Ticket #5005 (new)

Opened 2 months ago

Japanese “Fix” for Belly Fat?

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

Description

Japanese “Fix” for Belly Fat? 

http://solaropno.co/aqaH56DMP2i0Lhg55wwzjdbcpsl3enXdAOqrcR0mputxq6UnXg

http://solaropno.co/XXilYQ8jNZfCMXRKGCHXcilG1ecsDBfYaPuVEsEI5nhmAjfTkg

rous surface. Excessive or uneven gesso layers are sometimes visible in the surface of finished paintings as a change that's not from the paint.

Standard sizes for oil paintings were set in France in the 19th century. The standards were used by most artists, not only the French, as it was—and evidently still is—supported by the main suppliers of artists' materials. Size 0 (toile de 0) to size 120 (toile de 120) is divided in separate "runs" for figures (figure), landscapes (paysage) and marines (marine) that more or less preserve the diagonal. Thus a 0 figure corresponds in height with a paysage 1 and a marine 2.

Although surfaces like linoleum, wooden panel, paper, slate, pressed wood, Masonite, and cardboard have been used, the most popular surface since the 16th century has been canvas, although many artists used panel through the 17th century and beyond. Panel is more expensive, heavier, harder to transport, and prone to warp or split in poor conditions. For fine detail, however, the absolute solidity of a wooden panel has an advantage.

Process
A man's finger sticks through a hole in a large wooden palette. One of his hands is dipping a brush into the paint and the other holds numerous brushes in reserve.
A traditional wood palette used to hold and mix small amounts of paint while working
Oil paint is made by mixing pigments of colors with an oil medium. Since the 19th century the different main colors are purchased in paint tubes pre-prepared before painting begins, further shades of color are usually obtained by mixing small quantities together as the painting process is underway. An artist's palette, traditionally a thin wood board held in the hand, is used for holding and mixing paints. Pigments may be any number of natural or synthetic substances with color, such as sulphides for yellow or cobalt salts for blue. Traditional pigments were based on minerals or plants, but many have proven unstable over long periods of time. Modern pigments often use synthetic chemicals. The pigment is mixed with oil, usually linseed, but other oils may be used. The various oils dry differently, which creates assorted effects.

A brush is most commonly employed by the artist to apply the paint, often over a sketched outline of their subject (which could be in another medium). Brushes are made from a variety of fibers to create different effects. For example, brushes made with hog bristle might be used for bolder strokes and impasto textures. Fitch hair and mongoose hair brushes are fine and smooth, and thus answer well for portraits and detail work. Even more expensive are red sable brushes (weasel hair). The finest quality brushes are called "kolinsky sable"; these brush fibers are taken from the tail of the Siberian weasel. This hair keeps a superfine point, has smooth handling, and good memory (it returns to its original point when lifted off the canvas), known to artists as a brush's "snap". Floppy fibers with no snap, such as squirrel hair, are generally not used by oil painters.

In the past few decades, many synthetic brushes have been marketed. These are very dura

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