painting_tech_-__knife_painting.pdf | |
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painting_tech_-__frottage.pdf | |
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painting_tech_-__imprints.pdf | |
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painting_tech_-_broken_strokes_-_color.pdf | |
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painting_tech_-_blending.pdf | |
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painting_tech_-_crosshatching.pdf | |
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painting_tech_-_dry_brush.pdf | |
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painting_tech_-_glazing.pdf | |
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painting_tech_-_gradations.pdf | |
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painting_tech_-_impasto.pdf | |
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painting_tech_-_wet_over_dry.pdf | |
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painting_tech_-_varigated_wash.pdf | |
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painting_tech_-_underpainting.pdf | |
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Watercolour is available in solid blocks or tubes. It can be quick to use and a small watercolour set is very easy to work with on location.
The paint is transparent and works best on light paper. Colours can be lightened by adding water rather than adding white. |
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Temperapaste and acrylic are both opaque paints that create marks of solid colour. This means it is easy to paint over mistakes.
Tints, tones and shades can be created by mixing colours with white, grey or black. They can be used on white, coloured or black paper or used experimentally on a range of other 2D and 3D surfaces. Both types of paint can be mixed with water to create more transparent washes. There are many different painting techniques. Some artists apply dark tones first and work to light. Some work light to dark and others apply mid-tones first. There are wet-on-wet techniques and dry brush techniques, various ways of using brushes, as well as impasto techniques using palette knives. |
Materials
Instructions 1. To begin, take a stroll through your yard, or nearby woods or fields. Bring an old phone book with you as this will serve as a plant press for your treasures. Select leaves and flowers that have interesting shapes and textures. Place the leaves between the pages of your plant press to flatten them and pull away excess moisture. A couple of hours in the plant press should be sufficient. 2. When you return to your studio, prepare a large, flat work area by covering it with old newspapers. Place your Plexiglas sheet, brayer, inks, and other materials onto your work surface. 3. Put a small amount of ink onto the Plexiglas plate. Using the brayer, roll out a thin layer of ink, covering the surface. NOTE: The ink should make a hissing sound, not a squishy sound, when it is the right consistency. 4. Remove the plants you wish to print from your plant press and place them onto the inked plate. Gently roll more ink onto the foliage, covering all areas evenly. 5. Using tweezers or clean fingers, place the plants onto a clean piece of paper. NOTE: Many types of paper may be used to create nature prints. I use rice paper, plain bond paper, printmaking paper such as Rives or Strathmore, or watercolor paper. Experiment with different papers to find your favorites. 6. Place another clean sheet of paper on top. Gently, but firmly, rub the top of the paper. You may use your hand, the bowl of a spoon, or a clean brayer. 7. After evenly rubbing the surface, lift off the top sheet and lay it aside. Remove the leaves from the bottom sheet. Congratulations, you have just created two beautiful masterpieces! Cleanup is easy. Simply rinse the Plexiglas plate and brayer in the sink, dry with paper towels, and you are ready to make your next print. Naturally, flat leaves and foliage are easiest to print, but with practice, you can print bulkier items such as flowers. Simply disassemble the flower with scissors or an X-acto™ knife and print each section separately, like putting a puzzle together. Nature printing can be used to create impressions not only from plants, but also from other natural articles such as feathers, vegetables, shells, and fish (an Asian art form called Gyotaku). Use your imagination and creativity to create a tabletop garden of fantastic natural prints! |
project_planner_natural_form__1_.doc | |
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arrange all of your work out on the floor first
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Really clear link with the artist Franz Marc. You can see the practice piece in the bottom right as well as several compositional studies. Artist analysis is on the left hand side. The student has taken inspiration from the artist by using the same colour palette but has planned out their own composition so that it is not an actual copy but an interpretation.
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The student has taken inspiration from Jock Mcfadyen and has worked from their own source material to create an effective practice piece. The composition has been planned by visiting train stations and taking photos to work from. The student has decided to work with oils or acrylics as this is what the artist uses.
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