Colours

Antique

Antiquing
If you have ever 'antiqued' a painting, piece of folk art, etc. that is actually 'glazing' too, you are applying a thin layer of a darker colour (sometimes Burnt Umber or Raw Umber) over all your work, or to specific areas to give the warm patina to an otherwise fresh array of new colours. All to create the timeworn look of age. You can 'antique' with any transparent colour. Burnt Umber and Raw Umber are popular choices because their earthy warm pigments help in neutralizing most colours and help to 'tone' things down. If you have ever painted a piece that you weren't absolutely happy with, found the colours too vibrant for your taste, antique it!

Neadeen Masters CDA - Country Carousel Art©

Global Blending

Extended Acrylic Blending

David Jansen MDA, Heritage Teacher

The new Traditions Global Blending Technique gives the acrylic artist further control over the blending and drying time of their Traditions paints. With this new method, the Traditions artist can now slow down the drying time to that of an oil, and actually give the Traditions paint a longer and better control over blending than what is found with oils. Why Global Blending? We decided to call this Global Blending because for the first time acrylic artists can use old world oil techniques and paint or glaze all objects in a painting at the same time. They can use all the old world techniques that require the painting to stay wet and blend able. Below in Example 1 we show how Traditions paints normally dry. Acrylic artists for years have put the acrylic paints out on wet paper towels and misted the paints with water to keep them fresh and workable.

Example 1 shows how the paints dry when used as an acrylic. The Traditions acrylic paints contain both water and Extender Medium in each bottle. The relative amount of Extender however is low compared to water. As the water dries, the paint particles move together and dry or cure. Water and Extender both leave during this drying process. Since the amount of Extender is relatively low, the paints typically dry in 20 to 30 minutes. Artist desiring a longer working time will add Extender to the paints and increase the open time. This however is still shorter due to the water that is in the paint and the water that is continually added by the wet paper towel and misting.

Example 2 shows how the Global Blending Technique will increase the drying time. In the Global Blending technique, there is no water in the paint. All water has been replaced by Extender Medium which has a very long drying time of several days. In the Global Blending Technique, the paints are not misted; they are not placed on a paper towel. The paints are put in a hard plastic container which traps the Extender in the paint and increases the working time. Paints mixed using the Global Blending Method can be placed on your palette and used for 6 to 8 hours before they begin to dry. There is no hurry when mixing these colors. They will not dry nor spoil. They will not mold or become unusable. To mix the colors for the Global Blending Technique you need to follow the steps listed below.

Global Blending Steps

	Into a hard plastic container mix about 3 parts paint to 1 part Extender. They paint will be a little thin, however as the paint dries, the water will leave and the colors will begin to thicken. The time it takes to thicken is dependent on how much paint you are mixing. Larger amounts will take longer. A tablespoon of paint may take 2 days depending on the humidity.
	1 2

#1Adding Extender Medium

#2 Mixing Extender Medium

	Leave the colors uncovered for 6 to 8 hours. As they begin to thicken, stir occasionally and add a few drops of Extender Medium to keep them liquid. You can paint right away with these colors however they will still contain water which will shorten the drying time.
	The colors will take 2 to 3 days to thicken and become like oils. At that time, all of the slow drying water has left and the colors only contain Extender. Do not mist or add water at any time. Adding water will shorten the drying time.
	For large amounts of color, we suggest a large container that can be covered when not in use. For example a 3 oz. Tupperware container for each color works great. You can leave this uncovered for several days allowing the water to dry out. Stir occasionally and add Extender when needed to keep it liquid.
	Once the water is gone, the paint can be used on the multimedia palette without fear of drying. If at any time the paint starts to thicken, just add a few drops of Extender. The paints will keep for many months in this condition. After several weeks, the paints will stay open longer and may require a hairdryer to assist in drying.

Possibilities

In my studio I have several containers of paint that have been mixed for Global Blending.

Above I am showing a container of paint that was mixed 5 months ago. It was mixed with an equal amount of Extender Medium. The paint has never been covered (over 5 months) nor had additional Extender added to it. This paint lost about 20% of its volume as the water evaporated. Once the water had left the paint has a very long drying time. During our test the paint did not dry for 18 hours. Drying time depends on the thickness of paint you apply. Thicker layers of paint will require many hours to tack and dry. Because of the volume of paint in this container the paint will keep itself workable. We have stirred this paint about once a week for the past 5 months however nothing has been added to it.

When the Traditions paint was first developed we had several options due to the new type of resin that is being used in the paint. The drying time of the paint can truly be controlled. We decided to adjust the drying time of the paint to that found in older acrylics. By creating this method we felt future acrylic artists would have greater control over the paint and thus techniques used to create their art. Artist today using these mixing steps can paint exactly like oils, and even surpass the blending time found with oils.

The true test of these mixes is time. It takes time for water to evaporate from the paint. Once the water has evaporated the palette maintenance is very low. As the water is evaporating, you may need to stir is occasionally and add small amounts of Extender.

Photo of Global Blending Mixes that have been on a Multi- Media Palette for over 12 hours. They have not been misted nor have any Extender added to them. Colors continue to stay fresh and workable. This colors were mixed one week ago.

Photo from Sue Pruett MDA DVD.

Global Blending Palette used to create this painting.

Notice the color variations and soft blends, especially in the center rose and white flowers. The true look and technique of oils can be achieved by the acrylic artist.

This Global Painting Palette is 5 weeks old and was used to create the painting above

This palette has also painted over 6 paintings and is still fresh and usable. This palette will be usable for several months. It has not had Extender added to it for the past 2 weeks.

Global Blending and the mixing of the Traditions for Global Blending will revolutionize acrylic paints and painting technique as a whole. It is safe, non-toxic and has working times that exceed oils. Oil techniques can be used with non toxic paints. The new Global Blending technique was used in my latest DVD seminar and is also featured in Sue Pruett’s new DVD. The Heritage Team will soon be releasing several teaching aids for this new technique. Look for more information very soon.

Thanks, Dave Jansen MDA, Heritage Teacher

below is the Global Palette System

You can order this product from me.

New Articles

New articles - added Sept 12 - '06

	Global Blending
	Beautiful texture
	Allegory & Symbolism
	Glazing
	Perspective
	Colours
	Feathers
	Yellow Hues

Brush Mixing

How to 'Brush Mix' ?

This is a simple technique and one of my favorite methods for mixing and blending color. When one uses the bristles of the brush to pick up two colors at the same time and blend them together on your blending palette. Instead of mixing one large puddle of paint with the palette knife, think of it as mixing tiny patches of color.
Follow this procedure when you need to use just a little at a time to adjust an area of an object or the painting. Brush mixing does not refer to using your brush as a tool to stir large amounts of paint together into one color. Students often misunderstand this term, 'brush mix' and end up ruining a perfectly good brush this way. Brush mixing is a gentle manipulation of two or more colors, blending them into the brush to create a third hue.
I prefer to brush mix almost all my colors, that is to say, instead of having huge puddles of pre-mixed colors on the palette, I like to have fresh paint sitting on my wet palette. I pick up a little at a time, selecting the particular hue to control the value and intensity of the color on my brush. I might load my brush with two or three colors and then blend on my palette before moving to back to the painting. This can give your work a more 'painterly appearance' as opposed to a stiffer look. It is easier for me to correct one single brush blend than a whole puddle of one mixture that has gone wrong! If you are new to color theory, brush mixing can teach you quite a lot as you make mini discoveries about each color that you create.

Prioritize

We need to prioritize the players and elements in a painting, each one telling a story that is part of the whole. We need to have them add to the whole story, each in their own way, not out doing each other or over shadowing each other. No one player stands alone, their characters are all interwoven and play off each other to make the story believable and successful. Each player will have a role to play, will have to support and enhance the other, yet still suggest contrast, and variety, and just like the players in a movie, they will add texture and interest. All the elements within a painting do the very same thing, they add interest and texture, all the while making the story very clear and easy to follow.

Intensity

Intensity - The intensity of colours used (how dull or bright) they are, again will be the strongest in the Focal Point area. It's useful to include both dull and vibrant colours within this area, as one against the other will help to create the visual contrast that is necessary to set this part of the painting apart in visual interest.

www.crystalgraphics.com