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Bored with the same old paints? The Organic Painter introduces innovative techniques for using non-traditional "paint" derived from materials like coffee, tea, and alcohol, to encourage freedom and expression! Traditional art supplies will only take you so far! Sometimes you need to try something completely new and different. That's where The Organic Painter comes in. With a little guidance, you'll soon be painting with everyday materials you'd never considered as an artistic medium. This inspiring book gives you all the techniques and ideas you'll need to boost your creativity, learn natural paint-making, and be more resourceful with your art materials. Imagine the unique things you'll make when you create natural paints from coffee, tea, embroidery and flame. Each project in this guide book comes with instructions on how to make the paint, and also includes experiments and explorations for you to try. Plus, a simple painting accompanies each featured material and combines it with other materials or techniques, so you'll never lack inspiration.
This is an art book which highlights the possibility of using natural, organic materials as art supplies and inspiration.
Immersed in the natural world, The Organic Artist for Kids inspires creativity by connecting kids and their adults to our wilderness roots. In addition to offering a wide variety of fun, collaborative projects using nature as a source for art supplies and inspiration, this book also introduces the concepts of awareness and perception that are fundamental to the creative process. Children will be encouraged to learn new skills, build resilience, and be resourceful as part of an urgent struggle to prevent and undo Nature Deficit Disorder. Rooted in experimentation and an understanding that fun is fundamental to learning, kids will refine their drawing skills, as well as increase their appreciation for the visual arts and the natural landscape. Just some of the projects and skills covered include: Making pens and wild inks Making paint from stones and rocks Crafting your own paintbrushes Making simple stencils and rubbings The Organic Artist for Kids encourages you to return to the days when art was made with all-natural materials like charcoal and birch bark.
Citing a high number of pollutants in today's indoor environments, a comprehensive guide to making organic, all-natural paint and finish alternatives offers step-by-step instructions on how to convert readily available ingredients. Original. 15,000 first printing.
Many of the valuable techniques and materials formerly used in painting have been lost or forgotten. With the convenience of the art supply store, the artist is no longer forced to acquaint himself with many of the operations performed by the great craftsmen-painters of the past. The result is that the modern painter often does not understand the chemical and physical reasons for the steps he follows. This book bridges the gap between artist and craftsman, and gives the reader insights into the classical techniques of the great masters as well as the procedures followed today. Professor Laurie has based his book on an intensive study of great master paintings and manuscripts as well as on actual experiment. He covers techniques for painting on wood panels, paper, walls, and canvas, and for dealing with watercolors, tempera, fresco, pigments and colors, balsams, resins, turpentines, varnishes, waxes, sizings, and various oils such as walnuts, linseed, and poppy. The reader will also find much information on the behavior of light through various refractions, prism effect in layers of paint, and the cleaning and preservation of pictures. The discussion is illustrated by 48 full-page plates. These reproductions of actual paintings by major and minor masters — Rembrandt, Lippi, Michelangelo, Botticelli, Rubens, Hals, and others — were selected to show specific points of painting condition or technical procedures. Microphotographs are used to show cross-sections of painting, age cracks, flaking, pigment particles, and similar material.
The author examines issues such as the rightness of web-based applications, the programming language renaissance, spam filtering, the Open Source Movement, Internet startups and more. He also tells important stories about the kinds of people behind technical innovations, revealing their character and their craft.
The Green Guide for Artists inspires artists to make better eco-conscious choices within their work and their studios and shows them how. The book has four sections: The first contains recipes for DIY art supplies such as ones for mixing your own non-toxic paints and adhesives and making your own papers from recycled paper. The second offers safe and green practices for the workspace. The next section shares a fresh look at using recycled materials through creative step-by-step projects and a gallery section. The final section contains a resource guide for eco-friendly materials and supplies, including websites and forum links.
An illustrated introduction to oil painting for the beginner. Outlines the essential components of good painting and presents the basic materials and tools of the medium, with instruction on fundamental elements such as drawing, composition, value handling, colour and colour mixing.
No, Anti-Book is not a book about books. Not exactly. And yet it is a must for anyone interested in the future of the book. Presenting what he terms “a communism of textual matter,” Nicholas Thoburn explores the encounter between political thought and experimental writing and publishing, shifting the politics of text from an exclusive concern with content and meaning to the media forms and social relations by which text is produced and consumed. Taking a “post-digital” approach in considering a wide array of textual media forms, Thoburn invites us to challenge the commodity form of books—to stop imagining books as transcendent intellectual, moral, and aesthetic goods unsullied by commerce. His critique is, instead, one immersed in the many materialities of text. Anti-Book engages with an array of writing and publishing projects, including Antonin Artaud’s paper gris-gris, Valerie Solanas’s SCUM Manifesto, Guy Debord’s sandpaper-bound Mémoires, the collective novelist Wu Ming, and the digital/print hybrid of Mute magazine. Empirically grounded, it is also a major achievement in expressing a political philosophy of writing and publishing, where the materiality of text is interlaced with conceptual production. Each chapter investigates a different form of textual media in concert with a particular concept: the small-press pamphlet as “communist object,” the magazine as “diagrammatic publishing,” political books in the modes of “root” and “rhizome,” the “multiple single” of anonymous authorship, and myth as “unidentified narrative object.” An absorbingly written contribution to contemporary media theory in all its manifestations, Anti-Book will enrich current debates about radical publishing, artists’ books and other new genre and media forms in alternative media, art publishing, media studies, cultural studies, critical theory, and social and political theory.
The combined training and experience of the authors of this classic in the varied activities of painting conservation, cultural research, chemistry, physics, and paint technology ideally suited them to the task they attempted. Their book, written when they were both affiliated with the Department of Conservation at Harvard's Fogg Art Museum, is not a handbook of instruction. It is, instead, an encyclopedic collection of specialized data on every aspect of painting and painting research. The book is divided into five sections: Mediums, Adhesives, and Film Substances (amber, beeswax, casein, cellulose, nitrate, dragon's blood, egg tempera, paraffin, lacquer, gum Arabic, Strasbourg turpentine, water glass, etc.); Pigments and Inert Materials (over 100 entries from alizarin to zinnober green); Solvents, Diluents, and Detergents (acetone, ammonia, carbon tetrachloride, soap, water, etc.); Supports (academy board, dozens of different woods, esparto grass, gesso, glass, leather, plaster, silk, vellum, etc.); and Tools and Equipment. Coverage within each section is exhaustive. Thirteen pages are devoted to items related to linseed oil; eleven to the history and physical and chemical properties of pigments; two to artificial ultramarine blue; eleven to wood; and so on with hundreds of entries. Much of the information — physical behavior, earliest known use, chemical composition, history of synthesis, refractive index, etc. — is difficult to find elsewhere. The rest was drawn from such a wide range of fields and from such a long span of time that the book was immediately hailed as the best organized, most accessible work of its kind. That reputation hasn't changed. The author's new preface lists some recent discoveries regarding pigments and other materials and the pigment composition chart has been revised, but the text remains essentially unchanged. It is still invaluable not only for museum curators and conservators for whom it was designed, but for painters themselves and for teachers and students as well.