DRAW PERFECT PORTRAIT

We believe that it is essential to start from an examination of the portrait, intended as a genre, and the tools of detecting faces, used in millennia of painting. 

OIL, TEMPERA, ACRYLIC, WATERCOLOR, PENCILS

The portraits, especially if made in profile, also had a documentary function aimed also at the combination of marriages, at a distance, since, once the political advantages of the union of two powerful families were established, it was not possible to force the tastes of future spouses or of their parents. So we proceeded to this visual comparison, with an exchange of one or more portraits that, in some cases, led the future husband to take, for example, a sister of the one who had sent the image because she preferred it aesthetically.

OIL AND TECHNICAL COLORS

You have contacted us in many, neophytes of oil painting but also professionals; the question is common: what are the best oil colors in circulation? Which ones fit best with my painting level?
But before we ‘penetrate’ into the subject, let’s see who can serve oil colors
They, despite being the painting par excellence, require drying times that are quite long, especially if they are given ‘in body’ – that is in thick layers, as often happened in Van Gogh’s painting – while the drying of acrylic is very rapid and can be assimilated to that of tempera. The greasiness of the materials requires a certain order from the painter to avoid dirtying the clothes and the environments in which he operates. These materials then require a certain exercise performed with some proofs, because, offering, with performing dilutions and use of the brushes of variable shape and width, diversified outcomes, require the maturation of experience that allows to fully exploit the many possibilities offered by the product. In the case of a realistic or hyper-realistic painting, they require longer waiting times for subsequent drafts and the ability to stop at the right time, but they are indispensable, even as a finish, to make the effect of the ‘true’. One of the biggest mistakes made by neophytes with oil colors is to achieve a good result in a fraction of the first session and to want to go further, in completion. This often leads to the collapse of the quality of the picture. The oil color requires the artist, in the context of traditional painting, to avoid excessive overlapping, when the painting is still wet, as the effect is that of turning off the color. 

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“To those who need transparent and glossy veils to finish acrylics”

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CHOOSE THE RIGHT MATERIAL FOR THE ARTWORK

Here is our list with the best brands and related qualities. We tried each product one by one, to be able to offer you a quick report. So you can direct the choice towards a product that is in line with your technical needs and that respects your budget. It is certainly the fact that, especially in traditional painting – figure, landscape, view, still life – the quality of the colors is decisive for the outcome of the painting. As a piano level for a concert artist. The quality depends very much on the purity of the pigments used and the medium – linseed oil – as well as on the means of incorporation of the medium into the oil itself.

These colors do not change with time, despite the natural chromatic adjustment, which instead creates an elegant fusion of the work, in all its parts. And they come closer to recipes handed down by ancient painters. Lands and oxides were in fact dissolved in linseed oil. The concentration of the pigment is directly proportional to the life of the tube and the brightness of the color. Therefore it may seem to achieve savings, with products already very diluted. But the latter are consumed first.

THE QUALITY OF THE COLOR IS FOR A WIDE RANGE OF EFFECTS

The quality color lends itself to a wider range of effects, precisely by virtue of the concentration of the raw material. Costs vary according to purity, It can be lengthened, on the palette, according to the effects we want to achieve. Essence of turpentine, mainly, as a diluent. Or a miniscule touch of turpentine, which we prefer because it allows, if used without excesses, to obtain a quicker drying of the first draft, even if it induces a slight attenuation of the brightness. Turpentine can be very useful if we operate in the open air, in front of a landscape that we intend to capture with a certain speed and which we finish in the studio or with a return to the place where we set the work, without spending too much time .
We avoid instead adding linseed oil. The colors in the tube, under the profile of the medium, already contain enough oil. Further additions provoke a very greasy, slippery, difficult to handle with ease. And drying times become infinite. But everyone must experience dilution according to personal inclinations. The effect is that of a toothpaste to which water has been added. Even the stroke becomes difficult to control and control.

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