Oil painting forum

We did discuss some of these issues earlier, such as depleted minerals, although that could be a very complicated discussion if we began talking all the pros and cons of environmental impact.And yes there is a possibility of some new materials forming in alternate realities such as Zero Gravity or Mega Gravity. Matter would undoubtably have interesting properties if it passed through a black hole for instance or even if it just existed for long periods of time in a plasma environment, although some forms of matter would very likely lose special properties if removed from a special environment over time. The Periodic Table of Elements may yet hold some surprises, although many feel we have most of the basics worked out.The ISS has conducted some microgravity experiments and there are plans to continue in that direction, however firing thrusters on the station can adversely effect such experiments.The potentials of discoveries in this area are perhaps beyond my imagination at the present, but I remain hopeful.

   As to China; “we live in interesting times”.Economics around the world are very shaky, this could effect all the nations abilities to even consider a space race right now. I would hope that increased interest would result, but even China could falter and halt space research if they can not afford it. We need a major discovery perhaps to spur space research. I feel that space is actually the only potential positive future for humanity. If we decay into squables on Earth then we may become extinct,Very easily.So; such discussions as we are having here are important! Mining is only one aspect of our potential future in space, but it could be one key to unlocking additional knowledge required for our species survival.

Mystery,

I’m fairly new at this forum discussion and dialog stuff.  I did read everything here in the forum, but still forgot about previous discussions on certain subjects.  Sorry about that!

Despite our countries financial crisis, I don’t think it’s going to effect China.  They may just use this setback to jump ahead in space research and exploration knowing that everyone else is momentarily side tracked.

As for new discoveries, I believe either Hubble or the Mars rovers may find something to stimulate our planets interest and imagination.  The rovers may run out of juice before any Earth (Mars) shattering discoveries though.  What they’ve found so far is certainly livened some conversations.  The main draw back of Hubble is that everything it sees is so far away that we will never be able to verify it with mechanical exploration in the conventional sense in our life time.  Well, these are my thoughts on the matter none-the-less.  I strayed from the topic at hand and I apologize for that.

Although mining space rocks intrigues me, it seems that man would take too long to travel to and get set up on an asteroid for the purpose of mining before it passes us by…unless (as someone earlier pointed out) we can capture a passing asteroid and steer it into an orbit around Earth or our Moon.  Then I presume the question is; “What happens when a new heavenly body suddenly parks itself in an orbit around the Moon?”  Will it affect the Moons gravitational pull on our tides?

Question…”Has mining here on Earth adversely affected our rotation around the Sun or on Earth’s axis?”  If not, maybe mining on the surface of the Moon or Mars for instance wouldn’t either!  Just a thought, although someone else has probably already asked this question.

NEW YORK - Sotheby’s mid-season sale of American Paintings, Drawings and Sculpture achieved $4,009,001 today, within its presale estimate of $3.9/5.7 million.

Jennifer Roth, Senior Vice President at Sotheby’s, said, “We were delighted with the competitive bidding and high prices achieved for the top lots in today’s Mid-Season American sale. We saw many works that were fresh to the market and of high quality well exceeding their estimates. The F.A Wyman (lot 57) was a fascinating highlight, in that the artist is undocumented, but the detail and quality of the work catapulted it to over three times its high estimate. Wyman’s panorama of a small town with its artisans and trades people in the 1890’s was followed closely in price by Harry Roseland’s The Beach at Coney Island, which celebrated Americans at leisure in the 1930’s (lot 113). This lot also far exceeded its estimate. We are very pleased that the William Merritt Chase Study in Pink (lot 136) doubled its mid estimate and has found a new home in an American museum. Strong prices were seen for works by African-American artists, Hawaiian artists, and illustrators. The strength of the Pennsylvania region, which we have seen in recent years, continued today with nine of ten lots from a Private Collection, New York finding buyers and bringing strong prices for B.J.O Nordfeldt, Walter Schofield and Fern Coppedge. Another section of the sale which saw active competition was a small group of early, rare oil depictions of Monhegan Island, Maine by Rockwell Kent, including the 1907 Sunset Over the Sea (lot 197). All five works sold, bringing $87,000 for the collection and more than doubling the presale high estimate of $41,000.

Question: How Do I Stop Smudging the Pastel I’ve Put Down With My Finger?

Answer:

The simple answer is to avoid touching it. If you want to work over the top, then the best solution is to work ‘fat over lean’ starting with harder pastels (Rembrandt, Rowney for example) and working your way through to the softest (Schmincke or Unison).

You can also use fixative to ‘fix’ pastel — just keep in mind that fixative darkens pastels, so use lighter tones in expectation of this effect, and remember to use it sparingly.

Question: Is It Okay to Use Hairspray to Fix Pastels or Must I Only Use Artist’s Fixative?

Is it acceptable to use hairspray as a cheap fixative for pastel or charcoal, or should you never use anything other than artist’s quality fixative? Just what are the differences between art spray fixative and hairspray? About.com’s Chemistry Guide, Dr Anne Helmenstine, has an answer for artists.

Answer:

To some extent, you get what you pay for. In hairspray, you can pay a lot for a well-recognized name or for a fragrance that smells nice. For an art spray fixative, you are paying for even dispersion of the spray and a good acrylate coating that will preserve your piece.

Some hairsprays will have the same ingredients as art fixatives, but be wary of the dispersal system (spray). There may be some excellent hairsprays that will serve your purpose. They may or may not cost less than the art spray.

Also, be forewarned that many hairsprays contain hair conditioners, which is usually another name for a natural or synthetic oil. These conditioners could leave grease spots on your art. The oils to avoid are dimethicone, silicone (anyone pretty much), anything ‘oil’ or ‘lubricant’, vitamin A or E (both are oil-based), anything ending with ‘glycol’. Be wary of anything listed as a plant extract.

I would think the really inexpensive, no-frills sprays might work well, like maybe White Rain or Final Net or some other hairspray that has been around for several years. Just look for an acrylate in the ingredients. Suspension in alcohol is probably better than in water.

The quality of the chemical isn’t any higher in art spray. The concentration might be higher, but I think extra-stiff hairspray would have at least as much. The nozzle or sprayer may be better on the art spray and the formula may have been mixed to deliver an especially fine mist.

Question: Do I Paint the Background Clouds or Trees in Front First?

“I am painting a picture of a building in the foreground with clouds and trees in the distance on the horizon. Can you tell me the best way to do this background? Will I do the sky and clouds first, then the trees, as the day light is coming through the branches of the trees. Or the trees first?” — Liz M.

Answer:

The good news is you can do it either way. But for a beginner pastel painter I would suggest doing the sky first, probably blending to achieve a smoothness, adding clouds (and even blending again if the clouds require it). Don’t fill the sky all the way down to the horizon, only to those areas where you may get break through in the trees. And then to do the trees over the sky.

With blending, if you want to blend up to an edge, its useful to use a stomp or tortillion, and they can get into small areas better than a finger tip. (Or roll up a sheet of paper really, really tightly.)

If you find the pastel you laid down for the sky is interfering with the pastel you are placing for the trees, you could give the sky a light spray of fixative.

Water miscible oil paint (also called “water soluble” or “water-mixable”) is a modern variety of oil paint which is engineered to be thinned and cleaned up with water, rather than having to use chemicals such as turpentine. It can be mixed and applied using the same techniques as traditional oil-based paint, but while still wet it can be effectively removed from brushes, palettes, and rags with ordinary soap and water. Its water solubility comes from the use of an oil medium in which one end of the molecule has been altered to bind loosely to water molecules, as in a solution.

There are several manufacturers producing water miscible oil paint, including:

Grumbacher — “Max Artists’ Oil Colors”, produced using alkali-refined linseed oil or sunflower oils.

HK Holbein — “Duo Aqua Oil”, produced using an activator which alters the structure of the linseed oil.

Royal Talens — “Van Gogh H2Oil”, produced using a quick-drying, odorless vegetable oil.
Winsor & Newton — “Artisan Water Mixable Oil Color”, produced using modified linseed and safflower oil.

The Royal Talens and Holbein paints do not use the traditional pigments that are based on cadmium and other heavy metals, which further reduces the toxicity risks of working with them.

If you’re about to start painting with water colors, you’ll need to get a basic set of good-quality paints, a range of papers (so you can test for yourself how each works), and a few brushes. If you want to experiment, try out some mediums.

Watercolor Paints

Paints come in tubes or pans (small blocks). Pans are cheaper, easily accessible, but tend to dry out. Pans are ideal for small areas of color and watercolor sketching. Paint in tubes has to be squeezed onto a palette; it’s easier to use for large areas of color. There’s a big difference between student and professional paints; rather buy a few quality paints than many cheap colors.

Watercolor Paper

Watercolor papers come in three surfaces: rough, which has a textured surface; hot-pressed or HP, which has a fine-grained, smooth surface; and cold-pressed (or NOT), which has a slightly textured surface and is the paper used most often by watercolor artists. The thickness of paper is indicated by its weight; paper less than 356 gsm (260 lb) should stretch before use.

All about Watercolor Paper

Watercolor Brushes

Sable brushes are considered the ultimate in watercolor brushes because of the fine point the hairs reach, their ability to spring back into shape, and the amount of paint they hold. Less expensive options are brushes with a mixture of sable and synthetic hairs or 100% synthetic brushes. Unlike choosing paint, start with the cheaper brushes and upgrade as you become more proficient.

Watercolor Mediums

Mediums are added to watercolor to create special effects. Aquapasto is a gel medium which thickens washes and provides texture. Gum arabic increases paint transparency and gloss. Ox gall improves the flow of washes over hard papers. Masking fluid blocks out sections of a painting while you paint further - it’s removed by rubbing it off the paper when the paint is dry.

Question: Is It Okay to Use Hairspray to Fix Pastels or Must I Only Use Artist’s Fixative?

Is it acceptable to use hairspray as a cheap fixative for pastel or charcoal, or should you never use anything other than artist’s quality fixative? Just what are the differences between art spray fixative and hairspray? About.com’s Chemistry Guide, Dr Anne Helmenstine, has an answer for artists.

Answer:

To some extent, you get what you pay for. In hairspray, you can pay a lot for a well-recognized name or for a fragrance that smells nice. For an art spray fixative, you are paying for even dispersion of the spray and a good acrylate coating that will preserve your piece.

Some hairsprays will have the same ingredients as art fixatives, but be wary of the dispersal system (spray). There may be some excellent hairsprays that will serve your purpose. They may or may not cost less than the art spray.

Also, be forewarned that many hairsprays contain hair conditioners, which is usually another name for a natural or synthetic oil. These conditioners could leave grease spots on your art. The oils to avoid are dimethicone, silicone (anyone pretty much), anything ‘oil’ or ‘lubricant’, vitamin A or E (both are oil-based), anything ending with ‘glycol’. Be wary of anything listed as a plant extract.

I would think the really inexpensive, no-frills sprays might work well, like maybe White Rain or Final Net or some other hairspray that has been around for several years. Just look for an acrylate in the ingredients. Suspension in alcohol is probably better than in water.

The quality of the chemical isn’t any higher in art spray. The concentration might be higher, but I think extra-stiff hairspray would have at least as much. The nozzle or sprayer may be better on the art spray and the formula may have been mixed to deliver an especially fine mist.

Oil paint mediums and health has been an important issue for many people. In the past some people have been reluctant to use oil paint due to the mediums involved and the smell of solvent or paint thinner. But with todays technology there have been major improvement to these issues.

In todays market you can purchase odorless solvents that have no smell. Also, you can buy products that clean the air such as air purifiers. There is another product you can buy called NOX-OUT Molecular Absorber that eliminates studio odors.

Some artist use rubber gloves to protect their skin as they may be sensitive to the oil paint materials.

As an artist you can just use some common sense to avoid any undue health problems.

Always paint in a well ventilated room.