These products are typically found in art supply stores and are generally a good option; kiln dried, relatively stable, and engineered for this purpose. Although, you can draw or paint directly on the wood panel with oils, watercolors, or dry drawing media, we recommend a barrier for most applications. When painting with any acrylic paint, … Weiterlesen
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Golden Artist Colors, Inc.
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Bristol This is an uncoated machine finished paperboard popular with illustrators. Bristol varies widely. Thicker ones are less prone to buckling with water media. For best results, use the media as recommended by the paper manufacturer and test. When working on these types of papers, acrylics, watercolors, and dry drawing media, a barrier is not … Weiterlesen
Printmaking papers Paper varies widely and some will have no sizing. Thicker ones are less prone to buckling with water media. For best results, use the media as recommended by the paper manufacturer and test. When working on these types of papers, acrylics, watercolors, and dry drawing media, a barrier is not required. However, when … Weiterlesen
Handmade papers Papers vary widely. Thicker ones are less prone to buckling with water media. Follow the recommendations for media by the manufacturer. For best results, use the media as recommended by the paper manufacturer and test. When working on these types of papers, acrylics, watercolors, and dry drawing media, a barrier is not required. … Weiterlesen
Corrugated Cardboard Made from a combination of Kraft paper, recycled pulp, and sizes or glues, cardboards among one of the most common paper products in use. When working on these types of papers, acrylics, watercolors, and dry drawing media, a barrier is not required. However, when painting with oils on paper, an application of 3 … Weiterlesen
Linen (Raw, Unprimed). Contents and qualities of these fabrics vary widely. The density and weave along with natural materials, chemicals, and sizing in these fabrics can directly influence its performance. Although acrylics and dry drawing media can work well directly on raw or unprimed linen, we recommend a barrier for most applications. When painting with … Weiterlesen
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From the earliest times, the darkest shades of natural brown earths, known as Umbers, have been a part of the artists’ palette. Ranging in tones from the greener Raw Umbers, which produce a range of neutrals when mixed with white, to the warmer, dark chocolate notes of Burnt Umbers, which create tans and tawny beiges … Weiterlesen
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Editor’s Note: Added April 26, 2022 For some time, our recommendation for artists using oils over acrylic has been to work over harder, matte acrylic surfaces and avoid working on softer gels and gloss products. Our intention was to optimize the level of adhesion that would be achieved on a toothier surface as well as … Weiterlesen
Mark Golden: Cathy, how did you get started making art? Cathy Jennings: I don’t remember a time when I wasn’t making images of what I see in the world and that seamlessly grew into drawing and painting. Mark: Who were the mentors in your life that guided you in that way – parents, teachers? Cathy: … Weiterlesen
Edited by Joyce Hill Stoner and Rebecca Rushfield After seven years of work and including essays by seventy-nine international author-experts, Conservation of Easel Paintings is now available from Taylor and Francis, amazon.com and barnesandnoble.com, etc. David Bomford, formerly Acting Director at the Getty Museum and currently Director of Conservation at the Museum of Fine Arts, … Weiterlesen
