Oil painting is a process of painting and color painting and in the center of greasing as a binder. Drying
oil is used with fatty oil, poppy seeds, walnut oil, and pure oil. Optional oil produces a lot of fat content,
such as yellow or drying levels. Differences, depending on the oil, also appear in colorful colors. An artist
can use different oils in the paintings according to the color and special effects. Colors themselves also
build a certain position in the middle. Oil can be boiled with resin, such as pine resin or perfumes, to
create varnish for body value and gloss.
Although the oil paint was first used for the painting of Buddhists and Indian and Chinese writers in
western Afghanistan sometimes between the fifth and tenth centuries, it did not get fame until the 15th
century. Its practice may have moved westward in the Middle Ages. Oil paint eventually became the
main center of the art used to create art as its most profitable benefits. The transition began with the
original paintings of North America in North America, and the length of the Renaissance oil paintings
was almost completely adjusted to the use of temporarily in Europe.
In recent years, the color of miscible oil has become popular and, in some cases, has replaced traditional
oil. Soluble color contains an emulsifier that allows it to be thin and water rather than thin, and allows
drying times (1-3 days) compared with traditional oils (1-3 weeks).
Traditional traditional painting techniques often begin with a sketching artist lesson on a canvas and
charcoal or thin color. An oil coin is mixed with oil oils, gold artists, or other sores that make thin,
flammable or drying. (Because these solvents reduce fat in color, it can also be used for cleaning buses.)
The basic rule of oil application is 'fat on lean'. This means that each layer of color should be more fat
than the layer below to allow the correct drying. If each extra layer has a little fat, the final painting will
succeed and look. This law does not guarantee permanence; is the quality and the leading oil type in a
colorful and solid film. There are many media that can be used with oils, including cold wax, resins, and
varnishes. These additional media can help a painter in adjusting color, color, density, or 'body' color,
with the color capability to hold or hide the brushstroke. These color issues relate to the ability to
explain the color of the oil.
Usually, the color was transferred to the painting surface using colorful colors, but there is another way,
including the use of palette knives and scales. Oil color remains more rainy than many other types of
artists, and enables artist to change color, texture or statistical form. At times, the painter can even
remove the entire layer of color and resume it. This can be done with rag and some turpentin at a time
when the color is wet, but later the hard layer should be scraped. Oil painting resides with oxygen, not
evaporation, and is dry by touching within two weeks (some dry days within the day). Generally dried
enough to be varnished in six months to a year.
While the history of tempera (pigment mixed with egg whites or egg yolks, then painted on a plastered
section) and related media in Europe indicates that oil painting was discovered there independently,
there is evidence that oil painting was used earlier in Afghanistan. Outdoor surfaces and surfaces like
shields-both those used in tournaments and those hung as decorations-were more durable when
painted in oil-based media than when painted in the traditional tempera paints.
Most sources of Renaissance, especially Vasari, say that the 15th-century European writers, Jan van
Eyck, and "discoveries" of painting and oil vessels in the wooden panel ("help" are a technical word and
basic support for painting). However, Theophilus (Roger of Helmarshausen?) Gives clear directions to oil
painting in his emphasis, In various Art, written in 1125. At this time, perhaps it is used for painting,
wooden timber, perhaps exactly out. However, the early painting of the Nederlands in the 15th century
was the first to paint the painting of the painting, and to explore the use of layers and glazes, followed
by other Northern Europeans, and then Italian only.
The early works were still of wooden colors, but near the end of the 15th century it became more
popular as aid, because it was affordable, easy to transport, allowed to work, and did not require the
original gesso layer (fine plaster type) ). (This style was known as fresco painting: using gesso, then paint
painting on the tempera) Venice, where the shipwreck was easily accessible, was the leader in the
argument. The cabinet's small pieces were also made of metal, especially copper plates. This support
was more expensive but very stable, allowing very good detail. Often the typography from the printing
was used for this purpose. The popularity of oil spreads through Italy from the north, starting in Venice
at the end of the 15th century. In 1540, the original painting of the panel (tempera) was lost, although
Italy continued to use fresco of sketch for wall painting, which did not have poor and permanent success
in the northern climate.
The linseed oil itself comes from the flax seed, a common fiber crop. Linen, a "support" for oil
painting (see relevant section), also comes from the flax plant. Safflower oil or
the walnut or poppyseed oil are sometimes used in formulating lighter colors like white because
they "yellow" less on drying than linseed oil, but they have the slight drawback of drying more
slowly and may not provide the strongest paint film. Linseed oil tends to dry yellow and can
change the hue of the color.
Recent developments in chemistry have produced modern-day miscible oil that can be used and
cleansed with water. Minimal changes in molecular fat structure build this liquid miscible properties.
The new type of color, fat oil (which is actually thermoplastic) remains liquid to heat up to 265-280 ° F
(130-138 ° C) for 15 minutes. Since the color is otherwise unfit, cleaning is not appropriate (except when
someone wants to use different colors and same brush). Although not true oil (medium is unknown
"non-oily liquid oil, inserted by a healing agent"), painting made by this color is similar to oil paintings
and is displayed as well.
Supports for oil painting
Traditional tovas of artists is produced in linen, but the low cost cotton fabric has gained popularity. The
first artist designs a wooden frame called "player" or "strainer". The difference between the two names
is that suppliers are slightly reduced, while insects are powerful and do not have adjustable corner
holes. The pump is then removed from the wooden shape and is faced with or severely distributed to
the back edge. Then the artist uses "size" to distinguish the pump from the characteristics of colored
acidic. Usually, the coat was covered with a glue of animals (modern writers will use rabbit leather) as
size and adorned with white paint, sometimes with chalk added. The panels were made up of gesso, a
mixture of glue and chalk.
Modern Greek "gesso" is made up of titanium carbon and binder of acrylic. They are often used in a
bucket, where the actual gesso is not suitable for the ball. An artist can use several layers of gesso,
pouring every soft after drying. Acrylic gesso is difficult too sandy. One manufacturer makes the
"sandable" acrylic gesso, but it is intended for only panels and not pumpkin. It is possible to make a
gesso some color, but the gesso buying it is more white. The gesso layer, according to its thickness, will
appear to spray the oil on the porous surface. Most gesso or unplanned guns are sometimes seen in the
color of the color as a change that does not appear in color.
The size of oil painting was set in France in the 19th century. The standards were used by many artists,
not just French, as it was – and is still supported by major artists of artists. Size 0 (up to 0) toilet up to
120 sizes (120 toilet) is divided into different "differences" for data (statistics), landscapes and marines
(marine) which largely preserves diagonal. Thus the figure 0 corresponds to height and context 1 and 2
Although faces like linoleum, wooden panels, paper, slate, standardized wooden, masonite, and
cardboard have been done, the most prominent face since the 16th century has been a chance, though
most artists have used the panel through the 17th century and beyond. The panel is more expensive,
heavy, difficult to transport, and to deal with beatings or split in a bad condition. For full details,
however, the complete solid wooden panel has a good effect.
Oil paint is made by mixing the color of the color and the middle of the oil. Different colors are made, or
bought premixed, before painting starts, but more shades are obtained by combining a small amount
along with the drawing process. An artist's palette, a typical thin wooden board of wood, is used to
make and mix the colors of different colors. Pig can contain any number of natural or synthetic elements
and colors, such as sulphides for yellow or cobalt salts for blue. Traditional pigs were based on minerals
or plants, but many have been guaranteed for a long time; The appearance of many ancient ancient
images is very different from nature. Modern paint often uses connecting chemicals. Pig is mixed with
fat, usually mixed, but other fat can be used. Different oils explode differently, which build up the side
Traditionally, artists combined their colors from color-colored colors of color-colored colors that often
blend in and between. This made it possible to load and keep many activities of painting tied to the
studio. This was altered in the 1800s, while the oil-colored tubes were made available after American
American paint painter John Goffe Rand was founded in 1841 in the year of Claude Monet's birth. Artists
can combine colors quickly and easily, for the first time, for good air paintings (a common way in French
Brush is usually used by an artist to apply painting, often on a summary of their subject lesson (which
can be in the middle). Brushes are made from different fibers to affect different effects. For example,
the bridges made by a bristle hog can be used with worms and texas impasto. Cleaning the hair and
brush hair of the converter is good and smooth, so answer well to the image and work description. The
most expensive is red brush (weasel hair). The best brushes are called the "kolinsky box"; Brush fibers
are taken from the weasel tail of Siberia. This hair takes a high level, it has a soft care, and a good
memory (it returns to its original point when it is removed from the coat), known to artists as the "snap"
of the brush. Floppy feet without snap, such as squirrel hair, are usually not used by oil photographers.
Over the past few decades, many of the made-up buses have been made. These are very long and can
be very good, with good cost. Brushes come in many sizes and are used for different purposes. The type
of brush also makes a difference. For example, "round" is a brush used for deep work. Flat "brushes" are
used to use wide swaths of color. "Bright" is a flat brush and short brush hair. "Filbert" is a flat brush and
circular corners. "Egbert" is very long, with a smell, a filbert song. The artist can also use paint and
palette knife, which is a flat metal leaf. The palette knife can also be used to paint the paint from the
furnace when required. Items of different types, such as sticks, sponges, and cotton swabs, can be used
to apply or remove colors. Other artists paint with their fingers.
Most oil writers paint in the "glazes" column, the way also is called "direct painting". This was the first
perfect way to deal with egg paintings techniques, and was used by Flemish singers in North Europe and
low oil. Recently, this approach has been called "mixed method" or "mixed method". The first coat
(under the painting) is installed, often builds an egg color or a tetepentine color. This column helps to
"drop" a vacuum and cover the white gesso. Many artists use this column to overcome the composition.
This first layer can be adjusted before proceeding, the most profitable "drawing" method used in fresco
techniques. After this array, the artist can continue with colorful "mosaic" paintings, working from black
to lightweight. The edge of the color is combined when the "mosaic" is completed, and then left to dry
before using the information.
Artists in later periods of time, such as the inspiration period (late 19th century), often expanded the
rainfall, linking rain on the canvas without following the Renaissance era of setting and watching. This
method is also called "alla prima". This method was created due to the advent of the painting, rather
than the inside of the studio, because at the expense, the artist did not have time to allow each layer to
sprout before adding a new layer. Most modern artists use a combination of two techniques for
increasing the color of the rain (rain-on- the-rain) and getting a layer of layers through glazing.
When the picture is completed and it has dried up to a year, the artist often closes the work of a varnish
that is normally supplied from the dammar gum bruises in turpentine. Such varnishes can be removed
without disturbing oil paintings, to facilitate cleaning and storage. Other modern artists decide to do
their work, preferring unfolding face.