VI. Making Pigment
Creating pigments can be a simple or complex process. The more advanced in related skills the more likely you'll be able to find different sources for pigments. There are several different types of minerals, herbs, plants and other various means of creating pigments. Some processes are more complex and can only be acquired by a master painter, while other pigments are easy enough for novice painter to find and use. A few examples of creating a pigment are listed below.
VI.I Nuts
Most nuts can be ground with a mortar and pestle into a fine powder to create neutral pigments of browns. Depending on the darkness of the shell of the nut will determine the darkness of the pigment that will develop.
Method: Cracking and breaking down the outer shell into smaller pieces that can then be ground down into a fine powder.
VI.II Herbs & Plants
A common extraction of pigment can be from the roots, such as that of the Rubia plant. It is a long tedious process which can require much skill, as generally with the creating any color of pigment. Woad, for example, when steeped will add a blue hue to water, giving you a faint water-based dye, or you can boil it down into pigments.
A. Method: Grind and powder the dried roots of the plant. Mix one part powder with 40 parts water and mix well. Boil the mixture for approximately 1 bell. Filter through cloth while hot to obtain extracted dyestuffs. Keep the extracts left standing in a room until temperature has dropped sufficiently and the filter through a filter paper. Another way to acquire the pigment is to filter the water into jars, leave stand until all water is evaporated, then scrape remnants.
B. Second Method: Another available method (used commonly with Crozophora Tinctoria) is altering the pH level. Extract seeds, squeeze gently to drip the juice onto cloth or canvas. Prior to this the cloth/canvas will need soaked in lime (mineral) water, this will neutralize the acidity of the juice and cause it to turn a light shade of red. Although this is not broken down into a powder form, a binder is not needed and can be directly applied.
C. Third Method: Harvest leaves and tear them by hand into strips. Steep the strips in hot water (do not boil) then move the whole pot used to heat the leaves into a pot filled with cold water. Stir during this process to keep the leaves from breaking down too much. After the heated water has cooled, strain the liquid, first by cloth then squeeze out the excess from the leaves by hand (hands need to be covered). Add 3 teaspoons of sodium carbonate, this can be derived from sodium bicarbonate which is also known as salt, you’ll need to either purchase this, process it yourself, which will require Cooking skills, or have someone process it. Stir the mixture for approximately 10 chimes until it develops a froth. Remove froth and pour the liquid into jars. At this point, if desired, the painter can cover the jars with silk and pour the liquid through the silk to catch most of the pigment, if not continue with the process. Leave the jars untouched for 2-3 bells, siphon or carefully drain ⅔ of the liquid, leaving the settlement at the bottom. Gently replace the removed liquid with clean water, you’ll repeat this process 2-3 times until the water in the jar is clear. Once clear, drain as much water as possible and leave to dry. This method can be applied to Indigofera and Woad leaves to obtain a dark, rich blue.
D. Fourth Method: This method generally pertains to the Crozophora Tinctoria. Seeds are gathered and then extracting the juices onto bits of cloth. The cloth can be canvas directly or individual swatches that can then be used to paint with (this method is very difficult). Juice directly from the seed will dye the cloth blue but will have a tendency to lighten to violet. Ammonia can be used to force the color to brighten after it's applied to the cloth. Although this is not broken down into a powder form, a binder is not needed and can be directly applied.
VI.III Minerals - Azurite, Cuprorivaite and Lapis Lazuli are examples that use the process of mortar and pestle to grind the different stones into a fine powder. The process is very simple but tedious and will require strength and endurance to get the powder to the right consistency. Once you feel satisfied with the texture you'll then move to the next step of combining it with a binder to create your paint. However, some mineral are derived directly from the earth in a powder form, i.e. different colors of dirt. Depending on the region of Mizahar and the chemical make up of the earthen mineral, which will give it different coloring, can be mixed directly with a binder to create a desired hue. Inorganic colors can be created using Philtering and mixing the appropriate mineral/chemical compounds together. Most vibrant colors are derived from this method instead of the organic method, in which the colors tend to fade easily.
A. Method: Cobalt - 1g Cobalt chloride and 5g aluminum chloride are homogenized in a mortar and heated in a test tube with a gas burner for about 3 to 4 minutes. (Note: Will need 100% binder and dries quickly in oil.)
B. Second Method: Ultramarine - Kaolinite (decomposed granite), soda ash and coal mixed together then baked in a closed oven/kiln for an hour and then allowed to cool. Once cool, wash to remove excess sodium sulfate, dry and ground until the proper degree of fineness is obtained.
C. Third Method: Collecting urine in small pots, cool, then concentrate over a fire. Filter the liquid through cloth and the sediment will collect into the balls. Dry over a fire and/or in the sun. You can break it down further by washing and purifying the balls to separate into greenish and yellow phases.
VI.IV Berries
A method more commonly used by novice artists is to find a berry that they can squeeze the juice from to use directly onto the canvas or collect in pots. Boiling the berries will also extract the color and juices, it is possible to leave the jars to dry leaving a film that can then be scraped and made into powder form. However using that method results in a very minute amount of pigment. Drying berries in their whole form and grinding them into a powder can yield more but in a less pure form.
VII. Techniques & Styles
There is a wide variety of styles and techniques to painting, while some painters may prefer a more "realistic" approach others prefer to be more emotional and expressive. Painting exactly how you see something is generally considered to be realistic but there is also a variance on this style called painterly. While painterly does still maintain the aspect of capturing what is seen, it focuses more on the brushstrokes, paint, and the textures of the piece. Another style that can be found is impressionism, it centers more on the light and visual feeling of the moment. The artist can still maintain realism while also trying to convey the feeling of the moment to the targeted audience through this method. While impressionism is considered trying to capture the moment while expressing feeling, expressionism can also show feeling but through a different means. Expressionism does not restrict the artist to paint something exactly how they see it but instead use colors to convey the feeling. An example could be using varying shades of blue to paint someone to show sadness, we know the person is not actually blue but the artist used the color to show the mood or emotion of the person. Abstraction is our first step away from maintaining a more realistic feel of painting and reducing what the painter is desiring to paint into simple patterns, shapes and colors but it will not be completely devoid of the subject. However, abstract is at the complete opposite of the spectrum and may not contain any resemblance of what inspired the artist. It mainly focuses on breaking down art to a more simple level, using color, brushstrokes, texture or materials to convey what the artist feels and sees or wants the audience to feel and see.
VII.I Brushes
There is a vast amount of brush types that can be used in order to achieve the desired effect while an artist works. Starting out with a basic set of brushes is generally best for a novice painter so as to not overwhelm. While a master painter may have hundreds of brushes to help achieve a desired effect, stroke or detail. Knowing how to use the correct brush can be important in determining how thick or thin paint will be applied, how the brush strokes will show or whether the artist wants a color to blend or be clean and smooth.
1. Flat - A versatile brush that is used most often when painting. Common for any artist.
2. Filbert - A flat brush with a rounded edge, used to help with blending, cleaning edges and keep ridges from showing in the paint.
3. Angular - Flat with a sharp cut tip. It holds less paint and water but is useful for tight shading and highlighting.
4. Liner - A very few amount of long bristles, the amount of bristles can vary, which will determine the size of the line being painted. Good for doing fine line work with precision and control.
5. Rake - Can be mistaken for a normal flat brush to an untrained eye, however the hairs of the brush are separated so a painter can quickly paint finer hair, grass or feathering effects. A master painter can wield this efficiently and effectively, while a novice painter may struggle.
6. Mop - Perfect for blending, blurring, shading and softening hard edges.
7. Stippler - A texturing brush that can be used wet or dry to give effects of fur or foliage, the shape is different than the rake, a more rounded brush with a cut edge.
8. Fan - Mostly used to give texture or widely spread coloring.
9. Dagger Striper - A more complicated brush to use, a novice would have difficulty using this, where someone who is competent and having practiced the use of the brush can handle it easier. Once able to handle, it can be used for multiple purposes.
VIII. Workspace & Requirements
A brightly lit area with clean surfaces is a preferred working area. A clean environment is best; keep food, drink and smoking away from the room or space. Make sure that air can circulate through the room, especially when working with oils, the vapors and fumes can cause serious damage to the body. Taking a break can be beneficial; walking away for a few moments can give a fresh perspective and help to regain the direction of where the painting is going.
IX. Oil-Based Paints vs. Water-Based Paints
There is a vast difference between the two and how they are applied to the canvas. Oil paintings are best done with the canvas vertically and the brush horizontal. Water painting is better done with the canvas horizontally and the brush vertically. Oil can be more difficult to work with, take longer to dry and have a strong odor. However, oil can show pigments brighter, hide brushstrokes and is very durable. Water based is easier for beginners to use, easier to clean, has very little odor and dries very quickly. Some artists prefer oil and the slow drying time for more intricate and detailed pieces that need longer periods of time to work on. However, water based paints quick drying time can give the benefit of laying more layers in a shorter amount of time.
X. Binders and Emulsifiers
The three common ingredients for a well balanced paint is a pigment, binder and emulsifier. The pigment is what gives paint it's color, the binder holds the pigment and the emulsifier is what gives the paint flow. Natural materials are best when first beginning as most, such as egg, will have the binder and emulsifier together. For more advanced painters they can add more binder to pigments and create a higher gloss, ranging from flat to high gloss depending on the amount of binder added.
Examples of different natural binders and emulsifiers are: Sap, Blood, Cactus juice, Egg, Flour, Water, Chalk, Milk and Beeswax. All of these are generally easy to obtain, depending on the region you are in, and use. Novice artists may tend to favor using these as they're quick and easy. Masters may use them but find that they can be hard to manipulate beyond the basic coloring use and may find more steadily reliable binders to their liking, such as oils. Poppy oil, walnut oil or linseed oil may have different drying times and different consistency, but any medium that is colorless, permanent, flexible, and do not influence the color of a pigment is the best resource oils can provide, unlike some of the more natural binders.
XI. Skill Progression
Novice - Persons at this skill level are not always considered an artist. They have the basic ideas of identifying the difference between colors, they might be able to find some pigments that are easily obtained on their own. They would still in the process of working out how to transfer the pigments to convey their idea onto the medium. Creating their own paints may be difficult to do and understand, but the option of buying pre-made paints could make things easier. They may be able to create their work but it has high potential to have errors, mistakes, lines or be slightly crude. Feelings of the artist may not show through and some may see the paintings as just 'copying' their surrounding. A painter at this level is unknown and could be anyone wanting to color a medium.
Competent - More familiar with how colors mix to create other colors, the range becomes wider to the painter and they're able to become slightly more in depth with their paintings. They've got the basic ideas of line formation, perspective and depth. There able to differentiate between basic brushes and how they work on the canvas. They're able to find more color pigmentations and different means of acquiring them. Errors in work are still probable and tend to happen, lines can sometimes be seen where unintended or colors may have not been fully blended together. Some feeling may begin to show through, but it can vary from one painting to the next. Still quite unknown in their work, painters at this level may begin to develop traits that could be recognizable if someone sees their work but the name of the artist won't be familiar.
Expert - Painters of this level are familiar with the color wheel and how to apply it. Shades, hues and tints of some colors are accessible, although not all as an expert won't have knowledge or access to all color pigments. The basics are simple and come easy. Knowing what they want to paint and how to execute comes to them easier. Painters will be familiar with most brushes and the techniques needed to use them efficiently. The feeling they're wanting to portray can generally come through their work, even if there are minor mistakes within the work. General population may be aware of the name of this person, those local perhaps seeing one of their pieces.
Master - Knows how to acquire most all pigments, whether they are able to create them will depend on their skill set. Creating, identifying properties of pigments, using binders, emulsifiers and thinners is natural to someone who's mastered making their own paints. Painters at this skill level are aware of how different pigments may interact with each other and if it's safe to do. They'll know how to create a very large variety of colors and how to create tints, hues and shades of each of these. Brushes are almost an extension of themselves letting their mind wander while they create to help throw their feeling during creation into their work. People will be more likely to know of an artists work at this level and possibly request them by name.
When a painter is ready to mix colors they first need to think of what desired color they're wanting to achieve. Basic knowledge and ability of differentiating colors will be needed in order to prepare a painter for creating beyond just the basic color set. While simply mixing a primary with a primary can yield a secondary color there are also varying shades, tones and tints that can also be obtained. Experimenting is generally the best way to find the desired color but having an idea of how to acquire the color will vastly improve the efficiency of the painter. Two colors blended together will create different hues. Adding white can then change the tint of the base color, while the exact opposite of adding black can create shades of the same color. There are ways to create shades and tints of colors without having to add in black or white, doing this can help tie a painting together and decrease the chance of accidentally muting a color that may be needed. You'll find mixing colors near each other on the color wheel can give better results in finding a desired unsaturated color. While mixing a color from the opposite side will result in a changing the hue. In order to mute a color the painter can mix together black, white and the chosen color. Using black and white colors changes the actual saturation of a color and not the hue.