Egg Tempera Painting - Tempera, Underpainting, Oil, Emulsion, Painting - A Manual Of Technique

Vaclav Vytlacil

• Publisher: Vytlacil Press
• Year: 2011
• Print ISBN: 9781406765069
• eBook ISBN: 9781446545164
• Topic: Art
• Subtopic: Art Techniques

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

INDEX

Bassano — 15

Bellini — 10

Broad Knife — see Knife

Brush — 49, 50

Canvas — 36, 39, 41, 44, 45, 48

Cardboard — 43

Cennino Cennini — 29

“Colle de Lapin” — see Glues

Combination White — 18, 19, 20, 30, 67, 68

Damar — see Varnish

Doerner, Max — 2, 8, 9, 10, 20, 30, 34, 40, 68, 71

Egg — 17, 18, 19, 20, 22, 23, 24, 25, 26

White — see Varnish

Yolk — 33, 34

Emulsions — 17, 22, 63

see also Tempera Emulsions

Formaldehyde — 38, 39, 60, 67

Formalin — see Formaldehyde

Gelatine — 20, 43, 68

Glues — 17, 36, 39, 40, 44, 45, 46, 51

“Colle de Lapin” — 41, 51

Rabbit Skin — 36, 39, 41, 51, 63, 64

“Totin” — 51

Glue Tempera — 17

Glycerine — 60

Gouache — 17, 22, 23, 24, 38, 59, 67

Grounds — 36

Cardboard — 43

Chalk — 23, 24, 36, 39, 42, 44, 46, 67

Full Oil — 42, 44, 69, 70

Non-Absorbent — 42, 45, 69, 70, 71, 73

Paper — 43

Tempera — 24, 25, 39, 42, 43, 44, 45, 46, 47, 67, 68, 69, 70, 72

Gum Arabic — 29, 59, 60, 62, 63, 64

Honey — 60

Jars — 22, 29

Knife

Broad — 38, 50

Palette — 25, 45, 55

Lead White —...

Table of contents

• Cover
• Title
• Copyright
• Contents
• Introduction
• Note on Oil Painting and Tempera Painting—Summary of essential differences between the two media
• Oil Painting—General discussion—Doerner’s theory of the “Mixed-Technique”—Maroger’s theory of Oil-Emulsion Painting—Theory of “Fat” and “Lean”
• Notes on Underpainting—Difficulties of the beginner—Practical suggestions—Artistic considerations
• Tempera Painting—Description and classification for the sake of clarity
• Emulsions For Tempera Painting—Egg and Water—Yolk of Egg and Water—Lean Tempera—Medium Fat Tempera—Pastose Tempera—Formulae and descriptions—Suggestions and cautions
• Rubbing or Grinding of Tempera Colours—Suggestions based on practical experience—Three Good Tempera Whites
• Putrido—Preparation—Characteristics—Possibilities in combination with other forms of tempera
• Grounds for Tempera—Chalk Ground—Tempera Ground—Tempera Panel—Coated Paper and Cardboard—Formulae and detailed instructions for making
• Oil Grounds—Full-Oil Ground—Non-Absorbent Ground—Formulae and detailed instructions for making
• Notes on Materials—Canvas—Stretching—Stretchers—Tacks—Brushes—Gilder’s Whiting
• Glues—Fish Glue—Rabbit Skin Glue (“Colle de Lapin”)—Tests—Preparation
• Linseed Oil—General notes—Sun-Bleached—Sun—Thickened
• Damar Varnish—Notes on preparation
• Lead White—Cautions in handling
• Gouache—Preparation—Possible use with tempera emulsions
• Maroger Oil Emulsion—Description—Maroger’s theory of Oil Emulsion Painting—Chemical structure
• Summary Of Procedures—Brief notes on Seven Different Methods of Picture-Building (ordinary direct oil painting apart) summarizing the material contained above
• Index