Pigments for Fresco Painting, Lime Wash and Gypsum We Have Compiled This List for Fresco Painting, Lime Wash and for Coloring Plaster
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Chapter 11 Painting
Chapter 11 Painting • Medium: material that pigments are suspended in • Binder: holds the particles together (glue) • Support: in painting what the artist paints on • Transparent: paint that can be seen through • Opaque: paint that cannot be seen through • Ground: primer used to even the surface of the support, even application • Solvent: thinner that allows for paint to flow easier 1. Painting as the ability to copy during the Middle Ages 2. La Pittura: personification of Painting 1. Why is this important? Title: The Art of Painting Source/Museum: Vault of the Main Room, Arezzo, Casa Vasari. Canali Photobank, Capriolo, Italy. Artist: Giorgio Vasari Medium: Fresco Date: 1542 Size: n/a La Pintura 1. Representation 1. Herself 2. La Pittura 1. Why this representation? 2. Pendent: symbol of imitation 3. Accurate representation 1. Representation of nature through artist eyes 4. Portrayal 1. Real women 2. Idealized personification 5. Copy work or creative? 6. Equal to Leonardo and Michelangelo? 7. Western Painting: Painting the Nature 1. Zeuxius Vs. Parrhasius 1. Zeuxius: paints grapes and birds come down to eat them 2. Parrhasius: paints a curatian and Zeuxius asks him to remove the curtain so he can see the painting Title: Self-Portrait as the Allegory of Painting Source/Museum: The Royal Collection © Her Majesty Queen Elizabeth II. Artist: Artemisia Gentileschi Medium: Oil on canvas Date: 1630 Size: 35 ¼ x 29 in. Encaustic Encaustic Encaustic 1. Combining pigment with binder of hot wax 2. Funerary portraiture from Faiyum 60 miles South of Cairo 3. Real person 1. Naturalistic sensitive depiction of the face Source/Museum: Albright-Knox Art Gallery, Buffalo, New York. -
Bone, Antler, Ivory and Teeth (PDF)
Bone, Antler, Ivory, and Teeth Found in such items as tools, jewelry, and decorations Identification and General Information Items derived from skeletal materials are both versatile and durable. Bone, antler, ivory, and teeth have been used for various tools and for ornamentation. Because ivory is easily carved yet durable, it has also long been used by many cultures as a medium for recorded information. Bones and teeth from many different animals, including mammals, birds, and fish, may be found in items in all shapes and sizes. Each culture uses the indigenous animals in its region. Identifying bones and teeth used in an item can be easy or difficult, depending on how they were processed and used. Frequently, bones and teeth were minimally processed, and the surfaces are still visible, allowing identification by color (off-white to pale yellow), shape, and composition. Bird, fish, and reptile bones are usually lighter in mass and color than mammal bones. Bone and antler can be used in their natural form, or polished with sand and other abrasives to a very smooth and glossy surface. Bone is sometimes confused with ivory, which is also yellowish and compact. Sea mammal ivory, which is the prevalent source used by American Indians, is distinct in structure. Walrus ivory, the most common sea mammal ivory, has a dense outer layer and a mottled inner core. Bone and antler in archaeological collections are often burnt and can be blue black to whitish gray. Charred bone or antler can be mistaken for wood. Magnification helps to distinguish bone from similar materials, as it has a thin solid layer surrounding a porous interior structure with a hollow core where the marrow is contained. -
How to Add Color to Your Ceramic Art
ceramic artsdaily.org how to add color to your ceramic art a guide to using ceramic colorants, ceramic stains, and ceramic oxides www.ceramicartsdaily.org | Copyright © 2010, Ceramic Publications Company | How to Add Color to Your Ceramic Art | i How to Add Color to Your Ceramic Art A Guide to Using Ceramic Colorants, Ceramic Stains, and Ceramic Oxides Adding color to your ceramic art can be a tricky proposition. Unlike working with paints, what you put on your prize pot or sculpture can be very different from how it looks before and after firing. As a general rule, ceramic stains and ceramic pigments look pretty much the same before and after firing while ceramic oxides like iron oxide, cobalt oxide, and copper oxide as well as cobalt carbonate and copper carbonate all look very different. In this guide you’ll discover a little help to better understand what, how, and why ceramic colorants work in a glaze. Enjoy! The World of Ceramic Colorants by Robin Hopper The potter’s palette can be just as broad as the painter’s because there are so many ceramic colorants and combinations to choose from. By combining ceramic oxides, ceramic stains, and ceramic pigments in various proportions, you can get every color in the spectrum. The Many Faces of Iron Oxide by Dr. Carol Marians Glaze ingredients, the clay body, firing atmosphere, and even kiln-stacking techniques can all affect your firing results. Red iron oxide is one of the ceramic colorants that’s quite temperamental and affected by a lot of variables. From dark brown to unusual speckles, red iron oxide can offer a lot for a single ceramic colorant. -
RAL COLOR CHART ***** This Chart Is to Be Used As a Guide Only. Colors May Appear Slightly Different ***** Green Beige Purple V
RAL COLOR CHART ***** This Chart is to be used as a guide only. Colors May Appear Slightly Different ***** RAL 1000 Green Beige RAL 4007 Purple Violet RAL 7008 Khaki Grey RAL 4008 RAL 7009 RAL 1001 Beige Signal Violet Green Grey Tarpaulin RAL 1002 Sand Yellow RAL 4009 Pastel Violet RAL 7010 Grey RAL 1003 Signal Yellow RAL 5000 Violet Blue RAL 7011 Iron Grey RAL 1004 Golden Yellow RAL 5001 Green Blue RAL 7012 Basalt Grey Ultramarine RAL 1005 Honey Yellow RAL 5002 RAL 7013 Brown Grey Blue RAL 1006 Maize Yellow RAL 5003 Saphire Blue RAL 7015 Slate Grey Anthracite RAL 1007 Chrome Yellow RAL 5004 Black Blue RAL 7016 Grey RAL 1011 Brown Beige RAL 5005 Signal Blue RAL 7021 Black Grey RAL 1012 Lemon Yellow RAL 5007 Brillant Blue RAL 7022 Umbra Grey Concrete RAL 1013 Oyster White RAL 5008 Grey Blue RAL 7023 Grey Graphite RAL 1014 Ivory RAL 5009 Azure Blue RAL 7024 Grey Granite RAL 1015 Light Ivory RAL 5010 Gentian Blue RAL 7026 Grey RAL 1016 Sulfer Yellow RAL 5011 Steel Blue RAL 7030 Stone Grey RAL 1017 Saffron Yellow RAL 5012 Light Blue RAL 7031 Blue Grey RAL 1018 Zinc Yellow RAL 5013 Cobolt Blue RAL 7032 Pebble Grey Cement RAL 1019 Grey Beige RAL 5014 Pigieon Blue RAL 7033 Grey RAL 1020 Olive Yellow RAL 5015 Sky Blue RAL 7034 Yellow Grey RAL 1021 Rape Yellow RAL 5017 Traffic Blue RAL 7035 Light Grey Platinum RAL 1023 Traffic Yellow RAL 5018 Turquiose Blue RAL 7036 Grey RAL 1024 Ochre Yellow RAL 5019 Capri Blue RAL 7037 Dusty Grey RAL 1027 Curry RAL 5020 Ocean Blue RAL 7038 Agate Grey RAL 1028 Melon Yellow RAL 5021 Water Blue RAL 7039 Quartz Grey -
Color Chart Includes Those Colors Made from Inorganic Pigments, That Is, Metal Ores Dug from the Earth
GAMBLIN ARTISTS COLORS GAMBLIN ARTISTS OIL COLORS Artists Oil mineral inorganic colors modern organic colors Colors • All colors made from metals (Cadmium, Cobalt, Iron, etc.) are “inorganic” • Carbon based pigments are “organic” • 19th century colors of the Impressionists and the colors of Classical and Renaissance era painters • 20th century colors • High pigment load, low oil absorption • Most pigments available in a warm and cool version (ex. Phthalo Green, Phthalo Emerald) • Colors easily grey-down in mixtures, excellent for painting natural colors and light • Best choice for high key painting, bright tints • Mostly opaque with a few semi-transparent and transparent colors • Mostly transparent, with some semi-transparent colors Impressionist 20th Century CADMIUM CHARTREUSE CADMIUM LEMON CADMIUM YELLOW LIGHT CADMIUM YELLOW MEDIUM CADMIUM YELLOW DEEP HANSA YELLOW LIGHT HANSA YELLOW MEDIUM HANSA YELLOW DEEP INDIAN YELLOW CADMIUM ORANGE CADMIUM ORANGE DEEP CADMIUM RED LIGHT CADMIUM RED MEDIUM CADMIUM RED DEEP PERMANENT ORANGE TrANSPARENT OrANGE NAPTHOL RED NAPTHOL SCARLET PERYLENE RED white · grey · black ALIZARIN CrIMSON MANGANESE VIOLET COBALT VIOLET ULTRAMARINE VIOLET ALIZARIN PERMANENT QUINACRIDONE RED QUINACRIDONE MAGENTA QUINACRIDONE VIOLET DIOXAZINE PURPLE TITANIUM WHITE RADIANT WHITE TITANIUM ZINC WHITE QUICK DRY WHITE FLAKE WHITE REPLACEMENT ULTRAMARINE BLUE COBALT BLUE PrUSSIAN BLUE CERULEAN BLUE COBALT TEAL INDANTHRONE BLUE PHTHALO BLUE CERULEAN BLUE HUE MANGANESE BLUE HUE PHTHALO TURQUOISE FASTMATTE TITANIUM WHITE ZINC WHITE -
A Short History of 18-19Th Century
A SHORT HISTORY OF 18-19TH CENTURY BRITISH HAND-COLOURED PRINTS; WITH A FOCUS ON GAMBOGE, CHROME YELLOW AND QUERCITRON; THEIR SENSITIVITIES AND THEIR IMPACT ON AQUEOUS CONSERVATION TREATMENTS Stacey Mei Kelly (13030862) A Dissertation presented at Northumbria University for the degree of MA in Conservation of Fine Art, 2015 VA0742 Page 1 of 72 Table of Contents List of figures……………………………………………………………………………………...…2 List of tables……………………………………………………………………………………….....2 Abstract………………………………………………………………………………………………3 Introduction……………………………………………………………………………..………...…3 Research aims, methodology and resources………………………………………………….…....4 1. Aims……………………………………………………………………………………..…...4 2. Research Questions…………………………………………………………………..…...….4 3. Literature review……………………………………………………………………….....….5 4. Case Study Survey………………………………………………………………………..….5 5. Empirical Work……………………………………………………………………………....6 Chapter 1: A Brief History of Hand-coloured Prints in Britain………………………………....6 1.1 The popularity of hand-coloured prints…………………………………………………….....6 1.2 The people behind hand-colouring……………………………………………………..….….9 1.3 Materials and Methods……………………………………………………………………....14 Chapter 2: Yellow Pigments: A focus on Gamboge, Chrome Yellow, and Quercitron……….19 2.1 Why Gamboge, Chrome Yellow, and Quercitron……………………………………….…..19 2.2 Gamboge……………………………………………………………………………….....….20 2.2.1 History…………………………………………………………………………….…....20 2.2.2 Working properties…………………………………………………………………..…21 2.2.3 Physical and chemical properties…………………………………………………..…..21 2.2.4 Methods of -
The Secrets of Fresco Painting in the Italian Renaissance Art 2
1 ...the secrets of fresco painting in the Italian Renaissance Art 2 A PROJECT FOR A UNIQUE EXHIBITION The Renaissance greatest masters : Giotto, Beato Angelico, Botticelli, Michelangelo, Raffaello, Leonardo..... are brought together in this special exhibition by a leading thread : the art of fresco painting. In the spotlight of the exhibition are the unique frescoes created in Antonio De Vito’s Florentine atelier, telling us the intriguing and spectacular story of the art of the fresco. De Vito's own interpretations of the works of these immense artists guide us to the discovery of their secrets. The exhibition offers a path that leads visitors to the discovery not only of the technical aspects of fresco painting, but also of the artistic concepts characteristic of the Renaissance. The uniqueness of this project lies in the fact that it presents real frescoes, detached from the walls with a special technique, giving the visitors the opportunity to see works that traditionally can be admired only on the spot where they were painted. 3 THE EXHIBITION Our project provides a variable number of fresco paintings depending on the available space. Preparatory cartoons and sketches will be displayed with some of the works. Each fresco is displayed with caption and photographs. The initial section displays a rich gallery of frescoes, supported by an introduction to the technique of fresco painting with texts, photographs and videos to illustrate the differents steps in painting. Besides the gallery, in a unique development, a second section offers an area set up full of various features recreating the atelier of a Renaissance painter. -
Table Linen- Polyester
Table Linen- Polyester White Black Blue Navy Blue Royal Blue Sunflower Neon Yellow Gold Plum Red Neon Green Hunter Green Fuchsia Red Brick Table Linen- Lamours / Satins White Black Charcoal Hot Pink Fuchsia Citron ! Moss Green Kelly Green Champagne Gold Blue Bengaline Navy Royal Satin Light Blue Satin Light Pink Yellow Burgundy Burgundy Wine Lavender Purple Ivory Deep Purple Purple Eggplant Rust Table Linen- Lamours / Satins Teal Light Teal Navy Gatsby Lamour Red Lamour Satin Silver Lamour Satin Table Linen- Pintuck Fuchsia Raspberry Ivory Chocolate Eggplant Bright Green Apple Lime Bright Yellow Orange Turquoise French Blue Royal Blue Navy Aqua Red Table Linen- Crushed / Iridescent Off-White White Black Silver Pink/Blue Royal Blue Dark Turquoise Navy Green/Purple Blue/Gold French Blue Emerald Moss Copper Red Gold Butter Purple Table Linen- Damasks / Brocade/ Stripes Ivory Cotton Damask Peach Damask Taupe Brocade Gold Swirl Brocade Celadon Green Swirl Light Green Celadon Damask White Imperial Stripe Red Damask Ivory Damask Leaf Green Damask Blue Leaf Brocade Beige & Rose Brocade Ivory Damask Swirl Brown/Gold Damask Black White Damask Black Imperial Stripes Black Stripe Ivory Imperial Stripe Gold Imperial Stripe Gray and White Velour Damask Burgundy Brocade Burgundy Imperial Stripe Purple Stripe Table Linen- Appliqués Specialty Linens Gold/Silver Woven Gold/Silver Circle Silver Crinkle Champagne Crinkle Black/Swirl Gold Sequins Silver Sequins Red Sequins Orange Sequins Orange Fetti Garnett/Gold Sequin Silver Sequin Circle Ivory Sequin Circle -
Voyage from Palermo to Venice
VOYAGE FROM PALERMO TO VENICE Exploring the Historic Cities and Art Treasures of the Ionian & Adriatic Seas Aboard the 24-cabin Yacht Elysium With archaeologist Ivancica Schrunk May 21 – 31, 2022 Dear Traveler, Archaeological Institute of America ˆ ˆ Next spring, we invite you to join AIA lecturer and host Ivancica (Vanca) Schrunk LECTURER AND HOST aboard the private, yacht-like Elysium on a purpose-designed voyage from Sicily to Venice by way of Montenegro and Croatia, discovering historical gems of the Mediterranean, Ionian, and Adriatic Seas. The combination of fascinating history and sublime beauty is what makes these shorelines among the most spectacular places in the world. Consider Sicily’s Taormina, whose ancient Greek theater gazes at massive Mount Etna; the remarkable trulli villages of Italy’s Puglia region; the old, picturesque town of Kotor, nested at the head of a long, scenic bay; the beautifully preserved medieval city of Dubrovnik, overlooking the sparkling waters of the Adriatic; Split’s enormous Palace of Diocletian, one of the finest Roman monuments to survive from antiquity; the small town of Porec in Croatia’s Istria, home to the 6th-century Basilica of Euphrasius with its gleaming Byzantine mosaics; and Venice, our last stop and unquestionably one of the world’s most stunning and influential cities. Born in Zagreb, Croatia, AIA lecturer and host Vancǎ Schrunk will enrich your travel experience and understanding of the ancient and medieval history of this region through an onboard series of stimulating lectures as well as informal discussions. In addition, excellent local guides will accompany you on excursions throughout ˆ the program. -
Kayla Sprague Catalog Essay the Triumph of Death in Palermo the Triumph of Death Is a Grand Fresco That Was Commissioned For
Kayla Sprague Catalog Essay The Triumph of Death in Palermo The Triumph of Death is a grand fresco that was commissioned for the Sclafani Plazza in 1446. There is little information on the artist and the patron. The Triumph of Death in Palermo was painted in the late Gothic style, a century after the Black Death. It became a popular artistic theme across Europe during the 14th and 15th century and was a successful tool in terrifying people about the plague. The Triumph of Death was commonly recognized in that no description or text were necessary. 1 Unlike previous medieval paintings, the “Triumph” paintings did not inspire faith, however, the graphic images were instead used with intent to redirect panic from the plague and subtly scare people into paying attention to religion.2 The paintings were commissioned for hospitals and cemeteries and served as a warning that the alive were being judged by the dead; people should be careful not to sin for they would suffer as a result of the plague. The belief of the cause of the plague impacted what artists depicted in their paintings and gradually affected future iconography. The scene depicted in The Triumph of Death in Palermo, which can be analyzed in 6 parts, is located in a garden surrounded by a hedge, with groups of people cluttering the edges of the painting. In the center, a skeleton, personifying “Death” and riding an emaciated horse, interrupts the scene, carrying a scythe and shooting arrows from a bow. At the top left a man walks two dogs on taut leashes, one of the dogs appearing disturbed and growling and the other sniffing the hedge. -
Textures of Williamsburg Handmade Oil Colors
Textures of Williamsburg Handmade Oil Colors VERY FINE FINE MEDIUM COARSE Alizarin Orange Permanent Red-Orange Brown Umber Alizarin Crimson Brown Pink Bismuth Vanadate Yellow Permanent Yellow Deep Burnt Sienna Alizarin Yellow Dutch Brown (Transparent) Brilliant Yellow Extra Pale Permanent Yellow Light Burnt Umber Bohemian Green Earth Italian Pink Brilliant Yellow Pale Permanent Yellow Medium Cadmium Green Brown Ochre Olive Green Carl’s Crimson Persian Rose Cadmium Green Light Cyprus Orange Stil De Grain Cerulean Blue French Phthalo Blue Cadmium Lemon Earth Green Chromium Oxide Green Phthalo Green Cadmium Orange French Ardoise Grey Cinnabar Green Light Phthalo Green-Yellowish Cadmium Purple French Brown Ochre Cobalt Blue Phthalo Turquoise Cadmium Red Deep French Burnt Ochre Cobalt Blue Deep Provence Violet Bluish Cadmium Red Light French Burnt Umber Cobalt Green Provence Violet Reddish Cadmium Red Medium French Light Sienna Cobalt Teal Bluish Prussian Blue Cadmium Red Purple French Ochre Havane Cobalt Teal Greenish Pyrrole Orange Cadmium Red Vermilion French Raw Sienna Cobalt Turquoise Bluish Pyrrole Red Cadmium Yellow Deep French Raw Umber Cobalt Turquoise Greenish Quinacridone Magenta Cadmium Yellow Extra Deep French Rouge Indien Cobalt Violet Deep Quinacridone Red Cadmium Yellow Light French Terre Verte Cobalt Violet Light Quinacridone Violet Cadmium Yellow Medium French Yellow Ochre Deep Courbet Green Sevres Blue Canton Rose German Earth Dianthus Pink SF Cerulean Blue French Cerulean Blue (Genuine) Graphite Grey Egyptian Violet SF -
Pigments Suitable for Ceramics Unless Stated Otherwise, the Following Pigments Are Stable for Temperatures up to 1000 °C
Pigments suitable for Ceramics Unless stated otherwise, the following pigments are stable for temperatures up to 1000 °C. As glazes and enamels can be very different in composition, all colors should be tested for stability before use. We definitely recommend tests prior to the final application. Kremer-made and historic pigments 10000 Smalt, standard grind 10110 Lead Tin Yellow, dark 10010 Smalt, extra fine grind 10120 Lead Tin Yellow II 10060 Egyptian Blue (stable up to 950 °C) 10150 Pinkcolor 10071 – 10072 Han blue 10154 Pinkcolor dark 10100 Lead Tin Yellow, light IWA-ENOGU Colors from Japan - all Glass powders (15221-15311) are suitable - all suitable, Melting point approximately 750 °C, Coloured Glass Powders expansion coefficient: 96+/-2 Earth Colors - all suitable, but may change hue 40010-40090 French Ochres 40490 Rosso Sartorius, natural 40195 Gold Ochre, from Poland 40510 Venetian Red 40200 Ochre AVANA, greenish yellow 40542 English Red Light 40214 Gold Ochre DD 40545 English Red Dark 40220 Italian Gold Ochre Light 40610 Raw Umber, from Cyprus 40231 Brown Ochre light 40611 Raw Umber, light, from Cyprus 40241 Fawn Ochre 40612 Raw Umber, greenish, from Italy 40260 Satin Ochre 40623 Manganese Brown Intense 40280 Amberg Yellow 40630 Raw Umber, greenish dark 40301 Iron Oxide Ochre 40650 Chromite 40310 Dark Ochre German 40660 Raw Umber, dark 40320 Dark Ochre Italian 40700 Burnt Umber reddish 40392 Raw Sienna, French 40710 Burnt Umber, brownish 40400 Raw Sienna, Italian 40720 Burnt Umber, dark brown 40404 Raw Sienna Badia 40723 Burnt