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| Paints |
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Colors from the Earth: Violet Hematite |
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Rublev Colours Violet Hematite is a deep reddish purple hue that tints toward subtle violets when mixed with white. |
2/18/2009 |
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History and Technique of Fresco Painting: Part 1 |
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This article provides a brief history on fresco painting and concise instruction to help the reader understand the process of fresco buono — painting with dry pigments on wet lime plaster. |
6/11/2004 |
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Color for the Artist |
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Our paintings reflect our love of color, and they contain an infinite variety of hues and shades, but this variety also condemns us to be forever vigilant to its appearance in different conditions. |
9/14/2004 |
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The Long and Short of Old Masters Paints |
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Painters interested in Old Master effects benefit from a good understanding of the differences between modern tube oil paints and the paints used by the Old Masters whose works they admire. |
9/26/2005 |
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About Drying Oils for Painting |
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One thing that has been overlooked is that all art materials companies (including mine) purchase oil from the same sources. For example, there are two major producers of linseed oil in North America |
5/21/2007 |
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Earth Colors and the Human Palette |
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Painters are not aware of the diversity in earth pigments. There are advantages of using earth colors in portrait painting and step-by-step presentation.
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5/21/2007 |
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Pigments from the Earth: Part 2 |
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The final stage of preparing earth pigments for use in painting is clearly demonstrated with step-by-step photographs |
6/9/2004 |
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Making Your Own Water-Based Paint |
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Step-by-step instructions show you how to grind and disperse pigments in water for use in paint. |
6/9/2004 |
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Do Natural Pigments Offer More to the Modern Painter? |
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Working with pigments from the natural world can provide the answers to secrets lost in the Medieval and Renaissance art. Here is a simple explanation on how pigment particle shapes and sizes can affect their chomacity. |
6/9/2004 |
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Why Some Paints are Transparent and Others Opaque |
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The hiding strength (opacity) of a paint is largely influenced by the relative refractive indices of the pigment and the medium. |
6/9/2004 |
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Tempera and Emulsion Recipes |
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Not all tempera painters strictly use egg yolk as the binder for their paint. Here are some of the most popular recipes consisting of egg, casein and gum tempera and emulsions made from each shared by Russian and Ukrainian icon painters. |
6/9/2004 |
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Review of Medieval Italian and Russian Tempera Painting |
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The technique followed by painters in medieval Western Europe for tempera paintings and that used by painters in Russia are closely allied. The differences in the process may provide insight into the technique of early Byzantine artists. |
6/9/2004 |
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