Oil paint is a type of slow drying paint composed of suspended pigment particles in a drying oil, generally linseed oil. The paint viscosity may be modified by the addition of solvents such as turpentine or white spirit, and varnish may be added to enhance the glossiness of the dry oil paint film. Oil paint has been used in Europe since the 12th century for simple ornaments, but was not widely adopted as an artistic medium until the early 15th century. A common modern application of oil paints is the finishing and protection of wood on buildings and open metal structures such as ships and bridges. Its harsh nature and luminous color make it desirable for both interior and exterior use in wood and metal. Due to its slow drying nature, it has recently been used in paint-on-glass animations. The thickness of the mantle has enough padding time required for drying: a thin layer of dry oil paint is relatively fast.
Video Oil paint
Histori
The technical history of the introduction and development of oil paints, and the date of introduction of various additives (dryers, diluents) still - despite intense research since the mid-19th century - is not well understood. The literature is full of false theories and information: in general, anything published before 1952 is a suspect. Until 1991 there was nothing known about the organic aspects of cave painting from the Paleolithic era. Many assumptions are made about chemistry of the binder.
First recorded usage
The oldest known oil painting dating from 650 AD, was discovered in 2008 in caves in the Bamiyan Valley in Afghanistan, "using walnut and poppy seed oil."
Classic and medieval period
Although ancient Greek, Roman, and Egyptian Mediterranean civilizations use vegetable oil, there is little evidence to show its use as a medium in painting. Indeed, flaxseed oil is not used as a medium because its tendency to dry is very slow, dark, and cracked, unlike mastic and wax (the latter used in encaustic paintings).
Greek writers such as Aetius Amidenus recorded a recipe involving the use of oil for drying, such as walnuts, poppies, hemp, pine nuts, caster, and flaxseed. When thickened, the oil becomes resin and can be used as a varnish to seal and protect the painting from the water. In addition, when the yellow pigment is added to the oil, it can be spread on tinfoil as a cheaper alternative to gold leaf.
Early Christian monks retained these records and used the techniques in their own artwork. Theophilus Presbyter, a 12th-century German monk, recommended flax seed oil, but advocated the use of olive oil because of its long drying time. Oil paint is mainly used as it is today in home decoration, as a hard waterproof cover for exposed wood, especially outdoors.
In the 13th century, oil was used to specify tempera paintings. In the 14th century, Cennino Cennini described a painting technique that uses tempera paintings coated by a light layer of oil. The dry-dry nature of the organic oil is commonly known by the early painter. However, the difficulty in obtaining and working on materials means that they are rarely used (and indeed slow drying is seen as a disadvantage).
Renaissance so on
Because public preference for naturalism increases, fast dry tempera paint becomes insufficient to achieve the very detailed and precise effects that oil can attain. The early 15th century Netherlandish painting saw the appearance of painting of pure panels in oil, or oil paintings, or works combining tempera and oil paintings, and in 16th century horses paintings in pure oil have become the norm, using much the same thing. techniques and materials found today. Claims by Vasari that Jan van Eyck "created" oil paintings, meanwhile have made long, incorrect shadows, but van Eyck uses oil paint achieves new results in terms of precise detail and wet-color mixing on - wet with almost no same skills since. Van Eyck blends may consist of stacked glass, calcined bone, and mineral pigments boiled in linseed oil until they reach a viscous state - or they may only use sun-thickened oils (slightly oxidized by sun exposure). He did not leave written documentation.
Flemish-trained or influenced Antonello da Messina, which Vasari incorrectly credited with the introduction of oil paints to Italy, appears to have improved the formula by adding litharge, or lead (II) oxide. The new mixture has a consistency like honey and improved drying properties (drying evenly without cracking). This mixture is known as oglio cotto - "cooked oil." Leonardo da Vinci then refined these techniques by cooking the mixture at very low temperatures and adding 5 to 10% beeswax, which prevented paint darkening. Giorgione, Titian, and Tintoretto can each change these recipes for their own purposes.
The use of cooking oil or litharge darkens the oil painting quickly. None of the old Masters whose work survived using this in their paintings. Both materials became popular in the 19th century. Since then, experiments to improve paint and coating have been done with other oils. Modern oil paints are made from bladderpod, ironweed, calendula and sandmat, plants used to improve endurance or to reduce drying time.
The paint tube
The paint tube was invented in 1841 by portrait painter John Goffe Rand, replacing the pig's bladder and glass syringe as the primary means of paint transportation. The artist, or his assistant, previously grinds each pigment by hand, carefully mixing the bonding oil in the right proportions. Paints can now be mass-produced and sold in tin tubes with lids. The lid can be revived and the paint is preserved for future use, providing the flexibility and efficiency to paint outdoors. Paint produced has a balanced consistency so that artists can dilute with oil, turpentine, or other media.
The paint in the tube also changed the way some artists approached the painting. Artist Pierre-Auguste Renoir said, "Without the paint tube, there will be no Impressionism." For impressionists, cat tubes offer a variety of easily accessible colors for their plein air palettes, motivating them to make spontaneous color choices. With a larger amount of paint preserved, they are able to apply thicker paint.
Maps Oil paint
Operator
Characteristics
Traditional oil paints require hardened oil, forming a stable and waterproof film. Such oils are called siccative, or drying, oil, and are characterized by high levels of polyunsaturated fatty acids. One common measure of siccative oil properties is the number of iodine, the amount of grams of iodine that can be absorbed by one hundred grams of oil. Oil with iodine numbers greater than 130 is considered drying, those with iodine quantities of 115-130 are semi-drying, and those with less than 115 iodine are not dry. Linseed oil, the most common vehicle for artist oil paints, is a drying oil.
When exposed to air, oil does not experience the same evaporative process as water. In contrast, the polymerization becomes dry semisolid. The rate of this process can be very slow, depending on the oil.
The advantage of dry oil paint quality is that an artist can develop a painting gradually. Previous media like dry tempera eggs quickly, which prevents the artist from making changes or corrections. With oil-based paints, revising is relatively easy. The disadvantage is that a painting may take months or years to complete, which may disappoint an anxious protector. Oil paint blends well with each other, making subtle color variations may also create many light and shadow details. Oil paints can be diluted with turpentine or other thickeners, used by artists to paint in layers.
Source
The earliest and most common vehicle used was flaxseed oil, pressed from linseed plants. Modern processes use heat or steam to produce finer varieties of oil with less dirt, but many artists prefer cold pressed oil. Other vegetable oils such as hemp, poppy seeds, walnuts, sunflower, safflower, and soybean oil can be used as an alternative to flaxseed oil for various reasons. For example, safflower and poppy flower oils are paler than linseed oil and allow for whites to live more straight from the tube.
Method and processing extraction
After oil is extracted, additives are sometimes used to modify their chemical properties. In this way, the paint can be made to dry faster (if it is desired), or have varying degrees of luster, such as Liquin. Modern oil paint can, therefore, have a complex chemical structure; for example, affect resistance to UV. By hand, this process involves mixing the first paint pigment with linseed oil onto a brittle mass on a glass or marble slab. Then, a small amount at a time is the ground between the slab and the Muller glass (a round, flat-bottomed glassware with handrails). Pigments and oils are milled together 'with patience' until smooth and ultra fine pastes are achieved. The paste is then placed into a metal jar or tube and labeled.
Pigment
The color of the oil paint comes from tiny particles of colored pigment mixed with the carrier, the oil. Common pigment types include mineral salts such as white oxide: zinc oxide, titanium dioxide, and pigments of red to yellow cadmium. Another class consists of earth types such as sienna or many. Still other pigment groups come from living organisms, such as angry roots. Synthetic organic pigments are also now available. Natural pigments have the advantage of being well understood through centuries of use, but synthetics have greatly improved the available color spectrum, and many have achieved high light levels.
When oil paints were first introduced in the art field, essentially the limited range of available pigments were used that had been applied in the tempera: yellow ocher, umbre, tin-yellow-lead, vermilion, kermes, azurite, ultramarine, verdigris, black and white lights. These pigments vary greatly in price, transparency and spaciousness. They include inorganic and organic substances, the latter often much more permanent. Painters buy them from special merchants, "color men", and let their students grind them with oil in his studio to get the desired viscosity paint.
During the Age of discovery, new pigments began to be known in Europe, mostly from organic species, such as red and yellow Indians. In the eighteenth century, chemistry developed deliberately tried to expand the range of pigments, leading to the invention of Prussian blue and cobalt blue.
Toxicity
Many historic pigments are dangerous, and many of the still popular pigments used today are highly toxic. Some of the most toxic pigments, such as Paris green (copper (II) acetoarsenite) and orpiment (arsen sulfide), have fallen out of use.
Many of the pigments that are still used are toxic to some degree. Commonly used red and yellow is produced using cadmium, and red vermilion using natural or synthetic mercuric sulfides or cinnabar. White flakes and white Cremnitz are made with lead carbonate. Some intense blue colors, including cobalt blue and blue serulean, are made with cobalt compounds. Some cobalt violet varieties are made with cobalt arsenate.
See also
- Acrylic paint
- Acrylic painting techniques
- Drying oil
- Tempura egg
- Oil painting
- Semi-dried oil
- Watercolors
- Reproduction of oil paintings
References
- Mayer, Ralph. The Artist's Handbook of Materials and Techniques Viking Adult; Issue 5 revised and updated, 1991. ISBNÃ, 0-670-83701-6
- Gottsegen, Mark David. The Painter's Handbook Watson-Guptill; Revised and expanded, ISBN-978-0-8230-3496-3 in 2006
Source of the article : Wikipedia
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