Monthly Archives: March 2015

The Fresco Technique

The technique of wall painting known as Fresco called for the application of colour onto plaster. Two methods are available, and buon fresco (good fresco). and 'fresco secco' (dry fresco). Below is an example by Giotto an artist of the Florentine School.

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Mixing Greens, Part II

For most artists the mixing of colour is pure guess work – trial and error and more often than not, error! Our colour Mixing Palette, together with an understanding of what actually happens when colours are mixed, has enabled countless

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Mixing Greens, Part I

Whenever I give a demonstration of colour mixing I ask my audience where they experience the main difficulty. The answer is invariably the same – mixing greens. This is because we are very sensitive to green visually and also require

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Leisure Painter Article

Market Link Art Materials, Reports, Trade News and Comment Compiled by Ingrid Lyon Leisure Painter Magazine ´┐╝Report: Paints from Michael Wilcox School of Colour I have been asked to produce a test report on a rather special range of paints

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Colours in Nature

    The schemes of nature are usually quite simple. In this example, violet-red plus green, together with their mixes and influence from the light provide the full picture. This simplicity can be adopted when it comes to the selection

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Colour and Technique: June 2014

In the last newsletter I highlighted the fact that the European Union (the EU), is considering a ban on the use of cadmium based artist’s paints. The response to my request for your suggestions has been overwhelming. I have published a

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Colour and Technique: May 2014

POSSIBLE EUROPEAN UNION BAN ON THE CADMIUMS The authorities concerned are considering a ban on the use of Cadmiums. As part of the process they are seeking the views of the public. So we have an opportunity to have a say on the issue. If

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Colour and Technique: April 2014

Renaissance painters absorbed the developments taking place in Northern Europe and applied the science of the day to them. There was also a concentration on the development of suitable materials and techniques. The science of colour theory emerging at the time, plus advances in the understanding of light,

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Colour and Technique: January 2014

Q. What proportion of Meglip should I mix in with oil paints? I have read that 50/50 is about right but I am not sure. A. It depends on how severely you want to ruin your work as it is a disastrous substance. The manufacturers will probably tell

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Glazing Book Newsletter: November 2013

Glazing – With an emphasis on the craft of painting. It’s finally on the way. When I started to write this book I thought that it would take about a year, that was nearly ten years ago. It is now, at

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Colour and Technique: October 2012

Over the past series we have looked at some of the basics of color harmony and contrast. In this next series I want to answer some of the concerns that you have put to me about color use and technique.

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Colour and Technique: June 2012

During art lessons we are often taught the importance of drawing, of perspective, composition, and subject matter. But seldom the importance of color. Many people stand before this painting for a very long time. Yet it has to be said

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Colour and Technique: August/September 2011

Continuing our examination of the various contrasts which are available to the artist. Of direct interest to the painter is the fact that a colour can appear brighter or be changed in some other way by a neighbouring colour or

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Colour and Technique: July 2011

Continuing our examination of the various contrasts which are available to the artist. Colours are frequently described as being of a certain temperature, whether hot, warm, cool or cold. Hues associated with fire and heat; reds,oranges and yellows, are often

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Colour and Technique: May 2011

I like to copy modern paintings of the 19th and early 20th century: e.g. Cezanne, Matisse, Picasso, Bonnard. I would like to achieve original colours and values where these have degraded over time, but I have no source for this

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Colour and Technique: October/November 2010

William Turner was one of the earliest painters to fully understand the effect and power of the after-image. Before he gained this knowledge his paintings were usually rather drab, produced in the greys and browns common to his time. Click here

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Colour and Technique: August 2010

The artist has made very skilful use of the range of neutrals and coloured greys obtainable from the complementaries. The shadows and leggings of the girl have almost certainly been mixed from the same blue and orange that have been

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Colour and Technique: May 2010

Several years ago, before I started to research the subject, I felt that I knew what the term 'colour harmony' meant. As I reached further into the subject I realised that I had only the vaguest of ideas. As individuals

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Colour and Technique: March 2010

Could it be that the colours which surround us are often related or repeated, varying mainly in saturation, whereas the artist tends to over complicate matters and perhaps introduces too many unrelated colours? Click here to read the full newsletter. 

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Colour and Technique: January 2010

We are pleased to announce that Robert (Bob) Way, our Principal Teacher has organized the first of our Colour Mixing Workshops. These are outlined on page one. Bob is a very experienced teacher and an outstanding artist and colorist. Click

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Did You know?

Did You Know? – Mummy The most grisly material used in the preparation of artist's materials must surely be that of ground up human remains. Mummies were imported into Europe and ground into a pigment which gave a deep transparent

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