Ampeli
Alisa A: "Ampeli" by Angela LininYetenek
Patrizia A: "Yetenek" by DolcePersianas
Tamara F: "Persianas" by Alex SironiVentus
Ralina A: "Ventus" by Albert VarinHue
Susana S: "Hue" by Tim FoxSolis
Miela A: "Solis" by KoenartErotas
Zafira A: "Erotas" by Ken TavosPrasino
Inessa A: "Prasino" by LeonardoCurativo
Violla A: "Curativo" by MatissBaloni
Rina A: "Baloni" by IngretBotanique
Konstansija A: "Botanique" by Giovanni GalioInvenio
Tania G: "Invenio" by LeonPresenting Kate
Kate E: "Presenting Kate" by CatherineFirefly
Kami A: "Firefly" by Samo MervarIntratable
Tess B: "Intratable" by Mikele Esquinzo
kind of oil
to use back in early modern Europe.
These oils would give the paint less of a yellowing effect, and would alter
the drying times and the sheen of the paint depending upon the oil used that
would give various properties to the pigment, other oils commonly used then
were poppy seed and walnut oils. Some painters have used various oils in
the same painting to mix effects, and depending on specific pigments as
desired, also the surface used can do much to change the effects of the oil
painting. A good example where an artist has used a different material
instead of canvas is Leonardo da Vinci’s Mona Lisa that was painted on a
wood panel surface.
Some of the rules applied to painting with oils are that each layer over the
first should be oilier than the layer below it to prevent from cracking and
peeling as it dries, traditional oil painting began with the paint being
mixed in a specific amount with turpentine, but there are other items which
can be utilized to prevent this such as varnish or cold wax. These
additional elements can be an aid to the painter in adjusting the
translucency of the paint, the sheen of the paint, the density of the paint,
or can even be used to change the ability of the paint to hold or conceal
brushstrokes.
These various traits of the oil paint are greatly related to the expressive
capacity of the oil paint, aiding in the choices made by the artist as they
applied the paint, and allowing a sense of those choices from the viewers’
standpoint. Moving the paint is done with palette knives, rags, or even
directly from the paint tube itself, though to be removed, one must do so
while the paint is wet or scraping may be required to take off the layer.
Before this ends up being necessary, a rag dipped in turpentine can remove
the layer previous, and oil-based paint dries through oxidation not
evaporation so it may feel dry after a day.
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