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Ink Painting Landscape
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 Hanging Scroll kakejiku Kakemono A landscape by ink painting Japan New  US $229.99
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 1986 European wc & ink impressionism landscape painting - signed US $150.00
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Being able to capture the likeness of a human being on canvas, using paint, is certainly a sought after accomplishment for many new painters. It can also be somewhat challenging. This article will cover some of the more basic portrait painting tips & techniques and help lessen some of the confusion many beginners face. With practice, you will soon be painting portraits like the masters.
If at all possible, I highly recommend you paint your portraits using a live model as opposed to a photograph. There is simply no substitution for painting from life.
Painting a successful portrait is all about how you observe the subject. You want to study the subject as a whole. Study the bone structure and try to see shapes and planes. Do not try and paint every little detail exactly as you see it.
For beginners, it is probably best to start out with a lighting effect where light and shadow are in high contrast. This will make for a much easier painting.
Focus on one section at a time. Finish each section before moving on to the next.
Keep the darks of your portrait at a thin consistency while your lights should be painted on thickly.
Many beginners struggle with mixing flesh tones. I know I did when I first started painting. Remember that skin comes in a variety of colors & textures, so there is no specific formula for mixing flesh tones in portrait painting. You will have to experiment and practice, until you find the right color mixtures for any particular subject. Never purchase any pre-mixed flesh colors. When mixing your colors be careful not to over mix, which can deaden a color.
Try and repeat the colors and values in your painting to create balance.
When painting hair, don't try and paint every individual strand of hair. Look at the hair as one object and then paint the lights and darks. Paint the hair in the direction of the shape of the head.
The muzzle area of the face (the space between the nose and mouth) is generally the same color as the flesh but cooler.
When painting backgrounds, don't make them too detailed or busy. If you do, you will draw focus away from your portrait.
Add bits of color where the shadow meets the light in your portraits.
Fleshier parts of the face are generally warm and bonier parts of the face, like the chin for instance, are generally cool in color.
The white in the eye is not white. To get an accurate color for the white in the eye you can take the subjects basic flesh color and then lighten it with a gray made from black and white.
I hope these portrait painting tips & techniques have helped. Portrait painting can be difficult, possibly even frustrating in the beginning. Never give up and keep practicing. You will get the hang of it.
Ralph Serpe is Webmaster and Founder of Creative Spotlite. Visit today for more portrait painting techniques Be sure to also check out our Blog for more free art lessons
Making of Thangka Paintings
Preparing the foundation
The kind of thangka under discussion here, the canvas you buy, is made of a woven material: cotton, linen, and sometimes silk. A finely woven structure, made of a single piece of fabric, is best, because paint easily chips off of thicker to rougher fabrics when the thangka is rolled up. The painted canvas is rectangular in shape, taller than it is wide, ideally measuring on the average 30inches tall by 20 inches wide (75 by 50centimeters). The same 3:2 ratio f height to width can also be found in other formats: 12 by 8 inches (30by 20cm); 48 by 32 inches (120 by 80 cm); 120 by 80 inches (300 by 200 cm) for exceptionally large specimens. These proportions generally also apply to the huge thangkas - measuring up to 180 by 130 feet (55 by 40 meters) that are hung out side the wall of the monasteries during festivals. There are also elongated thangkas that are wider than they are tall, with a size ratio of 2:3.
The edges of the canvas are folded over twice, rather than hemmed, to prevent them from unraveling. Then the canvas is fastened with thread to four laths that are firmly attached with twine to a wooden frame, and strung tightly, so that it looks like an upright trampoline.
The front and the back of the cloth are swabbed with a sizing of anima; glue consisting of boiled bones and skins, often of a water buffalo. After this layer has been applied, it is polished with a smooth stone or shell. This produces a smooth, even layer on rough or uneven cloth that will function well for sketching and painting and will keep the paint from seeping into the cloth.
Sketching
For orientation, the painter will often first lay down a grid of coordinates in the form of eight lines: two diagonal lines with a horizontal and a vertical axis drawn through their intersection, and four lines drawn parallel to the frame. Sometimes the painter will do this on the back so that the lines show through when the canvas is held up to the light the next step is a charcoal sketch. When the painter is satisfied with the result, the lines will be accentuated with ink.
There are separate drawings, of templates, available for many of the figures that are to be painted. They can be transferred to the canvas by pricking holes through them along the contours and on the most important lines and components. Powder is blown through these holes, resulting in a dotted outline on the canvas. Another technique for transferring figures uses block prints. The wood or metal blocks are painted black; the figures are colored in at later stages.
When the sketch is finished, it is time for the coloring stage. Large color area areas are often applied by brushing or writing numbers or syllables into the area in question. Black, for instant, is indicated with the number two or with the syllable Na, yellow with five or SA. When applying the colors, a particular sequence is commonly followed. First, the area furthest away in perspective, the sky, is colored. Then the closer landscape is done, followed by trees, rocks, and water. After this come the deities and other figures. The throne, clothing, and nimbus are painted first. Light colors are applied before dark colors, and then details in gold are added.
Painting is done as economically as possible in order to avoid constantly preparing or mixing paint. If the painter is using a particular color, it will be applied to all the relevant places, sometimes to several thangkas at once. Shadows are worked in toward the end. Finally, the faces are painted – the eyes last of all. As with sculptures, after the eyes have been rendered, “the opening of the eyes” is an important initiation ceremony, celebrated, incidentally, only for special thangkas. Before the 19th century, only mineral pigments and organic coloring agents were used. Even today pigments are still being produced in this way, but faster and cheaper alternatives have come along. At the beginning of the 19th century, the development of synthetic colors got underway in Europe. The motivation was finding and alternative for expensive color blue produce from lapis lazuli and ultramarine. Since 1850, synthetic pigments have been making there way to India and beyond, including Nepal and Tibet.
The colors are put in ceramic or porcelain bowls. A little binding agent is added- most often a lime made of boiled animal skins, along with a little bit of water – and it all gets heated up slowly.
Today’s thangkas are increasingly made using modern colors. Factory – made paints offer a great variety of colors and tints, the present generation of Tibetans and Newari painters are in no way averse to using them and are experimenting to their hearts content.
There are five basic colors: red, yellow, green and white. Another important color that is widely used is black.
Many of the paintings reproduced here exhibit modern color schemes. They have been done with water- based paints. Often, but not always, a layer of vegetable varnish is applied.
- Besides polychromatic paintings, there are gold thangkas with gold background and drawings done in red, with very little or n additional color. In general, peace-loving deities and person-ages are depicted in gold thangkas. Then there are black thangkas, made with a blue black ink as a base, and a minimal amount of colors; this presentation usually consists of wrathful deities. There are also red thangkas with a lot of gold details, depicting friendly or protective deities.
Paint is applied with brushes of various sizes. They have wooden handle that have been cut to a point on one side. Hairs are tied around the point. The hair can be from a goat, cat, or horse. In Nepal, hairs taken from the ears of water buffalos are most often used. Painters today also use imported factory- made brushes.
Framing
Once the painting is finished, the canvas is loosened from it’s stretchers and framed with textile edging. The silk or brocade trim is of an established width, so that the depth of the bottom trim is half the length of the painting, the top one fourth, and the sides are one-eighth of the length. Still, the framed thangka is not completely rectangular but splays out a little toward the bottom, and metal caps are usually slipped over the ends. If a thangka is not in use, but not rolled up either, a thin piece it from soot and smoky lamps, and to avoid the image being visually touched bye uninitiated eyes. Often the curtain will be yellow silk, with red or blue dots, or sometimes it has a flower motion on it. Over this lowered curtain two bands of red silk hang down to the very bottom. At the top between these two strips hangs a lightweight read cord with which the veil can be tied up. At the very top there is a cord by which the thangka can be hung or with it can be tied together when it is rolled up.
About the Author
How much do you think these would sell for?
I took an art class over the summer and I really need money and I was just wondering how much you think these would sell for and/or how much you would but them for?
1) Black and White Landscape
http://img.photobucket.com/albums/v322/FaerieDust919/nocopyyo.jpg
2) Hand-Drawn & Painted Bugs Bunny
http://img.photobucket.com/albums/v322/FaerieDust919/dontcopyyobugs.jpg
3) Spray Painted Person w/ A Sponge-painted background and outlined with ink
http://img.photobucket.com/albums/v322/FaerieDust919/donotcopyyospray.jpg
Thanks =]
That was like the first thing I did in that class.
Someone please tell me how much you would seriously pay for these if your into art. And no, $20 isn't enough.
Okay well thanks lady for putting me down >=P
But I didn't trace it so there!
Try putting them on Ebay....people will bid for them. You never know....people will pay $1,000 for a piece of toast with a Virgin Mary burn mark on it. So you might get a real good amount for your pretty pictures!
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