Sculpture 1 MAGIX Movie Edit PRO 2015 v14.0.0.166 With Crack

THE TWO TRADITIONAL METHODS OF MAKING SCULPTURE are carving and modeling. A carved sculpture is made by cutting away the surplus from a block of hard material such as stone, marble, or wood. The tools used for carving vary according to the material being carved. Heavy steel points, claws, and chisels that are struck with a lump hammer are generally used for stone and marble. Sharp gouges and chisels that are struck with a wooden mallet are used for wood. Sculptures formed from hard materials are generally finished by filing with rasps, rifflers, and other abrasive
implements. Modeling is a process by which shapes are built up, using malleable materials such as clay, plaster, and wax. The material is cut with wire-ended tools and modeled with the fingers or a variety of hardwood and metal implements. For large or intricate modeled sculptures an armature (frame), made from metal or wood, is used to provide internal support. Sculptures formed in soft materials may harden naturally or can be made more durable by firing in a kiln. Modeled sculptures are often first designed in wax or another material to be cast later in a metal such as bronze. The development of many new materials in the 20th century has enabled sculptors to experiment with new techniques such as construction (joining preformed pieces of material such as machine components, mirrors, and furniture) and kinetic (mobile) sculpture.

Mosaic

MOSAIC IS THE ART OF MAKING patterns and pictures from tesserae (small, colored pieces of glass, marble, and other materials). Different materials are cut into tesserae using different tools. Smalti (glass enamel) and marble are cut into pieces using a hammer and a hardy (a pointed blade)
embedded in a log. Vitreous glass is cut into pieces using a pair of pliers. Mosaics can be made using a direct or indirect method. In the direct method, the tesserae are laid directly into a bed of cement-based adhesive. In the indirect method, the design is drawn in reverse on paper or cloth. The tesserae are then stuck face-down on the paper or cloth using water-soluble glue. Adhesive is spread with a trowel on to a solid surface—such as a wall—and the back of the mosaic is laid into the adhesive. Finally, the paper or cloth is soaked off to reveal the mosaic. Gaps between tesserae can be filled with grout. Grout is forced into gaps by dragging a grouting squeegee across the face of the mosaic. Mosaics are usually used to decorate walls and floors, but they can also be applied to smaller objects.

Printmaking 1

PRINTS ARE MADE BY FOUR BASIC printing processes—intaglio, lithographic, relief, and screen. In intaglio printing, lines are engraved or etched into the surface of a metal plate. Lines are engraved by hand using sharp metal tools. They are etched by corroding the metal plate with acid, using acidresistant ground to protect the areas not to be etched. The plate is then inked and wiped, leaving the grooves filled with ink and the surface clean. Dampened paper is laid over the plate, and both paper and plate are passed through the rollers of an etching press. The pressure of the rollers
forces the paper into the grooves, so that it takes up the ink, leaving an impression on the paper. Lithographic printing is based on the antipathy between grease and water. An image is drawn on a surface—usually a stone or metal plate—with a greasy medium, such as tusche (lihographic ink). The greasy drawing is fixed on to the plate by applying an acidic solution, such as gum arabic. The surface is then dampened and rolled with ink. The ink adheres only to the greasy areas and is repelled by the water. Paper is laid on the plate and pressure is applied by means of a press. In relief printing, the nonprinting areas of a wood or linoleum block are cut away using gouges, knives, and other tools. The printing areas are left raised in relief and are rolled with ink. Paper is laid on the inked block and pressure is applied by means of a press or by burnishing (rubbing) the back of the paper. The most common forms of relief printing are woodcut, wood engraving, and linocut. In screen printing, the printing surface is a mesh stretched across a wooden frame. A stencil is applied to the mesh to seal the non printing areas and ink is scraped through the mesh to produce an image.

Calligraphy

CALLIGRAPHY IS BEAUTIFULLY FORMED LETTERING. The term applies to written text and illumination (the decoration of manuscripts using gold leaf and color). The essential materials needed to practice calligraphy are a writing tool, ink, and a writing surface. Quills are among the oldest writing tools. They are usually made from goose or turkey feathers, and are noted for their flexibility and ability to produce fine lines. A quill point, however, is not very durable and constant recutting and trimming is required. The most commonly used writing instrument in Western calligraphy is a detachable, metal nib held in a penholder. The metal nib is very durable, and there are a wide range
of different types. Particular types of nibs—such as copperplate, speedball, and round-hand nibs—are used for specific styles of lettering. Some nibs have integral ink reservoirs and others have reservoirs that are detachable. Brushes are also used for writing, and for filling in outlined letters and painting decoration. Other writing tools used in calligraphy are fountain pens, felt-tip pens, rotring pens, and reed pens. Calligraphy inks may come in liquid form, or as a solid ink stick. Ink sticks are ground down in distilled water to form a liquid ink. The most common writing surfaces for calligraphy are good quality, smooth -surfaced papers. To achieve the best writing position, the calligrapher places the paper on a drawing board set at an angle.

Acrylics

ACRYLIC PAINT IS MADE BY MIXING PIGMENT with a synthetic resin. It can be thinned with water but dries to become water insoluble. Acrylics are applied to many surfaces, such as paper and acrylic-primed board and canvas. A variety of brushes, painting knives, rollers, air-brushes, plastic
scrapers, and other tools are used in acrylic painting. The versatility of acrylics makes them suitable for a wide range of techniques. They can be used opaquely or—by adding water—in a transparent, watercolor style. Acrylic mediums can be added to the paint to adjust its consistency for special effects such as glazing and impasto (ridges of paint applied in thick strokes) or to make it more matt or glossy. Acrylics are quick-drying, which allows layers of paint to be applied on top of each other almost immediately.

Pastels

PASTELS ARE STICKS OF PIGMENT made by mixing ground pigment with chalk and a binding medium, such as gum arabic. They vary in hardness depending on the proportion of the binding
medium to the chalk. Soft pastel—the most common form of pastel—contains just enough binding medium to hold the pigment in stick form. Pastels can be applied directly to any support (surface) with sufficient tooth (texture). When a pastel is drawn over a textured surface, the pigment crumbles
and lodges in the fibers of the support. Pastel marks have a particular soft, matte quality and are suitable for techniques such as blending, scumbling, and feathering. Blending is a technique of rubbing and fusing two or more colors on the support using fingers or various tools such as tortillons
(paper stumps), soft hair brushes, putty erasers, and soft bread. Scumbling is a technique of building up layers of pastel colors. The side or blunted tip of a soft pastel is lightly drawn over an underpainted area so that patches of the color beneath show through. Feathering is a technique of applying parallel strokes of color with the point of a pastel, usually over an existing layer of pastel color. A thin spray of fixative can be applied— using a mouth diffuser or aerosol spray fixative—to a finished pastel painting, or in between layers of color, to prevent smudging.

Watercolor

WATERCOLOR PAINT IS MADE OF GROUND PIGMENT mixed with a water soluble binding medium, usually gum arabic. It is usually applied to paper using soft hair brushes such as sable, goat hair, squirrel, and synthetic brushes. Watercolors are often diluted and applied as overlaying washes (thin, transparent layers) to build up depth of color. Washes can be laid in a variety of ways to create a range of different effects. For example, a wet-in-wet wash can be achieved by laying a wash on top of another wet wash. The two washes blend together to give a fused effect. Sponges are used to modify washes by soaking up paint so that areas of pigment are lightened or removed from the paper. Watercolors can also be applied undiluted—a technique known as dry brush—to create a broken-color effect. Watercolors are generally transparent and allow light to reflect from the surface of the paper through the layers of paint to give a luminous effect. They can be thickened and made opaque by adding body color (Chinese white).

Oils

OIL PAINTS ARE MADE BY MIXING and grinding pigment with a drying vegetable oil such as
linseed oil. The paint can be applied to many different surfaces and textures—the most common being canvas. Before painting, the canvas is stretched on a wooden frame and its surface is prepared with layers of size (glue) and primer. The two main types of brushes used in oil painting are stiff hog hair bristle brushes— generally used for covering large areas; and soft hair brushes made from sable or synthetic material—generally used for fine detail. Other tools, including painting knives, can also be used to achieve different effects. Oil paint can be applied thickly (a technique known as impasto), or can be thinned down using a solvent—such as turpentine. Varnishes are sometimes applied to finished paintings to protect their surface and to give them a matte or gloss finish.

Fresco

FRESCO IS A METHOD OF WALL PAINTING. In buon fresco (true fresco), pigments are mixed with water and applied to an intonaco (layer of fresh, damp lime-plaster). The intonaco absorbs and binds the pigments as it dries making the picture a permanent part of the wall surface. The intonaco is applied in sections called giornate (daily sections). The size of each giornata depends on the artist’s estimate of how much can be painted before the plaster sets. The junctions between giornate are sometimes visible on a finished fresco. The range of colors used in buon fresco are limited to lime-resistant pigments such as earth colors (below). Slaked lime (burnt lime mixed with water), bianco di San Giovanni (slaked lime that has been partly exposed to air), and chalk can be used to produce fresco whites. In fresco secco (dry fresco), pigments are mixed with a binding medium and applied to dry plaster. The pigments are not completely absorbed into the plaster and may flake off over time.

Tempera

THE TERM TEMPERA is applied to any paint in which pigment is tempered (mixed) with a water-based binding medium—usually egg yolk. Egg tempera is applied to a smooth surface such as vellum (for illuminated manuscripts) or more commonly to hardwood panels prepared with gesso—a mixture of chalk and size (glue). Hog hair brushes are used to apply the gesso. A layer of gesso grosso (coarse gesso) is followed by successive layers of gesso sotile (fine gesso) that are sanded between coats to provide a smooth, yet absorbent ground. The paint is applied with fine sable brushes in thin layers, using light brushstrokes. Tempera dries quickly to form a tough skin with a satin sheen. The luminous white surface of the gesso combined with the overlaid paint produces the brilliant crispness and rich colors particular to this medium. Egg tempera paintings are frequently gilded with gold. Leaves of finely beaten gold are applied to a bole (reddishbrown clay) base and polished by burnishing

Drawing

DRAWINGS CAN BE FINISHED WORKS OF ART, or preparatory studies for paintings and other visual arts. They can be made using a wide variety of drawing instruments such as pencils, graphite sticks, chalks, charcoal, pens and inks, and silver wires. The most common drawing instrument is the graphite pencil. A graphite pencil consists of a thin rod of graphite mixed with clay, encased in wood. Charcoal is one of the oldest drawing instruments. It is produced by firing twigs of willow, vine, or other woods at high temperatures in airtight containers. Erasers can be used to rub out marks made by drawing materials such as graphite pencils or charcoal, or to achieve a particular effect—such as
smudging. Fixative is often applied—using a mouth diffuser or aerosol spray fixative—to prevent smudging once a drawing is finished. Silver lines can be produced by drawing silver wire across specially prepared paper—a technique known as silverpoint. The lines are permanent and cannot be erased. In time, the silver lines oxidize and turn brown.