Watercolor These are water colors. The main properties of watercolor are transparency, softness, purity and brightness of color. Binding watercolor paints are vegetable transparent adhesives - gum arabic and dextrin, simply soluble in water. Watercolor paints also contain a plasticizer in the form of glycerin and invert sugar, which makes them plastic. Glycerin holds water, prevents paints from drying out and becoming brittle. A surfactant, ox bile, is also introduced into watercolor paints, which allows you to simply spread the paint over the paper, because the bile prevents the colors from rolling into drops. To prevent the destruction of paints by mold, an antiseptic, oxybenzene, is introduced into them.
Paints are divided into two groups - warm and cool. Warm colors include yellowish, orange, reddish, brown, in other words, all paints that contain one or another amount of reddish or yellowish color in their base. To the group of cool - blue, blue, greenish, purple, in that case they are dominated by coldish blue colors. Greenish, purple, grayish and dark colors can be both cool and warm, depending on the characteristics of the shade and the impact of the environment.
The colors blue, yellowish, reddish are the main ones, others acquired by mixing are considered derivatives - warm or cool, depending on the composition of the paints. Even neutral colors such as greyish and dark contain countless huge aspects that are immediately hard to find in terms of color quality. In that case, take a group of warm colors, for example, burgundy, and compare them with each other in terms of heat and coldness, it is noticeable that in this group, in relation to each other, there are colors colder and warmer.
How many colors should be in a set?
The sets can contain from 12 to 36 colors, but not all of them will be used. It is absolutely not necessary to have a huge number of colors in a set, moreover, it is simply embarrassing. It's best to try all the possible paint compositions to know which combinations provide dirt and which ones provide unusual colors that are not in the set. Less than 10 more commonly used colors are selected for work. In most cases, it is blue, cadmium yellowish, reddish and orange, ocher, umber, emerald green, neutral dark.
What properties should watercolor paints have?
Color according to the established sample. Great transparency, because all the beauty of a bright tone when applied in a narrow layer lies in this property, which is achieved separately by narrow grinding of dry pigments. The dispersion of paints matters, but this, on the one hand, is a matter of the initial material of the pigment, on the other hand, individual preferences of the watercolorist. Finely dispersed paints "sit down" on paper very densely, in contrast to coarsely dispersed ones, which are washed off from the surface of the sheet even more easily. It is clear that fine-grain paints have the highest glazing characteristics. Such paint should be perfectly taken with a moistened brush and simply washed out. The bright layer should simply be washed off with water from the surface of the paper or soil. Watercolor paint, thinned with water, should lie flat on the paper and not create spots and dots. When exposed to direct sunlight, the paint must be lightfast and not change color. After drying, give a strong, non-cracking layer. Do not bleed to the back of the paper. Binders for watercolor paints must be of high quality: after drying, they simply dissolve in water, have a fairly high degree of viscosity and adhesive ability, and when dried, give a hard, non-cracking and non-hygroscopic film.
Distinguish:
So, in the old days only solid tile paints. Currently, they are used to perform drawing work, posters, projects. Although the highest grades of these paints are applicable for painting. Cheaper ones are made for kids and schools. The binder in such hard watercolors is cheap glue: animal glue, potato molasses, gum arabic, honey, and tragacanth are also used.
Paints in tiles should not be brittle or soft. The huge amount of gum arabic in them makes them brittle; the brittleness disappears when there is enough sugar. When the binder consists mainly of animal glue, then with some dampness, the paints crumple in the hands.
Paints in cuvettes usually small works are made, for example, in the open air when making sketches. Because it happens, and quite often, that the mixing takes more time than the writing itself, and God knows how comfortable it is to wash out the paint from the cuvettes for huge formats. Semi-solid watercolors in cuvettes should contain a sufficient amount of glycerin, honey, sugar or molasses, but not too much, otherwise the paints do not adhere well and unevenly to the paper.
For the manufacture of semi-solid paints in tubes, which are much easier than solid paints, are diluted with water, use the same gum arabic and dextrin as a binder, to which a significant amount of honey is added. Instead of honey, glycerin is used to reduce the cost. The best varieties paints are prepared on pure gum Arabica, from time to time they add small amount(from 20 to 40%) candy sugar. Paints in tubes are great for creating large-format paintings, they do not actually get dirty against each other, because they are squeezed out to scale if necessary. But it should be noted that since watercolor in tubes is soft and squeezed out to scale, with saturated painting, the pigment is not always moderately picked up on the brush and also unevenly falls on the surface of the paper. During glazing, when paints are repeatedly applied to the previous dried layers, these shortcomings are not very noticeable, however, when working on a damp paper surface using the Alya Prima technique “painting on wet”, this is very disturbing, since uneven clumps of a bright layer are formed, which, when dried, destroys integrity of the applied smear. Soft watercolor is more suitable for traditional painting, although with a certain experience in working with these paints and in the technique in a raw way, a watercolor artist can make excellent standards. It must be emphasized that such paints are not used for some time, the separation of the pigment from the binder may occur.
Watery watercolors perfect for working with an airbrush. They are produced in small jars and vials (from 29 to 35 ml) or in larger bottles. Suitable for use directly from jars or after dilution with water. The range of colors is very wide. The stopper in small vials has a dropper, which makes it possible to easily maintain the appropriate proportion when dissolved in water. These colors are colorful, saturated, mix well, and provide excellent combinations with all this. When working with an airbrush, you need to use distilled water, separately in that case the concentration of impurities in the water from the water supply is high. Perfect for regular watercolor work.
As another version of the watercolor technique, it is possible to see the introduction watercolor pencils and crayons- a unique transition between drawing and painting. You can draw with them like ordinary pencils or crayons, but as you start using water, the color will dissipate and you will get watercolor paints. But pencils have an advantage over watercolor, they are more comfortable and easier to use and relatively cheaper. Watercolor pencils contain a pigment inside that dissolves in water.
Water soluble pencils are available in a wide range of colors just like regular pencils. Watercolor pencils do not vary like graphite pencils - (from 9B, the softest, to 9H, the hardest), however their softness does vary between brands, so from time to time it is worth buying a typical pencil from different brands to see who to give preference to before than to purchase a set. The softer watercolor pencil, the easier it leaves a mark on paper.
Watercolor pencils look the same as ordinary ones, however, in that case, you can look closely at the inscription written on them, that is, you can see a small sign, which means that the pencils can be blurred with water. As a rule, this is a small droplet, a brush or the word "watercolor". Well, of course, there is always the opportunity to check them on a piece of paper.
in different artwork can be used mother-of-pearl watercolors - the new kind watercolors made on the basis of colored pearlescent pigments. Paints are simply diluted with water, picked up on a brush and laid down on paper in an even layer. When dried, the paint layer brightens, with all this, the mother-of-pearl shine is enhanced. The basis for drawing can be paper, cardboard, wood, fabric, plaster and other materials.
original sources and carefully
Watercolors are artistic paints based on vegetable glue, soluble in water. She lies down in a thin translucent layer, which is her feature. Watercolor was first created in China in the 2nd century AD. Watercolors are painted on special watercolor paper, which differs from the usual thickness, density and texture; soft brushes are usually used - squirrels or columns. Before applying to paper, watercolors are diluted with water, after drying they can be stored for quite a long time.
WHAT IS THE ARTICLE ABOUT?
Composition of different colors
Do you know what watercolors are made of? For their manufacture, aniline, mineral and vegetable components are used. However, the aniline substance is used the least often, since it gives a stable saturated color, soaking through the paper without being washed out with water, which eliminates the most important feature watercolor paints - translucent application.
One of the most common components is mineral. Its advantage is strength and low cost. So for the manufacture of watercolors, crushed and mixed with water color pigments are combined with a binder and the resulting mass is packaged in a tube, cuvettes or pressed into a cake shape.
As a binder, all components use fish or cherry glue, gum arabic, candy sugar, gelatin and others. The highest quality watercolors are made with the addition of gum Arabica, sometimes with an admixture of candy sugar (from 20 to 40%), as well as wood glue or dextrin in various proportions.
Different types of mineral substances correspond to a particular shade of watercolor.
Lead white with a large amount of admixture of heavy spar gives a white color. The snow-white shade is obtained from lead white of the highest grade - Kremzerweiss.
Yellow is made from crown yellow - chromium-lead salt, and yellow carmine, ocher, cadmium sulphide, etc. are also used. These colors vary in shades from light yellow and lemon to rich orange and ocher. A feature of yellow paints is a change in hue to sunlight. If the watercolor is made on the basis of the crown, it should be noted that it cannot be combined with paints that contain sulfur, i.e. with blue hues.
Red shades are made from red lead - mineral paint, which has a bright red color, the highest grade is Minororange. The finished shade of the watercolor depends on the degree of grinding of the particles: the thinner, the brighter the color.
The red color is also obtained from carmine. However, its origin is not mineral, but animal, which gives such color specific property- insolubility in water.
Shades of blue are made from artificial ultramarine. Its shades range from sky blue to dark blue. More light color obtained from the mineral components of a thin fracture.
Also blue prussian blue is the basis of blue watercolor paints, its color is dark blue.
indigo - dark Blue colour with a copper-red tint, maybe of mineral or vegetable origin.
Green shades are obtained by mixing blue and yellow paints or they are made from crown green, verdigris, cinnabar green, chrome green, ultramarine green, etc.
Manufacturing process
How is watercolor made? The process of making watercolors begins with the selection of the desired shade of mineral paint. You can choose it from ready-made raw materials or by mixing several colors. If the shade is too saturated, it is weakened by adding white.
Most important point in production - careful grinding of mineral raw materials. Since mineral paints often do not dissolve in water, and coloring occurs due to the attachment of paint particles to the paper surface.
- Primary mineral raw materials are produced in lumps or powder of coarse grinding.
- Further, mineral paints are crushed in a paint grinder, runners, ball mills or a stone mortar if it is made by hand. The finer the resulting particles, the higher the grade of watercolor paint.
- Then the resulting mass is combined with a binder, for example, gum arabic. So for a red color made from carmine, only a candy solution is suitable, and a dextrin solution is used for emerald green and chrome color.
- Quantity binder depends on mineral raw materials, so white and black colors require it least of all, and shades of ocher most of all.
- After combining mineral paint with an aqueous solution of a binder, a clay-like dough is obtained and rolled out 5-8 mm thick, after which it is left to dry for 12-20 hours.
- If the watercolor is later packaged in a tube, then in addition to the binder, non-crystallizing liquid honey or glycerin is added.
- Depending on the form of release, liquid is packaged in a jar, semi-liquid watercolor - in a tube, solid - in a cuvette or tile.
- When the watercolor has sufficiently hardened, it is molded into the chosen shape. The finished mass is cut into appropriate pieces and glued to the tile with carpentry or fish glue.
The second cooking method
Glycerin is poured into the reactor with additional binding elements. Further, a coloring pigment is added to the bowl (special bowl), and the entire resulting mass certain time kneaded. Then, in a thin jet, the watercolor workpiece enters the paint machine, designed for a specific color, and is ground. Next, the mass enters the vats, from which it is poured through special hoses into a filling machine, where the colors are packed into ready-made containers for sale, and then the watercolor is dried for two days.
Blue paint example
Prussian blue mineral paint is finely ground, combined with water and hydrochloric acid and then bring to a boil. After which the paint settles, the excess liquid is drained. Gum arabic, glue, which is previously dissolved in water, is added to the resulting mass, and heated at the measured temperature until a thick paste is obtained.
The very first paints that our children get acquainted with are far from the proud title of “watercolor”. Our child gets a nice little plastic box with 6-8 bright colors under a transparent lid and a terrible plastic brush inside, which is easier to smear glue on cardboard than to create masterpieces. Meanwhile, watercolors were known in Ancient China, and in Egypt, and in Rome and Greece, however, they were used for the most part not for their intended purpose, but for writing and graphic illustrations for the text, then for makeup, and only after that for drawing.
Painting with watercolors, as such, arose much later, only in late XVIII century. At the beginning of the 19th century, it finally took shape as an independent art form and began to be considered a subject of passion for selected people who could afford to master this complex drawing technique for hours.
The name of the technique is directly dependent on the moisture content of the paper on which the drawing is applied. So, the technique of "English watercolor" is performed on wet paper, "Italian" - "dry". The combination of these techniques gives truly beautiful works, where soft color transitions outlined by strict frames of another translucent tone.
A la Prima - fast writing on a wet field, creating unique streak effects, flowing from one color to another, with multi-colored overflows and a transparent "glass" background. This technique requires a fine sense of color and compositional solution, because written in one session - the possibility of any corrections is excluded. This is a single layer technique.
Multi-layer involves the art of glazing - a method of applying watercolors with translucent strokes, darker to lighter (and vice versa), already dried layers. In glazing, strokes rarely mix, often even the boundaries of the stroke itself are visible, but the clearance of the paper must remain and the top color is not necessarily the same shade as the previous one.
It's only general concepts about the many techniques and "sub-techniques" that are accessible and understandable to artists who have chosen watercolor as their muse. But while this is still not available for the young "Michelangelo" - your child, he just has to learn how to mix colors for the selected pattern, how to choose suitable brush and the technique of how to find your own style of writing, so that his works are recognized “by the hand of the master”, and the paintings are known “by the face”.
Over time, he will begin to understand paints and canvases, the tonalities of different strokes according to the degree of humidity. different parts paper, etc., etc., but for starters, he just needs to buy good watercolors in 12 colors of any brand you like.
On the video: checking watercolors for quality.
Watercolor domestic production
Let's put aside artistic paints for children with 6 cuvettes and a brush that bristles in all directions, shamelessly called a "painting brush". Let's take a closer look at the products of JSC "Gamma" (Moscow) and ZHK (Factory of artistic paints) "Nevskaya Palitra" (St. Petersburg).
"Gamma" is a very good watercolor for the first steps into the world of art, but it still does not reach the level of professional paints, although it is listed as such.
But St. Petersburg watercolors are a real legend from the times of the USSR. Names such as "Sonnet", "Neva", "Ladoga", "White Nights" sound like music to the ears of watercolor artists who have known from childhood with bright, beautiful flowers in mini-containers. This is not only the widest range color palette This is the highest quality product!
The watercolors in the Ladoga set are marked as professional paints and for professional training.
"Sonnet" and "White Nights" will suit both cool sharks of the brush and a child to get acquainted with the canons watercolor painting. Paints differ in excellent miscibility, profitability of use.
The cuvettes-containers themselves are completely filled, a film with the correct color names in two languages is applied on top, which will help the child immediately learn the name of the paint in Russian and English. 12 or 16 colors are enough for the first lessons, 36 are a lot and expensive, but it is best to purchase set of 24 cuvettes. Of course, and from 12 colors you can get enough a large number of beautiful mixed colors with different shades, but the choice of 24 will be optimal, and the price will not hit you.
In principle, no matter which of the St. Petersburg sets you like, you will not lose: they are all similar to each other, they all have bright, decorative colors, and the pigments are generally the same. The only difference is the price. It is also convenient that any of the used cuvettes can be easily replaced by purchasing the exact same one separately from the set and inserting it into the vacant socket.
Advice! Do not throw away empty cuvettes! They will come in handy for your young artist for storing mixed colors, which he will learn to compose himself.
Foreign analogues
Is there an alternative to St. Petersburg watercolors? There is. Since we have decided on a Russian manufacturer, let's see what watercolors our "foreign friends" offer us:
- Holland.
Famous not only for its tulips, but also for the amazing Van Gogh watercolors (Van Gogh), produced by the Royal Talens factory. The name of this artist should mark high quality colors, and this fully justifies its name. Given the solid age of the brand and its steadfastness in the market of artistic products, there is no doubt about the quality of these picturesque paints.
The VG brand produces pastels, paper, canvases, brushes and pencils. All paints can be both in cuvettes and in tubes (tubes).
Holland can offer another line of Royal Talens - watercolors, oils and acrylics Rembrandt (Rembrandt). This is the oldest brand, known since 1899 as wine - the older, the better the taste (quality). This is truly an iconic brand!
Launches Royal Talens and Ecoline liquid watercolor in branded square bottles.
- Germany.
It is famous for the brand of "Florentine production" - watercolors, oils, acrylics of natural and synthetic composition Da Vinci (Da Vinci). Paints are produced in two sets: for professionals and beginners - study. But German brushes, which are made by hand from kolinsky, sable, arctic fox and ox bristles, received special recognition. There are also synthetic analogues. If there is an opportunity to choose brushes, then stop on them. These are the best of the best!
Among German brands, Schmincke paints are clearly in the lead - AKADEMIE® Aquarell watercolors (premium class). They are created according to the old, one might say, family recipes. But we will not dwell on them - the price of $ 130 for one cuvette does not scare away only professionals.
- France.
Represented by the Sennelier company, founded by Gustave Sennelier in 1887. Picasso, Cezanne, Gauguin and Van Gogh himself could use Sennelier paints. The company produces professional artistic watercolors Sennelier Artists for high professionals (another name is "L'aquarelle") in 98 (!) Colors and a lower class watercolor - "Raphael" (Raphael). However, regardless of the class, both paints are made only on natural bases, in particular - on honey.
- England.
Of course, she could not stand aside, and since 1832 she has been producing a fantastic quality product from Winsor & Newton - artistic paints (watercolors, oils, acrylics) "Winsor & Newton" (Winsor & Newton). The beginning of the triumphal procession of products was the union of the professional interests of the artist Henry Newton and the chemist William Winsor.
As is customary in many other companies, winsor newton "W & N" watercolor paint is available in two grades: "Winsor & Newton cotman" - for general work, and "Winsor & Newton artist" - for creating highly artistic watercolors. The company is also famous for its products for graphics and calligraphy. The head is spinning from a variety of watercolor delights!
What is better to choose?
We will conduct a small comparative casting between the most popular brands. In the casting for the right to be called the "Best watercolor set for beginners" are:
- "White Nights" - BN.
- "Winsor & Newton Cotman" - W&N.
- Van Gogh - V.G.
The palettes of all sets are bright, juicy, rich, grains are not noticeable (high-quality grinding of pigments), which means there will be no residue. With a dense coating of VG paper, the surface of the paint begins to gleam a little, as if covered with a thin film of varnish. Neither BN nor W&N give such an effect.
However, there is no purple in the VG set, but the heavenly shade of blue and blue is beyond praise! Violet will have to buy (another brand) or mix from the available colors.
Washing is used to remove the main coating (paint) from paper with a wet or wrung out brush on a wet layer at the request of the artist. All three watercolors are easily removed, leaving behind only a faint shade - part of the pigment.
Let's try the transition of color to color. In VG watercolor, the transition is smooth and blending is easy, without harshness or dirt. BN "hangs" in the structure of grainy paper, the same is demonstrated by W&N. It's not a disaster. When changing the paper field, everything goes like clockwork!
W&N colors have a less saturated green than BN and VG. To get the proper color, you have to apply the paint thicker - it is better to replace the cuvette with a bath from another set.
All three applicants showed high light fastness (the pattern will not fade), the brightness of the coloring pigment and good transparency even with strong water dilution. All three shades are soft and perfectly interact with each other (good mixing), high degree viscosity. Comments on BN - they lose in terms of the fineness of the composition, but they are significantly ahead of their “rivals” in terms of ease of typing on a brush and in creating dark, deep, bewitching shades in the process of mixing paints.
It turns out that the process of buying a good watercolor for a child is delayed: each of the contenders is good in its own way and each has its own specific shortcomings. So what to do? Buy your child any desired set that he likes. Let him choose!
Make sure the set includes basic colors watercolors: cadmium yellow, orange, cadmium red, ocher, iron oxide red, kraplak (carmine), green, blue, ultramarine, emerald and burnt umber (black). The rest can be purchased separately, regardless of brands and brands.
And paper! Paper is very important! It is no less important than the watercolor itself and the brushes for working with this paint. Those who have been painting in watercolor for a long time assure that 50% of success does not depend on the composition or brand of paints, but on the chosen paper. Choose paper with a well-defined structure - graininess. Watercolor paper doesn't have to be perfectly smooth. Never!
Comparison of watercolors White Nights, Van Gogh and Sennelier (1 video)
CHARACTERISTIC FEATURES OF WATERCOLOR PAINTS
| Parameter name | Meaning |
| Article subject: | CHARACTERISTIC FEATURES OF WATERCOLOR PAINTS |
| Rubric (thematic category) | Production |
WATERCOLOR PAINTS
Abstracts of the lecture 5.
Topic message.
Organizational part of the lesson.
Lesson structure
Lesson 5. Lecture 2.
Questions to consolidate the studied material
Addition 1
Summarizing
Generalization of the material (questions to consolidate the material - appendix 1)
Teacher__________________________
1. what brush techniques do you know;
2. what parts does the brush consist of;
3. shapes of brushes;
4. types of hair bundle of the brush;
Topic 2. Classification of paints for graphics. Paints - water-soluble (watercolor, gouache), tempera (oil-casein, egg, polyvinyl citate, etc.), acrylics. Materials for oil painting.
Target: familiarity with the techniques of watercolor, gouache, tempera, oil, acrylic.
Literature:ʼʼAdvice from the masters. Painting and graphicsʼʼ, A.S. Zaitsev, Len., Artist of the RSFSR, 1979
ʼʼMaterials and drawing techniquesʼʼ, tutorial, V.A. Korolev, M., Fine Arts, 1987
ʼʼPainting techniqueʼʼ, G.B.Nikodemi, tools, materials, methods, M., EKSMO, 2002
Class type: lecture.
Method: explanation.
Checking the presence of students in the classroom.
Color classification. Watercolor, gouache, tempera, oil, acrylic.
3. Motivation for learning activities:
Students should know: the classification of paints, the features of their use.
4. Lesson plan:
- classification of paints for graphics;
- water-soluble paints;
- tempera;
- oil;
- acrylic.
Watercolor paints belong to the group of glue paints. The name ʼʼwatercolorʼʼ comes from the Latin word ʼʼaquaʼʼ - water, since water is a solvent for this type of paint.
The binder of watercolors are vegetable transparent adhesives ‣‣‣- gum arabic and dextrin, easily soluble in water. Watercolor paints also contain a plasticizer in the form of glycerin and invert sugar, which makes them plastic. Glycerin retains moisture, prevents paints from drying out and becoming brittle. The surfactant ‣‣‣ - ox bile is also introduced into watercolors, which makes it easy to spread the paint on paper, since bile prevents the colors from rolling into drops. To prevent the destruction of paints by mold, an antiseptic - phenol is introduced into them.
Watercolor is the only type of paint that is distinguished by its special transparency, purity and brightness of color. This is achieved not only by the purity of the materials used, but also by the high dispersion of pigments obtained by special grinding of powders.
In cases where opacity, dullness of paints is necessary, a mixture of watercolor paints with the corresponding gouache paints is used, or the paints are diluted in soapy water.
Light ocher*
Paint of a cold tone, transparent, but somewhat deaf in color. The great advantage of light ocher is that when it dries, it merges with paper and becomes silky.
Light ocher refers to highly light-resistant paints. Light fastness - 5 points**. It is not recommended to dilute ocher in iron dishes, this causes it to turn green.
Lemon cadmium
specific feature paint is its haze in any intensity layer of paint, approaching gouache, although in terms of transparency and color saturation, the paint is not similar to gouache. Light fastness is 4 points.
cadmium yellow
The paint is similar to lemon cadmium, but more transparent. Lightfastness ‣‣‣- 5 points.
Sienna natural
Yellow-brown paint. It should be noted that its properties are similar to light ocher, but it has a greater light saturation. Lightfastness ‣‣‣- 5 points.
Golden yellow ʼʼLCʼʼ
It is an organic dye. The paint is very transparent, warm tone. Works well on paper. The paint is silky. When added to the paint with grass green or blue ʼʼФЦʼʼ, you can get a shade of Indian yellow. Lightfastness ‣‣‣- 4 points.
Cadmium orange
The texture of the paint is similar to that of cadmium lemon and yellow, but more transparent than those of these paints. A specific feature of this paint is the occurrence of agglomeration (agglomeration - the binding of pigment particles together) with an excess amount of water. Pigment agglomeration makes it difficult to paint evenly. To prevent it, it is necessary to dilute the paint with a small amount of water. Light resistance. - 5 points.
Red ocher
The red-brown paint is highly transparent; in thin layers gives a soft yellowish brown tint; spreads easily on paper and washes well. Lightfastness ‣‣‣- 5 points.
Sienna burnt and iron red. .
Both red-brown intense paints differ from each other in that burnt sienna has a warm tone, and iron red has a cold one, which is especially noticeable in the thinnest paints. Lightfastness ‣‣‣- 5 points.
One of the very transparent intense bright red paints has a warm tone with a hint of cinnabar. It should be noted that this paint, when diluted, quickly saturates the brush. Care should be taken when working with scarlet paint, since intensely colored paint fields are difficult to wash off the paper. Light fastness - 3 points
Kraplak red
One of the very intense crimson red colors. On the brush, this paint is typed quickly, spreads evenly over the paper. The applied paint is difficult to wash off the paper. You should work carefully with kraplak. Light resistance - 3 points.
Very intense crimson red color, transparent, colder shade than kraplak. It should be noted that in terms of its properties, carmine is logical to red kraplak. Light resistance - 3 points.
Kraplak purple
Violet-red paint. It should be noted that in its properties this paint is similar to red kraplak. Light fastness ‣‣‣- 2 points. Kraplak violet under the influence of ultraviolet rays acquires a brown tone. Light fastness ‣‣‣- 2 points.
Ultramarine
Paint from the blue group, the warmest tone. specific feature
ultramarine is its tendency to agglomerate when diluted with a small amount of water. In this regard, when working with ultramarine, it is recommended to dilute the paint with rain or distilled water, which somewhat reduces its agglomeration. Light fastness. - "3 points.
cobalt blue
Freshly applied paint has a delicate blue color, the paint is not intense; spreads unevenly on paper; when strongly diluted with water, it is prone to slight coagulation with flaking. Cobalt blue tends to turn green and dark over time (both in light and in a dark place), which causes the paper to turn yellow.
Blue ʼʼФЦʼʼ (phthalocyanine)
Very intense blue paint cold tone. With a light touch of a wet brush with diluted paint, the latter is quickly drawn onto the brush; spreads evenly across the paper. When applying saturated layers, it is recommended to work carefully, as the paint is difficult to wash off the paper. Light fastness - 4 points.
Emerald Green & Grass Green
Very intense green paints, characterized by high transparency. Paints are different in color, but similar in their properties. Both are well spread and washed out on paper. A specific feature of their ‣‣‣ is incomplete washability, and therefore one should be very careful when working with these paints. Light fastness - 4 points.
Permanent green
A very intense bright green color, the warmest of the green color group. It has high transparency, spreads evenly on paper; washes off paper well; The paint picks up quickly on the brush. Lightfastness ‣‣‣-- 4 points.
Umber natural burnt umber
Natural umber - cold (tobacco) shade; burnt umber ‣‣‣- warm (chocolate) shade. Paints are translucent; satisfactorily saturate the brush and satisfactorily wash off the paper. A little deaf in color and texture. Lightfastness ‣‣‣- 5 points.
mars brown
The paint is warm in tone, but colder than burnt umber. The paint is transparent and intense; spreads, blurs and washes off the paper well. Lightfastness ‣‣‣- 5 points.
A specific feature of this paint is its slight color change. In a saturated layer it is dark brown with a cold tint, in thin glazing layers it is brownish-gray, it is washed out, spreads well over the paper. Light resistance - 6 points.
Lemon hanse, yellow hanse, orange litol
All paints have a bright pure color, shades from lemon yellow to bright orange. Paints differ in intensity, are translucent, are easily typed on a brush; spread evenly across the paper. Light fastness - 4 points.
Cinnabar (imitation)
The paint is very bright and clean, the color is ‣‣‣- orange-red; lays down on paper evenly (without stripes and flakes), which makes it possible to blur it with transitions from intense to very weakly colored layers. The paint is washed off paper well, leaving barely noticeable traces. Light fastness - 4 points.
Lacquer pink
Hot pink paint of a cold shade, distinguished by purity and saturation in tone. The paint is intense, transparent, easy to pick up on the brush. When applied in a thin layer, it should be diluted with plenty of water. The paint is applied evenly on the primer and paper. Leaves a residue when washed off paper. Light resistance - 3 points.
Thioindigo red
In color, the paint is close to light red kraplak, differs from it in greater warmth of tone; intense, transparent. Light fastness - 4 points.
Lacquer purple
Intense ink of a cold tone, translucent, easily blurred and spread evenly over the paper; when washed off the paper leaves a faintly colored trace. Light resistance - 3 points.
Anthraquinone blue"
Transparent blue intense paint of a cold shade; well washed out and carried on paper; rinses off satisfactorily. Light fastness - 4 points.
Intensive transparent paint, colors from a bluish-black tint in dense layers of paint to bluish-gray in thin layers. The paint is easy to pick up on the brush; Spreads evenly on paper washes off paper satisfactorily. Light resistance - 2 points.
Iron blue
Intense, bright, deep blue transparent paint; clearly blurred and evenly distributed over the paper. It does not wash off paper satisfactorily, leaves a faintly colored mark. Light resistance - 2 points.
Thioindigo brown
Intense red-brown paint; transparent, well blurred on paper. In dense layers, the paint is prone to agglomeration of pigment particles, but without delamination. When washed off with water, it leaves a faintly colored trace. Light fastness - 4 points.
Neutral black
The paint is highly transparent, but does not have an excessive intensity of soot gas *; has a greater color saturation in dense layers than burnt bone. Blurs, spreads and washes off paper well. Light resistance - 3 points.
Gouache(from the French "gouache" - water paint) - paints, as well as works of art made with these paints.
Gouache, like watercolor, belongs to the adhesive water-soluble paints, however, in terms of its qualities it differs sharply from watercolor, although its composition (dyes and binders) is almost the same as, for example, honey watercolor. A distinctive feature of gouache is that it is devoid of transparency. This property is associated with a significant amount (in relation to the content of the binder) of pigment and filler. At the same time, for greater hiding power, many gouache paints contain white (lead, zinc, titanium, barite), which makes the dried paint somewhat whitish and at the same time gives it a dull and velvety finish.
Gouache is produced in two types: artistic and poster. The first one is mainly for easel painting, the second - for design work. Poster gouache has a greater hiding power and color saturation, which is achieved by replacing zinc white with kaolin, which whitens the paint less and makes it more dense, rich and sonorous.
Gouache is packaged in plastic, glass and metal cans of various capacities. At the same time, high-quality gouache in tubes has appeared in recent years. Gouache is sold individually or in sets in cardboard boxes.
Gouache - paint is opaque, dense; when dried, it acquires a matte velvety. You can work with gouache not only on paper, but also on primed (non-washable) canvas, fabric, cardboard, plywood. Gouache consists of a finely ground pigment binder of gum arabic, fruit gum, dextrin, glycerin, which serves as a plasticizer, a surfactant, which is a preparation of animal bile, alizarin oil and an antiseptic phenol.
The difference between watercolor and gouache is essentially that gouache includes a smaller amount of binder and a significant amount of pigment. In addition, for greater hiding power, many gouache paints contain white (lead, zinc, titanium or barite). This makes the dried paint somewhat whitish.
Gouache is mainly used by poster and graphic artists, as well as some easel artists. Gouache is widely used in decorative painting, when performing various sketches. It is often used for colored sketches. Gouache is easy to use and, importantly, makes it possible to make corrections in the process. A layer of paint of medium thickness dries from 30 minutes to 3 hours, depending on the humidity of the air.
Poster gouache differs from artistic gouache in greater hiding power and color saturation, which is achieved by replacing zinc white with kaolin, which less whitens the paint and makes it more dense, rich and sonorous.
For decorative works and design of performances, fluorescent gouache paints are produced. Οʜᴎ are a suspension of fluorescent pigments, where the binder is adhesives with the addition of plasticizers and antiseptics (pigments are solutions of dyes and luminophores in organic condensation resins). These inks have the ability to fluoresce when exposed to ultraviolet and visible violet, blue and green light. As a result, the light reflected and emitted by the pigment contains much more yellow, orange and red rays than there are in the incident daylight, due to which the brightness and saturation of colors increases two to three times.
Fluorescent gouache has the property of artificial lighting - irradiation with ultraviolet rays - to enhance its brightness, this is used for decorative effects in the dark.
Gouache fluorescent paints are diluted with water. These paints have a low hiding power, therefore it is recommended to apply them on a white substrate - white primer, paper, etc. which makes them brighter, while they are applied in a thin layer. When this gouache is mixed with ordinary gouache, the brightness decreases sharply.
Fluorescent gouache is used only for interior work.
The difficulty of working with gouache paints is that when they dry, they significantly change color and lightness. Brighten: chromium oxide, cadmium, cobalt, light ocher, golden ocher, emerald green; darken with subsequent lightening: ultramarine, kraplaki, natural sienna, burnt sienna; darken: Hansa yellow, orange.
When working with gouache, to determine the color obtained as a result of its drying, pre-prepared colors (paints) are used.
Gouache should be stored at room temperature, protected from freezing. Dried gouache paint is diluted with water, while it retains its quality indicators.
According to light fastness, gouache is divided into three groups:
The 1st group, in turn, is divided into two subgroups - A and B. Subgroup A includes completely light-resistant paints (5 points), indicated by two red asterisks; to subgroup B - lightfast paints (4 points), indicated by two black asterisks
2nd group - moderately lightfast paints (3 points), indicated by one black asterisk.
3rd group - poorly lightfast paints (2 points). There are no stars on the label.
Gouache paints produced by our industry are mainly lightfast.
Tempera(from the Latin "temperare" - to mix) - painting with paints, preceding oil painting, for many centuries being the main type of paintings.
Tempera paints are prepared on the basis of binders, which are a natural or synthetic emulsion, which determines the type of tempera paint, egg, polyvinyl acetate, oil-casein, varnish-oil, etc.
Tempera paint occupies an intermediate position between glue (watercolor, gouache) and oil paints. Like glue paints, tempera paints are diluted with water, but unlike them, after drying, the resulting film does not dissolve with water. Tempera differs from oil paint in a faster drying time and, unlike gouache - the most opaque of all paints - is quite transparent in thin layers.
Tempera can be written on any substrate: wood, stone, primed and unprimed canvas, cardboard and paper.
Tempera paints are well combined with almost all materials used in the fine arts, which makes them a very convenient and attractive material for both painting and decoration.
Our industry produces two types of tempera paints: casein-oil and polyvinyl acetate (PVA).
Casein oil tempera is a water-soluble paint consisting of finely ground pigments, a binder (an emulsion of linseed oil in an aqueous solution of casein), an emulsifier - alizarin oil, an antiseptic - phenol.
When diluted with water, the quality of casein-oil tempera deteriorates significantly. In this case, cracking, flaking or chalking of paints may occur, in connection with this, skimmed cow's milk, slightly diluted with water or a special casein-oil emulsion, is used to dilute them.
Like gouache, tempera changes its tone after drying.
Color coloring works made in tempera are enhanced by the application of one of the top coats - pistachio, acrylic pistachio, dammar, etc.
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At the same time, the varnish is diluted with pinene in a ratio of 1: 1 (adding pinene reduces the gloss of the varnish film).
Casein-oil tempera is sold in metal tubes, but its range is limited.
Polyvinyl acetate tempera- highly dispersed, pasty, water-based, quick-drying paint (1-2 hours in glazing (thin, transparent) layers and 3-4 hours in body layers).
PVA tempera binder consists of an aqueous emulsion, a synthetic polyvinyl acetate resin with the addition of stabilizers and structuring agents.
These paints are diluted with water, they are more elastic and stronger than casein-oil tempera. Distinctive feature PVA tempera - over time, it does not turn yellow at all. Its disadvantages include the impossibility of using it with other water-soluble paints, since the mixtures made with it are poorly spread over the base, and the paints curdle at the same time.
The basis for working with polyvinyl acetate tempera are various materials: paper, cardboard, wood, concrete, glass, plaster, linoleum and a number of others. This explains its popularity, especially in arts and crafts and design art.
In the process of drying, polyvinyl acetate tempera changes its color and tone.
When the tempera dries, the PVA becomes dull, while the colors are slightly muted. To give sonority and saturation to color, PVA tempera is coated, as well as casein-oil tempera, with one of the top coats diluted with pinene in a ratio of 1: 1, but this leads to some darkening of the work.
Paints should be stored at room temperature and not below 0°C. Warranty period of storage is 1 year.
Oil paints began to be used as early as the 15th century and are currently the most common in painting. They are prepared on the basis of mineral and organic dyes (finely ground powders), which have sufficient light resistance and a constant chemical composition. The binder is specially treated drying oils (most often linseed), from which the paints got their name. For whites and cold color paints, a new penta-oil binder, obtained as a result of special processing of sunflower oil, has now begun to be used.
Oil paints received such distribution due to a number of advantages compared to other paints. When dried, they do not darken, do not lighten, retain their brightness and color saturation both when applied on the body of strokes and when glazed. Oil paints dry slowly, which allows you to make corrections in the process, as well as achieve soft color and tone transitions. The drying speed of paints depends on the type of pigment used (mineral or organic) and on its oil absorption. The use of some pigments accelerates the drying time (for example, white lead), while others, on the contrary, slow it down (kraplak, gas soot). The type of pigment used significantly affects the hiding power of oil paints. Some pigments (white, cobalt, cadmium, black paint, chromium oxide, etc.), even in a thin layer, are able to cover the dried layers of the underlying paint. Other pigments that form paints (volkonskoit, mars yellow and orange), as well as all paints obtained on the basis of organic pigments, are transparent in a thin layer. They also differ in their intensity: blue and green FC, kraplak, even in small quantities, greatly change the color of any other paint, and wolkonskoit, even in large quantities, will only pollute the resulting color.
When working with oil paints, it is extremely important to remember what to mix various paints, ignoring them chemical composition, dangerous, as this can lead to the appearance of various defects (discoloration, fading, cracking, etc.) For example, paints from mineral pigments should not be mixed with organic ones. In general, it is not recommended to make complex mixtures of more than three colors.
Our industry produces oil paints for painting of two types: art and sketch.
Art paints are packaged in metal tubes of different capacities: 9 cm 3 - tube No. 3; 18 cm 3 - tuba No. 6; 46 cm 3 - tuba No. 10 - and are used mainly for paintings.
Sketch paints are available in tin or plastic cans and are used for sketch and decorative design work.
Acrylic paints
appeared about 50 years ago and immediately became very popular. The success of these modern paints is due to their ease of application, versatility and fast drying. Acrylic paints dissolve in water, but after drying they become completely insoluble. They have an aqueous suspension of non-yellowing synthetic resins in the base, to which natural and synthetic coloring pigments, coalescents and stabilizers are added. However, they are very resistant to chemical and physical influences. A characteristic feature of paints is fast drying, good light fastness, flexibility, elasticity. Acrylic paints perfectly adhere to any non-greasy surface: cardboard, paper, wood, plywood, plaster, faesite, clay, fabric. Can be applied with a brush, spatula, and when diluted - with an airbrush. Acrylic paints come in a wide variety of colors and shades - from classic to fluorescent and mother-of-pearl. Given the speed of drying - you should close the paint immediately after work and rinse the working tool. For acrylic paints, various additives are produced that slow down or speed up the drying process, and also give acrylic paints a shine, a matte look, like tempera, or a moire effect, like watercolors (these additives are produced by the Spanish factory ʼʼFerrarioʼʼ and others.
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imported manufacturers With many advantages of oil and watercolor paints, as well as a number of their own advantages, acrylic paints are versatile and easy to use. Whatever your painting preference, acrylics are worth a try. Οʜᴎ are based on a plastic synthetic resin and can give both the most exquisite glazing and the dense texture of painting.
For acrylic paints, brushes with synthetic bristles are ideal, nylon brushes are also quite suitable - natural bristles swell from moisture and become brittle.
Another difficulty when working with acrylic is color. The polymeric binder has a semi-matte, milk-like tint, in connection with which the paint is lighter in the liquid state than after drying. It is necessary to take into account this discrepancy, imagining what the color will be in the future.
Acrylic paints have less sheen than oils. To give or enhance their shine, it is extremely important to use a gel medium. It is a pure polymeric binder, when mixed with paint, it adds gloss, creates transparency and slows down the drying process. There are also:
‣‣‣ gel for diluting acrylic and giving it better fluidity and spreadability;
‣‣‣ thickening gel that creates the effect of body writing technique.
‣‣‣ A huge variety of means by which the artist can achieve comfort in working with acrylic paints.
CHARACTERISTIC FEATURES OF WATERCOLOR PAINTS - concept and types. Classification and features of the category "CHARACTERISTIC FEATURES OF WATERCOLOR PAINTS" 2017, 2018.
Water soluble paints. In other words, paints that dissolve in ordinary water, forming a translucent substance with a small amount of coloring pigment. This allows you to create an incredible effect of lightness and subtle gradation of color. From this came the name of a certain process in the technique of painting - watercolor.
Still watercolor is considered, directly, works that are made with water-based paints. A characteristic feature of such painting is that the use of white is excluded during writing. This function is performed by the white color of the paper, which is not painted over at all or is covered with a translucent paint layer.
Thanks to their features, they allow you to create unique paintings. Their distinguishing feature is mainly in the transparent thin layer of paint that remains after the water has dried on the paper.
With all the variety of types of existing materials, watercolor paints are rightfully considered one of the most ancient and any painters and graphic artists of various schools. Art scholars are aware of works coinciding in time with Egyptian papyri and hieroglyphs. In the art of ancient Byzantium, liturgical and church books were illustrated with watercolors. Over time, it began to be used for underpainting and coloring drawings on boards. Renaissance painters used this for sketches for frescoes and easel works. A large number of works painted with watercolors by such masters as Raphael, Rubens, Lessuer and many others have survived to our time.
Due to their relative ease of use, watercolor paints have become widespread in the visual arts.
The composition of these paints, like many others, includes finely ground pigments, and various types of vegetable-based glue are added as a binder in a small amount. Even in certain proportions, honey, wax, glycerin and some types of resins are included in the composition. Thanks to these components, paints have plasticity, hardness or softness and other necessary properties. Often, such paints are produced in the form of solid handkerchiefs placed in a special container, and semi-liquid or soft ones - in tubes. You can buy for professional painting at any art store.
Among domestic paint manufacturers, it is especially worth highlighting Gamma OJSC and ZKH. The latter among artists received the name “Leningrad watercolors”. They are available in 2.5 ml cuvettes or 18 ml tubes. The range of this brand includes a series of "Ladoga" and "Sonnet". The best paints for "Gamma" is the "Studio" series. The quality of the products of both factories meets high standards and is not inferior to many foreign manufacturers.
