Acrylic painting techniques

Acrylic painting techniques are different styles of manipulating and working with polymer-based acrylic paints. Acrylics differ from oil paints in that they have shorter drying times (as little as 10 minutes) and are soluble in water. These types of paint eliminate the need for turpentine and gesso, and can be applied directly onto canvas. Aside from painting with concentrated color paints, acrylics can also be watered down to a consistency that can be poured or used for glazing.

Preventing paint from drying out.

Acrylics are often preferred because they dry faster on canvas than oil paints due to their polymer base. Unfortunately, this also affects the time acrylics stay moist. A trick to keep paints from drying out is to spray a light mist of water over them occasionally. Moisture-retaining palettes also increase acrylic paint drying time, and can be substituted with a shallow container, a sheet of grease proof paper, and piece of wet watercolor paper.

Creating fluid paints

Fluid paints can be used like watercolors, or for glazing and washes. To create a more fluid texture, water is added to the paint. The ratio of paint to water depends on how thick the glaze is expected to be. An opaque glaze or paint consists of more paint than water, and will give a more solid color. A translucent glaze or paint will be the opposite, consisting of slightly more water than the opaque version, and will have a smoother texture. Translucent glazes show more of the colors underneath the paint compared to opaque glazes. Artist Keri Ippolito advises that the paint should be watered no more than 50 percent or the paint will not stick to the canvas. After mixing the paints, allow time for the air bubbles to rise to the surface. This will be crucial in many techniques, especially in pouring paints.

Painting glazes

Acrylic paint glazes are often used to create more depth in an image. These types of paints are light enough when brushed onto canvas to show the layers underneath. This technique is commonly used to create more realistic images. Light colored glazes also have softening effects when painted over dark or bright images. It can be difficult to get the right liquid consistency for glazes. Golden Acrylic Glazes simplify the mixing process by arriving ready-to-use in the bottle. Created to give the artist more time to work with the paints without having to worry about the paint to water ratio, this brand of glaze is commonly used in place of mixing acrylic glazes by hand. It is best to wait for each layer to dry thoroughly before apply another coat. This will prevent the paint from smearing or leaving unwanted smudge marks. After the application of several layers, rubbing alcohol can be brushed or sprayed on to reveal colors from earlier layers.

Pouring paints

Pour painting is an innovative way to use acrylic paints to create an art piece. Instead of using tools like brushes or knives to create a piece of art, fluid paints can be poured directly onto the surface and the canvas tilted to move the paint around. Pouring paints allow for the colors to blend naturally as they come in contact with each other. This technique can be done either one color at a time, or with multiple paints to maximize color blending. Pour painting can also be done with oil paints, but because those paints take a longer time to dry, the piece would have to be done over an extended period of time, or with wet paints.[

MATERIALS AND TECHNIQUE (Oil Painting)

Most artists today use commercial materials but some prefer to make their own paints in the traditional way. Oil paint consists of pigment ground in oil that dries on exposure to air. The pigments, or colored powders, must be lightproof, insoluble, and chemically inert. The oil is usually linseed but may be poppy or walnut. Sometimes varnish is added to the mixture, which is then ground. The stiff, creamy paste that results is packaged in flexible tubes. The painting surface consists of a support, either a wood or composition panel, or more frequently, linen, cotton, or jute canvas stretched on a frame or glued to a board. The support is covered with a ground, a thin coating of gesso or other gypsum and glue, or size. The ground makes the support less absorbant and provides an even painting surface that is neither too rough nor too smooth. The ground may be white but is often given a toning coat of gray, tan, or pink. Traditionally, oil painting proceeds in stages. First the design may be sketched on the ground in pencil, charcoal, or paint diluted with turpentine. Then broad areas of color are filled in with thin paint. They are successively refined and corrected in thicker paint to which oil and varnish are added. The paint is usually applied with brushes made from stiff hog bristle, although softer brushes of badger or sable hair may be used. Paint may also be applied with a flexible, wide-bladed painting or palette knife, or the fingers. The process may require only a few sessions or extend over months or even years. Once the painting has dried, at least a year after completion it is varnished to protect it from dirt and to enrich the color. Because all varnishes eventually darken, the varnish used should be removable and eventually replaced.

History of Oil Painting

Oil painting was traditionally thought to have been invented by the Flemish painter Jan van Eyck in the early 15th century, but it is now known to have existed earlier. Van Eyck explored the medium within the linear conventions of tempera, making a detailed drawing on a gesso-covered panel and then building up layers of transparent oil glazes. The technique was popularized in Italy by the Sicilian painter Antonello da Messina and was fully exploited by Renaissance painters. The Venetians took the further step of painting on canvas, which provided a much larger surface and could be rolled up for shipping. They developed a freer style based on a rough monochrome underpainting in tempera with added oil glazes. Dutch painters such as Rembrandt and Frans Hals and the Spanish painter Diego Velázquez experimented with impasto. Academic painters of the 18th and 19th centuries did under-painting in black and gray oil, then repainted in color. The range of colors was limited, however, and many have faded. All work was done in the studio. In the 19th century, developments in chemistry produced new and brilliant pigments. The invention of collapsible tin tubes, replacing the old bladders, meant that artists could work outdoors directly from nature. Chemical additives to keep paint fresh made possible greater use of impasto. Underpainting virtually disappeared. French impressionists applied masses of small dots of bright color directly to the canvas. With the development of nonobjective painting in the 20th century, painters experimented with new techniques. They built up texture with sand, ashes, or plaster, stained canvases, and worked with commercial house paints and spray paints. They combined paint with photography and printed materials in collage. The versatility of oil paint has made it one of the most expressive media of the 20th-century artist; nevertheless, since the 1960s many artists have found acrylic paints better suited to their needs

Oil Painting

Oil Painting, art of applying oil-based colors to a surface to create a picture or other design. Oil painting developed in Europe in the late Middle Ages. It quickly found wide acceptance because—in contrast to older wax- and water-based media, such as encaustic painting, fresco, tempera painting, and watercolor—it is easier to work with and permits a greater variety of effects. Oil paint dries relatively slowly with little change in color. Tones are therefore easy to match, blend, or grade, and corrections are easy to make. The painter is not limited to linear brushstrokes but may apply paint in glazes, washes, blobs, trickles, spray, or impasto (thick application of pigment). Without being restricted to a prearranged design, the painter can freely change and improvise. Rich effects can be obtained with color and chiaroscuro (shading).

Modern Art, painting, sculpture

Modern Art, painting, sculpture, and other forms of 20th-century art. Although scholars disagree as to precisely when the modern period began, they mostly use the term modern art to refer to art of the 20th century in Europe and the Americas, as well as in other regions under Western influence. The modern period has been a particularly innovative one. Among the 20th century’s most important contributions to the history of art are the invention of abstraction (art that does not imitate the appearance of things), the introduction of a wide range of new artistic techniques and materials, and even the redefinition of the boundaries of art itself.

Modern art

Modern art comprises a remarkable diversity of styles, movements, and techniques. The wide range of styles encompasses the sharply realistic painting of a Midwestern farm couple by Grant Wood, entitled American Gothic (1930, Art Institute of Chicago, Illinois), and the abstract rhythms of poured paint in Black and White (1948, private collection), by Jackson Pollock. Yet even if we could easily divide modern art into representational works, like American Gothic, and abstract works, like Black and White, we would still find astonishing variety within these two categories. Just as the precisely painted American Gothic is representational, Willem de Kooning’s Marilyn Monroe (1954, private collection) might also be considered representational, although its broad brushstrokes merely suggest the rudiments of a human body and facial features. Abstraction, too, reveals a number of different approaches, from the dynamic rhythms of Pollock’s Black and White to the right-angled geometry of Composition with Red, Yellow, and Blue (1937-1942, Tate Gallery, London) by Dutch painter Piet Mondrian, whose lines and rectangles suggest the mechanical precision of the machine-made. Other artists preferred an aesthetic of disorder, as did German artist Kurt Schwitters, who mixed old newspapers, stamps, and other discarded objects to create Picture with Light Center

20th-century art

Thus 20th-century art displays more than stylistic diversity. It is in the modern period that artists have made paintings not only of traditional materials such as oil on canvas, but of any material available to them. This innovation led to developments that were even more radical, such as conceptual art and performance art—movements that expanded the definition of art to include not just physical objects but ideas and actions as well.

Baroque Art and Architecture

The style dominating the art and architecture of Europe and certain European colonies in the Americas throughout the 1600s, and in some places, until 1750. A number of its characteristics continue in the art and architecture of the first half of the 18th century, although this period is generally termed rococo and corresponds roughly with King Louis XV of France. Manifestations of baroque art appear in virtually every country in Europe, with other important centers in the Spanish and Portuguese settlements in the Americas and in other outposts. The term baroque also defines periods in literature and music.

What is Art?

Art, the product of creative human activity in which materials are shaped or selected to convey an idea, emotion, or visually interesting form. The word art can refer to the visual arts, including painting, sculpture, architecture, photography, decorative arts, crafts, and other visual works that combine materials or forms. We also use the word art in a more general sense to encompass other forms of creative activity, such as dance and music, or even to describe skill in almost any activity, such as “the art of bread making” or “the art of travel.” In this article art refers to the visual arts.

Ancient Carvings Reveal Pharaoh's Dark Age

New Clues Discovery News Video April 21, 2009 -- Egyptian archaeologists have unearthed carvings at four ancient temples in the Sinai peninsula which they hope will shed fresh light on one of the most obscure periods of Pharaonic history. Rare inscriptions on the temples' walls relate to the Hyksos -- Asiatic peoples who invaded Egypt during the 12th dynasty (1991-1802 BC) and ruled for more than a century from their Nile Delta capital, Avaris. "There is a carving of King Ramses I standing before the god Set, who was worshipped by the Hyksos. This is the first of its kind," archaeologist Mohammed Abdel Maksud, who heads the mission, said on Tuesday. The Hyksos, whose name means "foreign rulers" in ancient Greek, were so hated that when Egyptians eventually returned to power, they destroyed all Hyksos monuments and records. source: Discovery news

Abstract Expressionism

Abstract expressionism was an American post–World War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the art world, a role formerly filled by Paris. Alfred Barr (U.S.A)was the first to use this term in 1929 in relation to works by Wassily Kandinsky

Visual Arts

Visual arts of the United States refers to the history of painting and visual art in the United States. In the late eighteenth and early nineteenth centuries, artists primarily painted landscapes and portraits in a realistic style. A parallel development taking shape in rural America was the American craft movement, which began as a reaction to the industrial revolution. Developments in modern art in Europe came to America from exhibitions in New York City such as the Armory Show in 1913. Previously American Artists had based the majority of their work on Western Painting and European Arts. After World War II, New York replaced Paris as the center of the art world. Since then many American Movements have shaped Modern and Post Modern art. Art in the United States today covers a huge range of styles.

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Commercial Photography

Advertising photography is designed to sell products or services by capturing a viewer’s attention. It can be found in magazines, newspapers, and catalogs. The photographs may stand alone, or they may be combined with words to sell a product or illustrate a concept. Typically, an art director or advertising agency determines the content of the picture and hires a photographer to create the image. The image may be a still life of a company’s product, or the photograph may try to elicit an emotion the advertiser wishes to associate with a product. Male and female models are often used to create moods, especially in fashion photography. The photographer visually translates the idea into the final image using a variety of tools and techniques. He or she charges a daily rate for taking photographs, plus expenses, including the cost of hiring freelance assistants, stylists, and makeup artists when necessary. Some of the technical elements a photographer must skillfully control include sharpness, exposure, lighting, composition, and color reproduction.

Marketing Research Program

Business In the business world, psychology is applied in the workplace and in the marketplace. Industrial-organizational (I-O) psychology focuses on human behavior in the workplace and other organizations. I-O psychologists conduct research, teach in business schools or universities, and work in private industry. Many I-O psychologists study the factors that influence worker motivation, satisfaction, and productivity. Others study the personal traits and situations that foster great leadership. Still others focus on the processes of personnel selection, training, and evaluation. Studies have shown, for example, that face-to-face interviews sometimes result in poor hiring decisions and may be biased by the applicant’s gender, race, and physical attractiveness. Studies have also shown that certain standardized tests can help to predict on-the-job performance. See Industrial-Organizational Psychology. Research Program Marketing research is a pivotal part of the marketing process. By referring to studies of prospective buyers’ needs, wants, and tastes, providers of goods and services can tailor their marketing programs. The results of marketing studies suggest to sellers not only what they should sell or provide but also where to offer particular goods and services, how to advertise them, and how to set prices.

Marketing Campaign

Marketing Campaign, strategy adopted by a business organization to promote a product or range of products over a period of time. Some products are supported by a long-term marketing campaign. Others, such as new products just launched, are supported by an intensive marketing campaign. Large firms may use an advertising agency to coordinate the campaign, which generally makes use of a variety of marketing techniques.

Consumers Protection

Consumers need sufficient information in order to choose wisely among the competing products and services available. The marketplace, however, contains a great many different and complex products, and advertising is usually not informative enough for consumer purposes. Therefore, consumers often lack the information required to compare the quality of various products and services, to determine their true cost, or to be assured of their suitability or safety. Many consumer problems are caused by incorrect or fraudulent information. The Federal Trade Commission (FTC) bears the primary responsibility for making sure that advertising and labeling are not false or misleading..

Value of Advertising Image of a Product

By adding meaning to a product, advertising also adds value. For example, when Philip Morris Companies Inc. purchased Kraft Foods, Inc. in 1988 for nearly $13 billion, Philip Morris paid 600 percent more than Kraft’s factories and inventory were worth. Over 80 percent of the purchase price was for the current and future value of the Kraft brand, a value that was created in large part by advertising. Advertising plays such an important role in promoting products and adding value to brands that most companies spend considerable sums on their advertising and hire specialized firms, known as advertising agencies, to develop their advertising campaigns.

Works of Arts

Art history is the study of works of art in their historical context. Styles change through time and artists introduce new materials, techniques, subject matter, and purposes for art. Art historians study such changes and use them to determine the chronological periods and approximate dates of art works. A work of art can reflect the historical period or context in which it was made by representing society’s assumptions about people, by depicting customs or rituals, or by showing us what was thought beautiful, ornamental, or fashionable. In addition to these aspects of art, art historians study the lives of artists, including their training and practices. Art historians answer fundamental questions about art objects, such as: Who made the work? When was it made? How was it made? What was its purpose? What did it mean? Information about famous artists and their works exists from the time of the ancient Romans. The Roman writer Pliny the Elder, for example, includes notes on important Greek sculptors in his Natural History, written in the 1st century ad. In the 16th century Italian writer and painter Giorgio Vasari wrote his Lives of the Artists, which consisted of biographies of Italian artists from the 14th through the 16th century. Vasari provided a historical framework for his biographies, in which Italian art developed from Byzantine patterns toward greater naturalism and then to greater liveliness. But he rarely tied this development to broader cultural phenomena. This step was taken in the 18th century by German archaeologist and art historian Johann Winckelmann. In The History of Ancient Art (1764), Winckelmann tried to explain the serenity and noble grandeur of Greek art by looking at many aspects of Greek life, from the weather to the political situation, and especially at the development of democracy in Athens. He described Greek art vividly for an audience who had seen little of it. Winckelmann began a tradition within art history of explaining changes in style by looking to other political, historical, or cultural trends. Later art historians have carried out the meticulous work of identifying and dating works of art by means of careful visual comparisons and the study of historical documents. This type of work, called connoisseurship, still is a basic part of the study of art. Art historians are often faced with deciphering unfamiliar symbols in works of art. Any object in a painting can serve as a symbol. In paintings of the Madonna and Child, for example, a goldfinch, which builds its nest in thorns, can refer to Christ’s suffering and the crown of thorns he was forced to wear. Iconography is the study and explanation of the meaning of symbols in art and the meaning of the painting or sculpture as a whole. Iconographic studies always involve some degree of interpretation; that is, art historians determine not only what a symbol means but also speculate on why an artist used it and what it might suggest about an artist’s ideas, a patron’s wishes, or a society’s customs. From the 1970s on, several new methods of interpretation have become popular. Social historians use methods derived from the theories of German political philosopher Karl Marx to look for indications of class distinctions and social conflict in art. Feminist methods of interpretation are concerned with what images convey about women, either as artists or as the subjects of art works. Semiotics and deconstruction are methods that focus on how images function as signs that transmit different meanings at different times, or on how internal structures or contradictions reveal meaning. by: Bernadine Barnes

The Enjoyment of Art

When people ask, “What is art?” or state that something “is not art,” they usually are not seeking a philosophical definition but are instead expressing an opinion that a painting is not realistic enough, that it is offensive, or that it does not use traditional materials. Defining art too narrowly, or in a way that only affirms what we already believe, deprives us of many delightful and thought-provoking experiences. An awareness of all the things that art can be should encourage us to enjoy many different types of art, or at least to wonder why we value one type above another. The art museum is a natural place to start learning more about the visual arts, but many people find it difficult to sustain interest when faced with so many objects by so many artists they have never heard of. Next time you are in an art museum look first at the other people. Count how many are looking carefully at the art; then look at how many simply read labels, walk away, or do other things without looking at the art itself. Most of us share a tendency to look for works by artists we already know something about, especially those we know about through their odd or interesting lives. This is one way to appreciate art, but it is not the only way. Try looking for only one specific thing: kinds of paint strokes or particularly energetic brushstrokes, the use of a particular color, or sculptures that are constructed of many parts or from different materials. Or you might seek out more conventional groupings, such as portraits, landscapes, and still lifes. Make judgments, but get specific. Go into a room at a museum and decide which painting shows the most interesting use of light and dark. Which painting is most colorful? Which artist is the best at capturing emotions? With a painting, try to imagine the steps the artist took to paint the work. Does the canvas or wood backing show through? Did the artist paint quickly or slowly? How do the paints sit on top of each other? Look at the way shapes are repeated or ordered. If you had no idea what the painting was about—and with some modern art, you really might not—would you still feel something simply by looking at the colors or brushwork? If you are looking at a sculpture, think about how it might have been seen in its original position, perhaps in a church or on the front of a building. Can you walk all the way around the sculpture? Is it more interesting from a particular point of view? Is it on a pedestal, and if it is, does its added height make you feel smaller or more distant from the subject? As with painting, you might think about how the artist made the piece. Is it wood, stone, or metal, or something else entirely? With architecture, try to become aware of the shape and size of the spaces around you. Notice how doors and windows are spaced. Sometimes they frame special views, sometimes they create pleasing patterns when seen from the outside, sometimes they are framed or made of special materials for interesting visual effect. With decorative arts and craft objects, consider their use and whether the changes that the artist has made to the basic form add to or detract from their function. How would it feel to hold the teacup, sit on the chair, or wear the clothing on exhibit? Museums often display decorative arts in rooms that replicate historic rooms. If this is the case, can you sense a pattern of how the people of that time might have felt about ornament, wealth, or simplicity? How might you think differently about these objects if they were displayed on pedestals? As with the decorative arts, museums often display arts of non-Western cultures in an evocative setting, to demonstrate not just their form but also their function. Here, too, you might ask what the display itself is telling you. Would you respond differently to these objects if they were displayed like the masterpieces of Western art? New media—video, film, digital arts—can sometimes be difficult to appreciate as art because we so commonly see these same forms in advertising and entertainment. As viewers, we may find them intriguing or amusing but still wonder if they are art. Some artists who work in these media try to set their work apart from commercial uses, while others consciously use commercial imagery and techniques. Rather than decide on a verdict (art or nonart), consider works like these as a starting point for a dialogue. What do these pieces say about images in our lives, or about the distinctions and values we give to certain art forms? Similarly, many works made today are deliberately provocative. Conceptual art sometimes seems to mock everything we value about art, from beauty and craftsmanship to the precious and timeless nature of art. Many works take stabs at cultural traditions that we value enormously, including religion, patriotism, and morality. It is not necessary to agree with every artist, to like every work of art, or to visit every gallery or museum. But it is important to think and talk about the art before passing judgment.