chi white powder

1. Stretched canvas mounted tools and methods like?
stretched canvas mounted a hammer and tacks traditional tools. Cut the canvas within the frame than when grown three to four centimeters, rather large not small. First of all four sides from the middle of the box to start (note the canvas to be bound in a beveled side of the box). The canvas taut, nail the first three nails on each side, then turn from the middle to the four corners of the nail, the nail spacing is about 3 to 4 cm. Do not put all of nail driven into wood in order to adjust or remove the canvas.
gun-type stapler, nail, wide-nose pliers, and other special tools available, so the method becomes stretched canvas mounted and interesting effort. The first nail in the wooden frame with a long side of the middle nailed three nails, and then wood frame upside down with a wide nose pliers to tighten the canvas, and then screw in the opposite side of the three nails. Screw tight using the same method two short sides. With pliers to turn the corner by the middle of the canvas taut, corners will be folded canvas tight with pliers a bit tight, then nail nail reality. Extra edge in the frame behind the canvas can be fixed, if not the gun-type stapler, you can use an ordinary stapler instead. Using ordinary stapler to the attention of the base removed, stretched canvas with ordinary pliers, do not be too hard, so as not to damage the canvas. Stretched canvas mounted using traditional methods can be used to replace the tacks thumbtack, convenient and practical.
not fitted for the frame of the frame, stretched canvas mounted, the canvas is larger than five centimeters inside the box around the back of the box, including nails, including the angle cloth angle built,
2. How to prevent stretch mounted canvas frame out of shape?
canvas stretched well after the uneven picture, frame aliasing distortion of the reasons why there are three: First, poor quality within the box itself, the four corners of the junction is not standardized. Second, the canvas skewed. If the canvas is easy to distort Shredded deformation, resulting in the canvas sides are not parallel with the sides of the box. Third, the uneven force stretched canvas mounted.
solution: If the problem is inside the box, it would replace a good quality, or bigger in the corners right-angled triangles nailed wood. If the problem is the canvas, stretched canvas mounted prior to check whether the right angle corners. Off from the middle of the canvas, to see whether the two sides aligned corners, if not aligned, then tilt the canvas, through pull and so on, so that the canvas recovery Founder, while changing the loading from the middle, stretched canvas approach. First of all corners of the canvas wrap fixed, and then one by one with the wide-nose pliers to flatten the fixed edges, the key is pulled out of the canvas edge of the box with the outer edge of distance equal, this frame is not easy to deformation. Another method is to first one side of the canvas fixed (fixed to the side of the first two corners), then fix the other two angles and the corresponding selvage, and then re-fixed on both sides of the fabric edge, taking care to use the wide mouth Shenglayingzhuai taut canvas pliers can not, forced to be uniform. As long as the canvas with wooden frame outside the latitude and longitude lines parallel to the phenomenon will not appear out of shape frame.
3. After the end of the canvas and easy song to do how to do?
the quality of the canvas, the wet tightness of water prone to change. After the contraction of water as a wet large stretched canvas, generally do not wet method. If you use the finished canvas with foundation, stretched canvas mounted before the need to spray some water evenly, until soft canvas and then stretched to the box, so that does not make the end of material rupture.
wooden wedge frame, good to stretch beyond the canvas into the box and then wedge angle, wedge tapping good foundation will make after the taut canvas. If it is a large frame with a corner, after the loose end of canvas to do is to give artists a matter of headache. Using thick fine linen woven of pure relaxation does not occur normally, artist, multi-use high-quality linen. If you use an ordinary linen or cotton blended fabrics, first with the pushpin on the canvas fixed to the frame, cloth wet with water until the cloth dry and then the canvas taut again. The purpose of using thumbtacks to facilitate the demolition. If the canvas after the first relaxation of water larger humidity can be repeated, and finally a gun-type stapler will canvas the fixed die. Be careful not to play all the time to tack down the side of the pushpin should be fixed from the side. Large frame stretched
the installation method should be fixed corners, turn from the outside and internal fixation canvas. Or four corners fixed after the four sides of a simple fixed look, wet canvas dry pine over the water to be seriously fixed later, so that the canvas is not volatile loose. If the first time, straining canvas, wood frame sometimes bump deformation. Cotton canvas,white earphones, easy to squeeze water wet, dry after relaxation, so first a simple way to a better fixed.
cloudy air is humid, the canvas often appear relaxation. If a little relaxation, fine natural tension will not affect the paint. If you loose a lot and should be tightened some, but not too tight, so sunny after the contraction of the canvas, wooden frame pulled by strong deformation.
4. Why is canvas linen material of choice?
16 century, oil painting on canvas has become the main support material in a large number of linen, cotton fabric, pure linen canvas is the ideal selection.
(1) In addition to synthetic fibers, the linen cloth is the most solid kind of textiles. The fibers are strong, easy to tear or puncture, can allow a palette knife scraping on it, press.
(2) latitude and longitude lines by the density of cross-woven linen, with good color performance.
(3) by the flax linen cloth is twisted into threads and woven into the surface not as smooth fiber and cotton, with a dramatic bump texture, the artist often used linen, this delicate beauty of interesting material.
(4) linen and linseed oil from the same plant, has the same chemical properties, can support each other.
(5) are single-woven linen (SW) and two-lane weaving (DW) of the other, easy-to-handle into a different thickness and different thickness, different textures of a variety of specifications. Coarse linen texture suitable for a large, paint scraper, is to present bold, hearty Italian pen ideal canvas. Linen in the density of smooth, uniform texture, the most appropriate in the realistic style of the performance of dye rubbing mask method. Fine linen texture with a slightly more work for fine painting style.
(6) in terms of preservation and restoration, oil on canvas is superior to other support material on the painting, which ranks first in linen. Linen general growth in the cold and wet weather conditions, Belgium and Ireland that is a major producer of flax. Linen mature leaves from the root to complete the harvest, let decay, leaving a solid fiber, and textiles into cloth. Because different levels of texture and thick, linen sale of about one meter from the width to three meters, ranging up to four meters width specialty more.
pure linen higher prices, it is half-linen and cotton blended, low-cost varieties. As cotton and linen sizing with humidity changes, therefore, not suitable for large mixed textile canvas.
5. How to identify the quality of linen?
available on the market price of high quality pure linen. Prices can also reflect the quality of linen. Cheap linen woven mostly oakum fiber shorter. Individual businesses to half-linen, cotton linen fabrics sold confused, we can use the following method to distinguish.
(1) light see to the thickness is uniform latitude and longitude lines. If the latitude and longitude lines are too uniform, may be the cotton fabric.
(2) tension Gyrosigma see to weave density.
(3) high-quality linen brown color, with glossy, water evenly. Hemp is not good, is processed into linen fibers supple, absorbent uneven, wet after dark.
(4) outside the worsted linen, plush surface as possible.
(5) semi-linen fabric tightness different aspect.
(6) pulled a thread, if the ends are curved and bifurcation, the line for the cotton. The linen was snapped at both ends should be smooth, or impure.
(7), such as soda water onto the canvas, it will show brown linen, cotton pale yellow.
6. Why do the canvas base?
to canvas, linen and other textiles made, must be pre-treatment before being used. The so-called Reasons:
(1) filling the pores between the texture of textile materials, create a painting suitable for saving the texture of paint and surface. Textiles pores, the delicate paintings, painting directly on top of a waste of time and a waste material. Only good grounding in painting on canvas in order to effectively control the use of oil paints.
(2) the supporting materials and paint color layer separated, so as to avoid erosion of fibers in the oil paint, color layer while preventing the infiltration of moisture in from the back of damage to the canvas. Acid in the oil paint on canvas can become dirty, and moisture will color layer of oil oxidation of molecules, so that aging. Therefore, grounding the canvas to deal with work directly related to longevity.
(3) good canvas background, can guarantee the level of brightness and color brightness. Failure of foundation or foundation did not do the canvas, the screen will dim after coloring.
(4) light color foundation can improve the picture sharpness.
(5) base of the painting done, or tempera painting was once the supporting material corrosion, you can
7. Oil base materials do what?
(1) plastic canvas class
foundation for the production of the plastic category are: animal glue (glue, hide glue, etc.), plant resin, latex, white latex synthetic rubber.
(2) oil
foundation for the production of oil oils on canvas are: turpentine, linseed oil, medium oil polishing agent.
(3) supporting material
soft supporting material: pure linen, semi-linen fabrics, cotton canvas and so on.
hard bearing materials: wood, plywood, fiberboard, cardboard, metal panels.
(4)
large white powder filler material, also known as whiting, Spanish white, Paris white, white clay, the main ingredient is calcium carbonate. Large white powder sold on the market is 60% and 40% calcium carbonate, magnesium carbonate mixture. When the end of material to do only with plastic binding, combined with the oil if the child will become greasy. Available alternative to a large marble powder white powder.
lead white powder (lead carbonate): China called as the official powder, Hu powder. European painters of ancient foundation, or use it to produce more white paint. Due to toxic, modern artists have been rarely used.
gypsum powder (calcium sulphate): to do more with the natural foundation of hydration to gypsum or plaster. Dense than the chalk, bright, but poor flexibility. In the supporting material wood and other hard to do better plaster base.
titanium dioxide (titanium dioxide): There is strong coverage, often with large white powder mix.
lithopone (zinc sulfide and barium carbonate): scientific name lithopone. Some experts do not advocate the material used alone lithopone, mixed with a large white powder.
(5) GESSO finished bottom paint
The traditional rabbit skin glue GESSO by the large white powder and white pigment (titanium dioxide or zinc white) mixed. Modern Synthetic (acrylic) and the synthesis of acrylic filling materials GESSO, both can be used in acrylic painting, oil painting can also be used. It dries quickly, does not crack, easy to operate. The end of the market to sell the finished paint with white, red and silver-gray soil.
(6) supporting material
glycerol-style honey: add a little to increase the flexibility of adhesive.
alum: a kilogram of solution by adding 10 grams of alum, to moisture.
formaldehyde: with 4% formaldehyde solution spray both sides of the canvas, to corrosion, pest control, anti-wet.
8. The foundation of classical type of the number of oil paintings?
classical paintings in terms of wood or canvas painting, need to be painted background, base material used two types of bonding materials and filling materials. Depending on the materials, the classical method of painting with the end of the eight systems.
(1) rubber-soled. Old masters often use animal glue, such as glue, rabbit glue. Best of parchment glue, can be soaked with water, heating and melting.
(2) chalk base. Chalk (calcium carbonate) powder, zinc white powder, plastic solution of a mixture.
(3) half-chalk base. Chalk powder,manolos blahnik, gum solution of a mixture. Then add half were cooked flaxseed oil, the end use of this material prior to gel with 7% of the water coating the bottom.
(4) casein base. Records from the ancient art, the artist on the use of casein. Casein is a delicate, soft material, diluted with water is required for grounding, and dissolved in a small amount of ammonium carbonate.
(5) egg base. Egg yolk can increase the softness of foundation. Egg yolk coating the bottom used as a last resort, can produce the best results. Egg yolk can be chalk base additives.
(6) plaster base. Gypsum (calcium sulfate), also known as light spar. Usually on the board for the foundation to use. With the exception of brightness, system of law the same way with chalk base.
(7) oil base. As with the production base semi-Cretaceous, but increased the oil content (two cooked flaxseed oil).
(8) colored base. In the completed chalk, chalk and oil base semi, according to the needs of artists, thin coating to produce a variety of transparent color color foundation. Rubens once charcoal and white pigment, binder mixture coated on a base made of silver gray plaster base.
9. How do use latex base?
latex with latex and synthetic resin plant resin emulsion types. Water as solvent, dry and transparent flexible film is to produce qualified canvas base material. Currently the store is selling the white latex resin emulsion - vinyl plastic. The most suitable material for the white latex paint for the polyvinyl acetate emulsion, this gel at high concentrations, dry film light, transparency, toughness, not crack.
quality latex base is essential for the canvas. Dry rubber-soled, hand on the back of the canvas click, if cracking sound, indicating the poor quality of latex. Buy latex should look at the concentration of the lid, the higher the concentration the better, do not keep well watered in the latex. If the edge of the lid of the latex dry skin, check the transparency and flexibility, hard, brittle can not use.
common use of latex base method to do:
(1) if the smaller frame, with watered down latex scraper will not scratch the canvas can be used twice. Or first brush with watered down glue again, slightly dry and then scrape again pure latex.
(2) first use watered more thin glue coating the first pass, dry little more glue watered (to be able to drag the brush on the canvas date) painted a second time. Coated with a fine sandpaper until the third time will be polishing cloth again, raised the thread removed. This brush can be four or five times. Repeated brushing glue canvas to reduce laxity. But not too much glue, just make sure all holes filled cloth prevail. Too much of the canvas with colored plastic.
(3) coarse canvas texture can not simply scraping gum, brushing the second time in the glue must be added in a large white powder or lithopone, water, gel, powder ratio is about equal. The same proportion of the powder with liquid brush third time. Slightly with sandpaper on the surface during finishing. Finally, diluted glue and then cover one or two times. Coarse texture, whether canvas, canvas or fine texture in the density of the canvas, you can use the above method to do a white base. Doing the white base, the professional artist accustomed to large white powder mixed with titanium dioxide by the same amount. Canvas easily absorbed because the big white powder (filling), titanium dioxide can increase the brightness.
tool coating solution is generally wide and scrubbing brush, brush up and down or left and right to the edge, do not use excessive force. In addition to scrubbing brush, the artist often used scraper (fitting tool) to scrape gum. Scraper with plastic and metal are two kinds of powder mixed in the adhesive base material, the use of different tools may produce different results. Scrape out the base more smooth, and brush texture better reflect the characteristics of the canvas.
to long-term preservation, the general view that stretched canvas mounted on a frame, including around the glue should be applied. But the glue is dry, the canvas will stick around in the wooden frame is not conducive to demolition, so do not advocate around gluing.
10. Gum base to the characteristics and production methods?
gum base production, materials and procedures are relatively simple and cost at the end, the time is short, colored solid, flexible and strong, the stronger the performance of the most suitable method of thick paint. Rubber-soled canvas painting of modern artists and the creation of an ideal material, it is not only suitable for painting, but also for tempera, encaustic, acrylic and other mixed media painting. Once very popular in the era of classical and transparent painting techniques, and later used by Impressionist painters.
disadvantage of glial foundation is not anti-surge, in a wet environment, canvas easy to relax; do not have the plaster base that clear, durable white; less than pure oil base and elastic. European artists using the ancient animal hide glue (rabbit, sheep, deer skins, etc.). Hide glue to be soaked with cold water, then heated to dissolve. The concentration of animal glue can adjust the amount of water for general use for the end of the glue 45 to 80 grams of gelatin plus one liter of water. Many contemporary artists use latex for the end of glue, the finished product on the market for sale the end of paint (GESSO) are gelatinous coating can be directly applied to the base paint.
addition to gelatin, latex, there are few painters with works with plastic, but not with acid, there can be corrosive, white Nippon paint can do as a gum base.
on base in the production of a professional artist have their own habits and ways, which is related to the artist's work style. Here are a few Chinese painters method of making rubber-soled children
(1) painter Yang Feiyun density of linen in use, the latex diluted with water, brush the surface with a scrubbing brush in again as the underlying fabric, dry and then add water and white latex painted twice, then use fine sandpaper to dry slightly polished, smooth fabric, and finally with a thin coating of latex diluted with water one to two times base cloth was matte effect.
(2) all the rocks using a coarse texture, Mr. linen. Scraping the bottom of the first plastic with leather, Zaigua layer of skin adhesive, and the third layer is the background (lithopone + plastic), generally at least five times the brush. The gum base is not the end of oil.
(3) the use of the painter Chao Ge density of linen. As Gyrosigma not very thick, thin coating powder by several times after the oil was half the state, exposing the linen texture. If the surface of a particle, the canvas against the flat, take a hard object from the back of the top click. Do not use sandpaper too polished cloth, canvas surface is too smooth so as not to impede the pen.
(4) artists use Weir applications, He usually use a spatula to scrape the glue over the canvas top. If the gap is too large cloth, you need to add water in plastic painted over with a scrub brush.
(5) painters Duoling often used in chemical fiber cloth texture. Bottom of first brush with glue and then painted a second time GESSO.
(6) practice of using coarse texture painter Liu Xiaodong linen. First, a white latex, three thin coating of water bottom, dried by the above method to add some latex painted again the next day, finishing with fine sandpaper cloth, lint particles will wear off, and then diluted with water with a thin coating GESSO brush II times. Cloth appear before matte effect, semi-oil state.
(7) Mr. Luo Erchun often choose to coarse texture of linen. First brush with a thin latex with water, dry dressing slightly with sandpaper, and then add material to increase lithopone brush white powder, add water one to two times, and finally coated with a thin glue again.
11. Characteristics of base oil quality and production methods on how?
oil base of the oldest, and most popular, it is mainly used for canvas, but also applies to wood and so on. Base oil and the oil layer is basically a rubber-soled two parts. The traditional end of material for animal hide glue (mostly rabbit), bottom paint is oil-based paint (linseed oil + turpentine 15 grams 15 grams + 25 grams of lead white.) Production methods are: heating and melting the skin glue watered, when applied to the canvas while the glue warm, dry it and then coated with white oil base paint. At the end of the oil paint as little as possible to ensure the next layer of solid color. Coat of primer, the canvas can be used, if need more smooth surface, the canvas will erase, so the bottom paint to be coated with two to three times. Oil on canvas ready to be placed on grounding can be used for several months, and longer, and the best time for six months.
oil absorbent base foundation is weak, the surface smooth, elastic strength, impact resistance, moisture proof. Drawback is the lack of penetration, no gum base coloring, in a long time loses its elasticity, color layer due to embrittlement and cracking, or even fall off. Also easy to turn yellow oil base.
generated from synthetic rubber, the modern artist for more than the end of white latex rubber. Practice: the latex diluted with water painted on the canvas after two to three times, and then add a small amount of water, latex, plus lithopone (You can also add color inside the oil), stirring evenly coated or scratch on the canvas. To be dry, with oil paint (usually white, you can also add a little dark blue, red soil tune into gray) brush on a thin layer can be
Professor Claude according to Virginia to teach classical painting techniques of China his master's system by the end of the classical method of painting, the specific practices are as follows:
first step: Scrap rubber-soled. First with sandpaper or a pumice stone to tighten the canvas a little trimming, and then coated with rabbit skin glue (glue and water in a ratio of 7 to 10:100). Crack the film, and then soak in cold water 5 to 6 hours, it made up, and then stew for ways to melt. Or first with a little cold water immersion, until soft and then sent up into the hot water and stir until completely dissolved, when the glue is still warm (about 17 ℃ or so) can be coated on to the canvas, the canvas should be flat when scraping gum, first down on the glue, the glue with a large spatula to scrape the canvas. Scrape the glue in the whole canvas, after all, while it is not dry lint and summary will be removed or compacted.
Step two: painted red background. Yellow oxide of lead (lead oxide) of cooked ground walnut oil rich red powder (iron oxide red) to the appropriate thick thickness, the coated plastic canvas, use a spatula to scrape up the paint, dry it and then use the pumice stone polished again, so that the canvas evenly smooth surface.
third step: James Gray at the end. With a walnut oil plus a linseed oil, ground white powder and carbon black pigments of lead. With a stiff brush to research into the light gray thin applied to the canvas. The proportion of black and white toner free. Thin gray primer may be as much as possible, so easy to crack canvas foundation. Not only brushing once, in order to avoid the red end of emerge, we can not cover the linen Gyrosigma. Can first scrape a layer of gray background with a scraper, dry pen and then coated with a hard bristle second layer, then use the badger brush to erase the pen mark. Add more soil can be a little red paint and a light gray red.
12. Semi-oily foundation characteristics and production methods on how? also known as semi-semi-oily foundation
absorbent base, this foundation is usually made with emulsion paint brush, it is also known tempera emulsion base or foundation. Useful animal glue, latex, casein glue or egg yolk as emulsifier a variety of practices.
(1) the traditional practice of using animal glue: The glue and water mixture of 7:100 brush a layer of rubber-soled, with a large white powder after drying or gypsum powder, plus the same amount of zinc white, plus the same amount of gum solution and stir, then add cooked linseed oil, the addition of a large quantity of white powder 1 / 2 to 1 / 3. Tune into the bottom of this and because viscous flow of paint in a plastic coating painted on a canvas of one to three times can be used.
(2) the practice of using latex: use a spatula to scrape the existing latex evenly taut canvas, if it is watered the emulsion to brush a few times more. Be dry sanding lightly with sandpaper, and then acrylic paints (mostly white) plus a small amount of turpentine and oil color applied to canvas. Latex or oil color with white on the bottom of barite powder, a mixture of latex paint coating or a scratch at the end of the canvas.
(3) rubber-soled casein promoter:
① modulation of casein glue: casein 50 g + 125 ml warm water + 15 grams of ammonium carbonate. Note: The first mix with warm water and casein, but with a very small amount of water soluble ammonium carbonate and ammonium carbonate to dissolve into the mix in the casein solution. Casein to be fully dissolved by adding 125 ml warm water after mixing into a paste-like, then add 3 grams of sodium chloride (preservative), also first dissolved in water, then poured into the glue in the mix.
② SYNTHESIS casein glue 1 + water 1 to 3 copies of the first layer of rubber-soled brush.
③ when the first layer is dry, paint the coating agent Serve.
coating of Preparation: 1 large white powder of titanium dioxide or zinc white powder were +1 +1 +1 copies of casein glue parts water, then take half of cooked linseed oil a few drops of ammonia were instilled into the emulsion after the shock, then the mixing the two together can be used.
(4) egg base: In the glue into the egg yolk or whole egg in, then slowly dropping some of linseed oil, with agitation or vibration method the formation of White powder into a paste with water pre-adjusted, and then stir together with oil emulsion with (can add some honey), the coated thin plastic coating painted on the bottom two to three can be. Multi-purpose glue used to glue or glue in refined, and today can be latex, cellulose gum and 107 glue. At present, the store sold canvas art, and its oil absorption properties are mostly semi-canvas. Half between the characteristics of oil of rubber-soled canvas with oil between the foundation.
13. Colored base color at the end of the production and the effect of the screen how?
production base colored painting in the Gothic era, there probably was. Production of red basalt soil with red canvas has been popular from the 16th century to the 19th century, Courbet era. Some of the oil-coated resin base and resin add color barrier, and some base oil was added in the last layer of coating and strong absorbent clay pigments. This will not only weaken the greasy feeling oily base is conducive to quick-drying color layer, more important, it helps the overall tone of the artist's grasp of the screen. Rubens once hard charcoal, white pigments and binders (possibly plastic) mixed with white plaster applied with a sponge base with rapid, resulting in a silver-gray with a texture layer, rendering the subsequent coloring layer relaxed, happy and dynamic effects. Here are two non-ferrous base
production methods:
(1) in the chalk foundation, and with the acrylic paint plus a small amount of turpentine and oil applied to the white color on the bottom, the artist used acrylic paint needs based on their preparation, common are white, brown, ocher, earth tones and so on.
(2) in the oil or semi-oily foundation, and with the color add a little oil to accelerate drying agent Iron Pink (iron oxide) coated with a thin coat or casual again, leave brush marks will produce unexpected results .
(3) of the base in a sketch on a thin oil paints with turpentine tune with the final coat of color contrast and color layers. Such as the sky is blue, can be coated with a thin layer of soil red.
colored foundation must be coated with a thin white cover on the bottom of dye production methods. Purpose is to ensure the transparency of the color screen. No matter how thick the subsequent coloring layer, the background color will have an impact on the screen.
(1) to maximize the performance of the white base color of the rich, the white base, the colors look clear and sure. A variety of colors on a white base is difficult to properly combine in harmony with each other have to rely on to adjust the gray, so the need for rich white base paint on the gray. The use of color, compared to well-being appropriately, but also avoid the rich and gaudy coloring too. White foundation for transparent and translucent painting painting, the use of this technique can produce a variety of Out of the gray than the gray tone with a more attractive charm.
(2) gray base with earthy, often with many artists, its skin color has an irreplaceable role. The end of the color gray can produce a variety of harmony and unity of effect. Between the white and gray silver between the foundation, with a total of two background characteristics. Can weaken the end of warm gray-green, earth red, blue and green colors make the end ocher color tends to weaken leaving harmony. Use of color contrast with the background being of the formation of an extremely subtle effect available. Now a lot of artists use linen colors - light brown, brown as a background, reducing the trouble of doing background, convenient and practical, but only in the density of fine linen and linen. Coarse texture of linen need to fill in materials (lithopone, white powder) filled Gyrosigma holes.
(3) foundation in the dark paint on the screen would have the effect of dim. All the light color will darken, so use a dark foundation to take into account this change. Mostly warm dark bottom, such as brown, iron red. Artists generally do not have black background, plus black and white, but ivory foundation frequently used.
14. Gypsum base characteristics and production methods on how?
pure gypsum base - hide glue plaster base produced in the Middle Ages, for the hard bearing materials (wood, etc.) for it is the best foundation. Gypsum has a strong adhesion, compatibility with most color media are. In addition to propylene, it is particularly suitable for oil paints, because it is a completely oil-free foundation. The end of the century, that is, beginning oil painting, most of easel painting is painted on the wood, the use of plaster base. Plaster base is not oil, not easy to turn yellow, and can keep the pure white. Therefore, from the 14th century to 15th century classical painting has remained transparent and shining jewel-like luster.
traditional plaster base production methods are as follows:
(1) the end of material. Animal hide glue or adhesive 70 to 100 grams of water, 1 liter of water. Tu two to three times. Have to wait for glue to dry completely before the first pass then coated with layers.
(2) primer. Glue, zinc white, gypsum and 1 copies.
to try to thin the first layer coating, such as a veil. This allows the layers to obtain a strong adhesion after.
brushing direction to the second layer with the first layer into a 'ten', the word cross. Half an hour in the first layer dry and then painted, the same can not be painted too thick. After the third layer and layers
and so on, until the base smooth, bright, white, any place not exposed until the wood texture. Usually takes 5 to 6 layers of coating. Foundation for the plaster coating several times more than is absolutely necessary. Tu eight to ten layers are normal. Only one to two of the base coating can also be used though, but are likely to flake or crack after drying. Because without such a coating is completely dry on the next layer can be coated, so it is easy to cast in a morning to complete the production base. Do not quick-drying under the sun or heater to avoid peeling off layer after the color. Supporting material to do the hard plaster base, many painters used to be affixed on the bottom layer of gauze or other fabric, so that it can enable the combination of paint and a more solid floor, and because there is a layer of gauze, paint not too thick coating at the same time make the board have hand touch. Choice of fabrics are: linen, cloth, packing cloth, gauze, etc.. Use of gypsum plaster base plaster powder or natural hydration to gypsum powder. Gypsum water will harden. In order to increase the strength of coatings, the use of plaster powder can be added one-tenth of light calcium carbonate powder (referred to as light calcium powder.) Pure gypsum is not suitable for the soft supporting material foundation. If you use the soft supporting material with titanium dioxide, zinc white powder or lithopone mix, and add a small amount of glycerol (honey better) to increase its flexibility. Colored plaster on the foundation, the phenomenon of oil may occur, in a sense, this is a good thing, because it means that the real oil and base together. If you need an oil absorption of the background, can be coated in a layer of plaster base is very thin varnish or glue.
15. How to use oil painting on paper and wood?
addition to the canvas, the painter also uses oil painting paper, wood and other materials to paint.
painting the surface of paper is stuck in the thick layer of cardboard is made of linen, thickness of 4 to 6 mm. Oil painting on sale before the general use of paper in the use of diluted latex brush again, in order to avoid oil. Paper used for painting out painting, making color draft, painting classes, and other emergency. Small European painter Holbein, Rembrandt, Delacroix and other artists have left oil on paper, but then with the oil rag paper is made,gucci moccasins, unlike most of today's paper, with vegetation pulp made some painting on paper or cloth attached to the board.
is oil on canvas board pending the selection of the major ancient European masters of painting materials. More choice of pine, fir, cedar, basswood, poplar and so on. Few artists now paint on the wood. Some artists use plywood (plywood or five plywood),peak performanc, the plywood (many with plywood) nailed to the wooden frame, the latex against the small amount of water and white powder mixed into a large lithopone or semi-liquid form, use a spatula to scrape the plate surface of latex , sanding lightly with sandpaper dry again, then brush a layer of latex water, you can use. Plywood can also do oil rubber-soled. In order to increase the adhesion of color plywood, a thin layer on the plate affixed to linen (cotton also) do after the foundation is a good way. First, soak cloth in water emulsion, while the plate coated with a thin layer of glue, and then soaked cloth to the plate surface and the tile brush with the board level. Plywood must be fixed to the wooden frame, or deformation. If the frame is small, plywood, small in size, do not nail wood frame, you can also gluing surface anyway. Frame is very easy to carry out painting, using oil on paper, difficult to save. Linen attached to the plywood will be used to paint on very practical. Not out painting as a great frame, no need to use wood plywood fixed. If the slightly larger frame can be five plywood
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