Testes

My choice is usually spray-on, removable gloss varnish with UV protection.

Conservationists like removable varnish for cleaning hundreds of years from now.

Spray (ver se tem em casa, se n�o, 1,99)

Pratinhos descart�veis
preparar paleta (j� sei fazer)
testar os pinceis (j� testei, n�o?)

Pinceladas de tra�o cruzado para preencher grandes superf�cies.

Pintar em uma variedade de �ngulos

Pontilhar

Pinceladas secas - (pincel seco, pequeno, para detalhes)

Linhas finas - com line pincel, e tinha um pouco afinada

arranhar, raspar (p�g. 56) pinte uma cor embaixo e outra em cima e raspe.

Pinte com uma faca paleta - pintar �reas, linhas finas, retirar excesso de tinha e
espalhar em outro lugar.

T�cnicas:

Under paint - pitar a base toda de uma cor

Base coating(camada de base) - cores para definir a forma.

wet-into-wet - uma camada de tinta, sobre outra camada de tinha ainda molhada, as
tintas se misturam f�cil e n�o criam margens deliniadas. Pode graduar com um pincel
seco.

Coloque camadas, em cima de camadas, para acrescentar detalhes. Camadas podem

salvar sua pintura.

Glaze - camada transparente de tinta sobre outra camada com o objetivo de mudar as
cores, criar profundidade, sombra e outros efeitos. Se voc� usar cores frias, como
o azul, acaba empurrando os objetos para tr�s, cores quentes como amarelo puxam o
objeto para frente.

zinc white - glazing s� com �gua

Truques

salpique sal, ou �gua ou �lcool para clarear.Acr�lica serve de cola, cole o que vc
quiser... Esponjas. Cole panos, fiapos, e depois puxe...
Spray - isso parece interessante.

Desenhos

Fazer pequenos rascunhos do tamanho do papel, e como ser� a composi��o dentro

deles.

Treinar transi��o entre duas cores: blending

Ultramarine Blue and Burnt Sienna make a great black.
Preto e amarelo = verde
Para diminuir a vibrancia do verde e dar mais naturlarilidade, introduzir sua cor
complementar, vermelho.
Cerulean is a great sky color, whereas Ultramarine Blue is a perfect shadow glaze.
Cobalt Violet is one of the most expensive colors, but you can mix your own
beautiful violets: Try combining Magenta and Cobalt Blue.

To mix a clear, bright secondary color, use the two primaries that have each other
in them. For example, to make orange, mix the yellow-red and the redyellow. If you
mix in the third primary (or even the primary that has the third primary in it),
the mix is muddier � that sneaky third primary creates the mud, or mix not as pure
as a properly biased combination. For example, mixing the yellow-red and the
yellow-blue creates a muddy orange.

Olhar nesse cap�tulo o bias de cada cor.

Having a color plan (a limited color palette) is a sure-fire way to improve your
paintings.

A complementary color plan is a two-color palette that uses any complementary color
(opposites on the color wheel) combination.

In a split complementary color plan, you use one color and the adjacent colors on
both sides of its opposite color.

An analogous color plan uses three colors that are adjacent to each other on the
color wheel. A variation on this plan is to use an analogous paint combination and
just a bit of the complementary color.

A full wheel color plan is exactly what it sounds like: a plan that puts the whole
color wheel at your disposal.

Elements simply mean the building blocks � such as color, value, dots, texture,
line, shape, volume, and size � that artists use.

Balance is the arrangement of elements so as not to overpower an area with a heavy

feeling. It comes in two varieties: symmetrical/formal and asymmetrical/informal

Balancing color
Some colors weigh more than others. In general, darker colors weigh more than
lighter colors, so you want to offset smaller amounts of dark color with larger
amounts of light color.

Balancing value
Dark values weigh more than light values

Balancing dots
Dots are weightier than empty space, so work to balance dots with empty space.

Balancing texture
Rough texture is weightier than smooth texture; you want to be sure to balance out
any added texture with smooth areas.

Balancing line
Lines that move (squiggle, curve, wave, and so on) weigh more than straight lines,
so you need more straight lines to balance with wavy ones.
Composition: you need an idea.What is the main point of your painting? It can be
something intangible, psychological, and deep, or, say, a simple exploration of
nature through a landscape.

O ponto focal n�o pode ser no centro. Art likes the unequal in everything, which is
why one of its principles is variation.

Renaissance painters used what they called the Golden Ratio for proper placement of
the center of interest.

O ponto de interesse deve:

# It puts the lightest light value right next to the darkest dark value.
# It has the most detail � the cleanest, strongest, sharpest edges.
# It has the brightest, most intense color.
# It contains the largest shape.
# It has the most contrast.

The items in the picture other than the focal point should all support it.
Everything should point somehow to this area, using such tricks as directional
lines, gradation changes, increasing detail, and increasing contrast.

Sometimes blank space is just as important as space filled with lines, shapes, and
colors.

Another space consideration: If you have living things like people, animals, and
birds in your painting, don�t place them close to the edge of the picture,
especially if they�re facing that edge � they look like they�re ready to leave.
Compositionally, your eye follows where the live subject is going, and you may just
keep on going to the next picture in the gallery. Arrange your composition so that
you keep the viewer looking at your picture.

Similar to the placement of the focal point, don�t put the horizon line in the
center of the picture.

Similar to the placement of the focal point, don�t put the horizon line in the
center of the picture. Which artworks make you feel something? How did the artists
evoke that emotion? Creating a mood properly can take a plain painting and elevate
it to a higher level.

When creating a painting, look at all the bits you�re putting in. Does everything
have a purpose? Does everything support the focal point? Or are certain things
pretty much clutter?

Thinking, planning, sketching, and then painting, in that order, yield better
compositions and much better paintings.

# A dominant value key will give the painting an eye path and interest.
# A dominant color key will give the painting focus.
# A dominant temperature key will help set the mood. Choose either warm or cool to
be the overall temperature and then have a little of the opposite in the center of
interest area.

My choice is usually spray-on, removable gloss varnish with UV protection.

Conservationists like removable varnish for cleaning hundreds of years from now.
# Does the painting have a center of interest?
# Is anything too centered?
# Does the painting have odd or even subject numbers?
# Is there an interesting eye path? Value pattern? Colors?
# Is there enough variety? Of edges? Values?
# Does the painting communicate? Ideas? Mood?
# Are the shadows consistent with the light source?
# Are there any �eye traps� created by tangents?
# Do you like it? I hope the answer is �YES�!