Dino-lite+Making+a+Painting

=Making a Painting under the Microscope= Winsor and Newton Artisan Water-Mixable Oils
 * [[image:oilppdetailpaints.JPG width="366" height="322"]] || ==The paint we used:==

The colours we used :
French Ultramine Blue Cadmium Yellow Light Alizarin Crimson Cobalt Blue
 * For the first washes:**

Then:
Prussian Blue Phthalo Green Indian Red Lemon Yellow Zinc White (for the tints) Ivory Black (for the shades) || These microscope images show how the colour washes we used interacted with each other and with the canvas weave. There are also some unexpected 'textures' added to the paint! Most of the colour has settled into the valleys of the canvas weave. On the left, a thin wash of Alizarin Crimson has been painted over the top.
 * [[image:20090901_130125.jpg]] || A thin wash of Cadmium Yellow.

When the paint is very watery, the pigment will settle more into the valleys of the canvas and leave the ridges cleaner and whiter. More pigment will also collect on the edges of the wash or splash of paint leaving a more richly coloured edge. || part of the yellow. The blue wash has settled into the valleys. A thick blob of Prussian Blue is on the top. || photo, with a thin blue Cobalt Blue wash over it all. Note the difference in colour on the top half compared with the lower half. A thin wash of Alizarin Crimson has been painted over parts of the canvas. Note how the blue has settled in the valleys. The red wash is deeper along the edges of the coloured area where more pigment has settled. The line running across is a hair stuck to the canvas. || Over the top of this is a thin wash of Ultramine Blue, which has darkened the yellow and collected in the valleys. Look how bright the blue looks when it is over the white canvas. There is also a small piece of twig in the paint. By the twig you can see brush mark grooves in the yellow paint The blue has coolected in these valleys also. || purplish colour. The speckled look is because the thin layers have allowed part of the white canvas beneath to show through. Over part of this is a thin wash of Alizarin Crimson tinted with Zinc White. The pink colour is brighter around the edges of the wash where more pigment has collected. || red and yellow washes. The grooves are marks from the paint brush. Over the top of this, on the right, is a pink wash made from Alizarin Crimson and Zinc White. The white has made this colour more opaque, so it has covered the green. The bright edge around this tells us that it is a wash because pigment has collected around the edge. There are small lines of green visible through the pink where the wash is absent. || Ultramarine Blue with a high saturation - a wash containing more pigment - is on the right. See how it covers the canvas more evenly. On the left is a lower saturation - a very thin wash containing less pigment. Look how this one settles unevenly, with deeper blue in the valleys and lighter blue on the ridges. Over part of this is a thin wash of Alizarin Crimson, with more pigment collected around the edges of the was. There is also a fibre of some sort stuck to the canvas. || opaque light blue tint. This has been applied quite thickly. The lines you can see are the marks remaining when the brush is lifted off the canvas. A brownish wash has been applied over part of this, the brown paint settling in the hollows, leaving the raised areas blue. ||
 * [[image:20090901_130109.jpg]] || A thin wash of Cadmium Yellow then some Cobalt Blue wash over
 * [[image:20090901_130317.jpg]] || A thin Cadmium Yellow wash beneath on the lower half of the
 * [[image:20090901_125858.jpg]] || Thicker yellow paint has caught in parts on the ridges.
 * [[image:dinoart-127.jpg]] || Some thin layers of Alizarin Crimson and Cobalt Blue build up to a
 * [[image:dinoart-71.jpg]] || Beneath the thicker green you can see small areas of the underlying
 * [[image:dinoart-124.jpg]] || This is a really good example of a difference in saturation.
 * [[image:dinoart-107.jpg]] || The blue paint here has been mixed with Zinc White to make an