I'm so grateful for the subtitles although even if you didn't have them I'd still find your tutorials mesmerising. I'm new to paintings n all stuff but very inspired by your techniques Ich beziehe den Binder online, z. I uploaded this today they said it would be with English subtitles it was all in German?
Very disappointed. Pamela Cain Hello Pamela, you can see the subtitles, when you click on the subtitles-symbol at the bottom of the video-Frame!! Wenn Du magst, kannst Du mir Dein Ergebnis ja mal schicken! Hi Gerda, I think I dont say it enough, but I love watching your videos!
It is always a nice moment when you load up. I really sit down to watch them. I know editing videos takes a lot of work, so thank you for sharing! One question, do you work on acrylic paper? What brand? I live in Switzerland and mostly order from gerstaecker :. Gerda Lipski Aha, ok! Das habe ich in hulle und fulle : Super danke fuer deine schnelle antwort. Und ich hoffe ich sehe noch viele deine schone arbeiten, ich bin suchtig :.
Gerda Lipski Jetzt probiere ich doch mal mein bestes deutsch : Wie heisst drawing cardboard oder watercolor cardboard in Deutsch? Ich habe canvas board malpappe , aber ich finde es zu hard. Und canvas ist zu dick, da ich kein platz mehr habe fuer all meine bilder , aiiii. Es waere also super das was du brauchst damit ich es in ordner stauen kann. Danke fuer deine antwort, liebe gruss aus Interlaken , schweiz. Hi Wilma, thank you for your Feedback! Usually gregarious in small flocks; sometimes solitary.
Forages on ground and in trees, gleaning from bark and foliage and probing flowers forehead often coloured orange or yellow by pollen ; visits bird tables. Large and aggressive; chases other birds at food source. Flicks wings vigorously when alarmed.
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Similar to Spottedbacked Weaver. Insects, seeds, flower parts, nectar especially of Aloe and Erythrina , bread from feeding tray. Oval to kidney-shaped chamber woven by male of relatively broad strips of grass and palm leaf, with short vertical entrance tube Fig. Plain bright blue-green, often darker at thick end; measure 97 24,7 x 16,1 22,,9 x 15,,8.
Almada regressa a Portugal em Almada regressa definitivamente a Lisboa em A estadia em Paris em marca, neste aspeto, um ponto de viragem.
A partida dos emigrantes, c. Watercolor American English or watercolour Commonwealth and Ireland , also aquarelle from French, is a painting method in which the paints are made of pigments suspended in a water-soluble vehicle.
The term "watercolor" refers to both the medium and the resulting artwork. The traditional and most common support for watercolor paintings is paper; other supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood, and canvas. Watercolors are usually transparent, and appear luminous because the pigments are laid down in a relatively pure form with few fillers obscuring the pigment colors.
Watercolor can also be made opaque by adding Chinese white. In East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean, and Japanese painting it has been the dominant medium, often in monochrome black or browns.
India, Ethiopia and other countries also have long traditions. Fingerpainting with watercolor paints originated in China. Although watercolor painting is extremely old, dating perhaps to the cave paintings of paleolithic Europe, and has been used for manuscript illumination since at least Egyptian times but especially in the European Middle Ages, its continuous history as an art medium begins in the Renaissance.
Despite this early start, watercolors were generally used by Baroque easel painters only for sketches, copies or cartoons full-scale design drawings. However, Botanical illustrations and those depicting wildlife are perhaps the oldest and most important tradition in watercolor painting.
Botanical illustrations became popular in the Renaissance, both as hand tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper.
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Botanical artists have always been among the most exacting and accomplished watercolor painters, and even today watercolors—with their unique ability to summarize, clarify and idealize in full color—are used to illustrate scientific and museum publications. Wildlife illustration reached its peak in the 19th century with artists such as John James Audubon, and today many naturalist field guides are still illustrated with watercolor paintings. Many watercolors are more vibrant in pigment if they are higher quality.
Some British market watercolors can be found in many craft stores In America and in other countries too. The term "watermedia" refers to any painting medium that uses water as a solvent and that can be applied with a brush, pen or sprayer; this includes most inks, watercolors, temperas, gouaches and modern acrylic paints. The term watercolor refers to paints that use water soluble, complex carbohydrates as a binder. Bodycolor refers to paint that is opaque rather than transparent, usually opaque watercolor, which is also known as gouache.
Watercolor painters before c. William Reeves — set up in business as a colorman about In he and his brother, Thomas Reeves, were awarded the Silver Palette of the Society of Arts, for the invention of the moist watercolor paint-cake, a time-saving convenience the introduction of which coincides with the "golden age" of English watercolor painting. Modern commercial watercolor paints are available in two forms: The majority of paints sold are in collapsible metal tubes in standard sizes typically 7. Pan paints actually, small dried cakes or bars of paint in an open plastic container are usually sold in two sizes, full pans approximately 3 cc of paint and half pans favored for compact paint boxes.
Pans are historically older but commonly perceived as less convenient; they are most often used in portable metal paint boxes, also introduced in the mid 19th century, and are preferred by landscape or naturalist painters. Thanks to modern industrial organic chemistry, the variety, saturation brilliance and permanence of artists' colors available today is greater than ever before. However, the art materials industry is far too small to exert any market leverage on global dye or pigment manufacture.
With rare exceptions, all modern watercolor paints utilize pigments that were manufactured for use in printing inks, automotive and architectural paints, wood stains, concrete, ceramics and plastics colorants, consumer packaging, foods, medicines, textiles and cosmetics. Paint manufacturers buy very small supplies of these pigments, mill mechanically mix them with the vehicle, solvent and additives, and package them.
Many artists are confused or misled by labeling practices common in the art materials industry. The marketing name for a paint, such as "indian yellow" or "emerald green", is often only a poetic color evocation or proprietary moniker; there is no legal requirement that it describe the pigment that gives the paint its color. More popular color names are "viridian hue" and " chinese white". This allows artists to choose paints according to their pigment ingredients, rather than the poetic labels assigned to them by marketers. Paint pigments and formulations vary across manufacturers, and watercolor paints with the same color name e.
Watercolor paints are customarily evaluated on a few key attributes. In the partisan debates of the 19th-century English art world, gouache was emphatically contrasted to traditional watercolors and denigrated for its high hiding power or lack of "transparency"; "transparent" watercolors were exalted. Paints with low hiding power are valued because they allow an underdrawing or engraving to show in the image, and because colors can be mixed visually by layering paints on the paper which itself may be either white or tinted. The resulting color will change depending on the layering order of the pigments.
In fact, there are very few genuinely transparent watercolors, neither are there completely opaque watercolors with the exception of gouache ; and any watercolor paint can be made more transparent simply by diluting it with water. The 19th-century claim that "transparent" watercolors gain "luminosity" because they function like a pane of stained glass laid on paper — the color intensified because the light passes through the pigment, reflects from the paper, and passes a second time through the pigment on its way to the viewer—is false: Furthermore, typically most or all of the gum binder will be absorbed by the paper, preventing it from changing the visibility of the pigment.
Staining is a characteristic assigned to watercolor paints: Less staining colors can be lightened or removed almost entirely when wet, or when rewetted and then "lifted" by stroking gently with a clean, wet brush and then blotted up with a paper towel. In fact, the staining characteristics of a paint depend in large part on the composition of the support paper itself, and on the particle size of the pigment.
Staining is increased if the paint manufacturer uses a dispersant to reduce the paint milling mixture time, because the dispersant acts to drive pigment particles into crevices in the paper pulp, dulling the finished color. Granulation refers to the appearance of separate, visible pigment particles in the finished color, produced when the paint is substantially diluted with water and applied with a juicy brush stroke; pigments notable for their watercolor granulation include viridian PG18 , cerulean blue PB35 , cobalt violet PV14 and some iron oxide pigments PBr7.
Flocculation refers to a peculiar clumping typical of ultramarine pigments PB29 or PV Both effects display the subtle effects of water as the paint dries, are unique to watercolors, and are deemed attractive by accomplished watercolor painters. This contrasts with the trend in commercial paints to suppress pigment textures in favor of homogeneous, flat color.
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Commercial watercolor paints come in three grades: Artist Watercolors contain a full pigment load, suspended in a binder, generally natural gum arabic. Artist quality paints are usually formulated with fewer fillers kaolin or chalk which results in richer color and vibrant mixes. Conventional watercolors are sold in moist form, in a tube, and are thinned and mixed on a dish or palette.
Use them on paper and other absorbent surfaces that have been primed to accept water-based paint.
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Student grade paints have less pigment, and often are formulated using two or more less expensive pigments. Student Watercolors have working characteristics similar to professional watercolors, but with lower concentrations of pigment, less expensive formulas, and a smaller range of colors. More expensive pigments are generally replicated by hues. Colors are designed to be mixed, although color strength is lower. Hues may not have the same mixing characteristics as regular full-strength colors. Scholastic watercolors come in pans rather than tubes, and contain inexpensive pigments and dyes suspended in a synthetic binder.
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Washable formulations feature colors that are chosen to be non-staining, easily washable, suitable for use even by young children with proper supervision. They are an excellent choice for teaching beginning artists the properties of color and the techniques of painting. As there is no transparent white watercolor, the white parts of a watercolor painting are most often areas of the paper "reserved" left unpainted and allowed to be seen in the finished work. To preserve these white areas, many painters use a variety of resists, including masking tape, clear wax or a liquid latex, that are applied to the paper to protect it from paint, then pulled away to reveal the white paper.
Resist painting can also be an effective technique for beginning watercolor artists. The painter can use wax crayons or oil pastels prior to painting the paper. The wax or oil mediums repel, or resist the watercolor paint. White paint titanium dioxide PW6 or zinc oxide PW4 is best used to insert highlights or white accents into a painting.
If mixed with other pigments, white paints may cause them to fade or change hue under light exposure. White paint gouache mixed with a "transparent" watercolor paint will cause the transparency to disappear and the paint to look much duller.