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-   -   *Your Hint's and Tips* (http://www.wetcanvas.com/forums/showthread.php?t=1351767)

Jon 05-26-2014 08:25 AM

*Your Hint's and Tips*
*Your Hint's and Tips*

Chas McHugh 05-26-2014 09:22 AM

Re: *Your Hint's and Tips*
Straight lines with paint:

This is how I get my straight lines. Purchase a 'scale' ruler, which in the UK is available in any well stocked stationary store. You will note that it is three sided. By placing one edge upon the canvas, it gives a rail upon which to run a brush laden with paint. If painting wet-on-wet, paint the lighter colour first and then use the ruler for the darker colour. The texture of the paint should be viscouse but not dripping. One can complete a dry run keeping the tip of the brush above the canvas to ensure that the line will begin and end at the right spot. A gentle curve if required can be achieved but requires practise. If I make an error doing this, I leave it to dry rather then risk a mud bath. A second coat can be applied afterwards.

gollum 05-26-2014 11:04 AM

Re: *Your Hint's and Tips*
To add to the above

As chas says but another tip is use a slightly larger brush than he is holding (a number 4 or 5)
Laden the brush ...liquin is better than thinners as it wont bleed, when brush is nice and full place the brush on the pallet and drag it towards you flattening the side of the brush, roll the brush 180 (off the pallet) and drag it again on the palllet

This will give you a knife edge on the brush which the line will then become ultra thin

Good for rigging on ships and aerials from cockpit to tail etc

Pure Sable brushes are best for this

Chas McHugh 05-26-2014 06:05 PM

Re: *Your Hint's and Tips*
Havng actually done this technique this afternoon; I also found myself gently rotating the brush to maintain paint feed onto the canvas.

If you use the ruler technique, it is essential that you wipe the ruler clean after every use for you will contaminate the canvas otherwise. ... As I found out today!

shadwell 05-26-2014 06:20 PM

Re: *Your Hint's and Tips*
I'm considering giving a ruling pen a go !!

gollum 05-26-2014 06:20 PM

Re: *Your Hint's and Tips*
Imagine you have loads of wires or rigging to do....so much that you could wind up smudging and smearing paint from a wire you had just done

A way round not making a mess to do rigging on ships or wires on aircraft or suspention wires on bridges etc is to wait for the painting to dry then sharpen a Hard pencil 1H /HB...get a ruler and gently lay it where the wire/wires go and draw with the pencil...not too hard....mix up some thinned paint as before and carefully go over the pencil marks, the paint even if it is a bit too fliud will just sit on the pencil marks making them look like they are just simply painted, add highlights for criss crossing wires as nesessary after

Chas McHugh 07-16-2014 07:15 AM

Re: *Your Hint's and Tips*
Place books under the canvas to provide a surface that can be leaned upon without damage.

Chas McHugh 07-18-2014 03:00 PM

Re: *Your Hint's and Tips*
Glazing oil paint
From UK Artists & Illustrators magazine

A glaze is a thinly applied, transparent layer of colour contained within oil or acrylic glaze medium. Before application, a glaze mix will look a bit like coloured varnish. It is applied thinly with a fairly soft brush – my own preference is a long, flat, hog’s hair brush. Glazing can be applied in many separate layers, each one adding to the total cumulative effect.

A painting made with glazes is unique in the fact that each layer applied is distinctly separate from the paint below and above it. Glazing is always done on top of dry paint and, because of this, the colours of each layer do not physically mix with each other. Each layer remains pure, resulting in an interaction of bright, clear colours that can be fascinating to the eye, in which each layer contributes to the total visible effect.

The transparency in a glaze layer allows light to pass through it, reflect from the underlying paint and back out again so that when we look at a painting which has been glazed we are actually seeing an ‘optical mix’ comprised of each glaze layer, plus the painting that lies below. In addition, applying a glaze can assist in ‘bringing out’ the underlying colours within a painting, a bit like oiling wood to show the grain. By their nature, glazed colours will appear deeper and more saturated.

Always work wet on dry
Each glazed layer must be allowed to dry before you apply the next, so drying times are important. In oil painting, a fast drying, Alkyd-based medium like Winsor & Newton’s Liquin mixed with turpentine is helpful. Always try to work ‘fat over lean’ too – in other words, start painting with very little oil or medium in the mix and gradually increase the proportion of oil to turpentine as you progress throughout the painting. A ‘lean’ layer over a ‘fat’ one may not adhere properly, looks dull and might eventually crack.

Use glazes sparingly
A glaze can be graduated from dark to light, like a watercolour wash, by increasing or decreasing the ratio of paint to medium as you work, or by brushing more thinly. The whole painting does not have to be glazed either: you are in control of which areas receive it.

Work the layers before they dry
A glaze can be shaped to work in a specific area and once applied it can be manipulated in several ways before it dries. A brush carrying a small amount of glaze medium or turps can be used to remove part of the layer you’ve just painted to create highlights that can be ‘drawn’ in as required.

Subtract, don't just add
A combination of brush and kitchen roll can remove even more. Simply dab with kitchen roll after diluting the glaze with the brush, as before. If you don’t like what you’ve done, gently work in some turps with a brush, dab off with kitchen roll and the glaze layer will be completely removed.

Try a light backdrop
Glazing works best over lighter underlying colours. It can look stunning over white or off-white highlights, giving an intensity of colour that cannot be achieved in traditional mixes. Experiment at first with a trace of a single colour mixed into your medium, paint thinly and progress from there.

gollum 07-20-2014 05:21 PM

Re: *Your Hint's and Tips*
Take the test :thumbsup:

Really good colour tester....how good is your colour gauge ?


gollum 07-30-2014 09:01 AM

Re: *Your Hint's and Tips*
Posting this here as it's the only sticky we have ;)

Battle of Britain Day by Day

70 years on, a part contemporary, part historical record of Britain's finest hour, day by day

Detailed accounts of the battle...some with action reports as well

Link >>>>>> http://battleofbritainblog.com/calendar/

Example >>>

Day 15 – July 24th 1940

July 24, 2010 in 54 Squadron, July 1940

Weather: cloudy with rain over much of the Channel.
Fighter Command Serviceable Aircraft as at 0900 hours:
  • Blenheim – 56
  • Spitfire – 238
  • Hurricane – 294
  • Defiant – 15
  • Total – 603
In sustained fighting over two convoys, one over the Thames Estuary and the other off Dover, the RAF lost 2 aircraft whilst the Luftwaffe lost 5 aircraft. 561 sorties were flown. The day also saw Luftwaffe attacks on industrial targets in the Glasgow area.
54 Squadron Operational Record Book, 24 July, Rochford
08:12 hours
The biggest and most successful day since Dunkirk. 2 early patrols were followed by a third in which B Flight distinguished themselves. 12 Do 215s in two waves of 6 attempted to bomb a convoy off Dover. The first 6 reached, but missed their target. A determined attack by Green section under PO Gribble forced the e/a to jettison their bombs before reaching the target and to scurry home… This is the first instance in which coils of trailing wire (probably 50 ft in length) have been thrown out by enemy bombers as our planes pursued them.
11.25 hours
For over an hour the whole Squadron took part in the “Battle of the Thames Estuary”. 18 Do 215s escorted by at least 2 squadrons of Me109s and an unknown number of He113s attacked a convoy in the estuary. In this, their biggest fight since the 2nd day of Dunkirk and in the face of these considerable odds, the casualties inflicted on the enemy by the squadron (including 3 new pilots) can be considered eminently satisfactory and most encouraging:
2 destroyed confirmed (PO Gray and Sgt Collett)
4 destroyed unconfirmed (Flt Lt Deere, FO McMullen, PO Coleman, PO Turley-George)
8 probably destroyed (FO McMullen, Flt Lt Way (2), PO Gray, PO Gribble (2), FS Tew, PO Turley-George)
2 damaged (PO Coleman and PO Matthews

Chas McHugh 09-04-2014 08:13 AM

Re: *Your Hint's and Tips*

This is how I photograph my artwork. I have tried several methods over the years and this is the most sucessfull way:-
The painting has double sided tape behind it to stick it onto the drainpipe and prevent it falling forward. This is to get the painting vertical. The white board beneath it is to reflect light. I then lay on the floor and photograph it from slightly below halfway as that works with my DSLR camera to best get a square image. I then crop it appropriately having used the base of the canvas as a datum for any adjustments in the horizon accuracy. Hope that helps someone.

Chas McHugh 09-04-2014 05:22 PM

Re: *Your Hint's and Tips*
I should have mentioned that this is facing north and therefore in receipt of late afternoon northern light. In the Northern Hemesphere this is considered optimum lighting for artists.

AVE8 09-04-2014 06:10 PM

Re: *Your Hint's and Tips*
Thanks for that, Chas....I too try to photograph in the late afternoon, in sunshine. In the shade the photos take on a strange blue hue. Thank goodness for digital cameras where we can take multiple shots in all light conditions and immediately choose the best one. Has anyone tried using a polarising filter to reduce glare from the painting's surface?

gollum 09-04-2014 07:01 PM

Re: *Your Hint's and Tips*
^ To get rid of the blue you mentioned, take the photograph so the painting is not in the sunlight but in the shade...the best results i get are always when it's overcast...not a dreary day ...not a bright sunny day, just a normal pleasant day & when the clouds cover the sun

The white board that Chas shows looks like a good idea to even out the light :)

AVE8 09-05-2014 05:49 AM

Re: *Your Hint's and Tips*
Gollum, in the shade is the worst for bluish hues. Maybe because the light here is Australia is very bright and glarey, and dreary is never where I live, for example....


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