Wednesday
Thursday
Colour Wheel
Colour Wheel and Complimentary Colours
- "red and green
- blue and orange
- yellow and violet
The complement of each primary color (red, blue, or yellow) is roughly the color made by mixing the other two in a subtractive system:
- red complements (blue + yellow) = green
- blue complements (red + yellow) = orange
- yellow complements (red + blue) = violet
When two complements of opaque paint are mixed, they approximate black. For example, a little bit ofultramarine mixed with orange, produces a dark variation of black. Placed side by side as tiny dots, in partitive color mixing, they produce gray. As colored light projected on a white screen, in additive color mixing, they produce white.
The use of complementary colors is an important aspect of aesthetically pleasing art and graphic design. This also extends to other fields such as contrasting colors in logos and retail display. When placed next to each other, complements make each other appear brighter. On an artistic color wheel, complementary colors are placed opposite one another. "
- description source wikipedia
Online Light exposure calculator
Available light photography exposure calculator is an online guide to getting a correct exposure value when taking photographs using a manual camera. Whilst being online its never going to be accurate because light environments change so quickly. However it is useful to get an idea of what your camera could be set at if you dont have a light meter. There are plenty of settings to choose from. Here is the link - click here
Developing Black and White Photographic Film
Here is a link to Ilford's guide on how to develop Black and White film. Click Here. This is very useful if you are new to the process. It has diagrams and accurate measurements for times and chemicals (for the use of their particular products). So long as you have the basic equipment (tank, spiral, chemicals and an exposed film) you can process the film at home or in the photography department. Its easy once your used to it.
There are many videos on YouTube on how to develop a black and white film. The one below is an example of one of them. See the rest here. Once you have gone actually through the process of developing once it becomes at lot easier.
There are various black and white chemical developers and fixers. Each do the exact same job but may have slightly different developing times. Its probably useful to stick to one brand at first.
Enjoy your Photography.
Film Photography Basic Information
Film Speed
Each type of film has an ASA or speed, e.g. 100, 200, 400,
1600, 3200 etc
The higher the film speed, the lower light the film becomes.
i.e.; very bright conditions – 100 ASA Low light – 3200ASA.
However the grain increases as film speed increases.
35mm is the everyday film format for compact and SLR and is
also in disposable cameras.
120 is medium format.120 produces larger image sizes form 6
x 4.5 cms, 6 x 6 cms, 6 x 7 cms, 6 x 8 cms, 6 x 9 cms, depending on the brand
of camera.
Colour Negative Film
produces ‘negative’ images for printing large professional
prints to minilab style prints.
General purpose neg film e.g. Fuji superia
100/200/400/800/1600.
This is known as C41
process.
Transparency Film
produces ‘slide’ type images. Can also be printed but
produces poorer quality prints than neg film.
General purpose transparency film is Fuji Sensia 100/200/400
Professional transparency film e.g. Fuji Provia 100F/400F,
Fuji Velvia, Kodak EPP.
This is known as E6
process.
Black & white film
e.g. Ilford
FP4, HP5 traditional film technology (50 -70 years old)
Ilford Delta 100/400/3200 new technology, finer grain and sharper than traditional.
Fuji Neopan 400/1600 very similar to Ilford FP4/HP5
‘Pushing’ film
It is possible to increase the film rating on the camera
e.g. A 200 ASA film rated as a 400 has been pushed 1 stop. This is useful in
lower light conditions with bright light film. Camera function would indicate a
slower shutter speed to get enough light to produce a decent negative. Too slow
would produce ‘camera shake’ casing a blurry negative. By pushing the film you
allow shutter speed to increase so camera shake is not visible.
However Pushed films can typically have higher contrast and with colour films have a colour bias. They also have a higher granularity.
Photographic paper
For photographic prints form negatives, for use only in a
dark room.
Ilford multigrade paper is one of the best printing
papers. It has a full multigrade
range. (00 – 5) This means from any negative you can produce a very soft feel
(grade 00 – low contrast) to a very hard feel (5 – high contrast), by using
multigrade filters.
These effects can be combined in a print to produce strong
contrast whilst maintaining shadow detail, some expertise will be required to
do this. Other brands have an effective multigrade range of 0 – 3, and
therefore inferior.
RC - Resin coated paper
Is the most popular, this has the full multigrade range and
is much quicker to dry, whilst maintaining it’s flatness. This is in contrast
to FB - fibre-based.
Resin coated comes in three surfaces; gloss/pearl/satin.
Size varies, but for a contact sheet a page of film is laid
on multigrade paper and is exposed to even light through an enlarger, 9.5” x
12” is normal. RC papers are the only ones that can go through processing
machines.
FB – fibre based paper
Is for the experienced printer. This paper cannot be
processed in open trays. It dries unevenly and can curl up, may need to go
through a machine to flatten it. It does however produce a beautiful print with
a nice ‘heaviness’. There is more silver in these papers, hence producing a
richer image. This paper is available in matt or gloss. N.B. This paper cannot
be put through processing machines.
See Kodaks website and Ilfords website for further more technical information.
Paper Glossary
Quantities
1 quire = 25 sheets
1 ream = 500 sheets (480 sheets for acid free tissue) 1 millpack = The size of the pack as shipped from the mill (usually 100 sheets, but will vary according to the paper).
Paper Sizes
Paper Weight
Paper Surfaces
Glossary
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Painting Questions
Q.
Can I mix Oils and Acrylics? |
A. If by that you mean mix the two paints together,
the simple answer is No. You can however do an under-painting with Acrylics
and then paint oils over the top, this is useful if you wish to make a quick
start but not necessarily of archival quality unless an acrylic emulsion
gesso is used.
Why? Acrylics are water based, when you try to paint acrylic over oils, like water on a ducks back it slides off, but this isn't always apparent at first! |
Q.
Can I mix water based Oils with ordinary Oils? |
A. Yes you can. BUT if you mix water based with
traditional/ordinary oils, then you need to treat them all as ordinary oils,
especially when it comes to cleaning equipment.
The modified mediums used with water-based oils were designed for that purpose, and likewise the mediums for ordinary oils. |
Q.
Do I have to paint Oils on canvas? |
A. No you don't, you can use just about any surface for
Oils. The only recommendation is that it is suitably sealed and primed, and
has a 'key' or 'tooth' for the paint to adhere to, this is very
important.
You can successfully use solid supports like wood, hardboard, plywood, chipboard, tin, copper, brick, concrete, plasterboard, and pottery. Other supports include oil paper, watercolour paper, illustration board, linen, muslin, silk, polyester and museum board. Plenty to choose from! |
Q.
What's the difference between, a support, a size and a ground? |
A. The support is just that, the material that
supports the finished painting, a cave wall or a canvas.
The size, which is usually a form of weak glue, penetrates the surface of the support i.e. rabbit skin glue applied to raw canvas. A ground is a physical surface between the support and the paint, it gives a surface texture to paint on, often referred to as 'tooth'. The raw canvas is sized to give it internal protection and strength, a ground is then applied to prime and seal the canvas ready for painting. Why? The ground gives a uniform surface to paint on, without it, the oil paint would soak into the fabric which can cause all types of problems. Over time the acids in the atmosphere can attack all manner of things and even if the fabric of the canvas fell away, the painting could still be intact on it's ground. |
Q.
What is a wash? |
A. A wash is paint thinned with solvent only to a 'watery'
consistency, this is usually applied to colour the ground before painting.
|
Q.
What is a glaze? |
A. A glaze is a transparent film of colour. The colour is
thinned with solvent and painting medium until very liquid, this allows a
thin even coat to be applied, to the desired area over the dry painting. Good
for depth and colour.
|
Q.
What is scumble or scumbling? |
A. Very little paint is used on the brush for this
technique. The colour is often opaque, it is used very dry and is in effect
'scrubbed' on, as opposed to painted on to the canvas, good for misty effects
and high lights. Very similar to 'dry brush' in watercolour.
|
Q.
What's Impasto? |
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Q.
What is 'Gesso' ? |
A. The traditional Gesso is made from hide glue and chalk
or gypsum. It is applied to a solid surface and forms a hard, absorbent,
ground on which to paint. Gesso is also found in the woodworking industry,
where is known as Bole.
There are other Gesso's on the market today, these are
often Acrylic and Acrylic emulsion based, quick drying and can be used on a
flexible surface as well as a solid surface/ground. Acrylic emulsion gesso
is used for priming and is recommended for use with oils.
|
Q.
What is a siccative? |
A siccative is another name for
a drier, driers are added to some oil paint pigment to make it dry faster but
is usually found in oil mediums. Burnt Umber, which is by nature a fast
drying paint, (without added driers) when added to other colours causes them
to dry faster, it acts as a siccative.
|
Q.
What are Earth Colours? |
A. Earth colours were
originally made from natural ores of the earth, the main one being iron
oxide. Many manufactures now make synthetic iron oxide. The main earth
colours are Burnt and Raw Umber, Burnt and Raw Sienna, Yellow Ochre, Terre
Verte, (Green Earth) Caput Mortuum, Davys Grey, Venetian and Light Red, there
are others but the first five are the main ones people refer to.
The earth colours tend to be strong colours that have low chroma and low tinting strength, making them easy to handle. The 'Mars' range of colours tend to be made from synthetic iron oxides. |
Gouache Paint
What is Gouache?
Gouache is
an opaque watercolour paint. Whereas transparent watercolours allow you to see
the "white" of the paper below the paint, gouache can be applied in
solid colours. This allows an artist to paint in layers from dark to light.
Gouache dries to a matte finish, which makes it easy to scan
or reproduce electronically, since there is no glossy shine.
Renowned for its brilliance, opacity, and great tinting strength, Winsor & Newton Designer's Gouache is a finely ground, water based paint, well suited to illustration with pen, brush, or airbrush.
All Designer's Gouache colours are fully compatible with Winsor & Newton Artists' and Cotman watercolours.
Colours can be mixed with Finity Artists' Acrylic and Galeria Flow Formula Acrylics, however care should be taken because some gouache colours can react adversely with acrylics. Combinations should be tested on the palette paper prior to use in a painting.
For fine art painting, watercolour papers are recommended. For design and illustration, where work is intended for electronic scanning and reproduction, use illustration board or a hot press watercolour paper to get a flat finish that reproduces well.
Using Oil Bars
OIL BARS
Oil Bars are fundamentally different from oil pastels or oil
crayons due to their unique formulation. Each of the colours are produced by
combining artists' quality pigments with Linseed Oil, into which are blended
specially selected waxes.
Using Oil Bars
To start using the Oil Bar simply wipe away the thin surface
film which forms as the Oil Bar dries. The Oil Bar softens & flows as
pressure is applied. They may be applied directly to the canvas so that nothing
comes between artist and the surface to which it is applied.
This allows the artist to draw a continuous line of rich
colour to create traditional sketches or abstract images.
Painting Surface
The Oil Bar can be used on a variety of surfaces including
paper, canvas & board. The surface should be sized and primed in the same
way as for any oil-based product.
Compatibility
Oil Bars can be intermixed with traditional oil colours, oil
pastels etc whilst painting and can be used with all types of mediums
formulated for use with oil colours.
Drying Time
Subject to variation the oil colour will generally be touch
dry in 2 to 7 days. The outer film of the remaining Oil Bar will reform after 2
to 5 days.
The Difference between System 3 Original and Heavy Body
This video demonstrates the Difference between System 3 Original and Heavy Body.
Oil Paint Technique
OIL PAINTING TECHNIQUE
There are many different ways to paint but the two most
commonly used ones are, Traditional (indirect painting), a slow and
controlled method. Wet-on-wet (direct painting) with this method, the painting
is usually completed in one sitting, often referred to alla prima - at the
first.
The traditional method often uses tonal under-painting
as the basis of the picture, usually grey (grisaille) or brown (bistre)
in colour. The tonal values of the finished under-painting should be lighter in
tone than required in the finished work, because the application of the glazes
will lower the value. Often more complex in application, whereby transparent
and opaque layers of paint are applied in succession, opaque layers can also be
applied as a scumble. The transparent layers are usually applied as a glaze of
thin colour over the more opaque layers, the opaque layer being allowed to dry
before the glaze is applied. The final layer of paint can be painted directly
into the last glaze. Colours applied by this method usually bring a greater
luminosity to the finished work than can be achieved in the direct method.
Acrylic gesso can be used successfully for under-painting, especially if you
wish to make a quick start.
With the wet-on-wet method, the painting is
completed with, in effect, one layer of paint, which is usually opaque or
semi-opaque. There is a need to make definite decisions about the work, before
and as it progresses. All the elements of the painting have to be mentally
handled at the same time, with regard to tone, composition, shape, form and
colour, etc. Doing a sketch or drawing before starting the work can be
very helpful.
When working in the traditional way it is important to work
'Fat over Lean'. 'Fat' is paint straight from the tube or with linseed
oil added, this makes the paint more flexible when dry. 'Lean' is paint with no
added oil or thinned with solvent. The way it works is to start with paint that
has low oil content (lean), followed by paint with high oil content, then paint
with added linseed oil (fat). As a general rule of thumb, working from dark
colours to light colours helps to maintain this principal.
Whites
Vary considerably, and have different uses,
Painting whites are not usually
suitable for priming or under painting.
Cremnitz slow drying.
Flake white lacks opacity.
Titanium whitest and most opaque slow drier.
Zinc least opaque cold white for tints and
glazes.
The Fat over Lean Principle
First layer of paint thinned with solvent.
Next layers of paint have less solvent.
Next layers are tube paint - no solvent.
Next layers are tube paint with a little linseed oil.
Final layer is tube
paint with more linseed oil.
Mixing the Paint
You can mix paint on the palette, on the brush, with a knife
or on the canvas, each will give a different effect - try them all. The flat,
round bladed 'palette knife', is the best for mixing paint on the palette. Mix
small amounts of paint at first until you feel better able to judge quantities.
Dark colours will overpower light colours very quickly. It's
very easy to 'over mix' colours on the palette, this can lead to very flat,
dead looking paint. Something to be avoided!
When mixing colour on the brush, try not to use it like a palette knife, instead pick small amounts of the colour up with the brush, either by tapping the brush into the colour or pulling it through the paint.
It's easy to use a painting knife like a palette knife, but painting knives are engineered to give the correct edge for applying paint to the canvas. You can load one colour at a time or several on the blade edge. There are a variety of shapes and sizes of painting knives, recognised by their cranked handle.
Georgian Oil Colour
By Daler Rowney These oil colours offer artists high performance colours
at an economical and uniform price across all 57 colours in the range. Georgian
Oil Colours are produced to the same exacting standards as Artists' Oil Colour.
Georgian Oil Colours are carefully blended and tested to produce the most
brilliant colour, and match tint, and texture from batch to batch. All 57
colours have fine working qualities and a high degree of permanence.
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