are already spoken for at a variety of museums across the world. However, what if I told you that it would be possible to have an exact copy that you wouldn't have to pay top dollar for?
If it sounds too good to be true, then keep reading, because it isn't! The truth is that rather than going to the museum and trying to negotiate with a curator, you can purchase a legitimate art reproduction from a reproduction studio. Believe it or not, there is actually a huge market for this type of art reproduction, which means there are a handful of artists that work faithfully to create original reproductions that are affordable.
I know what you are thinking though, art reproduction like this must be printed by a machine, right? Nope! Actually, artists paint these reproductions by hand, which means you can choose from a library of over one hundred reproductions, or you can get a custom quote for a painting of your choice. Generally, these can be created for you for less than one hundred dollars!
I'm a huge fan of the Renaissance period, which means I can have my choice of dozens of the world's most famous paintings. However, if you prefer something more modern, then you can choose from any style of your choosing. Just imagine getting your own Andy Warhol reproduction to show off in your home.
This is also perfect for those of you that consider yourself art collectors. Aside from your astute friends, no one has to know that they aren't original works. Most pieces of art reproduction are exact duplicates of the original, which means that you might as well have the real thing.
It doesn't matter if you like Picasso, Rembrandt, Van Gogh, Dali, or Monet. You can get your own custom reproduction, framed how you prefer, and delivered straight to your door. Use these fine pieces to create become the curator of your own art museum. Art reproduction is completely legal and can save you thousands, if not hundreds of thousands of dollars.
The best part is that you don't have to leave your own home to get your own oil painting. You can buy each and every one of the oil paintings online without ever having to leave your home. You can get your collection started within minutes, which sure beats struggling through an art show or fighting crowds at a local art store. For less than one hundred dollars, you can own a masterpiece. Looking through some of these catalogues, I've got a list of dozens of paintings I can't wait to purchase for my home and office. Check it out for yourself and see what you think. There is something for everyone!
Article Source: http://EzineArticles.com/
Have you ever wanted to own an original artistic masterpiece, such as the Mona Lisa by Da Vinci, Starry Night by Van Gogh, or a Madonna by Raphael? As an art collector, or simply as an admirer, you probably know that most of those pieces are already spoken for at a variety of museums across the world. However, what if I told you that it would be possible to have an exact copy that you wouldn't have to pay top dollar for?
If it sounds too good to be true, then keep reading, because it isn't! The truth is that rather than going to the museum and trying to negotiate with a curator, you can purchase a legitimate art reproduction from a reproduction studio. Believe it or not, there is actually a huge market for this type of art reproduction, which means there are a handful of artists that work faithfully to create original reproductions that are affordable.
I know what you are thinking though, art reproduction like this must be printed by a machine, right? Nope! Actually, artists paint these reproductions by hand, which means you can choose from a library of over one hundred reproductions, or you can get a custom quote for a painting of your choice. Generally, these can be created for you for less than one hundred dollars!
I'm a huge fan of the Renaissance period, which means I can have my choice of dozens of the world's most famous paintings. However, if you prefer something more modern, then you can choose from any style of your choosing. Just imagine getting your own Andy Warhol reproduction to show off in your home.
This is also perfect for those of you that consider yourself art collectors. Aside from your astute friends, no one has to know that they aren't original works. Most pieces of art reproduction are exact duplicates of the original, which means that you might as well have the real thing.
It doesn't matter if you like Picasso, Rembrandt, Van Gogh, Dali, or Monet. You can get your own custom reproduction, framed how you prefer, and delivered straight to your door. Use these fine pieces to create become the curator of your own art museum. Art reproduction is completely legal and can save you thousands, if not hundreds of thousands of dollars.
The best part is that you don't have to leave your own home to get your own oil painting. You can buy each and every one of the oil paintings online without ever having to leave your home. You can get your collection started within minutes, which sure beats struggling through an art show or fighting crowds at a local art store. For less than one hundred dollars, you can own a masterpiece. Looking through some of these catalogues, I've got a list of dozens of paintings I can't wait to purchase for my home and office. Check it out for yourself and see what you think. There is something for everyone!
Article Source: http://EzineArticles.com/
Friday, September 4, 2009
Technique of Watercolor Painting
By John Blenkin
Plan or not to Plan? The outcome of the painting will be vitally affected by the decision to either plan the work or starting head down without any idea how the painting will finish.
It is not a matter of preference but of personality. To a great extent the subject will decide the issue. A painting of a building – a design – a specific place - a record painting – a commissioned painting – will usually lead the painter into an approach where pre-planning naturally results.
In this type of work pre-planning will reduce errors and the target idea will more likely to be realized. Any measured work - enlarging - portraiture – anything technical – animal bird or plant illustrations – are usually best planned beforehand. Professional work to deadline is a pre-planning must.
In general where the subject of the painting has to conform to the requirements or standards of others or to a specified known standard for a fee by a certain date it is best to pre-plan.
In this context the painter will no doubt feel less creative but the painter must have the technique and professional approach to match demands.
This is especially true for the watercolor painter as reduced errors means fewer destructive demands on the paper ground and less repainting over previously washed out work. Please note that a professional buyer will approve the work by viewing it as it were dead – without glass - mount and frame.
Overpainting dulls the light reflecting back through the pigment. Without overpainting the work looks fresher and the craft of it looks easier and under greater control in your hands as a result to the painter’s credit.
Article Source: EzineArticles.com
Plan or not to Plan? The outcome of the painting will be vitally affected by the decision to either plan the work or starting head down without any idea how the painting will finish.
It is not a matter of preference but of personality. To a great extent the subject will decide the issue. A painting of a building – a design – a specific place - a record painting – a commissioned painting – will usually lead the painter into an approach where pre-planning naturally results.
In this type of work pre-planning will reduce errors and the target idea will more likely to be realized. Any measured work - enlarging - portraiture – anything technical – animal bird or plant illustrations – are usually best planned beforehand. Professional work to deadline is a pre-planning must.
In general where the subject of the painting has to conform to the requirements or standards of others or to a specified known standard for a fee by a certain date it is best to pre-plan.
In this context the painter will no doubt feel less creative but the painter must have the technique and professional approach to match demands.
This is especially true for the watercolor painter as reduced errors means fewer destructive demands on the paper ground and less repainting over previously washed out work. Please note that a professional buyer will approve the work by viewing it as it were dead – without glass - mount and frame.
Overpainting dulls the light reflecting back through the pigment. Without overpainting the work looks fresher and the craft of it looks easier and under greater control in your hands as a result to the painter’s credit.
Article Source: EzineArticles.com
Thursday, August 27, 2009
How to Create a Reverse Painting on Glass
By Mayanne Mackay
Introduction:
Glass is a non-absorbent painting support which does not allow paint to easily adhere to it - apart from through the paint's own drying process.
For this reason the outlines of a subject painted on glass need to be simplified when applied to an extremely smooth glass surface. Simplifying a subject does not necessarily detract from the end result after the painting is completed and the final result can often have an appearance similar to that of naive art in relation to composition and form and a certain number of other details. Many artists may find that such simplification can actually be very appealing.
Working the paint or changing outlines without smudging the surrounding areas of undried paint may require some concentration in the beginning, as well as a certain amount of skill, but with patience and the development of their skills using this painting technique, artists will find that applying and mastering the use of glass as a support will become easier as time progresses.
MATERIALS REQUIRED FOR PAINTING ON GLASS
Glass
Choose clear unflawed glass (or plexiglass) in the shape and size you wish to use. In order to begin mastering the technique of reverse painting it is advised to choose smaller sizes to begin with.
Paints
It is important to use a paint that will adhere properly to the surface of the glass. Oil based paints or acrylics are often used for this reason.There are also opaque and transparent ceramic artist colours that have been especially manufactured for using on a non-absorbent surface. Metallic colours (eg. gold, silver or copper) can also be interesting to work with. There are an increasing number of new art products available today that may be suitable for painting on a non-absorbent surface such as glass.
Paintbrushes
To begin choose a selection of small or medium-sized paintbrushes with fine, flat and pointed tips. Larger brushes can be used for working on a larger scale. Artists can also use less conventional tools for applying paint if they wish, depending on the effects obtained through experimentation that may interest them.
A penholder
Used for outlines (if required) and finer details. It can be an advantage to use interchangeable nibs suitable for creating both thick and thin outlines.
Ink for creating outlines on glass
The inks used need to be suitable for applying to a non-absorbent surface such as glass. As an alternative paint can also be thinned down into a more liquid form and used for creating outlines in which case attention must be given to to creating the right mixture of fluidity and thickness.
A painting palette or something similar to mix your paint on.
A palette knife -(optional) for mixing paint.
Artists paint cleaner or thinner - used for cleaning or sometimes for thinning, and depending on whether oil based or water-based paints are used.
A paint-drying agent - (optional) For mixing with paints to help speed up the drying process
Paper towelling or some clean rags
A mirror - (optional) can be used to check the progress of your painting while you are continuing to work. Place the mirror in a position where it will reflect your artwork from its viewing side.
Cellotape - or a similar average-width sticking tape
An easel - (optional) to prop your work on
A glass-cleaning product
PREPARING THE GLASS
Choose a piece of clear glass in the dimensions you would like to work with and check carefully to make sure the glass is neither scratched nor flawed. It is worthwhile remembering that a flaw in the glass itself will often detract from the finished appearance of a painting and may be impossible to remove after the completion of your artwork.
The sheet of glass that is to become your artwork constitutes the following:
(1) The 'painting side' - which is the side you will be painting on.
(2) The 'viewing side' - which is the side you will be looking at (or through) as you progress with your work and after it has been completed.
To render the cutting edges of the glass safe take a length of cellotape that will correspond to the length of one edge. Apply it carefully along that length (ideally so that it is folded equally over each side of the glass).
Repeat this procedure for the other 3 glass edges. The edge of the cellotape will also help mark the outer limits of your artwork.
Clean the surface of the glass thoroughly with a glass-cleaning product. Use paper towelling or any cleaning material that will not leave dust or threads on your painting surface.
Store the glass where it will be safe. If placed between sheets of newspaper it will be protected from scratches and dust.
CREATING OUTLINES
Art products in liquid form that are suitable for creating outlines on glass may be readily available in some countries. Oil-based paint,water-based acrylic and ceramic paint can also be used for this purpose.In order to create fine lines these paints must sometimes be thinned down in order to use with a pen nib or similar line-drawing tool.
To prevent lines from being effaced too easily you can use a paint that is oil based for creating the outlines of your subject if the paint you will be applying over the top of it (after it has properly dried) is water based. Reverse this procedure if your outlines are created with a water-based paint.
Always use a liquid paint product that will provide the best adhesion possible to a glass surface.
Due to pen nibs clogging relatively easily, attention must be paid to cleaning the nibs regularly.
OUTLINE METHODS
Method 1.
If you have a steady hand you can use a freehand method for applying outlines directly onto the surface of the glass.
Method 2.
Use an original subject for your painting (e.g. a drawing) and place this under the glass then copy it onto the glass surface.
Method 3.
Place a layer of carbon-paper on top of the glass then place your drawing on top of the carbon paper and with a pointed object trace the subject onto the glass. Be careful not to damage your original image (the image being copied) when using a pointed object.
Method 4.
A tracing table can be used for creating outlines. This is a table with a sheet of clear glass inserted into the top and with an electric light source situated beneath it. For those who frequently need to trace their work a tracing table can be very practical and useful.
Method 5.
You can omit outlines altogether.
APPLYING THE PAINT
Most artists have a preference for how to work when creating an artwork. Once it has been decided whether to work on a table or use a table-easel or a standing easel, it will be necessary to view the artwork regularly from its observation side in order to see its progress.
Some artists simply take the glass in their hands and turn it around to look at it directly from the observation side. Others prefer to use a mirror placed directly opposite their working area so that they can observe their progress while they paint.
Mixing and blending
If you are blending colours always do so on a palette or similar flat object before applying them to the glass. If colours are not well blended or mixed the result will be a streaky appearance in the paint on the observation side of the glass.
Avoiding smudges
When creating a reverse painting on glass it is important to watch out for smudges or particles of dirt or dust that may accidentally be transferred onto unpainted areas of your artwork as you are progressing. Unless removed these may appear as flaws that will show when viewing the artwork from its observation side. If they are also inadvertently covered with a layer of paint removing them afterwards may become very messy and difficult. When lifting off any smudges always be careful not to damage outlines or other areas of paint you have already applied.
Applying the paint
Once the outlines of your subject have thoroughly dried you can begin to apply paint to fill in the remainder of your artwork. Begin with the smallest and most detailed or intricate areas first e.g. eyes, faces, small figures or objects etc - and always keep in mind that your artwork will be observed from the opposite side to the one your painting on and that you are painting in reverse and that therefore foregrounds precede backgrounds.
When applying the reverse painting method it is a good policy to reflect carefully on the sequence in which your painting will develop before beginning to apply your paint. This will create a methodical attitude that is essential for this particularly interesting but also intricate painting technique.
Wishing you many pleasant hours of reverse painting!
Article Source: http://EzineArticles.com/?expert=Mayanne_Mackay http://EzineArticles.com/?How-to-Create-a-Reverse-Painting-on-Glass&id=47381
Introduction:
Glass is a non-absorbent painting support which does not allow paint to easily adhere to it - apart from through the paint's own drying process.
For this reason the outlines of a subject painted on glass need to be simplified when applied to an extremely smooth glass surface. Simplifying a subject does not necessarily detract from the end result after the painting is completed and the final result can often have an appearance similar to that of naive art in relation to composition and form and a certain number of other details. Many artists may find that such simplification can actually be very appealing.
Working the paint or changing outlines without smudging the surrounding areas of undried paint may require some concentration in the beginning, as well as a certain amount of skill, but with patience and the development of their skills using this painting technique, artists will find that applying and mastering the use of glass as a support will become easier as time progresses.
MATERIALS REQUIRED FOR PAINTING ON GLASS
Glass
Choose clear unflawed glass (or plexiglass) in the shape and size you wish to use. In order to begin mastering the technique of reverse painting it is advised to choose smaller sizes to begin with.
Paints
It is important to use a paint that will adhere properly to the surface of the glass. Oil based paints or acrylics are often used for this reason.There are also opaque and transparent ceramic artist colours that have been especially manufactured for using on a non-absorbent surface. Metallic colours (eg. gold, silver or copper) can also be interesting to work with. There are an increasing number of new art products available today that may be suitable for painting on a non-absorbent surface such as glass.
Paintbrushes
To begin choose a selection of small or medium-sized paintbrushes with fine, flat and pointed tips. Larger brushes can be used for working on a larger scale. Artists can also use less conventional tools for applying paint if they wish, depending on the effects obtained through experimentation that may interest them.
A penholder
Used for outlines (if required) and finer details. It can be an advantage to use interchangeable nibs suitable for creating both thick and thin outlines.
Ink for creating outlines on glass
The inks used need to be suitable for applying to a non-absorbent surface such as glass. As an alternative paint can also be thinned down into a more liquid form and used for creating outlines in which case attention must be given to to creating the right mixture of fluidity and thickness.
A painting palette or something similar to mix your paint on.
A palette knife -(optional) for mixing paint.
Artists paint cleaner or thinner - used for cleaning or sometimes for thinning, and depending on whether oil based or water-based paints are used.
A paint-drying agent - (optional) For mixing with paints to help speed up the drying process
Paper towelling or some clean rags
A mirror - (optional) can be used to check the progress of your painting while you are continuing to work. Place the mirror in a position where it will reflect your artwork from its viewing side.
Cellotape - or a similar average-width sticking tape
An easel - (optional) to prop your work on
A glass-cleaning product
PREPARING THE GLASS
Choose a piece of clear glass in the dimensions you would like to work with and check carefully to make sure the glass is neither scratched nor flawed. It is worthwhile remembering that a flaw in the glass itself will often detract from the finished appearance of a painting and may be impossible to remove after the completion of your artwork.
The sheet of glass that is to become your artwork constitutes the following:
(1) The 'painting side' - which is the side you will be painting on.
(2) The 'viewing side' - which is the side you will be looking at (or through) as you progress with your work and after it has been completed.
To render the cutting edges of the glass safe take a length of cellotape that will correspond to the length of one edge. Apply it carefully along that length (ideally so that it is folded equally over each side of the glass).
Repeat this procedure for the other 3 glass edges. The edge of the cellotape will also help mark the outer limits of your artwork.
Clean the surface of the glass thoroughly with a glass-cleaning product. Use paper towelling or any cleaning material that will not leave dust or threads on your painting surface.
Store the glass where it will be safe. If placed between sheets of newspaper it will be protected from scratches and dust.
CREATING OUTLINES
Art products in liquid form that are suitable for creating outlines on glass may be readily available in some countries. Oil-based paint,water-based acrylic and ceramic paint can also be used for this purpose.In order to create fine lines these paints must sometimes be thinned down in order to use with a pen nib or similar line-drawing tool.
To prevent lines from being effaced too easily you can use a paint that is oil based for creating the outlines of your subject if the paint you will be applying over the top of it (after it has properly dried) is water based. Reverse this procedure if your outlines are created with a water-based paint.
Always use a liquid paint product that will provide the best adhesion possible to a glass surface.
Due to pen nibs clogging relatively easily, attention must be paid to cleaning the nibs regularly.
OUTLINE METHODS
Method 1.
If you have a steady hand you can use a freehand method for applying outlines directly onto the surface of the glass.
Method 2.
Use an original subject for your painting (e.g. a drawing) and place this under the glass then copy it onto the glass surface.
Method 3.
Place a layer of carbon-paper on top of the glass then place your drawing on top of the carbon paper and with a pointed object trace the subject onto the glass. Be careful not to damage your original image (the image being copied) when using a pointed object.
Method 4.
A tracing table can be used for creating outlines. This is a table with a sheet of clear glass inserted into the top and with an electric light source situated beneath it. For those who frequently need to trace their work a tracing table can be very practical and useful.
Method 5.
You can omit outlines altogether.
APPLYING THE PAINT
Most artists have a preference for how to work when creating an artwork. Once it has been decided whether to work on a table or use a table-easel or a standing easel, it will be necessary to view the artwork regularly from its observation side in order to see its progress.
Some artists simply take the glass in their hands and turn it around to look at it directly from the observation side. Others prefer to use a mirror placed directly opposite their working area so that they can observe their progress while they paint.
Mixing and blending
If you are blending colours always do so on a palette or similar flat object before applying them to the glass. If colours are not well blended or mixed the result will be a streaky appearance in the paint on the observation side of the glass.
Avoiding smudges
When creating a reverse painting on glass it is important to watch out for smudges or particles of dirt or dust that may accidentally be transferred onto unpainted areas of your artwork as you are progressing. Unless removed these may appear as flaws that will show when viewing the artwork from its observation side. If they are also inadvertently covered with a layer of paint removing them afterwards may become very messy and difficult. When lifting off any smudges always be careful not to damage outlines or other areas of paint you have already applied.
Applying the paint
Once the outlines of your subject have thoroughly dried you can begin to apply paint to fill in the remainder of your artwork. Begin with the smallest and most detailed or intricate areas first e.g. eyes, faces, small figures or objects etc - and always keep in mind that your artwork will be observed from the opposite side to the one your painting on and that you are painting in reverse and that therefore foregrounds precede backgrounds.
When applying the reverse painting method it is a good policy to reflect carefully on the sequence in which your painting will develop before beginning to apply your paint. This will create a methodical attitude that is essential for this particularly interesting but also intricate painting technique.
Wishing you many pleasant hours of reverse painting!
Article Source: http://EzineArticles.com/?expert=Mayanne_Mackay http://EzineArticles.com/?How-to-Create-a-Reverse-Painting-on-Glass&id=47381
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