Fine arts


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Fine arts 

The term fine arts was popularized in the eighteenth century to refer to the main art forms that were developed mainly by the use of aesthetics, idealization of beauty and good use of technique. The first book to be classified that classifies the fine arts is Les Beaux-Arts réduits à un même principe, published in 1746 by the French Charles Batt...

  • Acrylic paintings
    Acrylic paintings

    Acrylic paints is a kind of paint that contains a plasticized material, they are fast-drying paint, in which the pigments are contained in an emulsion of an acrylic polymer. Acrylic paints are water soluble and once dry they are resistant to it. especially noted for fast drying. Also, when drying, the tone is slightly modified, more than in the oil. The acrylic paintings dates from the first half of the 20th century, and was developed in parallel in Germany and the United States

    "Latex" is the common name of polymers obtained by emulsion polymerization, and are colloidal dispersions of very small polymer particles in a continuous medium. Latex can be applied in the manufacture of architectural paints, but also in adhesives for wood (vinyl glue), paints for paper, additives for cement and concrete, and lately for a few years in rheology modifiers.


  • Watercolor Paintings
    Watercolor Paintings

    Watercolor Paintings
    The term watercolor refers to transparent painting, unlike gouache, an opaque form of similar paint.

    The watercolor is painted using fine pigment or ink mixed with gum arabic to give body and glycerin or honey to give it viscosity and bind the dye to the surface to be painted.

    All watercolor pales if exposed to the sun, the colors remain the more quality the pigments have. It is possible to find the colors in tubes or pills, in both forms the differences between pigments are appreciated, for example with the manganese blue a granulation is obtained.

    The technique of watercolor is based on the superposition of transparent layers -washed-, using the whiteness of the paper to obtain effects and touches of light. As more washes overlap, the color becomes deeper. The color of the watercolor can be modified by adding or removing water, using brushes, sponges or rags.

    Watercolor gives many possibilities: the washing technique allows to create uniform gradients or washings, even overlapping colors. With the wet-on-wet technique, it is painted with watercolor on the previously moistened support, obtaining a different effect. It is also possible to wash the pigment once it is dry, depending on the paper, the pigment and the water temperature. Cleaning with sponge or other absorbent element, scraping, are some examples of the wide possibilities offered by watercolor.

    The most common support for this technique is paper and there is a great variety of textures, weights and colors, and their choice depends on the artist's style. Also another support very extended for the use of the watercolor is the fabric or Fabric (textile) With respect to the paper there are three standard types:
    Hot pressed paper (hp), has a hard and smooth surface, many artists consider a surface too slippery and smooth for watercolor.
    Cold pressed paper (no), is textured, semi-rough, suitable for broad and smooth washes.
    Rough paper, a grainy surface, when a wash is applied a mottled effect is obtained by the cavities of the paper.
    The grammage of the paper is the second consideration for your choice, since a thicker paper has less tendency to undulate.

    To prevent the paper from curling, it is previously moistened and stuck to a wooden fence, tightening it.


  • Oil paintings
    Oil paintings

    Oil paints, oil, word from the Latin oleum (oil), 1 is a pictorial technique consisting of mixing the pigments with a binder based on oils, usually of vegetable origin. By extension, oils are called paintings executed by this technique, which supports supports of very varied nature: metal, wood, stone, ivory, although it is most commonly applied on canvas or board. The oil remains moist for a long time, which favors the mixture of colors.


    The use of oil has been known since antiquity and was already widespread among artists of the Middle Ages, although in a minority because at that time tempera or fresco painting predominated. At the end of the 14th century and during the 15th century, the use of oil began to be generalized to the detriment of other techniques, since it allowed a slower drying of the paint, corrections in the execution of the same and an excellent stability and conservation of the color. The painters of Flanders were the first to use oil in a habitual way, and their invention was mistakenly attributed to the painter Jan van Eyck.2

    The oil that was used the most was flaxseed, but it was not the only one and each artist had his own formula that used to be kept secret. Normally the turpentine essence is used as solvent, to achieve a more fluid or more pasted brushwork, as the case may be. Many followed the advice and experiences written in the Treaty of the Theophilus monk that is already known and mentioned in the year 1100. Cennino Cennini, in his Book of Art, also mentions and describes the technique.3

    The preparation of the support to receive the paint varies according to the nature of the same. Usually a series of layers of animal glue and plaster are applied, which make the surface smooth and uniform; This is called priming. Although at first the majority of the oil paintings were on wooden support, from the 17th century onwards, with the Baroque art, the painters chose the canvas as the favorite support for their paintings, this being more practical for the elaboration of large compositions for their possibility of rolling, in addition to suffering less thermal variations and the attack of xylophagous insects.

    The paint obtained with the mixture of oils offered many advantages to the painter, among others, being able to carry out his work slowly and without haste (contrary to what happened in tempera paint, or fresco), the power to touch up the work, vary the composition, colors, etc. Precisely for these qualities was the favorite technique of painters like Leonardo da Vinci, Tiziano or Velázquez, who valued a thoughtful execution and subject to continuous corrections. Leonardo experienced several variations of the technique, such as its application on walls as a fresco, or the invention of oily varnishes and textures of varying consistency, which resulted in resounding failures, but also took this technique to new heights with the invention of sfumato or gentle gradation of light, achieved on the basis of successive layers of very light paint (glaze).

    Van Eyck, like the other Flemish painters, used oil as a miniaturist, trying to capture the details and resulting in an enameled painting; the Venetian pictorial school (Tiziano) will bring as a novelty the possibilities of texture of the brushstrokes, experiences that will later be collected, among others, by the flamenco Rubens and the Dutchman Rembrandt; the latter tested new techniques such as scraping. All these forms of painting were the academic method until the eighteenth century. From Impressionism, painters use colors practically without mixing or diluting, and without a sketch or previous design on many occasions.

    A traditional wooden pallet, used to maintain and mix small amounts of paint while working.
    The equipment used by painters is usually composed of brushes (animal bristles, especially marten, also synthetic hair), of different sizes and shapes, spatula, easel and palette. You can work on a previous sketch, or without it, freer technique called premium there.


  • Tempera painting | Gouache
    Tempera painting | Gouache

    The gouache or gouache (from the Galicism gouache that can be derived from Italianism guazzo) is a pictorial technique that consists of diluting the color in water alone or with various ingredients, such as gum, honey, etc. It is also the painting made with this technique. The aguadas are opaque watercolors, different from the watercolors made on shiny papers. The transparency of the paper is achieved from the greater or lesser intensity of the colored baths that are applied to the objects that it is intended to represent. From the three primary colors, without mixing with white or black, you can get countless colors.

    Tempera paint, also known as tempera, is a painting technique in which the solvent of the pigment is water and the binder (also called temper or thickener) some type of animal fat, glycerin, egg, casein, other organic matters or gum Historically, tempera painting is characteristic of the European Middle Ages. It can be considered characteristic of Romanesque and Gothic styles in Western Europe, and of Byzantine and Orthodox icons in Eastern Europe.


  • Pastel Paintings
    Pastel Paintings

    Pastel drawing
    The art of pastel drawing belongs to the so-called dry techniques, since unlike oil or watercolor painting, no solvent is used and applied directly to the work surface. As a support it is common to use paper of good quality, of good grammage, neutral color not white and of slight roughness, although the technique is versatile enough so that it can be used on other surfaces.

    It is usually fast and allows corrections with great ease, which is why it is chosen by many artists.

  • Books and Manuals
    Books and Manuals

    Books to learn and learn techniques in fine arts, such as oleeo paints, acrylics, and other techniques

  • Blocs for Fine Arts
    Blocs for Fine Arts

    Drawing pads, oil, acrylic, watercolor, a long etc ... Several maracas Arches, Canson, Michel, Guarro and different sizes that are sure to adapt to your need.

  • Painter easels
    Painter easels

    Easels to paint fabrics, in any technique, acrylics, oils, and more

  • Materiales Auxiliares
    Materiales Auxiliares
  • Estuches, cajas y sets
    Estuches, cajas y sets
  • Accesorios bellas artes
    Accesorios bellas artes
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