Ticket #5003 (new)

Opened 2 months ago

Brain Leak Causes Poor Eyesight

Reported by: "Poor Eyesight" <PoorEyesight@…> Owned by:
Priority: normal Milestone: 2.11
Component: none Version: 3.8.0
Severity: medium Keywords:
Cc: Language:
Patch status: Platform:

Description

Brain Leak Causes Poor Eyesight

http://solaropno.co/4zNtI8XuiBJhJcqz-1muVHlHkXBTHnPQnTTXcAQbzh5qZTCm

http://solaropno.co/J906kG6UvsJtc7UlpEq1jmmKKQByMJmN8E-k8nQZ8WIaroBKtQ

rthern climates.

Renaissance techniques used a number of thin almost transparent layers or glazes, usually each allowed to dry before the next was added, greatly increasing the time a painting took. The underpainting or ground beneath these was usually white (typically gesso coated with a primer), allowing light to reflect back through the layers. But van Eyck, and Robert Campin a little later, used a wet-on-wet technique in places, painting a second layer soon after the first. Initially the aim was, as with the established techniques of tempera and fresco, to produce a smooth surface when no attention was drawn to the brushstrokes or texture of the painted surface. Among the earliest impasto effects, using a raised or rough texture in the surface of the paint, are those from the later works of the Venetian painter Giovanni Bellini, around 1500.

This became much more common in the 16th century, as may painters began to draw attention to the process of their painting, by leaving individual brushstrokes obvious, and a rough painted surface. Another Venetian, Titian, was a leader in this. In the 17th century some artists, including Rembrandt, began to use dark grounds. Until the mid-19th century there was a division between artists who exploited "effects of handling" in their paintwork, and those who continued to aim at "an even, glassy surface from which all evidences of manipulation had been banished".

Before the 19th century, artists or their apprentices ground pigments and mixed their paints for the range of painting media. This made portability difficult and kept most painting activities confined to the studio. This changed when tubes of oil paint became widely available following the American portrait painter John Goffe Rand's invention of the squeezable or collapsible metal tube in 1841. Artists could mix colors quickly and easily, which enabled, for the first time, relatively convenient plein air painting (a common approach in French Impressionism)

Ingredients
A close-up of glistening, golden flax seeds.
Flax seed is the source of linseed oil.
The linseed oil itself comes from the flax seed, a common fiber crop. Linen, a "support" for oil painting (see relevant section), also comes from the flax plant. Safflower oil or the walnut or poppyseed oil are sometimes used in formulating lighter colors like white because they "yellow" less on drying than linseed oil, but they have the slight drawba

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