Watercolors

kyeri y asked:


I’ve done some paintings using Oil Pastels on watercolor paper to lay down the main areas of color. Then I use Q-tips, dipped in turpentine, to “paint” … move the color around, blend, create washes, and fill in the tooth of the paper. It’s cheap, easy, and I’ve had some excellent results. Has anyone else tried this?

CESAR

Yolanda asked:


I couldn’t find enough information on these beautiful water colors. They are both signed by the author. And they are also framed in what seems to be the original frame. Any ideas?

BOBBY

Bobo asked:


he watercolors of Texas artist Dan Burt are radiant, animated mosaics built up from slashes, drips, and strokes of transparent paint. They remind you of the way light dances through stained-glass windows. His style is part California school and part Old World Mexico, with a dash of sun-splashed Texas Hill Country. But his harmonies and contrasts are his own.

Burt says of his use of color, “I try to achieve some kind of a conflict in the color–to create interest. For me that’s the only purpose of color in a painting.” For this reason, his hues don’t depend on the local source. They come from his memory, imagination, and intuition, and they’re always subservient to whatever value scheme he has in mind.

An ardent colorist, Burt doesn’t use tube blacks, grays, or earth colors. Along with the tube colors he does use, which he puts on a Robert E. Wood palette, he makes up trays with puddles of unmixed, dissolved colors, replenishing them as needed. There’s a system to his puddles: He uses four trays of color (the tops and bottoms of two John Pike palettes). The puddles on the first tray are made up of both transparent and granulating colors, among them viridian, cobalt blue, aureolin, and permanent rose. In the early stages of a painting, he uses these pigments for light-to-middle-value, broken-color washes, letting the colors mix on the paper.

On the second tray are puddles of darker, mostly staining colors, including ultramarine blue, new gamboge, Winsor yellow, Winsor green, and alizarin crimson. These are for the middle and dark tones applied in a painting’s later stages. On the third tray, Burt repeats some puddles from the second: alizarin crimson and Winsor yellow, for instance, plus he adds other colors, such as Winsor green. He might mix one puddle with another or spice up one with tube color for surprise combinations and accents.

The fourth tray holds puddles of opera pink, scarlet lake, and cadmium yellow. He likes to use these colors, and their complements, in and around the focal point of the painting in its early stages for what he calls “shock effects.”

Burt uses sable brushes because, he says, they hold more water (and therefore pigment) than do synthetic brushes–an important consideration for his wet-in-wet style. He especially likes large sable rounds (Nos. 9 and 12) and sable flats (1″ and 1 1/21).

Burt uses the same approach for all his paintings, whether of a Mexican church or a Gulf Coast shrimp boat. In his Kerrville studio, sunlight from a patio window streams in over his left shoulder and Aaron Copland music surges forth from a radio. The artist stands over a full sheet of cold-pressed, 140-pound paper that’s propped up on his easel at a height not far above his knees. His subject–already captured on the paper in minimal, spidery graphite lines–is the Mediterranean-looking facade of a San Antonio apartment building.

Clutching his large sable brushes, he works with his fourth tray of shocking” colors and their complements in and around the center of interest in light values, wet against dry, and with the first tray of paints, laying in the painting’s lightest tones wet-in-wet. He makes a bright, airy patchwork of these transparent and granulating colors, being sure to leave generous white areas of paper throughout. He drops diluted paint into the washes, charging complements into them and again letting them mix on the paper. These color notes–made from the first tray–are light, clean, and fresh; they’re middle values and take up very little space in the composition–mainly the sky and foreground. Most of the picture at this stage is still untouched white paper.

Now, Burt moves to his second and third trays, which are darker, staining colors; they’ll carry the bulk of his design–in this case, the massive, rambling exterior wall and the palm trees that flank the building. But he still leaves small white areas on the paper for the light tones. He sloshes ahead, nearly filling the page with a great mottled mix of colors. “I use broken color mostly, these dark tones,” he says. He drops one of his yellows and some alizarin into a wash of ultramarine. “I’m trying to let the painting paint itself–changing the colors yet keeping the large shapes in the same dark value and also keeping it wet,” he says. “When the painting stays wet, things can happen. When the paint is dry, things don’t happen. Here, I have a mixture of Winsor yellow and Winsor green, but after using it, I’ll drop some alizarin into it in order to make it grayer: There’s a time to be shocking and there’s a time not to be. But before you hit the panic button and blot up the mess you think you’ve just made, wait. Watch what happens. Watch the paper.”

Burt’s brush stays on the move, finishing the frond of a palm tree at one end of the sheet, dropping to the foreground to swipe in a shadow, interrupting the drying of a color near the top of the wall with some wet, contrasting hue. He paints negative space, continuing to preserve an amazing variety of white shapes that will later read as sections of wall and roof and window–jutting planes catching the sunlight.

He also eliminates many of the whites saved from the previous stage. He does whatever it takes to make his dark pattern coherent at a glance. It’s uncanny the way his great expanse of dark, for all its richness of color, its contrasts, and its modulations, still manages to stay dark. Burt says, “When you work wet-in-wet, the hues tend to stay in the same value.”

Up to now, everything put down on the paper serves as a backdrop for the painting’s center of interest–in this case, a cluster of figures in the building’s entrance shadows. Burt, like many painters, concentrates his darkest darks on the composition’s focal point, where, typically, has also saved his whitest whites. By this time, he has already put down his highest chroma colors, such as opera pink with scarlet lake and opera pink with cadmium yellow, and complements Winsor green, Winsor yellow, or cobalt blue. For his darks, Burt relies on ultramarine blue with alizarin crimson and Winsor green with alizarin crimson. He says that as the painting progresses, the puddles become richer, or more complex, in color.

Burt rarely layers his color, but in the final stage of a work he may occasionally paint over a dried color to punch out a shape from its background. In this work, he sculpts a figure in the doorway’s shadow with a juicy mixture of alizarin and ultramarine. He then adds a few more inky accents of mixed blacks using Winsor green mixed with alizarin crimson–shadows in the architecture and in the foliage and calligraphic dots and dashes that enliven the picture surface.

Finally, chaos has turned to structure. The contrasts sing. The painting is finished. “My whole idea has been as much as possible to be spontaneous, to let most of the colors mix on the paper,” Burt says. “I’ve tried to keep the value patterns distinct–the light tones, the middle tones, and the dark tones–so that by the time I put in the darkest darks, they’ll really act as darks.” Burt believes it’s the value contrasts that make the subject stand out. He has saved whites, jabbed in dark accents, and engaged the eye with color conflicts in every portion of the picture space. “But,” he concludes, “even though there’s a lot to entertain you all over the work, your eye will still go to the focal point.”



RONNY

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Carmine (#960018)

Carmine is the general term for a particularly deep red color. Some Rubies are colored the color shown below as rich carmine. The deep red color shown below as carmine is the color of the raw unprocessed pigment, but lighter, richer, or brighter colors are produced when the raw pigment is processed, some of which are shown below.

Carmine

Carmine

Color coordinates

Hex triplet

#960018

RGBB

(r, g, b)

(150, 0, 24)

HSV

(h, s, v)

(350, 100%, 59%)

Source

[Unsourced]

B: Normalized to (byte)

At right is displayed the color carmine. This is the color of the raw unprocessed carmine pigment.

The first recorded use of carmine as a color name in English was in 1523.

Medium Carmine

Medium Carmine

Color coordinates

Hex triplet

#AF4035

RGBB

(r, g, b)

(175, 64, 53)

HSV

(h, s, v)

(350, 100%, 64%)

Source

[Unsourced]

B: Normalized to (byte)

At right is displayed the color medium carmine.

Deep Carmine

Deep Carmine

Color coordinates

Hex triplet

#A9203E

RGBB

(r, g, b)

(169, 32, 62)

HSV

(h, s, v)

(357, 100%, 66%)

Source

Internet

B: Normalized to (byte)

At right is displayed the color deep carmine. This is the color usually called carmine in oil paints.

The source of this color is the following website of oil paints for sale:.

Rich Carmine

Rich Carmine

Color coordinates

Hex triplet

#D70040

RGBB

(r, g, b)

(215, 0, 64)

HSV

(h, s, v)

(356, 94%, 44%)

Source

Internet

B: Normalized to (byte)

At right is displayed the color rich carmine. This is the color shown as carmine in A Dictionary of Color (cited below).

This color is also called Chinese carmine.

This is the color usually called carmine in fashion and interior design.

Carmine Red

Carmine Red

Color coordinates

Hex triplet

#FF0033

RGBB

(r, g, b)

(255, 0, 51)

HSV

(h, s, v)

(0, 100%, 76%)

Source

Internet

B: Normalized to (byte)

At right is displayed the color carmine red. This color is popular among artists. This is the color usually called carmine by watercolor artists.

The source of this color is a watercolor color swatch called light carmine displayed at the following website: .

Deep Carmine Pink

Deep Carmine Pink

Color coordinates

Hex triplet

#EF3038

RGBB

(r, g, b)

(239, 48, 56)

HSV

(h, s, v)

(10, 80%, 80%)

Source

Internet

B: Normalized to (byte)

At right is displayed the color deep carmine pink. This color was used for men’s shirts during the psychedelic 1960s.

The source of this color is a picture of a “deep carmine pink” flower at the following website:

Carmine Pink

Carmine Pink

Color coordinates

Hex triplet

#EB4C42

RGBB

(r, g, b)

(235, 76, 66)

HSV

(h, s, v)

(0, 75%, 80%)

Source

[Unsourced]

B: Normalized to (byte)

At right is displayed the color carmine pink.

Light Carmine Pink

Light Carmine Pink

Color coordinates

Hex triplet

#E66771

RGBB

(r, g, b)

(230, 103, 97)

HSV

(h, s, v)

(350, 70%, 80%)

Source

ISCC-NBS

B: Normalized to (byte)

At right is displayed the color light carmine pink.

This color is equivalent to the Prismacolor colored pencil color called Carmine Red (PC 926).

The source of this color is the ISCC-NBS Dictionary of Color Names (1955)–Color dictionary used by stamp collectors to identify the colors of stamps–See sample of the color Carmine Pink [called a shade of Carmine Rose] (color sample #27) displayed on indicated page:.

Carmine in Human Culture

Crime Scene Investigation

The name is often applied to descriptions of blood, because it is the color of dried blood.

Sports

Carmines is occasionally used as a nickname for the Boston Red Sox.

Carmine is an original colorway of the Air Jordan VI sneaker from 1991.

Television

The color of the Redshirt (character) of Star Trek’s shirts is Carmine. In addition, as a play on this, a quickly-dying soldier in Gears of War is named Carmine.

v?d?eShades of red

Alizarin

Amaranth

Burgundy

Cardinal

Carmine

Carnelian

Cerise

Chestnut

Coral…(and so on) To get More information , you can visit some products about blue glue, Air Erasable Pen, . The auto led side marker products should be show more here!



DELMAR

David E asked:


The 2D animation in recent times has achieved remarkable progress to merge with 3D animation. The computer has facilitated significant progress when it seemed to have reached an impasse. The spectacular achieved in films like Titan AE, Castle Ambulante, Treasure Planet, The Road toElDorado, Sinbad, or Spirit, to mention some of them, a few years ago was unthinkable.
Some think that, somehow, traditional animation has already begun to die, because although drawings continue 2D drawings, with the support 3D technology is becoming larger. But surely continue for long.
Although since July 2003, have not developed new films 2D animation in the U.S. after Spirit, Treasure Planet, Titan A. E., While in Asia, and especially the Japanese animation, things are very different. The computer is completing entering, while in the West already had in the 1980’s movies that use the computer, like Basil mouse super detective Disney of 86, where his final scene, while Big Ben, the elements mechanics are 3D computer. In Asia, only after completing the second half of 1990, begins to make its appearance and timidly, Princess Mononoke, Hayao Miyazaqui and Los Ghibli animation studios, has only 15 minutes where the computer makes its appearance. Currently, has undergone a major expansion, but adapted to the rigid production processes in place of cel shading, but not 3D, as in Spirited Away My neighbors or those Yamada, fully digital, despite being 2D.
In other cases, the computer takes over the mechanical elements, funds and colored, blending with traditional 2D characters, as in the series which follow the established aesthetic in Blue Submarine No. 6, whose nearest example could be reached Spain Sol Bianca . Even the 3D, pure and simple, this introduced by Japan.
Does the evolution of the traditional 2d animation, which now develop hybrid 2D/3D movies, will lead to 3D digital animation films that succeed in giving a 3D animation finished 2D, as the upcoming “Rapunzel” and “Up!” Disney to develop, and this with Pixar, and that seem animated watercolors?
In Dreamworks on the contrary everything you make from 2009 will be in 3D, supported by technical and stereoscopic not be new animated films such as hybrid Spirit, Sinbad or anything like that (if indeed someone was waiting for him), due to closure 2D its division by the failure of the animated film Sinbad.
The explosion of novelty, the 3D potential and has come to stay. There will be a fad, but over time, the 2D return covered at the end of the boom and nostalgia at the time.
Or rather, as stated the web Dreamers, over time, the waters again on track, and different types of animation including coexist and complement, and animation will open up new avenues.

In video game arcades like something is happening,
Games like “Rumble Fish” and “Bttle Fantasy”, were designed by the same people who revolutionized sprites, with the drawn Hi - Re, Apartado 1998 with the arcade “Guilty Gear”, with works like “Fist of Northern Star” . Sammy and Dimps have worked some more arcades, with drawn sprites, before concentrating its work on the estates and drawn with Cell Shading. Even knew that sooner or later sprites or 2D bitmaps, as elements of drawing, would be dead.
Capcom has become Street Fighter game in a hybrid between 2D and 3D gaming, in its fourth issue, with polygonal graphics and cell shading, because according to them “sprites in high definition involve an impossible job.” Street Fighter IV has impacted, but still fall far short of what we achieved today sprites or 2D bitmaps…
It has developed long ago, polygonal graphics of single plane or scroll motion, and we have seen interesting things like: Viewtiful Joe, Okami, Söldner-X: Himmelsstürmer, Ultimate Ghosts’ N Goblins, Naruto Ultimate Ninja 2, Bionic Commando rearmament , Raiden III, or Battle Fantasia, that inspired designers Street Fighter IV

While it is true, do not achieve quality graphics, which now gets a good design or bitmaps 2D sprites, because it takes a few polygons and textures worked to achieve very beautiful graphics, which often is not achieved, getting only photo realism. Cell-shading, not today equates to a drawing plane, because however much they place the camera in a single plane side, is complicated polygonal disguise the origin of the characters, or objects that make up the different scenarios of arcades, On the other pate , A game in fact you do not need the 3d animation Fluid in the arcades that get drawn sprites with Al 2D or 3D bitmaps still lacks naturalness. Although it is expected to be improved technically and ending finished giving a more artistic.
Some sites, such as forums and EOL Gamercafe, speculate on the possibility that, when Cell Shading improved significantly more in the future, for polygonal graphics in real time, who knows if you can emulate a chart or 2D sprites bitmaps, or even get to overcome if it is worth.

What do Vdes. on this whole issue of traditional animated films and video games of sprites or 2D bitmaps? I suppose that both will go hand in hand, aunuqe do not know if the game industry is moving behind the animated film being an industry where less and less invested in their development and innovation.

WINSTON

NAVAL LANGA asked:


In watercolor paintings, the light adds rhythm to the whole frame of the painting. The stock of the energy supplied by the presence of the light falling on the objects help enhancing the value of painting. The artist can fill the liveliness only because of the proper and balanced use of light.

When an artist decides to paint in watercolours, the prime factor he would think about would be the light. The light, the sunlight, can be bolstering or pale; the light can be intense or diffuse. The artist sets his or her palette and water colours following the pattern of the light. The second important aspect to consider while deciding paint watercolour is to look at the way in which the sun or moon illuminates the objects in the surrounding. For a landscape painter, it is a supreme factor to consider the aspect of light properly. The light adds value to the painting and infuses refinement to the objects.

Ultimately the artists use these aspects to enliven the canvass. Another important aspect in watercolour painting, though in all the types of paintings, is the skillful use of light and darkness, adding a rhythmic pattern in the final art piece. The large stock of life, filling the land, the road, and the street like the water fill a roaring ocean add a pool of energy to the whole painting. There is another reason too for considering a painting with scorching sunlight a powerful one: the sun is regarded as the symbol of masculine power.

Writer of this article, Naval Langa is a short story writer from India. He writes essays and articles on various subjects, including the art of paintings. For other articles on paintings by Naval Langa please visit the following sites. Here the articles contain detailed reviews of paintings and the images of the paintings.

PAINTINGS GALLERIES

WATERCOLOR PAINTINGS



CLYDE

her asked:


I have a watercolor painting of a ***** female with short hair clutching and hiding behind a blue sheet/cloth. It is signed ‘HEART’; it is not dated. I bought the painting from a secluded shop in Singapore. Anyone has any idea who this artist is?
I have a watercolor painting of a ***** female with short hair clutching and hiding behind a blue sheet/cloth. It is signed ‘HEART’; it is not dated. I bought the painting from a secluded shop in Singapore. Anyone has any idea who this artist is?

heres a link to the picture: http://i22.photobucket.com/albums/b329/mockingmonkeys/Pic001.jpg

heres a link to a close up on the picture: http://i22.photobucket.com/albums/b329/mockingmonkeys/Pic002-2.jpg

YOUNG

David Peters asked:


ll been there … you are looking at your friends vacation pictures and you feel yourself falling asleep from sheer boredom. Fortunately Adobe Photoshop allows us to take those dull photos and create some lively entertainment. You can even take those photos that everyone yawns at and create some amazing gifts that people will surely love.

While Photoshop has long been considered the tool for professional photographers only you may be amazed that if you give yourself a bit of time to learn the program you will quickly be able to turn your photos into masterpieces. While learning the more difficult tools you can always rely on the easier, fun tools to provide what you will need to edit your photos.

Photoshop comes included with hundreds of tools that allow you to edit and manipulate your photos, below are only a few of what you can expect to find. So at present the best solution to discover the most important tools to start off with, is to take a learn by viewing adobe photoshop video tutorials

Ever wonder why all the professional models look so great? Photoshop comes with warping tools that allow you to manipulate your photos and, once it is mastered, allows you to add or subtract weight from your subjects, among other things. If you want 12-pack abs but don\’t want to go to the gym all you need to do is figure out this amazing tool and you will fool even your mother.

Another tool often used by professional photographers is the smudge tool. Want flawless skin? If you have a close up picture of your face or any face, and there are imperfections in the face such as scars, pimples and wrinkles, you can remove them with the smudge tool. This will make the subject\’s face look smoother and also younger.

Want to remove objects in your photo or replace backgrounds? The lasso tool allows you to select a particular part of the picture and then remove it. For example, if you are standing in your garden you can use the lasso tool to easily select your whole body and cut it out of the photo. Then you can paste the object you cut on another background, such as behind the Arc de Triumph in France or behind the famous windmills in Netherlands.

Wish to turn your photograph into a watercolor? All you need to do is use Photoshops built in filters and your photo instantly turns into whichever you choose. A few of the options include watercolor, charcoal drawing, sketch, etc.

Easily insert text or captions onto your photos using the text tool. Now you will never forget who was standing next to you during your college graduation or retirement party. Recently divorced but don\’t want to toss your photos out the window? Easily remove unwanted objects and you will be able to keep all the photos, minus the unwanted objects or individuals.

These are only a small portion of the amazing things that you can do with Adobe Photoshop. Once you master the basics and delve deeper into the program you will see that I have only scratched the surface of this powerful program. Take your time and find out how you can turn your ordinary photographs into extraordinary works of art, by having a looking at free sample adobe Photoshop video tutorials.

NORMAN

Mark Feldman asked:


Delacroix was born in Charenton-Saint Maurice, near Paris into an aristocratic and wealthy family. Although he was registered as the son of Charles Delacroix, a diplomat and former Foreign Minister, rumor had it that he was the natural son of Talleyrand, the famous diplomat who became French Foreign Minister after Charles Delacroix. As an adult, Eugene Delacroix certainly bore a striking resemblance to Talleyrand, who went to great lengths to assist Delacroix in his career.

Little is known about Delacroix’s childhood, except that he loved art and won prizes from his prestigious school for his drawing. In 1815 Delacroix went to study painting in the studio of Pierre Guerin, a neoclassical artist. But despite his formal training Delacroix leant towards the style of the Italian and Flemish schools, absorbing the works of Rubens, Veronese and fellow Frenchman Theodore Gericault from whom he learnt to combine the romantic ideal with the violent action of the times.

Delacroix’s first major painting The Barque of Dante, which was inspired by Gericault’s work, The Raft of the Medusa, was accepted by the Paris Salon. It caused an instant sensation, was decried by the public and judges alike, but the French government still purchased the painting for one of its public buildings.

Delacroix painted the Massacre at Chios, another important work inspired by the Greek struggle for freedom from Turkish rule. The painting is loaded with action and emotion, depicted in bold colors and masterful brushstrokes. It brought him wide popular acclaim and was also bought by the French government. A second masterpiece, Greece Expiring on the Ruins of Missolonghi, was also a dramatic statement in support of the Greeks and their quest for independence. It was inspired by a terrible event where an entire city committed ******* rather than surrender to the Turkish forces. Throughout his life Delacroix was to be inspired by literary sources and one of his icons, the poet Byron, died at Missolonghi.

In 1832 Delacroix joined a diplomatic mission to Morocco and the newly conquered Algeria. Spellbound by the inhabitants, the exotic costumes, the colors and contrasts, he produced a wealth of paintings, drawings and watercolor sketches of the native peoples of North Africa. In Algiers, Delacroix drew Muslim women in their costumes. He painted a Jewish wedding, he painted wild animals and indeed, his portrayals of lions, tigers and horses are some of the finest in animal art.

Between 1833 and 1861 Delacroix worked on many commissions from the French government and royalty to produce murals for public buildings and palaces in Paris. He had to work long, tiring hours on scaffolding in cold, drafty buildings. His health deteriorated as a result.

Eugene Delacroix died in Paris on August 13, 1863 aged 65. During his lifetime he had dominated the French art scene and he had been awarded many honors. He had produced over 850 paintings, many of them masterpieces, over 8,000 drawings and watercolors and also 60 sketch books. In the words of his contemporary, the French poet Baudelaire, Delacroix was “The last of the great artists of the Renaissance and the first modern.

You can find a wide collection of Eugene Delacroix paint by number patterns at the Segmation web site. These patterns may be viewed, painted, and printed using SegPlay™PC a fun, computerized paint-by-numbers program for Windows 2000, XP, and Vista.



EMORY

Rusty asked:


I create fine art digital prints and want to know if there is any interest in these prints. Does it matter to the public if they did not originate as oil, acrylic or watercolors. If they are beautiful images does it matter how they were made?

CODY