 |
| Acrylics |
 |
Making Your Own Water-Based Paint |
| |
Step-by-step instructions show you how to grind and disperse pigments in water for use in paint. |
6/9/2004 |
|
| Adhesives |
| |
All About Hide Glue |
| |
Animal glue is one of the first adhesives used by humankind. The basic adhesive substance of glue is collagen — the protein that occurs in the connective tissue and bones of animals and fish and that yields gelatin and glue. |
7/2/2004 |
|
| Articles |
| |
The Kovcheg or Ark in Icon Panels |
| |
Fourth in our technical series on painting icons, this article discusses the kovcheg or ark -- a recess in the surface of Russian icons -- since the 10th century and their use in icons panels from the past to today. |
7/17/2002 |
| |
Review of Medieval Italian and Russian Tempera Painting |
| |
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 |
| |
Pigments from the Earth: Part 2 |
| |
The final stage of preparing earth pigments for use in painting is clearly demonstrated with step-by-step photographs |
6/9/2004 |
| |
Making Your Own Water-Based Paint |
| |
Step-by-step instructions show you how to grind and disperse pigments in water for use in paint. |
6/9/2004 |
| |
Do Natural Pigments Offer More to the Modern Painter? |
| |
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 |
| |
Gilding on Illuminated Manuscripts Based Upon Contemporary and Historical Methods |
| |
How to work with raised gesso to gild illuminated manuscripts is explained from both contemporary and historical viewpoints. |
6/9/2004 |
| |
Color in Old Russian Painting |
| |
The iconographer saw himself as part of creation. In his works he used materials God made through the creation of the world. This is how medieval Russian painters viewed their technique and how icon painters today follow the same tradition. |
6/9/2004 |
| |
Why Some Paints are Transparent and Others Opaque |
| |
The hiding strength (opacity) of a paint is largely influenced by the relative refractive indices of the pigment and the medium. |
6/9/2004 |
| |
Making Joined Icon Panels |
| |
Second in our technical series on painting icons, this article discusses the technique of making joined icons panels from several boards in detail from wood structure to joinery. |
6/9/2004 |
| |
The Use of Braces in Wood Panels |
| |
Third in our technical series on painting icons, this article discusses the different types of braces found in Russian icons since the 12th century and their use in icons panels from the past to today. |
6/9/2004 |
| |
Gesso Grounds from Ancient Recipes |
| |
Learning from ancient artists manuscripts, a contemporary artist adapts a 15th century recipe to make his own perfect gesso grounds. |
6/9/2004 |
| |
Preparation of Wood Panels for Painting |
| |
Fifth in our technical series on painting icons, this article discusses the history and materials used in the preparation of wood panels for tempera painting -- size, pavoloka and gesso -- since the earliest period of Christian art until today. |
6/9/2004 |
| |
Early Medieval Wall Paintings in Georgia |
| |
An investigation of early Medieval wall paintings in Upper Svaneti (Georgia) reveal certain technical affinities between them and demonstrate the unique dry painting technique used by an artist and apprentices. |
6/9/2004 |
| |
Sankir -- Underpainting of Flesh: Part II |
| |
Second in our series about the symbolism and technical aspects of the underpainting of faces and flesh in Eastern Christian iconography examined through religious, art and scientific viewpoints. |
6/9/2004 |
| |
Sankir -- Underpainting of Flesh |
| |
An examination of the symbolism and technical aspects of the underpainting of faces and flesh in Eastern Christian iconography is examined in through religious, art and scientific research. |
6/9/2004 |
| |
Preparation of Glue Size |
| |
Sixth in our technical series on painting icons, this article discusses preparing the glue solution used in the preparation of wood panels for tempera painting -- size, pavoloka and gesso -- since the earliest Christian period until today. |
6/9/2004 |
| |
Pigments from the Earth: Part 1 |
| |
The opportunity to find beautiful colors in nature encouraged an painter to collect and prepare her own pigments. |
6/9/2004 |
| |
History and Technique of Fresco Painting: Part 1 |
| |
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 |
| |
Selecting Wood for Painting Panels |
| |
Beginning with this installment, this series of articles discusses the technique of making icons in abundant detail from obtaining the wood for the icon board to putting on the finishing varnish or olipha. |
6/11/2004 |
| |
All About Hide Glue |
| |
Animal glue is one of the first adhesives used by humankind. The basic adhesive substance of glue is collagen — the protein that occurs in the connective tissue and bones of animals and fish and that yields gelatin and glue. |
7/2/2004 |
| |
Color for the Artist |
| |
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 |
| |
Ancient Pigments and their Identification in Works of Art |
| |
During the history of Art, from the earliest times to the present day, certain pigments have remained common to the artists palette, and while some have dropped out of use, others have been added. |
12/15/2004 |
| |
The Long and Short of Old Masters Paints |
| |
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 |
| |
Painting Flesh Tints with a Three Color Palette |
| |
The Rublev Flesh Tint Palette is a trio of traditional earth pigments, which many 18th and 19th century watercolorists used for mixing their flesh tones. In this article, Butch Krieger shows how to mix these colors for a variety of flesh tints. |
5/21/2007 |
| |
Mediums for Oil Painters |
| |
To painters, discussing mediums can be like a political debate. The disputes are always about potential cracking, lack of adhesion and yellowing. The author makes observations of using mediums in oils from his 40-year painting and teaching career. |
5/21/2007 |
| |
Painting Flesh Tones with the Human Palette |
| |
The revival of traditional art techniques has sparked a renewed interest in the colors used by past great masters. It was thus inevitable that these traditional pigments would be made available in watercolors. |
5/21/2007 |
| |
The Technique of Shell Gold Painting |
| |
In icon painting gold is used in a special technique of creating fine lines of gold. This article discusses how and where it is used in icons, and shows step-by-step how to make gold paint and apply it. |
5/21/2007 |
| |
About Drying Oils for Painting |
| |
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 |
| |
Earth Colors and the Human Palette |
| |
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.
|
5/21/2007 |
| |
Zinc White -- Problems in Oil Paint |
| |
A new paper released by scientists at the Smithsonian's Museum Conservation Institute exposes long-term problems with zinc white in oil paint. |
9/16/2007 |
| |
Working in Rubens' Technique |
| |
How one artist discovers the technique of Peter Paul Rubens |
3/25/2008 |
| |
Differences Between Linseed Oil and Stand Oil |
| |
What are the differences between linseed oil and stand oil? How do these differences affect the properties of paint? These differences are explained in this article. |
5/13/2008 |
| |
Asphaltum and Bitumen |
| |
Asphaltum and bitumen are terms for a wide range of substances based on hydrocarbons. Although asphaltum has a bad reputation in art history for ruining works of art, there are examples of its use where this is not the case. |
5/13/2008 |
| |
Stack Process Lead White |
| |
A brief history of making lead white and a modern reproduction of the stack process method of producing lead white is described. |
10/29/2008 |
| |
Colors from the Earth: Violet Hematite |
| |
Rublev Colours Violet Hematite is a deep reddish purple hue that tints toward subtle violets when mixed with white. |
2/18/2009 |
|
| Casein |
| |
Making Your Own Water-Based Paint |
| |
Step-by-step instructions show you how to grind and disperse pigments in water for use in paint. |
6/9/2004 |
| |
Ancient Pigments and their Identification in Works of Art |
| |
During the history of Art, from the earliest times to the present day, certain pigments have remained common to the artists palette, and while some have dropped out of use, others have been added. |
12/15/2004 |
|
| Encaustic |
| |
Ancient Pigments and their Identification in Works of Art |
| |
During the history of Art, from the earliest times to the present day, certain pigments have remained common to the artists palette, and while some have dropped out of use, others have been added. |
12/15/2004 |
|
| Formulas |
| |
Gesso Grounds from Ancient Recipes |
| |
Learning from ancient artists manuscripts, a contemporary artist adapts a 15th century recipe to make his own perfect gesso grounds. |
6/9/2004 |
| |
Gilding on Illuminated Manuscripts Based Upon Contemporary and Historical Methods |
| |
How to work with raised gesso to gild illuminated manuscripts is explained from both contemporary and historical viewpoints. |
6/9/2004 |
| |
Tempera and Emulsion Recipes |
| |
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 |
| |
Preparation of Glue Size |
| |
Sixth in our technical series on painting icons, this article discusses preparing the glue solution used in the preparation of wood panels for tempera painting -- size, pavoloka and gesso -- since the earliest Christian period until today. |
6/9/2004 |
| |
The Technique of Shell Gold Painting |
| |
In icon painting gold is used in a special technique of creating fine lines of gold. This article discusses how and where it is used in icons, and shows step-by-step how to make gold paint and apply it. |
5/21/2007 |
|
| Fresco |
| |
Early Medieval Wall Paintings in Georgia |
| |
An investigation of early Medieval wall paintings in Upper Svaneti (Georgia) reveal certain technical affinities between them and demonstrate the unique dry painting technique used by an artist and apprentices. |
6/9/2004 |
| |
Making Your Own Water-Based Paint |
| |
Step-by-step instructions show you how to grind and disperse pigments in water for use in paint. |
6/9/2004 |
| |
Sankir -- Underpainting of Flesh |
| |
An examination of the symbolism and technical aspects of the underpainting of faces and flesh in Eastern Christian iconography is examined in through religious, art and scientific research. |
6/9/2004 |
| |
Sankir -- Underpainting of Flesh: Part II |
| |
Second in our series about the symbolism and technical aspects of the underpainting of faces and flesh in Eastern Christian iconography examined through religious, art and scientific viewpoints. |
6/9/2004 |
| |
History and Technique of Fresco Painting: Part 1 |
| |
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 |
| |
Ancient Pigments and their Identification in Works of Art |
| |
During the history of Art, from the earliest times to the present day, certain pigments have remained common to the artists palette, and while some have dropped out of use, others have been added. |
12/15/2004 |
|
| Gilding |
| |
Gilding on Illuminated Manuscripts Based Upon Contemporary and Historical Methods |
| |
How to work with raised gesso to gild illuminated manuscripts is explained from both contemporary and historical viewpoints. |
6/9/2004 |
| |
Ancient Pigments and their Identification in Works of Art |
| |
During the history of Art, from the earliest times to the present day, certain pigments have remained common to the artists palette, and while some have dropped out of use, others have been added. |
12/15/2004 |
| |
The Technique of Shell Gold Painting |
| |
In icon painting gold is used in a special technique of creating fine lines of gold. This article discusses how and where it is used in icons, and shows step-by-step how to make gold paint and apply it. |
5/21/2007 |
|
| Grounds |
| |
Preparation of Wood Panels for Painting |
| |
Fifth in our technical series on painting icons, this article discusses the history and materials used in the preparation of wood panels for tempera painting -- size, pavoloka and gesso -- since the earliest period of Christian art until today. |
6/9/2004 |
| |
Gilding on Illuminated Manuscripts Based Upon Contemporary and Historical Methods |
| |
How to work with raised gesso to gild illuminated manuscripts is explained from both contemporary and historical viewpoints. |
6/9/2004 |
| |
Do Natural Pigments Offer More to the Modern Painter? |
| |
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 |
| |
Gesso Grounds from Ancient Recipes |
| |
Learning from ancient artists manuscripts, a contemporary artist adapts a 15th century recipe to make his own perfect gesso grounds. |
6/9/2004 |
|
| Instructions |
| |
The Kovcheg or Ark in Icon Panels |
| |
Fourth in our technical series on painting icons, this article discusses the kovcheg or ark -- a recess in the surface of Russian icons -- since the 10th century and their use in icons panels from the past to today. |
7/17/2002 |
| |
Pigments from the Earth: Part 1 |
| |
The opportunity to find beautiful colors in nature encouraged an painter to collect and prepare her own pigments. |
6/9/2004 |
| |
The Use of Braces in Wood Panels |
| |
Third in our technical series on painting icons, this article discusses the different types of braces found in Russian icons since the 12th century and their use in icons panels from the past to today. |
6/9/2004 |
| |
Making Joined Icon Panels |
| |
Second in our technical series on painting icons, this article discusses the technique of making joined icons panels from several boards in detail from wood structure to joinery. |
6/9/2004 |
| |
Gilding on Illuminated Manuscripts Based Upon Contemporary and Historical Methods |
| |
How to work with raised gesso to gild illuminated manuscripts is explained from both contemporary and historical viewpoints. |
6/9/2004 |
| |
Making Your Own Water-Based Paint |
| |
Step-by-step instructions show you how to grind and disperse pigments in water for use in paint. |
6/9/2004 |
| |
Preparation of Glue Size |
| |
Sixth in our technical series on painting icons, this article discusses preparing the glue solution used in the preparation of wood panels for tempera painting -- size, pavoloka and gesso -- since the earliest Christian period until today. |
6/9/2004 |
| |
Gesso Grounds from Ancient Recipes |
| |
Learning from ancient artists manuscripts, a contemporary artist adapts a 15th century recipe to make his own perfect gesso grounds. |
6/9/2004 |
| |
Pigments from the Earth: Part 2 |
| |
The final stage of preparing earth pigments for use in painting is clearly demonstrated with step-by-step photographs |
6/9/2004 |
| |
Earth Colors and the Human Palette |
| |
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.
|
5/21/2007 |
| |
Painting Flesh Tones with the Human Palette |
| |
The revival of traditional art techniques has sparked a renewed interest in the colors used by past great masters. It was thus inevitable that these traditional pigments would be made available in watercolors. |
5/21/2007 |
| |
Painting Flesh Tints with a Three Color Palette |
| |
The Rublev Flesh Tint Palette is a trio of traditional earth pigments, which many 18th and 19th century watercolorists used for mixing their flesh tones. In this article, Butch Krieger shows how to mix these colors for a variety of flesh tints. |
5/21/2007 |
| |
The Technique of Shell Gold Painting |
| |
In icon painting gold is used in a special technique of creating fine lines of gold. This article discusses how and where it is used in icons, and shows step-by-step how to make gold paint and apply it. |
5/21/2007 |
|
| Mediums |
| |
Tempera and Emulsion Recipes |
| |
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 |
| |
All About Hide Glue |
| |
Animal glue is one of the first adhesives used by humankind. The basic adhesive substance of glue is collagen — the protein that occurs in the connective tissue and bones of animals and fish and that yields gelatin and glue. |
7/2/2004 |
| |
Mediums for Oil Painters |
| |
To painters, discussing mediums can be like a political debate. The disputes are always about potential cracking, lack of adhesion and yellowing. The author makes observations of using mediums in oils from his 40-year painting and teaching career. |
5/21/2007 |
| |
About Drying Oils for Painting |
| |
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 |
| |
Working in Rubens' Technique |
| |
How one artist discovers the technique of Peter Paul Rubens |
3/25/2008 |
| |
Differences Between Linseed Oil and Stand Oil |
| |
What are the differences between linseed oil and stand oil? How do these differences affect the properties of paint? These differences are explained in this article. |
5/13/2008 |
|
| Oils |
| |
Ancient Pigments and their Identification in Works of Art |
| |
During the history of Art, from the earliest times to the present day, certain pigments have remained common to the artists palette, and while some have dropped out of use, others have been added. |
12/15/2004 |
| |
The Long and Short of Old Masters Paints |
| |
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 |
| |
About Drying Oils for Painting |
| |
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 |
| |
Earth Colors and the Human Palette |
| |
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.
|
5/21/2007 |
| |
Mediums for Oil Painters |
| |
To painters, discussing mediums can be like a political debate. The disputes are always about potential cracking, lack of adhesion and yellowing. The author makes observations of using mediums in oils from his 40-year painting and teaching career. |
5/21/2007 |
| |
Zinc White -- Problems in Oil Paint |
| |
A new paper released by scientists at the Smithsonian's Museum Conservation Institute exposes long-term problems with zinc white in oil paint. |
9/16/2007 |
| |
Working in Rubens' Technique |
| |
How one artist discovers the technique of Peter Paul Rubens |
3/25/2008 |
| |
Differences Between Linseed Oil and Stand Oil |
| |
What are the differences between linseed oil and stand oil? How do these differences affect the properties of paint? These differences are explained in this article. |
5/13/2008 |
| |
Stack Process Lead White |
| |
A brief history of making lead white and a modern reproduction of the stack process method of producing lead white is described. |
10/29/2008 |
| |
Colors from the Earth: Violet Hematite |
| |
Rublev Colours Violet Hematite is a deep reddish purple hue that tints toward subtle violets when mixed with white. |
2/18/2009 |
|
| Paints |
| |
Review of Medieval Italian and Russian Tempera Painting |
| |
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 |
| |
Tempera and Emulsion Recipes |
| |
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 |
| |
Why Some Paints are Transparent and Others Opaque |
| |
The hiding strength (opacity) of a paint is largely influenced by the relative refractive indices of the pigment and the medium. |
6/9/2004 |
| |
Do Natural Pigments Offer More to the Modern Painter? |
| |
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 |
| |
Making Your Own Water-Based Paint |
| |
Step-by-step instructions show you how to grind and disperse pigments in water for use in paint. |
6/9/2004 |
| |
Pigments from the Earth: Part 2 |
| |
The final stage of preparing earth pigments for use in painting is clearly demonstrated with step-by-step photographs |
6/9/2004 |
| |
History and Technique of Fresco Painting: Part 1 |
| |
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 |
| |
Color for the Artist |
| |
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 |
| |
The Long and Short of Old Masters Paints |
| |
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 |
| |
About Drying Oils for Painting |
| |
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 |
| |
Earth Colors and the Human Palette |
| |
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.
|
5/21/2007 |
| |
Colors from the Earth: Violet Hematite |
| |
Rublev Colours Violet Hematite is a deep reddish purple hue that tints toward subtle violets when mixed with white. |
2/18/2009 |
|
| Pigments |
| |
Making Your Own Water-Based Paint |
| |
Step-by-step instructions show you how to grind and disperse pigments in water for use in paint. |
6/9/2004 |
| |
Sankir -- Underpainting of Flesh: Part II |
| |
Second in our series about the symbolism and technical aspects of the underpainting of faces and flesh in Eastern Christian iconography examined through religious, art and scientific viewpoints. |
6/9/2004 |
| |
Sankir -- Underpainting of Flesh |
| |
An examination of the symbolism and technical aspects of the underpainting of faces and flesh in Eastern Christian iconography is examined in through religious, art and scientific research. |
6/9/2004 |
| |
Why Some Paints are Transparent and Others Opaque |
| |
The hiding strength (opacity) of a paint is largely influenced by the relative refractive indices of the pigment and the medium. |
6/9/2004 |
| |
Do Natural Pigments Offer More to the Modern Painter? |
| |
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 |
| |
Pigments from the Earth: Part 2 |
| |
The final stage of preparing earth pigments for use in painting is clearly demonstrated with step-by-step photographs |
6/9/2004 |
| |
Pigments from the Earth: Part 1 |
| |
The opportunity to find beautiful colors in nature encouraged an painter to collect and prepare her own pigments. |
6/9/2004 |
| |
Color in Old Russian Painting |
| |
The iconographer saw himself as part of creation. In his works he used materials God made through the creation of the world. This is how medieval Russian painters viewed their technique and how icon painters today follow the same tradition. |
6/9/2004 |
| |
Color for the Artist |
| |
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 |
| |
Ancient Pigments and their Identification in Works of Art |
| |
During the history of Art, from the earliest times to the present day, certain pigments have remained common to the artists palette, and while some have dropped out of use, others have been added. |
12/15/2004 |
| |
The Long and Short of Old Masters Paints |
| |
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 |
| |
Painting Flesh Tints with a Three Color Palette |
| |
The Rublev Flesh Tint Palette is a trio of traditional earth pigments, which many 18th and 19th century watercolorists used for mixing their flesh tones. In this article, Butch Krieger shows how to mix these colors for a variety of flesh tints. |
5/21/2007 |
| |
Painting Flesh Tones with the Human Palette |
| |
The revival of traditional art techniques has sparked a renewed interest in the colors used by past great masters. It was thus inevitable that these traditional pigments would be made available in watercolors. |
5/21/2007 |
| |
Earth Colors and the Human Palette |
| |
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.
|
5/21/2007 |
| |
Zinc White -- Problems in Oil Paint |
| |
A new paper released by scientists at the Smithsonian's Museum Conservation Institute exposes long-term problems with zinc white in oil paint. |
9/16/2007 |
| |
Asphaltum and Bitumen |
| |
Asphaltum and bitumen are terms for a wide range of substances based on hydrocarbons. Although asphaltum has a bad reputation in art history for ruining works of art, there are examples of its use where this is not the case. |
5/13/2008 |
| |
Stack Process Lead White |
| |
A brief history of making lead white and a modern reproduction of the stack process method of producing lead white is described. |
10/29/2008 |
| |
Colors from the Earth: Violet Hematite |
| |
Rublev Colours Violet Hematite is a deep reddish purple hue that tints toward subtle violets when mixed with white. |
2/18/2009 |
|
| Scribal Arts |
| |
Gilding on Illuminated Manuscripts Based Upon Contemporary and Historical Methods |
| |
How to work with raised gesso to gild illuminated manuscripts is explained from both contemporary and historical viewpoints. |
6/9/2004 |
| |
Ancient Pigments and their Identification in Works of Art |
| |
During the history of Art, from the earliest times to the present day, certain pigments have remained common to the artists palette, and while some have dropped out of use, others have been added. |
12/15/2004 |
| |
The Technique of Shell Gold Painting |
| |
In icon painting gold is used in a special technique of creating fine lines of gold. This article discusses how and where it is used in icons, and shows step-by-step how to make gold paint and apply it. |
5/21/2007 |
|
| Sizes |
| |
Preparation of Wood Panels for Painting |
| |
Fifth in our technical series on painting icons, this article discusses the history and materials used in the preparation of wood panels for tempera painting -- size, pavoloka and gesso -- since the earliest period of Christian art until today. |
6/9/2004 |
| |
Preparation of Glue Size |
| |
Sixth in our technical series on painting icons, this article discusses preparing the glue solution used in the preparation of wood panels for tempera painting -- size, pavoloka and gesso -- since the earliest Christian period until today. |
6/9/2004 |
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All About Hide Glue |
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Animal glue is one of the first adhesives used by humankind. The basic adhesive substance of glue is collagen — the protein that occurs in the connective tissue and bones of animals and fish and that yields gelatin and glue. |
7/2/2004 |
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| Supports |
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The Kovcheg or Ark in Icon Panels |
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Fourth in our technical series on painting icons, this article discusses the kovcheg or ark -- a recess in the surface of Russian icons -- since the 10th century and their use in icons panels from the past to today. |
7/17/2002 |
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Preparation of Wood Panels for Painting |
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Fifth in our technical series on painting icons, this article discusses the history and materials used in the preparation of wood panels for tempera painting -- size, pavoloka and gesso -- since the earliest period of Christian art until today. |
6/9/2004 |
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The Use of Braces in Wood Panels |
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Third in our technical series on painting icons, this article discusses the different types of braces found in Russian icons since the 12th century and their use in icons panels from the past to today. |
6/9/2004 |
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Making Joined Icon Panels |
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Second in our technical series on painting icons, this article discusses the technique of making joined icons panels from several boards in detail from wood structure to joinery. |
6/9/2004 |
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Selecting Wood for Painting Panels |
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Beginning with this installment, this series of articles discusses the technique of making icons in abundant detail from obtaining the wood for the icon board to putting on the finishing varnish or olipha. |
6/11/2004 |
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| Tempera |
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Preparation of Wood Panels for Painting |
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Fifth in our technical series on painting icons, this article discusses the history and materials used in the preparation of wood panels for tempera painting -- size, pavoloka and gesso -- since the earliest period of Christian art until today. |
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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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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Sankir -- Underpainting of Flesh: Part II |
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Second in our series about the symbolism and technical aspects of the underpainting of faces and flesh in Eastern Christian iconography examined through religious, art and scientific viewpoints. |
6/9/2004 |
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Preparation of Glue Size |
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Sixth in our technical series on painting icons, this article discusses preparing the glue solution used in the preparation of wood panels for tempera painting -- size, pavoloka and gesso -- since the earliest Christian period until today. |
6/9/2004 |
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Color in Old Russian Painting |
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The iconographer saw himself as part of creation. In his works he used materials God made through the creation of the world. This is how medieval Russian painters viewed their technique and how icon painters today follow the same tradition. |
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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Sankir -- Underpainting of Flesh |
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An examination of the symbolism and technical aspects of the underpainting of faces and flesh in Eastern Christian iconography is examined in through religious, art and scientific research. |
6/9/2004 |
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Ancient Pigments and their Identification in Works of Art |
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During the history of Art, from the earliest times to the present day, certain pigments have remained common to the artists palette, and while some have dropped out of use, others have been added. |
12/15/2004 |
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| Tips | Hints |
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Gesso Grounds from Ancient Recipes |
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Learning from ancient artists manuscripts, a contemporary artist adapts a 15th century recipe to make his own perfect gesso grounds. |
6/9/2004 |
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Painting Flesh Tones with the Human Palette |
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The revival of traditional art techniques has sparked a renewed interest in the colors used by past great masters. It was thus inevitable that these traditional pigments would be made available in watercolors. |
5/21/2007 |
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Painting Flesh Tints with a Three Color Palette |
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The Rublev Flesh Tint Palette is a trio of traditional earth pigments, which many 18th and 19th century watercolorists used for mixing their flesh tones. In this article, Butch Krieger shows how to mix these colors for a variety of flesh tints. |
5/21/2007 |
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The Technique of Shell Gold Painting |
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In icon painting gold is used in a special technique of creating fine lines of gold. This article discusses how and where it is used in icons, and shows step-by-step how to make gold paint and apply it. |
5/21/2007 |
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| Watercolors |
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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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Ancient Pigments and their Identification in Works of Art |
| |
During the history of Art, from the earliest times to the present day, certain pigments have remained common to the artists palette, and while some have dropped out of use, others have been added. |
12/15/2004 |
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Painting Flesh Tints with a Three Color Palette |
| |
The Rublev Flesh Tint Palette is a trio of traditional earth pigments, which many 18th and 19th century watercolorists used for mixing their flesh tones. In this article, Butch Krieger shows how to mix these colors for a variety of flesh tints. |
5/21/2007 |
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Painting Flesh Tones with the Human Palette |
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The revival of traditional art techniques has sparked a renewed interest in the colors used by past great masters. It was thus inevitable that these traditional pigments would be made available in watercolors. |
5/21/2007 |
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