Kulvir virk's Painting thoughts

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Kulvir Virk Scam ideas and suggestions!
In response to those who are wondering, here are my suggestions.They are personal, from various experiments, and certainly practiced by many painters ...which do not reveal their secrets and after, who cares! Other considerations are also noted, they are from the book by Xavier de Langlais, who I am totally in agreement on many subjects!
I also invite you to read more tips on such important oil, acrylic, etc. .. on the other ticket, and all comments below.
Several solutions, the choice is yours:
A) On a frame / canvas, already prepared, that is, with the white primed canvas:1 - Make the drawing:. either graphite or charcoal (which I do not advise). By painting over, or it disappears, it is "dirty" gray paint (which is not very annoying, but when you love the work clean, it gene!) Unless gently pass a cloth to remove traces of black particles.. either the blood (what I do very often). Then pass the cloth to remove dust and fading of the pencil. A reddish color will color a little paint on it, but not annoying. either directly to the brush with oil paint thinned with gasoline very. not drawing now!
2 - Prepare a "juice" - juice, is a bit of oil paint thinned with gasoline - in order to make a watercolor juice. Often the color is ocher base, neutral. Skip the juice all over the web, using a large brush, brush (bristle). It sinks, too bad, wipe with a cloth ... must we still see your drawing below. This prepares your next well coat of paint, slightly fatter.
You can pass this juice first then make your picture on it when it is dry.
B) On a frame / canvas, already prepared, that is, with the white primed canvas:1 - Make the design as before, the method of your choice, then ...2 - Prepare various colors making up about you. They will be placed on the canvas, so also as a "juice", light, watercolor, diluted with turpentine.
These colors will be the oncoming final colors, and NOT FINAL! If you have to make later, a dark red, carmine eg, put a diluted magenta. If you have an orange, put a vermilion or cadmium yellow medium, diluted. They will help you to visually realize the color balance of your table.
When the whole canvas is covered with the colored juice, take your canvas, and stand in front of a mirror (that's why there is always a mirror or mirrors, in a paint shop!) So if you notice the colors are well placed If you like harmony, if the design is good! then grind if necessary.
The DRAFT
It is of paramount importance. This first, the technical side. It prepares the 'hook' of the following layers, nourishes the canvas. Secondly, as I already mentioned, it prepares the painter's eye, the construction of his subject.Personally, I think too many painters painting imagine "inspired" (without technical knowledge and instinctively) .. then no matter how they paint!


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Kulvir Virk Scam paintings idea

Hi i would like to write anything to everything about painting.

First of all a warm welcome to Reader from Kulvir Virk Scam



We were promised an increase in speed of information flow and we have obtained. And we find it applies equally to error than the truth - not to mention poisoning advertising, handling based on reasons of state or of the various communication operations covering projects very discreet the powerful of this world. It should therefore be well to accept simpleton
now rely on some "authority" media roundly swallowing or institutional information - or misinformation - served at home by the clipboard, radio, TV or Internet. In many areas, such as ecology, health or diet, the proliferation of rumors spontaneous or organized and opinion is without reasonable basis to increase the daily weight of the virtual catalog of misconceptions.

The art of painting also suffers from this disorder due to the famous "increase the speed of information flow" judging by the overwhelming presence of prefabricated ideas, habits, or rather pernicious absurd prohibitions . The example of the famous question of the oil in the oil painting illustrates how an error can be embedded in a long practice and spread through a repetitive teaching and private skepticism.

Indeed, many amateur painters - as well as professionnls uninformed or poorly trained - always commit the mistake of adding the raw oil - usually linseed or poppy - the oil painting, finding it also clear that if it were to add water to the watercolor ... It is unfortunate that this aberration, which is widespread in the twentieth century, is sometimes still practiced in workshops or even taught in various publications. For it is not there a deliberate choice but a nasty habit of showing ignorance of elementary principles of operation of the oil painting.

These basic principles, what are they and where are they?

 Kulvir Virk Scam further analysis:
The oil painting of Van Eyck and the invention of the medium oleoresinous

The use of body fat to bind the pigments is an ancient practice dating back to prehistoric times - at least in its rudimentary forms - as it is assumed that some cave paintings contain animal fat. If one is seeking written evidence of the presence of oil in the paint, we find, for example those of the monk Theophilus dating from the eleventh century. However, the chemically complex process that is now called "oil painting" is a remarkable development that takes place at the beginning of the fifteenth century and which is traditionally attributed to the brothers Van Eyck. Except that this Vasari wrote almost a century and a half later, we know little about the factual circumstances of this invention, however, lets guess where the influence of alchemical concepts. Its principle consists of a systematization of the marriage of opposites: the paint must be fluid enough in execution to allow all melted, but it must eventually become strong to ensure its preservation.

This is made possible by the use of a volatile diluent used in combination with a medium or "nail painting" in which the pigments are as well preserved as the shape of an insect trapped in a drop of amber. The medium itself is a very interesting combination of opposing forces being composed of a thin, hard resin and an oil fired relatively plastic, forming a substance oleoresin flexible enough not to be brittle, hard enough not to relent. As for execution, it demands respect for the famous fat over lean rule, which implies that any new paint contains a higher proportion of oil that the layer on which it is applied.

The oil painting is actually a technique that we'd better call painting "Oleoresin" if the word was not a little long, because it is the right mix of oil and resin more or less thinned by the solvent, which makes it special, its difficulty of implementation and the astonishing diversity of its rendering.


Raw oil or boiled oil?


If it is not necessary to be a chemist to understand and practice oil painting, the fact remains that the oil painting is a chemical process - as is partly the kitchen. The hardening of oil paint is not drying at all comparable to that resulting from simple evaporation of the diluent, as in the paint with water. This process is called siccativation made possible by the presence of air, heat, light, allowing the oil to oxidation by engaging in trade with the molecular environment. All oils are however not drying to the same degree and some are unfit for use pictorial. The traditional oil-tion used are linseed oil, flaxseed oil and walnut oil, which were added recently soybean oil and safflower oil. Oils intended for use in the composition of the media have long been heated, and sometimes cooked for several hours. Unlike what is observed in dietary cooking increases considerably by the qualities of the oil: it offers the advantage of allowing the paint layer to dry quickly and thoroughly, to form a film of a better appearance and greater incorruptibility.

But while the old painters were preparing their colors as and when required with such oils, we currently use for most industrially produced paints with oil raw bit more fluid and drying. In truth, these colors are very finely crushed by mechanical higher than those of the old masters and are often a good quality ... provided they do not they add more of that raw oil they still tend to contain too much already! As excess oil will slow the flood siccativation - which is detrimental both to the conduct of the work to its conservation. Certainly, the pictorial appear rich and brilliant at first, but soon turn yellow by altering particular shades of blue, ending in some cases be depleted completely as to lose its luster, to wrinkle or become powdery.

 The raw oil is acceptable for the manufacture of colors, but it's about the only use we should do. Some unscrupulous manufacturers, who probably found that their bottles of linseed oil were clearly not bought only by the few artists themselves grinding their colors, we caution that this product is not designed to be added to the color tube in the manner of a medium. Why continue to use the raw linseed oil, for example, while there are dozens of very good midrange liquids or pastes, fast drying or slow to suit all styles and nicely lined up on the shelves of merchants Artists' Supply? Some respondents to give the franchise that kind of answer: "because I've always done it", or "because that's how you taught me." Is that a reason to continue? Is that a reason to teach it again?

The problem of oil in the oil painting is a beautiful illustration of the difficulty of finding information simple, rational and practical in a world saturated with information. In the nineteenth century, many painters have made mistakes that have catastrophic technical ruined their works, by lack of information because the job was lost. Today we can say that this profession is found through the work of some painters often discrete, chemists, historians, and restorers: it only needs to be learned. Bad habits are rapidly disappearing as soon as we rediscover the pleasure of understanding and respecting the matters with which we work. As for misinformation, they continue to circulate around the earth as the last talk of scholars transmitting second-hand information they never bothered to check ... And what does it matter? Art education is not a retransmission of a received speech but the establishment of conditions allowing the student to perform an experiment.

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