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Article: Painting
Author(s): Firenze
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Synopsis: Painting is the art of using acrylic, pastels, fresco, gouache, oil tempera, watercolor or water miscible oil paints to create images of various objects, landscapes or persons. More so used with brushes, painting can also be done with certain materials such as felt, leather, and whole cloth. Some Artisans are even able to mix colors to produce new ones. In more ways than one, Painting is an advanced form of Drawing. Painting is a complicated art, despite how nice it looks, will require patience and skill.
[Reminder: This is OOC information. When utilizing in character make sure to use Mizaharian appropriate terms. Some measurements, chemical names or information may/will not be known/used.]
Outline:
I. Overview
Painting is the art of using acrylic, pastels, fresco, gouache, oil tempera, watercolor or water miscible oil paints to create images of various objects, landscapes or persons. More so used with brushes, painting can also be done with certain materials such as felt, leather, and whole cloth. Some Artisans are even able to mix colors to produce new ones. In more ways than one, painting is an advanced form of drawing. Painting is a complicated art, despite how nice it looks, it will require patience and skill.
II. Related Skills
- II.I Drawing - Although drawing is not required to paint it can aid in perspective, working out detail and placement of the desired look.
II.II Cooking - These skills may be needed if the painter wants to create their pigments. It is not required because pigment can be obtained without having to create them.
II.III Geology - Can be useful for an Expert or Master in their skill. Knowledge of minerals and where to locate them to create unique pigments is beneficial to more advanced artists. It is not required as the pigments can still be bought without having to process, however, this can give a better accuracy for the desired color.
II.IIII Foraging - For almost the same reasons as having the Geology skill, Foraging can be useful in the gathering of plants, berries, nuts and anything in nature that could be turned into coloring. The higher the level in Foraging the more likely to be able to acquire harder to find plants, increasing a more accessible color spectrum.
II.IIII Herbalism - Knowing different plants, their species and what colors they can produce is beneficial in creating your pigments.
III. History
As far as anyone knows, painting has been a integrated yet unspoken part of the Mizaharian history, whether it was used in creating symbols for magic users, trying to document significant times, or for religious use. It is unsure when painting began within the world, but rare examples have been heard to have been found. There are whispers that there are those who have documented very rare pieces to be Pre-Valterrian, but they are few, rare, and treasured; the average person would not have access to these. Early Post-Valterrian works have been found in areas where races hid during the harsh times; crude depictions from those who had survived the changing of the world.
IV. Color Palettes
Color Palettes are referred to as a color wheel or color circle. On the color wheel, there are primary, secondary and tertiary colors. Red, blue and yellow are primary colors. Orange, green and violet (also referred to as purple) are part of the secondary colors. Tertiary colors are red–orange, red–violet, yellow–orange, yellow–green, blue–violet and blue–green. To acquire secondary and tertiary colors; primary colors are mixed to produce the secondary palette and the secondary colors then mixed to create the tertiary. Primary colors are the most basic, however, in Mizahar, they can be the most difficult to acquire or create.
IV.I Warm
Colors that are considered to be warm consist of reds, oranges, yellows. Browns and tans can be included as well. This color range can incite feelings of warmth or heat, arousal or stimulate. It can even have psychological and emotional effects. The cause of this can be attributed to the higher saturation and lighter value of warm pigments versus cool pigments. Warm colors can appear more active in paintings than cooler colors.
IV.II Cool
Using a cool color palette will generally consist of using blues, greens, and violets. Cool colors can also have a psychological and emotional effect if applied in such a context. These colors tend to recede and give a feeling of calm or relaxation.
IV.III Neutral
Any color that lacks a strong chromatic content is considered unsaturated, achromatic, near neutral, or neutral. Near neutrals include browns, tans, pastels and darker colors and can be of any hue or lightness. Achromatic or neutral colors include black, white and all grays. These colors can be obtained from mixing “pure colors” with white, black or gray, or mixing two complementary colors. Black and white combine with almost any color; black will decrease saturation or brightness of a color that is mixed with it, whereas white will give hues of any color combined with it.
V. Gathering Colors
Note: Unless taught or discovered through personal means, the difficult way, mizaharians will not know that any minerals, plants, insects, animals, organic or inorganic material hereinafter will poison, harm or kill them.
- A. Primary Colors:
- a. Red -
- 1. Berries (Plant) - Generally the easiest source of pigment, however not as reliable on longevity as that of red "Recha" roots. Any red fruit or berry can be used to tint/paint almost any surface. These can be found in every region.
2. Recha Roots (Plant) - Can be foraged in almost every region. Most commonly used for creating red pigments of varying shades.
3. Kermes Vermilio (Insect) - Dwell in kermes oak trees. The trees can be found in almost any forest.
4. Cochineal (Insect) - An insect found in tropical and subtropical areas.
5. Iron Oxide (Mineral) - Can be found in any region. Iron oxide can be found on the surface of raw Iron that has begun to oxidize, also known as rust.
6. Cinnebar (Plant) - Tree only found in desert like environments.
7. Brazilin from Sapanwood (Plant) - Survives mostly in hotter climates. Hard to harvest due to the sharp thorns covering the bark.
8. Brazilin from Brazilwood (Plant) - Can rarely be found in forest environments.
9. Redwood (Plant) - Grind into sawdust and mix with an alkaline solution to create a steady pigment.
10. Crozophora Tinctoria (Plant) - A desert plant that is fond of hot dry environments. This plant can be used as either blue or red depending on the pH levels used during the creation process.
11. Pterocarpus Draco (Plant) - Also known as Rhysolsblood, the sap from the outside of the berries creates a gummy resin, the best way to gather the resin is by steaming or rubbing in coarse canvas bags.
12. Blood (Organic) - One of the easiest ways to create the color red is using blood, whether fresh or dried and rehydrated with a binder. If used fresh can have a water-based effect, while drying and turning it into a powder and mixing with a binder can then become oil-based.
b. Blue -
- 1. Azurite (Mineral) - Found in many parts of Mizahar in the upper oxidized portions of copper ore deposits.
2. Cuprorivaite (Mineral) - Rare and difficult to find, generally found with quartz. Can be found in regions of Mizahar that are mountainous.
3. Lapis Lazuli (Mineral) - Found in deserts, a semi-rare stone that can be ground into powder and made into darker blue pigments. Giving a lye bath to this mineral will lighten the color to ultramarine.
4. Crozophora (Plant) - A desert plant that is fond of the dry environments. This plant can be used as either blue or red depending on the pH levels used during the creation process.
5. Woad (Plant) - A yellow flowering plant whose leaves can be soaked to create a brilliant blue. This can be located in desert regions.
6. Indigo Cha (Plant) - Can be found in almost any region, depending on where the plant is located depends on how quickly it develops. The color derived from the leaves of this plant lean more toward purple but is still categorize as blue.
5. Copper (Mineral) - By using copper sheets and vaporizing with ammonia, a crust will appear that is a green-blue, scrape off the residue to make into a pigment powder. Can be acquired in locations where copper is abundant and imported.
c. Yellow -
- 1. Gamboge (Plant) - Collecting of the resin from these trees can be created to make a deep saffron yellow. The trees have to be at least ten years old before resin can be converted.
2. Gold Leaf (Mineral) - Composed of pure gold pounded into a micro-thin layer and one of the most expensive ways to create yellow. Scraps from the leaves can be powdered and turned into "shell" gold; called this because it's best stored in shells. Can be found in almost every region but may be more expensive in areas where it is imported, refer to price list.
3. Lead-tin (Mineral) - Used to create a bright and sunny yellow is also toxic and can lead to lead poisoning. Lead-tin oxide is created by fusing lead, tin, and quartz together in a high heat kiln, ground and then screened through a mesh. Can be found in every area that lead, tin and quartz can be imported.
4. Orpiment (Mineral) - Found in areas where hot springs, hydrothermal deposits, and volcanic sublimation are since it needs that particular environment to develop and crystallize. Heat with sulfur and grind into powder. This mineral is a form of arsenic and is highly toxic. The chemical make up of this pigment can lead to the ruin of other certain colors; any color created with lead or copper and is corrosive with binding materials.
5. Ocher (Mineral) - Commonly known as rust-colored clay or iron-rich dirt. This can be used raw for yellow or roasted for a brown-red. Found in desert and mountainous regions.
6. Buckthorn (Plant) - Berries collected from buckthorn can be collected, dried and ground to make a yellow pigment. Many species of this tree can be found in temperate and subtropical regions.
7. Nabato Oak (Plant) - An oak with branches raised up and out with a dark gray bark. When cut the sap bleeds bright yellow, like honey, and tastes sweet like maple, with a distinct herby, woody taste. The sap can be used raw as a pre-bound paint. (Credit to Arandia)
8. Urine (Organic) - Urine can be collected and dried, producing not so pleasant smelling hard yellow ball of raw pigment. You can also make 'Yomi Yellow' by extracting it from the urine of cows fed only on mango leaves and water. The meaning derived from those who created art Pre-Valterian.
9. Turmeric (Plant) - The root of a flowering plant that is part of the ginger family, it can be cut, dried and ground into a fine powder to make a brilliant yellow. Can be mixed with water, albeit difficult to dissolve, just wipe excess grains after the color has dried. Oil based is also possible but can also have a grainy look and feel. Found in warm, rainy regions.
B. Secondary Colors:
- a. Green -
- 1. Chrysocolla (Mineral) - Found in copper ore deposits and is more of a cyan color than natural green. Can be ground into a powder with some difficulty.
2. Malachite (Mineral) - Also found in copper ore deposits, this leans heavily toward blue but is still considered a hue of green. The stone can be ground into powder with some effort.
3. Buckthorn (Plant) - Berries collected from buckthorn can be harvested when ripe, dried, ground into a powder and mixed with alum to create a rich dark green. Many species of this tree can be found in temperate and subtropical regions.
4. Celadonite (Mineral) - A cold green that can be found in small deposits in rock. Rare as it takes time to develop.
5. Copper (Mineral) - By using copper sheets and vaporizing with vinegar, wine or urine and scraping the residual corrosion to make a "salt green." Can be acquired in locations where copper is abundant and imported.
6. Spinach (Plant) - Boiling in water will create an excellent water-based green. Very easy for novices to obtain and use.
b. Orange -
- 1. Realgar (Mineral) - A mineral found alongside orpiment minerals in the same deposit, in areas where hot springs, hydrothermal deposits, and volcanic sublimation are located. Heat with sulfur and grind into powder. Can be ground into a bright orange pigment. This mineral is a form of arsenic and is highly toxic. The chemical make up of this pigment can lead to the ruin of other certain colors; any color created with lead or copper and is corrosive with binding materials.
2. Lead-Chromate (Mineral) - Tough to make, this pigment is only accessible to those that have quite a bit of mizas to buy it or are very skilled in Philtering. To create this color, a painter vapors alkaline chromate with lead at high temperatures, the crystals formed from the gasses will produce a very deep rich orange. Grind the crystals to powder to produce pigment. Available in only affluent areas.
3. Carrots (Plant) - Boiling in water will create an excellent water-based orange. Very easy for novices to obtain and use.
c. Violet -
- 1. Mollusks/Whelks (Shellfish) - To create purple by this method is very tedious. Small amounts of this pigment are very expensive. A collection of the excrement from mollusks and whelks produce a rich and vibrant purple. Resistant to soaps, lyes and most alkalis and acids, it is a coveted color by most of the higher society. Found in most areas near large bodies of water.
2. Purpurite (Mineral) - Also known as Manganese Phosphate, it is the manganese rich part of heterosite. It is rarely found, except in the mountainous regions of Mizahar. Brown coating of the mineral can be removed by a weak acid bath. Once purified as best as possible, it can be ground into a fine powder and mixed with a binder to create a rich purple.
3. Indigo (Plant) - Can be commonly found in almost all regions, with the exception of extreme temperates. The leaves of the plant can be soaked and fermented to extract the coloring, using the same process as the Woad plant.
4. Red Cabbage (Plant) - Boiling in water will create an excellent water-based red-violet. Easy for novices to obtain and use. It can be adjusted by adding an acidic (for more red) or alkaline (for more blue) substance to the water.
5. Blackberries (Plant) - Can be found in generally most regions. The juice can be squeezed and strained and used directly on the canvas for a water-based paint.
C. Neutrals:
- a. Brown -
- 1. Beechwood (Plant) - There are several different types of beech trees in which the wood is derived. The root of Beechwood is mixed with sap from the acacia tree and water to create the desired color. Most commonly water-based, can be converted to oil-based. To convert this to an oil application, the painter will need an experience level of competent or above.
2. Petrol/Oil (Organic Matter) - Oil is naturally occurring from Organic compounds. Some form may be achievable, mostly commonly crude and simplistic in nature. The coloring from the breakdown process is naturally brown and can be used directly in oil painting.
3. Bone (Organic Matter) - Bones can be turned into a brown by charring in a furnace, will have a tarry residue that can be hard to work. Found in every region, most commonly, well-populated areas.
4. Raw Sienna (Mineral) - An earthen pigment containing iron oxide and manganese oxide, it can be found in desert regions. It is naturally made and can be collected and used with a binder to create the yellow-brown. Can be heated to create a more vibrant color. Novices can easily find and use this color.
5. Raw Umber (Mineral) - This is almost the same as raw sienna, it can be found in the same regions and almost in the same area. The chemical composition is the only thing that makes this different, which alters the color slightly. Can be heated to create a more vibrant color. Novices can easily find and use this color.
6. Soil/Peat (Organic) - Is one of the easily most accessible sources for brown and can be found in every location in Mizahar. Novices use this as a go-to for their brown coloring. (Note: If mixed with white may have the tendency to turn accumulate.)
7. Coffee/Tea (Plant) - Steeping in hot water can extract the coloring which then can be used as a light water-based brown. An easy method for novice painters.
b. Black -
- 1. Bone (Organic) - Fully charred bone ground into powder can create a popular pigment for black paints. 100% binder is required for this pigment, as all blacks do. Bone and horns can also be charred in a container that has had the air removed to create a more pure black.
2. Soot (Organic) - The soot remains from tallow or beeswax candles, oil lamps or by burning pitch can be collected and used. Accessible wherever there are chimneys, or easily obtained by holding a flat, fireproof object above flames.
3. Charcoal (Organic) - This is derived from the burning of grapevines and is considered more of a blue-black than pure black. Since grapevines are required to create this, it is found where vineyards can grow.
4. Cephalopod Ink (Organic) - While most commonly used for drawing or writing, the ink removed from squid, cuttlefish, or octopi can be collected and strained to a more pure form and used directly as a water-based color. Found in areas near large bodies of water. If accessible, a novice painter could easily extract and paint with the ink from the sacs.
c. White -
- 1. Lead - Use extreme caution when using this as it can lead to lead poisoning and death. The purity of the color depends on the purity of the lead, created by "stacking" pots with vinegar and lead and covering in tanbark or dung. Can be acquired or created in almost every region.
2. Zinc - When heated high the smoke derived from molten zinc can be collected in a series of chambers to create a "colder" looking white than lead. It also has the side benefit of being more safe to use.
3. Chalk - Derived from deep waters, possibly collected by races familiar with the water (Konti, Charoda, Akvatari). It can be found on land, but the easiest places to get hold of it would be flint mines and workshops, as raw flint usually comes coated with a layer of chalk and is removed to work. This can be ground into a fine powder, mixed with a binder and used as an impure white.
VI.I Color Creation
- A. Primary Colors:
- a. Red - Is created by mixing a red-based pigment with a binder. It is a primary color and is a directly derived pigment. No further mixing or processing is required to acquire this color.
b. Blue - Is created by mixing a blue-based pigment with a binder. It is a primary color and is a directly derived pigment. No further mixing or processing is required to acquire this color.
c. Yellow - Is created by mixing a yellow based pigment with a binder. It is a primary color and is a directly derived pigment. No further mixing or processing is required to acquire this color.
B. Secondary Colors:
- a. Green - By mixing blue and yellow primary colors together, you can create many different shades of green. Depending on the amount of either color used will determine the tint of the color of green. By mixing more blue into the yellow you can tint the green to make it darker, but it will also lean more toward the tertiary color of blue-green if mixed too heavily. The same goes for adding more yellow and less blue, this will give the green a lighter tint but will lean more toward a yellow-green.
b. Orange - By mixing red and yellow primary colors together, you can create many different shades of orange. Depending on the amount of either color used will determine the tint of the color of orange. By mixing more red into the yellow you can tint the orange to make it darker, but it will also lean more toward the tertiary color of red-orange if mixed too heavily. The same goes for adding more yellow and less red, this will give the orange a lighter tint but will lean more toward a yellow-orange.
c. Violet - By mixing blue and red primary colors together, you can create many different shades of violet, also known as purple. Depending on the amount of either color used will determine the tint of the color of violet. By mixing more blue into the red you can tint the purple to make it darker, but it will also lean more toward the tertiary color of blue-violet if mixed too heavily. The same goes for adding more red and less blue, this will give the violet a lighter tint but will lean more toward a red-violet.
C. Tertiary Colors:
- a. Red-Orange - This can be made when trying to create the secondary colors by adding more red to yellow, instead of having equal parts of red and yellow it would be two parts red and one part yellow.
b. Red-Violet - This can be made when trying to create the secondary colors by adding more red to blue, instead of having equal parts of red and blue it would be two parts red and one part blue.
c. Yellow-Orange - This can be made when trying to create the secondary colors by adding more yellow to red, instead of having equal parts of red and yellow it would be two parts yellow and one part red.
d. Yellow-Green - This can be made when trying to create the secondary colors by adding more yellow to blue, instead of having equal parts of blue and yellow it would be two parts yellow and one part blue.
e. Blue - Violet - This can be made when trying to create the secondary colors by adding more blue to red, instead of having equal parts of red and blue it would be two parts blue and one part red.
f. Blue-Green - This can be made when trying to create the secondary colors by adding more blue to yellow, instead of having equal parts of blue and yellow it would be two parts blue and one part yellow.
D. Neutrals:
- a. Brown - Created by mixing 10% red and 2% yellow to make a dark orange, add 5-10% blue and then continue to add in blue until creating the desired brown, however, by adding too much color it can make a muddy black. Can also be created by using green and then slowly adding red. Mixing all three primary colors together can also create a darker brown.
b. Black - Mixing colors are not the best way to produce black, but it is possible. All primary colors mixed will make an imperfect black. If it's too green, add red; too brown, add blue; too purple, add yellow. Another way to create black is by mixing a warm color and a cool color together, i.e. red and blue, which side of the spectrum the black will lean toward depends on the balance of the colors in the mixture. Sometimes it can be beneficial to create black this way, most commonly used for shadows or shading it can help to bring together colors in a painting.
c. White - Unfortunately, since white is a subtractive color when mixing paints there is no way to merge any color together to create this color.
VI.II Mixing Colors
When a painter is ready to mix colors they first need to think of what desired color they want to achieve. Basic knowledge and the ability of differentiating colors will be required to prepare a painter for creating beyond just the basic color set. While 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 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 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 colors in 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 of the hue. To mute a color the painter can mix black, white and the chosen color. Using black and white colors changes the actual saturation of a color and not the hue. (Refer to the chart on the right.)
VII. Painting Tools
Different types of paints can be created and used, so there are different tools for each style. For water-based paints: Paper/canvas, paint, brushes, board (to keep the paper stretched to stop curling), masking fluid (for areas you do not want the paint to run), palette. These are the most essential items. Artists can use almost any item to create texture. Example: sponge, water, knives, etc.
For acrylic based paints: Brushes, paint, palette knife, palette, paper (to test colors), painting surface such as a canvas, water container, rags. Optional items that can be used are aprons, an easel or any items to create texture.
For oil based paints: Paint, brushes, mineral spirits, a jar, oil medium (linseed is commonly used), rags, palette, painting surface such as a canvas, pencils (to outline the desired subject prior to painting). Again, an easel, apron, and texturing items are optional. Clove oil can also be added to help with resisting mildew.
Water can be used to thin water based paints, as oil paints would need to be need thinned with the oil medium. Water is easier than oil to clean from brushes and surfaces with soap and water. Oil would need to be removed with mineral spirits or turpentine. Finger painting is always an option if brushes are not available. It is always best to clean brushes, supplies, and surfaces after working to ensure that the work of the artist is not tainted. This can also contribute to ensuring that tools last longer and don't need to be replaced as often.
VII.I Substrates
This is the foundation in which paints are applied. Most commonly used are paper, wood, and canvas. However, some artists find using a different array of surfaces to be an intriguing challenge. Some examples are cloth, glass or clay; these are only a few but almost any surface can be used. Painting helps in crafts as well, like ceramics, using paint slips (watered down clay filled with pigments), glazes, and stains on plates. Some substrates need to be primed before they can be painted on for the paint to stay properly on the medium. Some surfaces will not accept certain types of paints, for example, water-based paints on a glass surface, the color may slide off and not adhere, whereas acrylic or oil on a properly primed piece of glass can cohere.
VII.II Brushes, Materials, & Uses
- a. Brushes - An important part of painting, any good painter will have difficulty using a poorly crafted brush. A well-made brush will keep shape after being loaded with paint. Brushes painters try to avoid are easily spotted as they will not maintain shape after loading with paint, bounce back to shape after placing strokes or bend at all. Brushes are crafted with the hair from pigs or weasels; these tend to perform the best. Bristle, pigs hair, brushes are best for large strokes and painting broad areas on the canvas. Sable, weasel hair, brushes are for small, thin and detailing strokes. While both of these brushes can be used for oil painting, the bristle is the best. Sable can be used for oil but is better with water coloring, the weight of the oil paint weighs the bristle down which can keep it from springing back to form.
b. Palette - A flat non-porous surface where paints can rest and be mixed with other colors. Hand versions will have a thumb hole to secure the palette while working. Wood is most commonly used. After each use, it will need to be cleaned, rubbed down with linseed oil and wiped clean to ensure longevity. Glass can also be used and cleaned with a razor.
c. Palette Knife - Used to mix colors on the palette, these can come in many different shapes and sizes. Although not always required it can be useful to ensure that a brush loaded with paint doesn't taint other colors on the palette. This can also be helpful in removing colors from the palette to store for a later date.
d. Thinner - Used with oil painting, this will clean your brushes and palette during or after the process of painting. A common thinner can be created using orange peels. If the artist uses this properly, they can store and re-use it for years.
e. Medium - This is used to mix with pigments. Oil (Linseed is usually preferred) and a pigment are what creates oil paints. The more medium used with pigment, the more translucent and fluid it becomes. Using medium with acrylics are not required but can alter the way the paints behave; texture, drying time, shine and thickness of the paint can be changed. This can be beneficial for novice artists to give them more time between creating and applying fast-drying acrylics.
f. Canvas - The most common surface in which artists paint. Can be stretched on a wooden form or glued to a heavy board. Priming with gesso before painting is highly recommended. If gesso is unavailable, a painter can work directly on the surface, but the texture of the canvas can possibly alter the desired result.
g. Gesso - Also know as a basic primer, it is used to seal and prime canvas prior to painting, simply made of rabbit skin glue and chalk. Oil in oil based paints can deteriorate canvas over time and so gesso is used to prevent this. It also helps to smooth the surface of the canvas, so the fiber textures don't alter the painting. Applied in layers, first vertically and then horizontally. On the first application sand after the gesso has dried, apply second application and sand again after dry. Can be thinned down to reduce brush strokes from showing and create a smoother surface to work.
h. Varnish - All oil paintings will require a varnish after completing, to seal and act as a protective layer. Two coats are most commonly used, and each layer takes a days time to dry. Varnish is different than thinner, but thinner is used in creating varnish. A painter can easily make their own with a mixture of 1/3 linseed oil, 1/3 thinner, and 1/3 resin.
IX. Making Pigment
Creating pigments (colors) 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. There are a few pigments that will not only require a master painter but an additional skill of Philtering to accomplish as they are very complex and demand knowledge in chemicals to produce. A few examples of creating a pigment are listed below.
IX.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. It is not advised to use rotten, rotting or deficient nuts as this can change the effect and color of the pigment due to the mold and chemical makeup of the organic matter. Fresh picked or freshly fallen is always the best choice to use for creating a more pure pigment.
Method: Cracking and breaking down the outer shell into smaller pieces that can then be ground down into a fine powder.
IX.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 the 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.
IX.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 minerals 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 makeup of the earthen mineral, which will give it different coloring, can be mixed directly with a binder to create the 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.
Note: Most methods are not common knowledge, and mostly reference for OOC purposes. Strong skills in Philtering and Painting are required. Being an Expert painter is minimum to attempt to create more complex pigments.
IX.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 creating 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.
X. 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.
X.I Headjunn
Painting exactly how you see something is generally considered to be realistic but there is also a variance on this style called Headjunn. While Headjunn maintains the aspect of capturing what is seen, it focuses more on the brushstrokes, paint, and the textures of the piece. The name originally derived from the ancient tongue, nader-canoch, was passed on through art enthusiasts and can be directly translated to 'touch-art'.
X.II Djunnala
Another style that can found in Mizahar is Djunnala; it centers more on the light and visual feeling of the moment. The artist can still maintain realism while also trying to convey the sense of the moment to the targeted audience through this method.
X.IV Djunndjas
While Djunnala is considered trying to capture a moment while expressing feeling, Djunndjas shows the feeling but through a different means. It does not restrict the artist to paint something exactly how they see it but instead uses 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 blue, but the artist used the color to show the mood or emotion of the person.
X.V Radjunn
Radjunn, initially derived from Radjudjunn, which meant imperfect art, was shortened for an easier roll off the tongue when spoken. It is the first step away from maintaining a more realistic feel of painting; reducing what the painter desires to paint into simple patterns, shapes, and colors but it will not be completely devoid of the subject. However, Radjunn is 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, sees or wants the audience to feel and see.
XI. Brushes
There are a vast amount of brush types that can be used to achieve the desired effect while an artist works. Starting out with a basic set of brushes is best for a novice painter so as not to overwhelm. While a master artist may have hundreds of brushes to help achieve the desired effect, stroke or detail. Knowing how to use the right 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.
XII. Magical Uses
There are many different ways that magic can be intermingled with painting. An example of this could be using paints to cover glyphs that someone may be trying to hide and that only they want to know the location. Another use could be that of water remnaincy to manipulate water based paints while creating a piece of work. Some poisons have also been known to have been integrated with paints, such as Luminous Vos. If one were to use body paints, the skin being the canvas, they could mix in the poison without the target being the wiser. While there are several different ways that magic could be mixed with painting, not all has been tested or tried.
XIII. 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. Ensure that air can circulate the workspace, especially when working with oils, vapors and fumes can cause severe damage to the body. Taking a break can be beneficial; walking away for a few moments can give an artist a fresh perspective and help to regain the direction of where the painting is going.
XIV. 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 harder 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, to clean, has very little odor, and dries very quickly. Some artists prefer oil and the slow drying time for more intricate or detailed pieces that need longer periods of time to be worked. However, water-based paints quick drying time can give the benefit of laying more layers in a shorter amount of time.
XV. Binders and Emulsifiers
The three common ingredients for a well-balanced paint is a pigment, binder, and emulsifier. The pigment is what gives paint its color, the binder holds the pigment, and the emulsifier is what gives the paint flow. All three of these ingredients need to be combined to create paint. Natural materials are best when first beginning, such as egg, as most 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 usually 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 does not influence the color of a pigment is the best resource oils can provide, unlike some of the most natural binders.
While oil paints after being created can have a longer shelf life, compared to the short-lived watercolors, it is not recommended to make more paint than is necessary. However, this can cause a problem for long-term projects as it can be difficult to match colors to the same specification.
XVI. 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 be in the process of working out how to transfer the pigments to convey their idea onto the medium. Creating their 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 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. They're able to differentiate between essential 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 not have been fully blended. 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 start 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 more natural. Painters will be familiar with most brushes and the techniques needed to use them efficiently. The feeling they want to portray can generally come through their work, even if there are minor mistakes within the work. The 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 can create them will depend on their skill set. Creating, identifying properties of pigments, using binders, emulsifiers and thinners are 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 vast variety of colors and the 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 artist's work at this level and possibly request them by name.
Creating pigments (colors) 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. There are a few pigments that will not only require a master painter but an additional skill of Philtering to accomplish as they are very complex and demand knowledge in chemicals to produce. A few examples of creating a pigment are listed below.
IX.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. It is not advised to use rotten, rotting or deficient nuts as this can change the effect and color of the pigment due to the mold and chemical makeup of the organic matter. Fresh picked or freshly fallen is always the best choice to use for creating a more pure pigment.
Method: Cracking and breaking down the outer shell into smaller pieces that can then be ground down into a fine powder.
IX.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 the 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 one bell. Filter through cloth while hot to obtain extracted dyestuff. Keep the extracts left standing in a room until the 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 to be 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 three teaspoons of sodium carbonate (soda ash); 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 ten 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, vibrant blue.
D. Fourth Method: This method pertains mostly 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. Since this method does not break down into a powder form, a binder is not needed and can be directly applied.
IX.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 minerals 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 makeup of the earthen mineral, which will give it different coloring, can be mixed directly with a binder to create the 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.
Note: Most methods are not common knowledge, and mostly reference for OOC purposes. Strong skills in Philtering and Painting are required. Being an Expert painter is minimum to attempt to create more complex pigments.
- 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 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 liquids in small pots, cool, then concentrate over a fire. Filter the liquid through a cloth and the sediment will collect into the balls. Dry over a fire and/or in the sun. Can be broken down further by washing and purifying the balls.
D. Fourth Method: Experimentation with different chemical compounds can result in different color varieties. Will require some knowledge in Philtering, Botany, Herbalism, Geology, and Cooking. This method can be very dangerous and hazard to a person's health, with a high chance of poisoning and/or death.
IX.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 creating 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.
X. 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.
X.I Headjunn
Painting exactly how you see something is generally considered to be realistic but there is also a variance on this style called Headjunn. While Headjunn maintains the aspect of capturing what is seen, it focuses more on the brushstrokes, paint, and the textures of the piece. The name originally derived from the ancient tongue, nader-canoch, was passed on through art enthusiasts and can be directly translated to 'touch-art'.
X.II Djunnala
Another style that can found in Mizahar is Djunnala; it centers more on the light and visual feeling of the moment. The artist can still maintain realism while also trying to convey the sense of the moment to the targeted audience through this method.
X.IV Djunndjas
While Djunnala is considered trying to capture a moment while expressing feeling, Djunndjas shows the feeling but through a different means. It does not restrict the artist to paint something exactly how they see it but instead uses 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 blue, but the artist used the color to show the mood or emotion of the person.
X.V Radjunn
Radjunn, initially derived from Radjudjunn, which meant imperfect art, was shortened for an easier roll off the tongue when spoken. It is the first step away from maintaining a more realistic feel of painting; reducing what the painter desires to paint into simple patterns, shapes, and colors but it will not be completely devoid of the subject. However, Radjunn is 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, sees or wants the audience to feel and see.
XI. Brushes
There are a vast amount of brush types that can be used to achieve the desired effect while an artist works. Starting out with a basic set of brushes is best for a novice painter so as not to overwhelm. While a master artist may have hundreds of brushes to help achieve the desired effect, stroke or detail. Knowing how to use the right 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 number 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 utilized for multiple purposes.
XII. Magical Uses
There are many different ways that magic can be intermingled with painting. An example of this could be using paints to cover glyphs that someone may be trying to hide and that only they want to know the location. Another use could be that of water remnaincy to manipulate water based paints while creating a piece of work. Some poisons have also been known to have been integrated with paints, such as Luminous Vos. If one were to use body paints, the skin being the canvas, they could mix in the poison without the target being the wiser. While there are several different ways that magic could be mixed with painting, not all has been tested or tried.
XIII. 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. Ensure that air can circulate the workspace, especially when working with oils, vapors and fumes can cause severe damage to the body. Taking a break can be beneficial; walking away for a few moments can give an artist a fresh perspective and help to regain the direction of where the painting is going.
XIV. 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 harder 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, to clean, has very little odor, and dries very quickly. Some artists prefer oil and the slow drying time for more intricate or detailed pieces that need longer periods of time to be worked. However, water-based paints quick drying time can give the benefit of laying more layers in a shorter amount of time.
XV. Binders and Emulsifiers
The three common ingredients for a well-balanced paint is a pigment, binder, and emulsifier. The pigment is what gives paint its color, the binder holds the pigment, and the emulsifier is what gives the paint flow. All three of these ingredients need to be combined to create paint. Natural materials are best when first beginning, such as egg, as most 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 usually 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 does not influence the color of a pigment is the best resource oils can provide, unlike some of the most natural binders.
While oil paints after being created can have a longer shelf life, compared to the short-lived watercolors, it is not recommended to make more paint than is necessary. However, this can cause a problem for long-term projects as it can be difficult to match colors to the same specification.
XVI. 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 be in the process of working out how to transfer the pigments to convey their idea onto the medium. Creating their 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 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. They're able to differentiate between essential 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 not have been fully blended. 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 start 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 more natural. Painters will be familiar with most brushes and the techniques needed to use them efficiently. The feeling they want to portray can generally come through their work, even if there are minor mistakes within the work. The 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 can create them will depend on their skill set. Creating, identifying properties of pigments, using binders, emulsifiers and thinners are 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 vast variety of colors and the 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 artist's work at this level and possibly request them by name.
Add a easy to reference list for the availability of pigment supplies in each domain/region and the price depending on how hard it is to get. 
