How To Best Paint A Teak Bench


A teak bench, or indeed any other piece of teak furniture, is a great investment and will look fantastic indoors, outdoors, or wherever some extra seating is needed. The Class 1 hardwood is extremely durable and long-lasting, while its color can range from a light straw to richer, deeper hues. That being said, almost anyone you ask will tell you the same thing: Do not paint a teak bench. However, sometimes if the wood is old, scratched up or has fallen into disrepair, painting is the best and only option left. If you do decide to break out the brush, make sure you do it right. A botched paint job will have wood looking worse than when you started with it.

In addition to covering up the natural grain and tone of the wood, painting teak benches is discouraged because teak is one type of wood that is notoriously difficult to paint. That is because the wood produces a natural oil, which on the one hand preserves and protects it from splitting, fungus and insects, but on the other hand makes it hard for paint and stains to stick to the exterior.

If you’re starting out with a surface that is already finished, clean the wood off using mineral spirits to remove any grease, wax or residue. If, on the other hand, you decide to strip the wood of its finish, you will have to clean the wood with acetone to remove the teak’s natural oils; otherwise primers and paints will not adhere correctly. Next, use a scotchbrite pad or light sandpaper to smooth the surface. After the wood is clean and even, apply a primer, like Zinsser 123. Allow the primer to set, usually for about a day, and then proceed to the paint. Stick with certified outdoor latex paints like Sherwin-Williams and Benjamin Moore for best results. Semi-gloss or gloss paints work especially well to repel dirt. Apply one even coat to teak benches. Once that has dried, apply a second layer. Applying less than two coats will result in weaker color, and depending how much of the second coat is absorbed by the wood, you may be able to get away with a third coat.

Even if you follow all of the necessary precautions, the results of painting a teak bench can be disappointing. Because of the high oil content, the paint you apply, no matter how conscientiously, could eventually lead to peeling and scarring of the wood. Before making a go of it, it would be wise to consult a specialist at your local furniture or outdoors store who can best recommend the right products.

If you are lucky, painting a teak bench can breathe new life into otherwise old and dilapidated furniture. There is also the added benefit with paint of being able to match furniture pieces to your décor and color scheme. In conclusion, the question of “to paint or not to paint” depends on your furniture. New teak furniture really should not be painted. You are already paying more for the specific type of wood, and its grain and color are two of its main selling points. For new furniture, simply use a sealant once to twice a year. Because of its natural oils, a teak bench will continue to look great on its own with little maintenance.

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Source by Tonya Kerniva

The Green Palette


Pakistan has inherited many things from the colonial rule when it became the sovereign state on 14th August 1947 as there was no source of developed knowledge and information other than what the rulers have adopted and then left behind for themselves.

The British took control over a state which was very much a monarchist under the Mughals, but when they left, it had to adopt the all famous democratic system of politics; the thrones, where once the emperors used to sit, fastened the governor general, presidents and prime ministers for the time to come. The army, social institutions, music, sports, couture, cuisine, architecture and administration, in short all walks of life absorbed and displayed a prolific plethora of post colonial western influence as this doctrine was considered the best and the most appropriate one owing to its association with the ruling and powerful class.

The language embraced the modern and non traditional style due to a total extrication from Persian, and partially from Arabic; the two pivotal languages which had remained a mark of distinction and wisdom for the Muslim community, from Neil to Kashghar. Modern Muslims, especially after being put in status with the modern politics by virtue of entirely new and liberal policies of Mohammedan Anglo Indian Conference and the academics of Aligarh College, which later became a university, were well aware of the new philosophy, psychology, architecture, sciences and all other branches of literature and arts, this class actually took over after the birth of new state Pakistan on 14th of August 1947. Therefore, what we introduced to Pakistani arts in common was mostly an inspiration of western modern art of the early 20th century; the fragments of post-modern American or post-war European art.

In the early days of Pakistan Anna Molka Ahmed was in Lahore, a migrated artist from THE UK who also cradled the first generation of Pakistani artists at Fine Arts Department of the Punjab University that she had founded in 1940. This department produced the first batch of four teachers who later shaped early years of Pakistani art; they were Anwar Afzal, Zakia Malik Sheikh, Razzia Feroz and Nasim Hafeez Qazi.

On the other hand, there was Zubeda Agha, who was trained under BS Saniyal and an Italian prisoner of war Mario Perlingieri. Later, she received art education in the west so, she was under immense influence of western style and technique. Zubeda rejected the traditional painting style and emerged as the first modernistic colourist despite resistance from the native critique.

At the same time, Anna Molka was trying to capture the indigenous topics related to religion and folklore, but since she was an expressionist in her technique, the local fauna and flora got ablaze after being expressed through the ‘knife and palette’ technique of her. Anna at times, just squeezed the colour tube on the canvas and dragged it with her knife to get the desired spontaneity and embossed texture. Therefore, what she produced was indigenous in subject but very much western in terms of technique.

Given that the native style was attributed to the Mughal school of Miniature painting that later got popularity up on the hill states of Himachal Pardesh (Basohli, Chamba, Guler, Kangra and Bilaspur) until the Sikh era. Ustad Haji Sharif was one of the exponents of the court style painting owing to the long association of his forefathers to the royal court of Patiala, an important Sikh state of the now Indian Punjab. After his migration to Lahore, Ustad Sharif imparted his knowledge and passed on the ultimate skills of book illumination and illustration at the Department of Fine Arts and the Mayo School of Arts (NCA) Lahore.

Another Ustad, Allah Bakhsh, in the line of traditional and realistic style of the east, contributed to the infancy of Pakistani painting. Allah Bakhsh painted the rich culture and folklore along with a touch of romanticism in subject, especially when he put on canvas the folk love-stories like Heer Ranjha and Sohni Mahiwal and at the same time he, under the influence of modern art and romantic painters of the west, put on a show the mystic canvasses like “Talism-i Hoshruba”.

During this process of evolution, the secular style Miniature painting was breathing at Calcutta, where Abhiander Nath Taygore was a great proponent of the gauche technique. This style inspired the free-flowing hand of Abd al-Rehman Chughtai, who evolved the Bengali style of Miniature painting to unmatched heights. Other than Chughtai, no one could, actually retain the standards of that lyrical line-quality, soft layers of diffused pigments and the stylized approach, although few tried to get acquainted with the technique, but the wisdom and education, Chughtai acquired in the field of art locally and from abroad, and the intelligentsia around him in the shape of his renowned friends, made him the sole example of a style of his own; the Chughtai Style.

Later, Pakistan was spell-bound by a Magician from, Sadequian: a painter with theatrical qualities, dramatic themes and very crude line quality that hatched the texture within the frame to give vent to the philosophical and poetic themes the artist was inspired at a great level. The urge to communicate loudly and more clearly made Sadequian to switch to Calligraphic painting, which later became his identity and was displayed on the large scales like the ceilings and murals at the Lahore Museum and Mangla Dam respectively. Ismail Gulgee was the other advertiser for Calligraphic painting style which, being conceived as “Islamic Art” contrary to the figurative art, attained popularity in the religious groups. Ultimately non-figurative art earned acceptance in the market and flourished in the unfavorable circumstances of the military-Islamic rule of the 1980s.

If we look upon the academic inspirations, other than Anna Molka, we may find Shakir Ali standing tall and exclusive in the scene with his very simple and rhythmic paintings in flat shades of reds, oranges and blues along with varied lines. His textures within the flat colour areas were simple but masterly fashioned and skillfully balanced. His presence at the National College of Arts Lahore made many to follow him in acquiring new and modern techniques that he had his hands on, during his academic stay at London.

In western art, Cezanne, Van Gogh and Gauguin are taken, subsequently as initiators of Cubism, Expressionism and Fauvism. On this pattern, we could divide Pakistani art in three dimensions, the followers of Chughtai, Sadeqauin and Shakir Ali. However, since the latter was the principal and teacher of a renowned Art institution, his impact was immense. For that reason, we could see his followers in the shape of Panj Piyare (the five loved-ones), on the pattern of Akbar’s Navratna (Nine Jewels). These were Raheel Akbar Javed, Sheikh Safdar, A.J. Shamza, Ali Imam and Moyene Najmi. Another reason of this popularity was the style and themes that Shakir introduced to the new generation of late sixties and early seventies, which were more practical and corporeal in execution, even to depict the most abstract and intangible ideas, contrary to the Miniatures of Chughtai or the poetically thematic canvases of Sadequain.

Pakistani institutes imparted education on western lines while the old masters of native conventional styles, mostly took their art to their graves with a little exception of a few numbers of their students.

In Calligraphy, Ahmed Pervez and A. J. Shamza are the names who contributed towards the collective shape of Pakistani art on the grounds of their individual style, but some others made a difference at greater degree. Khalid Iqbal is one, who could be called as the maestro in Landscape painting, with his local colours and western technique of creating enchanting foregrounds and depth in the backgrounds by virtue of his control of tonalities formed through diffusing shades. He introduced Modern Realism to Pakistan, which compelled many to be inspired. Khalid’s presence, first at the Department of Fine Arts and later at the NCA, academically inspired a generation of artists under his fatherly attitude. His immersed but yet soft canvases recorded the different shades of Pakistani soil.

Saeed Akhtar, was another talented graduate from NCA, a draftsman of competency who solved his drawing problems by adopting and applying the observations, he came across while molding sculptures; a way to get adept in three dimensional figurative and portrait painting. The realistic and accurate rendering became his mark of respect.

Zahoor al-Akhlaq, with his philosophical and abstract approach, strengthened the conceptual foundation of modern art in Pakistan and caused NCA to adopt modern styles and techniques in painting.

Punjab University produced Collin David, the most talented and undoubtedly, the most controversial student of Anna Molka for numerous reasons, but a wonderful draftsman of divine linearity he was blessed with. His figurative work showed his anatomical expertise that enabled him to introduce Pakistani art with the flair, on an exaggerated note, of Rubens and Raphael.

Zulqarnain Haider, started as an extension of Khalid Iqbal, by adopting Landscape painting in almost the similar style, but gradually, the Kashmiri restless blood accepted new challenges that nature put ahead of him in changing light, intervening twigs and stretched earth; he captured them from his feet to the vanishing point at horizon, or even beyond.

Ghulam Rasul added the stylization in his Landscapes and enriched the colours of his paintings. He also used the small hills of Potohar as the grey backdrop behind the lush green fields.

Contrary to the Modern Realism of Khalid Iqbal and company, Zubeda Javed emerged as a painter with strong imagination. She is one of those rare female painters of Pakistan, who adopted modern technique of painting Landscapes and Cityscapes, in a manner, that was considered by many, as closed to semi-abstract and Impressionistic. She, with an intuitive colour palette and painterly brush, produced a unique and aesthetically strong display of colours, coming out of deep backgrounds. Her painting style encouraged the modern approach towards colour, composition and light.

English Literature inspired Mian Ijaz al-Hassan to think and act in accordance with the new ideologies that were in vogue in the seventies, his thematic and radical paintings based on communist doctrine disturbed the sound sleep in the upper halls. However, he dug out the fragile soil of Pakistani land with the ‘red scythe’ and sowed the seed of the yellow Laburnum (Amaltas) tree; a pivotal symbol of his paintings.

Iqbal Hussian threw light on the burning and rotten issues related to an abode of notoriety; the red-light area. His Cityscapes might take you to the dark alleys and whispering walls of the old city while his portraits of the bulky and carefree looking women, made a social comment on the unaccepted side of the society.

On the other hand, Ghulam Mustafa crafted a labyrinth comprised of the narrow and shady paths of the walled-city and the lush green mountains of the northern areas with his soft pastels on the textured surface of pastel-sheets or on the well stretched large areas of coarse canvases with oil colours.

Bashir Ahmed initiated the Department of Miniature painting at NCA that inspired many young painters to adopt this conventional painting style. Bashir’s strive to restore the tradition of Miniature painting resulted in Contemporary Miniature that revolutionized this genre in Pakistan.

With torches in the hands of all mentioned above, there were many others along with them, passed on the Pakistan palette to the new generation of painters by stepping into the 21st century.

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Source by Nadeem Alam

Contemporary Art: 200 of the World’s Most Groundbreaking Artists

Contemporary Art: 200 of the World's Most Groundbreaking Artists

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This veritable Who’s Who of contemporary art—now in a new format and fully updated—contains 200 of the most influential, widely exhibited, and talented artists. Spanning 40 years, the list ranges from Lucian Freud, Louise Bourgeois, and Jasper Johns to Ai WeiWei, Subodh Gupta, Matthew Barney, Damien Hirst, and Tracey Emin. Insightful biographies, with a special focus on key works, and cross-referencing to linked artists, themes, and movements, make this the essential insider’s guide to the international art scene.



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Mizuhiki – The Japanese Art of Knot Tying


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Mizuhiki is the traditional Japanese art of knot tying. It is made by tightly winding washi (japanese paper) into a thin cord, then using that cord to tie a series of knots.  Sometimes the individual cords are adhered to one another to make a wide strip and then knotted.
The mizuhiki knots and cords create intricate bows and flowers for decoration, and even creative frames or woven/knotted baskets.

In the past, mizuhiki was used as decoration for special cards, letters and gifts for important or high-standing people, and in some cases, to tie the Samurai top knot hairstyle.

Today, mizuhiki is widely used for decorating cards and gifts for occasions like weddings, baby showers, graduations and many other important events. 
Growing in popularity both in Japan and overseas, mizuhiki is also being used for table settings, home decor, and even fashion accessories.

Some mizuhiki artists can create beautiful life-like animals and other creative sculptures for display or as a wonderful addition to gift wrap. 
The most common decorations are flowers, bows, Japanese cranes, butterflies and carp for both beauty and symbolism. For example, the carp and crane are greatly used to symbolize strength, grace and longevity.

By using basic knot techniques combined with weaving or even a crochet style, it is possible to create beautiful pieces of art like floral bouquets, life-sized sculptures (like carp, butterflies and flowers), or even functional items like place mats, utensil rest, baskets, hair and clothing accessories or lovely decoration that wraps around glassware.

Another important thing to consider is the colour combination. In Japan, colour combinations have a specific meaning for many occasions, so mizuhiki decorations must also follow the theme.  For example, special joyous events like weddings use red and white or gold and silver. For births, graduations, house warming and other happy occasions, a simple red and white combination is used, and finally sad events (like funerals) use black, white and silver.

Today, mizuhiki has such a wide range of colours and patterns, it’s simple to use it for anything your can think of from art, decor, fashion and more!

For more information or to see some mizuhiki examples, check out Miho’s mizuhiki page .

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Source by Miho Suzuki

Western Art – Neo-Primitivism – A Contemporary Edge to Primitvism


Neo-Primitivism – The History

After Russian painter and art theorist Aleksandr Shevchenko published his book ‘Neo-Primitivism’ in 1913, a completely new genre in art was formed with the same name. However, other accounts suggest vice-versa. According to them, Neo-Primitivism began much earlier, with its official launching in 1909, at the third ‘Golden Fleece Exhibition.’ The art form is said to span over 1907 through 1912. Although, it was primarily a Russian art movement, it became equally popular in the Western nations. Neo-Primitivism was fundamentally a radical modern sect with primitive style executions and therefore, named so.

The Details

The characteristics of Folk Art, like lubok, embroideries, distaffs, icon painting, and spoons, formed the basis of Neo-Primitive works. The frames were usually one-dimensional, flat imageries with bold color schemes, and visible brushstrokes. The paintings lacked, not only in visual depth, but also in their intricate or visionary representations. The Neo-Primitive works often look like child-art, with the distortions of forms and space.

The Artists

Russian artists Aleksandr Shevchenko’s (1883-1948) publication describes a harmonization of Russian Folk Art with some different art forms, like Futurism and Cubism. French Post-Impressionist and Cubist Paul Cézanne’s (1839-1906) body of work was also a great influence on the underlying philosophy of Neo-Primitivism. The original protagonists of this style were Mikhail Larionov (1881-1964) and Natalia Goncharova (1881-1962), though they were not the only ones. Other famous artists associated with the movement were Kazimir Malevich (1879-1935), Vladmir Tatlin (1885-1943), and Marc Chagall (Russian-French, 1887-1985).

The Artworks

Mikhail Larionov’s, ‘Soldier in the Woods’ (1908-09) is a perfect example of Neo-Primitive elements, where a brightly painted canvas in primary colors, depicts a horse smaller than the soldier is. Similarly, Natalia Goncharova’s ‘The Evangelists,’ (1910), is a set of four, oil on canvas works, 204 cm X 58 cm in dimensions each. This religious work is a leading example of icon painting, which depicts the four authors of the Gospels. The set is remarkable for its straight-forwardness, simplicity, linearity, and colors, in each piece.

Conclusion

An exhibition in Paris, featuring the native art forms of Australia, Oceania, and Africa, popularized Neo-Primitivism in the Western world. The directness of themes, bold expressiveness, striking color combinations, vigor, spontaneity, and innovation, caught the fancy of the Western artists in no time. Neo-Primitivism, in the Western world, has come as a blanket term for various types of art, including ‘Body Art.’ In broader terms, any art, which subscribes to the philosophy of Primitivism, represented with a modern outlook is Neo-Primitivism. Primitivism suggests that the life was more simple and honest for the ‘unschooled’ primitive civilizations!

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Source by Annette Labedzki

HOW TO PAINT A WINE BOTTLE by Peter Kotka


How to Paint a Wine Bottle

Fine Wine Art has been produced by Peter for the past 30 years.

Here he shows you the basics of painting a bottle.

Painting Fine Wine 1

DRAW YOUR OUTLINE WINE BOTTLE IMAGE IN ONE COLOUR. I USED BLUE.

Fine Wine Bottle Painting 2

SELECT A PALETTE OF BURNT SIENNA, ULTRAMARINE BLUE, YELLOW OCHRE AND TITANIUM WHITE. THEN ROUGH IN THE COLOURS.

Fine Wine Art Bottle Painting 3

NEXT, STRENGTHEN THE DARKS STILL USING YOUR LIMITED PALETTE
AND CREATE MORE DIMENSION TO THE PAINTING.

Fine Wine Art Bottle 4

NOW USING A FULL COLOUR PALETTE, PAINT THE BOTTLE TO ITS CONCLUSION.

USING THIS METHOD YOU CAN EXPAND THE PICTURE TO STUNNING EFFECT AS FOLLOWS:

Oil Painting of Wine Bottle and Glass

Fine Wine ArtOriginal Oil paintings of Fine Wine by Peter Kotka

The History of Fine Wine Painting

Fine Wine Paintings have been created for a very long time and has its beginnings in still life paintings dating back many centuries. Very early ‘breakfast’ pieces by the Dutch painter Nicolas Gillis, were followed by Pieter Claesz and Willem Claes Heda, the paintings initially were quite simple and very subdued in colour. Then came Willem Kalf who also featured wine, tall glasses and wine jugs, Roemer glass, candlesticks and fruit, but light seemed to be a big influence on him. Blue and white Chinese bowls with lemons, using complimentary colours to great effect. Then there was Jan Davids de Heem with Nautilus cup, green grapes, lemon and lobster, such evocative pieces to feast your eyes on, how could they not inspire?

All of these painters were superb, their paintings probably influenced fine wine art painters that followed much later. They certainly had a great influence on me and my art.

This article from the website www.peterkotka.com

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Source by Peter Kotka

Where Did Manga Come From?


While Manga seems to be growing ever more popular, which often leads many to believe that it’s a relatively modern creation it’s actually been around (in its early form) for over a thousand years.

The tradition of telling stories with a series of sequential images has been a part of Japanese culture long before what we now know as present day Manga ever came about. In fact Toba Sojo, an 11th century painter-priest, has been attributed with the earliest examples of pre-manga art with his animal scroll paintings which satirised the Buddhist priesthood.

Over the years the religious world refined the art, even as the nation was torn apart by warfare.

Another credited for development of modern Manga is Katsushika Hokusai, the famous 19th century artist and printmaker while his woodblock print images of 36 views of Mount Fuji are known the world over, his manga sketches are some of the best examples of humour in Japanese art. Hokusai was also the first to use the term Manga to describe his sketches though he didn’t invent the word himself.

Adult storybooks – text surrounding ink brush illustrations became popular within the middle class Japanese population. Printed with woodblocks these books were similar to modern manga in that they covered a wide variety of subjects from fantasy and drama to humour and even pornography. Shunga (Erotic Art) and Yokai (Ghosts and Monsters) are other forms of popular Japanese Art that have influenced modern manga

By the 19th century the art became influenced by western culture and the illustrated story books became a mix of Japanese and Western Cartoons.

As it progressed many say that Osamu Tezuka was the father of Modern Manga, his most popular creation was Mighty Atom (or Astro Boy). His Manga debut came in 1947 with his New Treasure Island a comic that was produced cheaply and sold 400,000 copies with this success he was able to develop a following of young manga artists eagre to continue with what he had started. These would soon broaden and from here the young adults that started reading those earlier comics would continue to read manga as adults and with that is it said that modern manga was born.

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Source by V Brown

Japanese Art (World of Art)

Japanese Art (World of Art)

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“A long-needed presentation of Japanese art that concisely offers inclusive coverage from prehistoric times to the twentieth century.” ―Choice

The uniqueness of Japanese culture rests on the fact that, throughout its history, Japan has continually taken, adapted, and transformed diverse influences―whether from Korea, China, and the South Seas, or Europe and America―into distinct traditions of its own. This book, an authoritative and provocative survey of the arts of Japan from the prehistoric period to the present, brings together the results of the most recent research on the subject. In this expanded and updated edition, a new chapter explores Japanese art from the 1980s to the new millennium. Profusely illustrated with examples from a range of arts as well as an extensive bibliography, Japanese Art is a concise, thought-provoking overview of a fascinating culture. 185 illustrations, 50 in color



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Utamaro and His Five Woodblock Masterpieces of Women


One of the dominating themes in the history of art anywhere in the world has always been female beauty. Parodoxically, few artists are primarily identified with this theme. A major exeption is the Japanese artist Kitagawa Utamaro (1753-1806) who dedicated is whole artistic life exploring this beauty. He specialized in the posture, the character, the softness of the skin and the grace of the woman and fully utilized the characteristic of the woodblock to obtain the essence of female nature.  The following five bijin (beauty print) designs are among his most acclaimed masterpieces and are in no particular order.    

Mountain Woman with Kintaro  (c.1801)  

Utamaro designed nearly fifty prints of the mountain woman Yamamba and her son Kintaro (a.k.a. Kintoki) in various settings and formats. This naga-oban (c. 20 3/4″ x 9 1/2″) design is Utamaro’s most well-known print depicting this subject. In this scene the viewer can feel true motherly love from Yamamba as she’s trying to calm the little boy with chestnuts while fondling him as he is holding on to her. The soft colour combination is beautifully contrasted with the strong colours used for Kintaro, emphasizing his health and strength.    

Matron in Love (c.1793)  

From Utamaro’s five part series Kasen: ko no bu (Selected Love Poems) this okubi-e (bust portrait/ half length portrait) design is generally considered the best of this set of prints. The title in the English translation of this print is ‘Love Which One Can Not Put Out in One’s Mind’ and is the portrayal of a mature woman resting her head on her hand. Her eyebrows are shaven, which indicates she’s married, and her eyes are narrowed in a dreamily gaze looking into the distance. In this series Utamaro focuses on the facial expressions of these women using fine lines and soft delicate colors trying to expose their inner feelings.    

Lipstick (c.1794)  

An ordinary woman depicted in a half-kneeling position looking in a mirror which she holds in her hand. She’s applying red lipstick to her mouth after she blackened her teeth. In this design Utamaro proofs his mastery in depicting women wearing everyday clothes placed in an ordinary setting. The subtle contrast between the red lipstick and the white of the skin is a magnificent detail. The black box in front of her contains implements for blackening the teeth.  

Woman Reading a Letter  (c.1791)  

The following print is from Utamaro’s famous ‘Ten Physiognomical Studies of Women’ -series and is a study of a noble looking middle-aged woman reading a letter, with her hands outstretched to unfold it. A masterpiece because of its simplicity and superb composition. Some prints of this design have a pink-mica background instead of silver-mica. The pink was made after the silver.    

Takashima Ohisa (c.1792)  

This print belongs to the same series as the foregiving one and is probably the most celebrated single bijin portrait in the history of Ukiyo-e. The model of this print is thought to be a daughter of Takashima Chobei who was a proprietor of a tea-house in Ryogoku Yagenbori. The viewer can feel the sweetness of this girl who is a daughter of a well-to-do family. It seems that Utamaro often painted Takashima Ohisa (like many other contemporaries) by preference. He also painted Ohisa in the series ‘Six Famous Beautiful Women’, even after her marriage and as the proverb says: “Beauty is often inconsistent with luck”, this pretty Ohisa died young leaving two sons behind.

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Source by Marijn Kruijff

Bob Ross Oil Painting Technique – Frequently Asked Questions


The following is a list of frequently asked questions about the BOB ROSS Oil Painting Technique and some instruction about the use and care of the materials.

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This technique refers to the softening of hard edges and most visible brush strokes by blending the wet oil paint on the canvas with a clean, dry brush. In blending, an already painted area is brushed very lightly with criss-cross strokes or by gently tapping with the corner of the brush. This gives colors a soft and natural appearance. Not all oil paints are suitable for this technique – most are too soft and tend to smear. Only a thick, firm paint is suitable for this technique.

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To mix paints to a marbled effect, place the different colored paints on the mixing area of your palette and use your palette knife to pick up and fold the paints together, then pull flat. Streaks of each color should be visible in the mixture. Do not over mix.

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When mixing paints for application over thicker paints already on the canvas, especially when adding highlight colors, thin the paint with LIQUID WHITE, LIQUID CLEAR or ODORLESS THINNER. The rule to remember here is that a thin paint will stick to a thicker paint.

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Painting with the wet on wet technique requires frequent and thorough cleaning of your brushes with paint thinner. An empty one pound coffee can is ideal to hold the thinner, or use any container approximately 5″ in diameter and at-least 6″ deep. Place a Bob Ross Screen in the bottom of the can and fill with odorless thinner approximately 1″ above the screen. Scrub the brushes bristles against the screen to remove paint sediments which will settle on the bottom of the can.

Dry your larger brushes by carefully squeezing them against the inside of the coffee can, then slapping the bristles against a brush beater rack mounted inside of a tall kitchen trash basket to remove the remainder of the thinner. Smaller brushes can be cleaned by wiping them with paper towel or a rag (I highly recommend using Viva paper towels because they are very absorbent). Do not return the brushes to their plastic bags after use, this will cause the bristles to become limp. Never clean your Bob Ross brushes with soap and water or detergent as this will destroy the natural strength of the bristles. Store your brushes with bristles up or lying flat.

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Use the 2″ brush with long, firm vertical and horizontal strokes across the canvas. The coat of Liquid WHITE should be very, very thin and even. Apply just before you begin to paint. Do not allow the paint to dry before you begin.

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I suggest using a palette at least 16″x20″ in size. Try arranging the colors around the outer edge of your palette from light to dark. Leave the center of the palette for mixing your paints.

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To fully load the inside bristles of your brush first hold it perpendicular to the palette and work the bristles into the pile of paint. Then holding the brush at a 45 degree angle, drag the brush across your palette and away from the pile of paint. Flipping your brush from side to side will insure both sides will be loaded evenly.

(NOTE: When the bristles come to a chiseled or sharp flat edge, the brush is loaded correctly.)

For some strokes you may want the end of your brush to be rounded. To do this, stand the brush vertically on the palette. Firmly pull toward you working the brush in one direction. Lift off the palette with each stroke. This will tend to round off the end of the brush, paint with the rounded end up.

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Place the tip of your brush into the can of LIQUID WHITE, LIQUID CLEAR or ODORLESS THINNER allow only a small amount of medium to remain on the bristles. Load your brush by gently dragging it through the highlight colors, repeat as needed. Gently tap the bristles against the palette just enough to open up the bristles and loosen the paint.

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With your palette knife, pull the mixture of paint in a thin layer down across the palette. Holding your knife in a straight upward position, pull the long working edge of your knife diagonally across the paint. This will create a roll of paint on your knife.

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There are no great mysteries to painting. You need only the desire, a few basic techniques and a little practice. lf you are new to this technique, I strongly suggest that you read the entire section on “TIPS AND TECHNIQUES” prior to starting your first painting. Consider each painting you create as a learning experience. Add your own special touch and ideas to each painting you do and your confidence as well as your ability will increase at an unbelievable rate.

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The BOB ROSS technique of painting is dependent upon a special firm oil paint for the base colors. Colors that are used primarily for highlights (Yellows) are manufactured to a thinner consistency for easier mixing and application. The use of proper equipment helps assure the best possible results.

Liquid Clear is a particularly exciting ingredient for wet-on-wet painting. Like Liquid White/Black, it creates the necessary smooth and slippery surface. Additionally, Liquid Clear has the advantage of not diluting the intensity of other colors especially the darks which are so important in painting seascapes. Remember to apply Liquid Clear very sparingly! The tendency is to apply larger amounts than necessary because it is so difficult to see.

13 colors we use are listed below:

*Alizarin Crimson

*Sap Green, Bright Red

*Dark Sienna

*Pthalo Green

Cadmium Yellow

Titanium White,

*Pthalo Blue,

*Indian Yellow

*Van Dyke

Brown

*Midnight Black

Yellow Ochre

*Prussian Blue
(*indicates colors that are transparent or semi-transparent and which may be used as under paints where transparency is required.)

HOW DO I MIX COLORS?

The mixing of colors can be one of the most rewarding and fun parts of painting, but may also be one of the most feared procedures. Devote some time to mixing various color combinations and become familiar with the basic color mixtures. Study the colors in nature and practice duplicating the colors you see around you each day. Within a very short time you will be so comfortable mixing colors that you will look forward to each painting as a new challenge.

SHOULD YOU USE JUST ANY ART PRODUCT FOR THIS METHOD OF PAINTING?

Possibly the #1 problem experienced by individuals when first attempting this technique and the major cause for disappointment revolves around the use of products designed for other styles of painting or materials not designed for artwork at all (i.e. house painting brushes, thin soupy paints, etc.).

All of the paintings for this technique were created using Bob Ross paints, brushes and palette knives. To achieve the best results from your efforts, I strongly recommend that you use only products designed specifically for use with the Bob Ross wet-on-wet technique.

HOW LONG WILL IT TAKE MY PAINTING TO DRY?

Drying time will vary depending on numerous factors such as heat, humidity, thickness of paint, painting surface, brand of paint used, mediums used with the paint, etc. Another factor is the individual colors used. Different colors have different drying times (i.e., normally Blue will dry very fast while colors like Red, White and Yellow are very slow drying). A good average time for an oil painting to dry, when painted in this technique, is approximately one week.

SHOULD I VARNISH MY PAINTINGS?

Varnishing a painting will protect it from the elements. It will also help to keep the colors more vibrant. lf you decide to varnish your painting, I suggested that you wait at least six months. It takes this long for an oil painting to be completely cured. Use a good quality, non-yellowing picture varnish spray. I personally spray my paintings after about 4 weeks and have not had any problems.

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Source by Gerald Scott