Support of painting

The support of painting is the matter or the object on which one paints. The fabric on frame is the most widespread support of painting in Occident, but there exist many other supports.

Mural

The mural has various aspects, it is one of oldest known with prehistoric caves like, for example, that of Lascaux. Indicated under the rupestral term Art or parietal Art to indicate paintings on rocks for the first, and more specifically on the walls of the caves for the second, the mural is found at all the times a little everywhere around planet. One also finds it throughout the Histoire of art, on the temples (churches, pagodas…), on the dwellings, on the monuments or the vehicles.

The most recent form, in the modern art, is found in paintings with the Aérosol which one calls also Graffiti or more recently than some name graphs .

Painting on fabric

Painting on fabric, which consists in applying painting to a fabric especially conceived for that, is undoubtedly the most widespread support of painting.

Generally made flax in Europe, of Silk in the Far East, there are several manners of painting on a fabric, according to whether it is fixed or not on a support.

Usually, one paints on a fabric, coated of adhesive and covered with a finish, generally tended on a frame in occident, or preserved rolled up in the traditional techniques of the Far East.

The frame is a framework of wood slats, simple or reinforced according to the format. The slats are slightly skewed on the side of the fabric, so that it is not in contact with wood, if it is not by the edges. The slats constituting the frame neither are stuck nor nailed, but simply encased by tenons and mortises. Key wood corners or are introduced into the angles of the assemblies, so as to draw aside the slats and to regulate the tension of the fabric. The fabric is nailed on the circumference of the frame (by using a grip with tightening ), then it receives a finish containing adhesive of skin, which causes to tighten the fabric, and a prime coat, according to the technique chosen by the painter. Today one can apply directly a gesso , finish very prepared. The majority of the sold ready with employment, industrially manufactured fabrics, received a finish beforehand, then are fastened on the frame. One also finds in the trade of the paperboards or the panels fabrics, limited to the small sizes.

Nowadays the fabrics are tended on a paperboard, a mural support or wood, temporarily hung by adhesive tapes in order to support the treatments, pressures and tensions which a tended fabric could not box. It are then nailed or fastened tended on the frame, board or final paperboard at the end of the execution of painting.

Some however prefer to paint the fabric directly on the final support.

Painting on Paper, Papyrus, Wood, paperboard

See also: Painting on wood

These forms of support allowed a greater facility in the transport of the media drawn, painted or written.

In North Africa, the papyrus quickly replaced the Parchemin. In China, paper arrived in the Antiquité. It will be necessary to await the end of the Moyen-âge so that the technique of paper arrives in Europe, and can finally allow the easier and fast diffusion writings and of painting.

Today, paper is certainly the support of painting more used, that it is via books or notebooks of sketch, or by more automatic processes, the such personal printers for the artists or the general public, or even machines with offset in the printing works or poster, book-related industries, more generally. The use of the Wood as pictorial support is known for examples which go up with the Egypt Ancient Empire. From this time one found statues Funéraire S of wood covered with Gesso and polychromées. The first true known portraits on wood date from the ptolémaïque time, but they remain of funerary use.

The use of the wood panel by the artists sees his rise with the Moyen-âge because it allows, contrary to the mural Fresque S, to transport works easily. Most famous of the tables, the Mona Lisa of Léonard de Vinci, is painted with oil on wood panel.

Starting from the Rebirth the support of fabric tended on Frame, lighter and less sensitive to the hygrometrical variations , replaces little by little the panel of wood which fall in disuse.

It is necessary to await the 20th century and the appearance of wood pasted or reconstituted modern, less prone to the deformations and less expensive, so that the artists are interested in it again.

The support wood “medium”, of very fine and very soft agglomerated type, offers an interesting alternative because easy to get in specialized large surface. It is enough to pose a finish followed by a simple sandpapering before being able to use it with acrylic or different paintings.

Painting annealed glass

The painting annealed glass has the advantage of offering a good protection to painting. But she asks a great technical control because the layer painted in first will be the first visible layer. For the Verre eglomized one will use in addition to the money or gold sheets.

If the realization of a Vitrail primarily consists in assembling parts of glasses coloured, it is sometimes called upon painting to supplement and specify the drawing.

The Ceramic , that it is about Faïence, of Porcelaine…, is often decorated with paintings.

Animal support

the Peinture on skin gathers mainly the Tatouage and the Bodypainting (on alive skin) and the painting on Parchemin (dead skin) which are thousand-year-old traditions. One finds traces of tattooing on some 5000 year old bodies as Otsie which one found frozen in the Italian mountains . The parchment as-with him was used a long time, in particular throughout the Moyen-âge in France, until one is essential the technique of the Papier of China. The parchment was initially used in the form of Rouleau X, then in the form of Codex (folded layers).

painting on Ivory: Until recently, the ivory was used as support of painting. One finds in particular the works painted on ivory with the Rebirth.

Painting on Carapace: The carapace of Tortue was used by Chinese oracles like first form of support of writing.

Painting on metals

The Cuivre is a good support for the oil-base paint but requires a sandpapering before its application. The Zinc and the Aluminum are also of good supports.

Painting on fabric

One can almost paint on any fabric with special painting fabric (like Sosoft). One can also use acrylic painting mixed with medium for fabric with proportion of 2/1 and pass by again after painting dried so that painting is due to washing out of machine.

Numerical painting

See also: numerical Painting

Since the years 1970, the numerical Painting with fact its appearance, initially stammering, because limited by the palette of these tools and mainly used in applications of video illustration. Nevertheless as of the first years, of the computer graphics or light pens made their appearance in order to obtain a flexibility and precision of work close to the pencils or brushes. One found it rather early in emissions debates with political character, or caricaturists crunched the satirical drawings posted during the emission. For example, in France one of the first emissions to use this technique was “Right of reply” of Michel Polac

More recently, towards the end of the year 1990, with the development technological recent making it possible to treat in real-time of the pallets of 16 million colors and more, appeared what one calls the Speed painting and the Matte painting, these Barbarisme S english-speaking still does not have translation today.

The speed painting (fast painting), approaches the techniques of Pochade in traditional painting, where the goal is to crunch by large flat tints of colors, the subject to be represented in little time, then to add to it some plastic keys with brushes (with the numerical direction) specialized. One generally arranges work there not exceeding 1:30.

The matte painting as for him is rather a numerical application of the painting annealed glass used to create artificial decorations in which will move real characters or more recently of the objects in synthesis of image 3D. In the case of the numerical one, from the virtual copies will come to represent the painted glass plates.

Many practitioners of matte painting practice the speed painting and reciprocally. The matte painting being more finished version and the speed painting (although being able to be very also finished), are rather used by play, to set up a project, but can be appropriate very well for certain types of illustrations.

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