Painting (materials)

Color is presented in a work and can be of different natures and are organic and biodegradable, soluble in water, base oil, etc..


The [[watercolor [[is a painting on paper or cardboard with diluted with water colors. The colors are transparent (depending on the amount of water in the mix) and sometimes see the bottom left of the paper (white), which acts as another real tone. It consists of pigments bound together with gum arabic or honey. Used in their procedures transparent layers of paint in order to achieve greater brilliance and fluency in composition being made. However, there is hyper realistic watercolor that goes against this assumption and use varnish for not removing the top layers and give a chiaroscuro by successive washes very detailed but it lacks the translucency of watercolor classic.


The tempera or gouache is a medium similar to watercolor, but has a "burden" of talc industrial or zinc white. This further added to the pigment tempera brings to the opacity and not translucent as opposed to watercolor, allowing you to apply light shades on a dark watercolor procedure as "classical" is considered incorrect; to that effect in the watercolor is called "opaque watercolor" or "dead." Is itself a very effective means to supplement drawings and effects of stroke to dry or filling. The formula also incorporates tempera gum arabic, honey and sometimes ox gall to bring more fluidity to the path of the brush.


The acrylic paint is a kind of quick-drying paint, in which pigments are contained in an emulsion of an acrylic polymer (vinyl glue, usually). Although they are soluble in water, once dry are resistant to it. Especially noteworthy for the speed of drying. Also, dry tone is slightly changed, rather than oil. Acrylic painting dates from the first half of the twentieth century, and was developed in parallel in Germany and the United States.


The technique of pastel painting is the use of similarly colored bars at school chalk but they differ from that in their composition, have a high proportion of pigment to clump together with glue and plaster sometimes. This will get bright colors, vivid and well saturated.

It is a technique called dry because unlike oil painting or watercolor, do not use any solvents and is applied directly on the work surface. As support is common to use good quality paper of good weight neutral color not white and slight roughness, although the technique is versatile enough for you to use on other surfaces.

This technique is convenient, fast and generally allows corrections with ease, why is chosen by many artists.


The painting in tempera is a water emulsion, clear and egg yolk and oil. Should first make the egg mixture with the oil until a homogeneous mixture, then add water gradually until the emulsion or medium to create art in tempera. The ratio is one whole egg plus an equal share of oil, plus one, two or three parts water, depending on the flow you want to achieve. You can also add a little damar varnish replacing the linseed oil, this procedure is done or firmer grip and faster drying, but the finish is more impervious to new glazes. Instead of water you can use skimmed milk.

The medium is mixed with pigment to create a kind of pasta similar to the oil and work the same way in terms of sequence, with the advantage that they can make remarkable glazes and effects of cuts. Its beauty lies in its matte finish.

Your application pool can be the table, the canvas or the wall (as long as the wall this moisture-free if the wall produces moisture seeps peels).


Bonaparte on the bridge of Arcola by Antoine-Jean Gros c. 1801, Musée du Louvre.
Bonaparte on the bridge of Arcola by Antoine-Jean Gros c. 1801, Musee du Louvre.

The painting technique is the king par excellence, [citation needed] its stickiness, its versatile nature it can be used in glazes or fillings give you a wonderful freedom, [citation needed] as it is gradual drying can be made hazy and mixed color on the same canvas or frame.

The technique most widely used procedure is the term "fat over lean". The first stage should have more color than the excess oil will not damage the structure of the material, and to prevent these leaks first layers generated on the last layers, giving a greasy appearance and subsequent detrimental to conservation of the painting, since oil in excess is the problem of yellowing and micro cracks in the oil oxidation process.

The styles range from finishing glazes Rafael until pasty and violent work of Monet or Canogar. Its flexibility has allowed artists to combine their benefits with other techniques as a basis, this is the case of tempera and acrylic, which applied in the first stage meet the fat over lean principle to perfection.


Paint can be expressed on a variety of surfaces. These can have different characteristics such as texture and absorption. Also the surface is closely linked to finish and expressive nature, for example, does not equal a watercolor painting on a smooth paper surface on a rough paper, it is not like painting in oils on canvas that al fresco on a wall as the First, half doughy and oily and the second step is dry and translucent. But the media also have differing results depending on the area and according to the aggregates.

Education in Peru (excerpt)
Education in Peru (excerpt)

The school mural with its greatest exponent French Eugene Delacroix murals performed with oil and wax in order to give the matte finish of the fresco itself, however Raphael School of Athens at its very safe glazes used and least progressive but if While the dark light is clearer than that achieved with oil color is brighter to be free from oil.

There are other ways to benefit the environment and the surface, for example, the wall ready for the cooler is very absorbent, to make smooth transitions must be prompt and prelude to the implementation, the colors have ready and take the time first ( which is when there is more moisture) for the blurred, however, that quality absorbing wall can be used to work with strokes lenticular optical vibration and cause very similar to the art of Van Gogh, a clear example is the technique of Teodoro Núñez Ureta the Ministry of Education, Lima. In this way the limitations of the surface can become an advantage to give more expression to the composition.

We can talk about new techniques of media conglomerates and new mediums such as glazes, acrylic paints and resin-based fillings can be applied in a way that advances the implementation may change the nature of the surface, this is called textured background, and in its function, it can be considered as a surface expression born in space-time work

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