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Finally!
Took 3 years and finally I've been able to do this technique.
Ryan's released a pretty awesome tutorial for the price of a few starbucks drinks.
You can buy it/check it out here:
Location: 729-731 Burwood Road, Hawthorn East VIC
Developer: Ingrid Wilson
Architect: OLA Studio
Structural engineer: Wallbridge & Gilbert
Builder/bricklayer: Method Constructions
Photographer: Paul Carland, XLCreative
I'm sorry I haven't uploaded in such a long time! To be honest, I just got over the biggest un-inspired streak I've ever had. I just needed a break, I think.
Anyway, I will be catching up with pictures, and all. :]
Model: Jeffie (Check out her pictures!)
(Note: Step 3. should be labeled "Tiles". And "Tessellations" has two Ls.)
:)
I've always been fascinated by M.C.Escher and tessellations. Here's a simple way to make your own.
Any grid will work: triangles, squares, diamonds, rectangles, hexagons, etc. To really mix it up, do a different squiggle on each side of the tile. The key is to be sure the lines meet at the corners of each tile.
Since I'm not so good with a pen, I'm looking forward to seeing what someone with skill can do with this!
ryan brenizer method
85mm f/1.4 on APS-C sensor Sony A77
10 images stitch, if there are lines that didn't match i tried to get rid of those as much as possible.
cheers!
Folding In Method
Happy Zombie » Blog Archive » Fabric Folding
This is the fabric folding method I used in my re-do (BTW, not quite yet a re-DONE… but I’m getting there!). Anyhoo… I’m not sure if this is the exact way …
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I was asked to take an environmental portrait session of a university founded PHD graduation project, in which he studied different growing methods for hemp. No worries, the pictured hemp contains only a very small amount of THC. Nonetheless, this amount was enough to made my head spin after 3 hours photographing. =D
Photography & retouching by Matthias Dengler
Trying out the Brenizer Method Popularized by Ryan Brenizer. I know it is not the best display of DoF it can give or the 3D effect but i still wanted to share it with you.
This is a panorama of a total of 33 photos stitched together.
Brenizer Method photo stitch of about 25 photos, producing a shallow depth of field, shot with Canon 1000D, Canon EF 85mm ƒ/1.8 & tripod
Manual settings: 3sec | ƒ/1.8 | ISO1600
There are many raisins on the market depending on the type of grape and its preparation method, which you can buy and consume according to your taste, but people may not have much information in choosing raisins and distinguishing it in the way of production. For this reason, in this article, we intend to address the issue of distinguishing Sultana raisins so that you can more easily distinguish Sultana raisins from other raisins.
To diagnose Sultana raisins, it is better to first get acquainted with how to prepare this type of raisin and the characteristics of this raisin, below we will explain how to produce Sultana raisins.
Preparation of Sultana Raisins
As you know, there are two natural and chemical methods in preparing different types of raisins, the natural method is divided into two methods: sunny and show of sun, but in this article, we are going to discuss how to prepare sultana raisins and the method of drying grapes for the acquisition of sultana raisins in more detail.
Sultana raisins are not usually prepared by natural methods, and the only way to prepare sultana raisins is by chemical method, as follows:
Acute raisin detection methods
Sultana raisins are usually made with a chemical called aqua regia, which will speed up the drying process in grapes, which means that the drying process in other natural and traditional raisins is very slow. It may take 30 to 40 days, while chemical methods can be used to dry large volumes of grape in a matter of hours, resulting in Sultana raisins.
The process of preparing Sultana raisins is that the washed grapes are placed in open space and dried using sulfur smoke. The effect of sulfur smoke on grapes is that it causes fine cracks to appear on the surface of the raisins and then the water in the grape seeds evaporates quickly, and as a result, and only after a few hours, this process is completed and the dried grapes are taken out of the yard, and then used. And people’s consumption will be packaged and presented to the market.
Not to mention that Sultana raisins are one of the best-selling raisins that are exported to other countries and will be very profitable for the producer. However, you should also note that the consumption of this type of raisin is not recommended for people with diseases such as cancer, diabetes, etc. due to the use of chemicals in its preparation method, because it may have side effects for this group of people. Be, but still consumption of raisins in any kind of more than standard can have side effects, so it is recommended that you pay attention to the consumption of this nutrient-rich food so that you can without any side effects of food and medicinal properties.
Reference: esgtrade.com/blog/methods-of-recognizing-sultana-raisins....
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Here are some roll-around carts we use in the shop. I think I've taken this picture 10 times over the years. I don't know why.
This is 12 photos merged in Photoshop. The resultant cropped image is about 17,500 pixels high.
A request was made of a resource using a request method not supported by that resource; for example, using GET on a form which requires data to be presented via POST, or using PUT on a read-only resource.
What began as a typical PANO-sabotage street-side landscape is magically transformed into a deconstructed and reduplicated array of visions.
The list of "Methods to Try" is from Keri Smith's Tactical Guide for the Society for Exploratory Research, of which I am secretly a member. It applies to living an exploratory life, and it also applies to how to take pictures.
Histoire des plantes de la Guiane Françoise, rangées suivant la méthode sexuelle, avec plusieurs mémoires sur différens objets intéressans, relatifs à la culture & au commerce de la Guiane Françoise, & une notice des plantes de l'Isle-de-France ...
Londres,P.F. Didot jeune,1775.
Global water type by percentage. Estimates of global water resources based on several different calculation methods have produced varied estimates. Shiklomanov in Gleick (1993) estimated that: - The total volume of water on earth is 1.4 billion km3. - The volume of freshwater resources is 35 million km3, or about 2.5% of the total volume. Of these, 24 million km3 or 68.9% is in the form of ice and permanent snow cover in mountainous regions, and in the Antarctic and Arctic regions. - Some 8 million km3 or 30.8% is stored underground in the form of groundwater (shallow and deep groundwater basins up to 2,000 metres, soil moisture, swamp water and permafrost). This constitutes about 97% of all the freshwater potentially available for human use. - Freshwater lakes and rivers contain an estimated 105,000 km3 or 0.3% of the world’s freshwater. - The total usable freshwater supply for ecosystems and humans is 200,000 km3 of water, which is less than 1% of all freshwater resources, and only 0.01% of all the water on earth (Gleick, 1993; Shiklomanov, 1999).
For any form of publication, please include the link to this page:
This photo has been graciously provided to be used in the GRID-Arendal resources library by: Philippe Rekacewicz, February 2006
Ightham Mote is a medieval manor house dating back to circa 1340 - 1360. The house is surrounded on all sides by a square moat, crossed by three bridges. It has more than 70 rooms around a central courtyard.
In 1989, the National Trust began an ambitious conservation project that involved dismantling much of the building and recording its construction methods before rebuilding it. During this process, the effects of centuries of ageing, weathering, and the destructive effect of the deathwatch beetle were highlighted. The project ended in 2004 after revealing numerous examples of structural and ornamental features which had been covered up by later additions The house is a Grade I listed building, and parts of it are a Scheduled Ancient Monument.
A quick family walk out after Sunday lunch gave me a chance to grab a few shots.
This isn't the first time I've tried the Brenizer method, I tried last week on another walk out with a fairly good result apart from I completely missed a section!
For those that don't know the "Brenizer method" or "bokeh panorama" is a way of getting a wide angle style shot with a shallow depth of field physically not possible with any available lens by stitching multiple shots together.
I took too many shots for this, I've cropped it right down from the resulting panorama. Even so the Benizer Method Calculator suggests this is equivalent to 16.6mm (x 1.6 crop factor) at f/0.46!
I love pushing myself to try and learn new things. Need to work more on the technique for this!
Description Semispan airplane model and flow-direction vane mounted on wing of P-51D airplane for transonic tests by wing-flow method.
Credit: NASA
Image Number: L-46802
Date: January 19, 1946
The French naturalist and physician Pierre Belon (1517-1565) was born in Soultière and is best known for his texts, works of a self-taught naturalist, than for his services as secret agent to cardinals du Bellay and of Tournon. He worked first as an apothecary and later as an agronomist. He studied Medicine in Wittenberg with Valerius Cordus in 1540-1541 and in Italy in 1551. At that time, helped by the political situation, he completed his studies in physic at the Abbey of Saint-Germain-des Prés, from where he graduated "cum laude" in 1560, although he was never awarded the title of doctor.
Belon owed his career mainly to his political patrons. From 1542 onwards he was in the service of the Cardinal of Tournon and took part in various diplomatic legations. Entrusted with missions to the court of Charles V and to Germany, he later followed his teacher Valerius Cordus to Rome, collecting flora also from the gardens of Venice, Padua, Milan and the lakes of Northern Italy.
Again in the service of the Cardinal de Tournon, now minister to the king, Belon frequented the court and the palace of Saint Germain en Laye, admiring the monarch’s collection, which included curious specimens from all over the then known world, such as lions, panthers, ostriches, timber from Brazil and rare plants. It was then that Belon decided to translate Dioscurides and Theophrastus, collating ancient and modern plant names in his work. In 1546, at the age of just thirty, he joined Ambassador d’Aramon’s diplomatic mission to the East, a move that was to determine the rest of his life and work.
D’Aramon left Paris secretly in December 1546, with a numerous embassy, including for the first time a team of scientists. After crossing France and Switzerland, they arrived in Venice, from where they sailed away in three galleys, in February 1547. Coasting the Adriatic, the party arrived in Ragusa, from where the ambassador took the land route to Constantinople, via the southern Balkan Peninsula. Belon and Bénigne de Villers, an apothecary from Dijon, chose the maritime route through the Ionian Sea.
At Paxi, while Belon was collecting flora, his companion was kidnapped by pirates. In the spring of 1547, Belon arrived on Crete. He stayed in the house of Callergis, who provided him with guides to Mount Ida, Rethymnon and the mountains of Sphacia. The French naturalist observed the flora and fauna of the island, was tricked by the false labyrinth, watched how labdanum was collected, wandered about, collected and tried specimens, and asked questions on everything he was looking for or came upon.
Belon left Crete for Constantinople on a Venetian felucca. While sailing by Cea, the ship was attacked by pirates, but finally, by way of southern Euboea, it reached the Bosporus coast, probably in late spring. Together with Pierre Gilles, also attaché to the French embassy, Belon explored the maze of bazaars and alleys of the Ottoman capital. He became friends with a wise Turk who knew Arabic, with the help of whom and of the Avicenna Canon, which gave the names of the medicinal flora, he compiled a glossary of plants in Turkish. With this in hand, Belon explored the bazaars, in order to get to know all the edible and medicinal plants bought and sold in Turkey.
Such products were among the most important imports in the trade with the East, which was till in the hands of Venetian middlemen. Thus, Belon’s researches were to be of great help to France, mercantile rival of Venice.
Famous among the curative products of the time was “Lemnian earth” ("terra lemnia" or terra "sigillata"), the medicinal clay of Lemnos, which all European ambassadors sought to bring to their masters as a precious gift. Belon decided to visit the place of extraction of this mineral. Carrying his letters of recommendation, he embarked on a brigantine and sailed to Lemnos. Due to windless weather, the ship was again in peril from pirates and sought refuge in a harbour of Imbros, where it stayed for two days. Finally, the party reached Lemnos by rowing. In spite of Belon’s fervent wish to see the extraction of "terra lemnia", this was not possible as is it takes place only once a year, on 6 August, the feast of the Transfiguration of the Saviour. Nonetheless, Belon explored Lemnos in depth and studied its flora and fauna. He offered medical services to local patients, was housed by the island’s authorities, and finally managed to arrive in the area of the "terra lemnia" deposits, escorted by a janissary. From Lemnos, Belon reached Thasos, in the company of two monks, after a storm blew them off course near Skyros. Finally, he managed to sail by boat in four hours from Thasos to the coast of Mount Athos. He collected plants, fished, chased insects and birds and was only disappointed when he was unable to locate traces of Xerxes’ canal.
Within two days, Belon arrived in Thessaloniki. He was the first to visit and describe the metal mines of Siderocausia in the Chalcidice. He then took the route to the Strymon river, visited Serres and Drama, and toured the ruins of Philippi. He stayed in the "imaret" in Cavala and wrote on hospitality provided in similar "vakuf" ("waqf" – religious endowment) hostelries. He also passed through the lagoon of Porto Lagos, the city of Comotini, the alum mines at Sapes, and from Heraclea, Rhaidestos (Tekirdag) and Silivri in Eastern Thrace. There, he came across four thousand Ottoman troops bound for Persia, camped next to a caravanserai and moving about in exemplary discipline and quiet.
At the beginning of August 1547, Belon returned to Constantinople. In the company of Mr de Fumel and many other French noblemen, escorted by janissaries, subalterns ("çavuş") and dragomans (interpreters), they departed on the voyage to the East, starting from Egypt. Exiting the Dardanelles, Belon becomes the first European traveller to locate the ruins of Troy. He wrote on the edible plants of Lesbos, the mastic and the kindly women of Chios. Sailing by Samos, he speaks of the Greek sailor travelling with them, who was a native of that island. On visiting Patmos, he also mentions Saint John and the "Apocalypse", as well as the islands of Leros and Pserimos, Kos and Hippocrates. The ship finally dropped anchor in Rhodes. The city of the Knights, its market and port, local products and inhabitants unfold in Belon’s notes.
The company arrived in Alexandria at the end of August. They visited Cairo, Memphis, the Giza pyramids and reached the monastery of Saint Catherine on Mount Sinai. The Egyptian part of Belon’s journey is one of the first and most insightful approaches made by a European traveller to the exotic Arab Muslim world of the East. The Nile and its canals, the markets and the fauna of Africa, the womenfolk, curiosities of dress, mummies, the pyramids, the oases and the desert of Arabia, boats on the Red Sea, minerals and wild animals find their place for the first time in a dense text with unique style.
From Egypt, the company proceeded to Palestine, where they arrived ten days later, and the Holy Land becomes Belon’s new field of research. He lists rare animals, semiprecious stones, fish, birds, the uses of water, wells, and identifies trees, shrubs and native flora. He does this according to his favourite model, that is, the contrasting of modern information with ancient testimonies, without failing to record the uses and the varieties of each species. Thus, he made the pilgrimage to the Holy Land in his own way and was moved to tears in such hallowed places as Jerusalem, Galilee, Nazareth, Bethlehem and Jericho.
After touring Palestine, the travellers headed northwards. Walking across fields of sesame and cotton, they reached Damascus within five days. Belon makes a systematic classification of every remarkable thing he sees: the walls of Damascus, Syrian medicine and justice, caravanserais and pilgrims to Mecca, rare flora of the land, cedars, local methods of cultivation, the ruins of Baalbek, Aleppo (ancient Beroea), alleyways and coins, Antioch and the remains of early Christianity, Adana and the fields where Alexander the Great fought his battles, and every curiosity he came upon in the Middle East.
In central Asia Minor, Belon makes observations on the local dietary habits, especially of the Turks, and on the textiles, without neglecting plants, therapeutic springs, horses and a local species of goat. By way of Iconium (Konya) and Aksehir (he makes mention of Ankara), Belon reached Afyonkarahisar, where he stayed the rest of the winter of 1547 and until early spring of 1548. In that city he was able to write the third part of his chronicle, which speaks of the origin of the Turks, their public and private life, the institutions and administration of the Ottoman Empire, as well as the customs and religious beliefs of the Muslims.
Belon then visited to Kütahya, and toured Bursa. When he finally arrived in Constantinople, the French ambassador d’Aramon was preparing to follow Suleiman the Magnificent on his campaign against Persia. The military expedition left Ottoman capital in May 1548. The indefatigable Belon, together with Gilles and Thevet, came along as well, but this time the French naturalist only made it to Nicomedia. He returned to Constantinople and sailed to Venice at the beginning of 1549. In 1550 he left France again on a new diplomatic mission to England.
Belon became a protegé of the Montmorency family. He divided his time between botanical explorations in the provinces of France and Italy (from where he brought cypresses, plane trees and rhododendrons to his country), and his clerical duties, becoming more and more fervently opposed to the Reformation. In the last years of his life he became embroiled in the religious wars as a fanatic supporter of the Catholics. He was murdered mysteriously in the Bois de Boulogne of Paris, on an April night of 1565, while on his way to the Château de Madrid, where he had been offered a place to stay. The perpetrator was probably a fanatical Huguenot. Belon was just 48 years old.
From 1551, Belon had dedicated himself to writing and publishing his works, starting with his essay entitled "Histoire naturelle des étranges poissons marins", with his own illustrations. In 1553, he published another work on fish, "De aquatilibus", which was followed two years later by its French version, "De la nature & diversité des poissons". Again in 1553, the chronicle of his voyage circulated, which was republished in 1554 and in a revised and expanded version in 1555, together with "Histoire de la nature des oiseaux". In that same year, Belon published two studies on two different subjects, "De arboribus coniferis" and "De admirabile operum antiquorum".
Belon’s travel chronicle was reprinted in 1558, 1585, and 1588. The last edition was enriched with two engravings absent from the previous editions (Mount Sinai and Lemnos-Mount Athos). It was translated into Latin, English and German during the eighteenth century, and into Bulgarian in 1953. Extracts from this work (on Lemnos and Mount Athos) have on occasion been translated into Greek, and a publication of the chapters on Crete is currently in preparation.
Belon was a man of the sixteenth century, a pragmatist, barely sensitive to the enchantments of nature. He is a fine example of a humanist traveller-researcher, devoted as he is to the quest for truth, in his case almost exclusively in relation to matters of botany or zoology. He is the first model of a truly reliable informant, and his work was the basic manual for all travellers until Joseph Pitton de Tournefort, who visited the Aegean archipelago and the East in 1700-1702, and whose work, published in 1717, became the model for the description of the Greek islands.
Belon travelled in foreign lands with the passion of the humanist naturalist. He abandoned his books in order to don the habit of the wandering researcher, with a zeal for life and scientific knowledge
Written by Ioli Vingopoulou
Fransız asıllı doğa bilimci ve doktor Pierre Belon (1517-1565) Soultière'de doğar. Adı, Du Bellay ve Tournon Kardinalleri hesabına gizli ajan olarak verdiği hizmetlerden çok kendi kendini eğitmiş bir doğa bilimci olarak kaleme aldığı kitaplar sayesinde tarihte kalır. İlk başta eczacı daha sonra ise ziraatçı olan Belon, 1540-41 yıllarında Witteberg'de Valerius Cordus yanında ve daha sonra İtalya'da (1551) tıp öğrenimi görür. Dönemin siyasal durumundan yararlanarak Abbaye de Saint-Germain-des-Près manastırında tıp öğrenimini tamamlayıp 1560 yılında üstün başarıyla mezun olur, ancak profesör doktor ünvanını hiçbir zaman elde etmez.
Kariyerini özellikle siyasi destekleyicilerine borçlu olan Belon, 1542 yılından sonra Tournon Kardinali hizmetine atanıp birçok diplomatik sefere katılır. Başta Şarlken (V. Karl) sarayı olmak üzere Almanya'da çeşitli görevlerde bulunur. Hocası Valerius Cordus'u Roma seyahatinde izler ve Venedik bahçelerinde, Padova, Milano ve kuzey İtalya göllerinde bitki incelemeleri yapar. Dönüşünde yeniden, artık kraliyet bakanı olan Kardinal de Tournon'un hizmetine girer; bu görevdeyken sık sık kral sarayı ve Saint Germain en Laye sarayında bulunup hükümdarın o devrin bilinen dünyasından derlemiş olduğu görülmeğe değer (aslanlar, panterler, zürafa kuşları, Brezilya odunu, nadir bitkiler) koleksiyonlarını hayranlıkla seyreder. İşte tam bu sırada Belon Anavarzalı Dioskorides ve Teofrastos'un eserlerini çevirerek bu metinlere bitkilerin eski ve yeni adlarını içeren bir listeyi eklemeyi kafasına koyar. Henüz 30 yaşındayken, 1546 yılında, elçi D’Aramon'un Doğu'ya yaptığı diplomatik sefere katılır; bu yolculuk tüm yaşamını ve yazarlık uğraşını belirleyecektir.
Elçi D' Aramon 1546 yılının Aralık ayında yanına güçlü bir maiyet alarak gizli bir diplomatik sefere çıkar. Bu sefere ilk kez bilimadamlarından oluşan bir ekip de katılır. Fransa ve İsviçre'yi geçip Venedik'e varırlar, buradan üç kadırgayla 1547'nin Şubat ayında denize açılırlar. Ekip, Adriyatik kıyılarını geçerek Ragusa'ya gelir; buradan elçi D' Aramon güney Balkanlar kara yoluyla İstanbul'a doğru yol alırken Belon da Dijon'lu eczacı Bénigne de Villers ile birlikte deniz yolunu seçip İyon denizini geçer ve İstanbul'a doğru yönelir. Paksos adalarında bitki araştırması yaptığı sırada oraya gelen korsanlar yol arkadaşını kaçırırlar. 1547 yılının baharında Girit'e gelir ve Kallergis tarafından misafir edilir. Kallergis ona İda dağında, Rethimno (Resmo) ve Sfakia (İsfakiye) dağlarında gezebilmesi için rehberler sağlar. Fransız doğabilimci adanın flora ve faunasını gözlemler, sözde labirentle yanılgıya düşer, laden (labdanum) toplamasını izler, gezinir, toplar, dener, aradığı her eski şey rasladığı her yeni şey hakkında sorular sorar. Belon, Girit'ten bir Venedik filikasına binip İstanbul'a doğru yol alır, gemi Kea adasından geçerken korsanlarla bir maceraları olur, nihayet güney Evia'dan (Eğriboz) geçerek İstanbul Boğazı kıyılarına gelirler, zaman tahminen bahar sonudur. İstanbul'da Belon kendisi gibi Fransa elçiliğinde ataşe olan P. Gilles ile birlikte şehrin dolambaçlı çarşı ve sokaklarını keşfe çıkar. Arapça bilen bir Türk bilge ile arkadaşlık kurup onun yardımıyla, İbn-i Sina'nın şifa bitkilerinin adlarını belirten Tıp Kanunu'ndan yararlanarak, türkçe bir dizin hazırlar ve bununla pazar yerlerini gezip Türkiye'de satılıp alınan gıda ve şifa bitkilerini öğrenmeye çalışır. Bu tür ürünlerin ithalâtı o devirde Doğu ile ticaretin en önemli öğelerinden birini oluşturmaktaydı. Ne var ki şifa otu ticaretini hâlâ Venedikli aracılar halletmekteydi. Bu yüzden Belon'un araştırmaları Venedik'in rakibi Fransa için büyük önem taşımaktaydı.
Şifalı türler arasında tüm Avrupalı elçilerin hükümdarlarına değerli bir hediye olarak sunmak istedikleri ve bu nedenle daima önemle aradıkları bir tür de "tıyn-ı mahtûm" (Limni toprağı) ürünüydü. Belon bu toprak türünün çıkarılma eyleminde şahsen bulunmayı aklına koyar. Birkaç referans mektubu sağlayarak bir perkendeye biner ve Limnos'a (Limni) doğru yol alır. Denizin sakin oluşu yolcuları korsan saldırısına uğrama riskine sokar, bu yüzden Gökçeada'nın (İmroz) bir limanına çekilirler, orada iki gün bekledikten sonra kürek gücüyle Limnos'a varırlar. Belon'un büyük arzusuna karşın "tıyn-ı mahtûm"un çıkarılma eylemi Limnos'ta yılda sadece bir kez, 6 Ağustos Tecelli bayramında (İsa'nın metamorfozu) yapılmaktadır. Belon adada uzun uzun gezip flora ve faunayı inceler, yerli hastalara tıbbî hizmetlerde bulunur, yerel yöneticiler tarafından misafir edilir ve, nihayet, bir yeniçeri refakatinde "tıyn-ı mahtûm"un çıkarıldığı bölgeye gelmeyi başarır. Belon Limnos'tan ayrıldıktan sonra fırtınalar gemisini Skiros'a sürükler ancak daha sonra iki rahiple birlikte Thasos (Taşoz) adasına gelir. Oradan bir sandalla dört saat içinde Ayion Oros (Aynaroz) kıyılarına yanaşır. Burada bitki toplar, balık, böcek ve kuş avlar, Aynaroz dağı tepesinden Ege denizine bakar, mamafih Kserkses'ten iz bulamayınca düş kırıklığına uğrar. Buradan ayrıldıktan sonra iki gün içinde Selânik'e varır. Halkidiki'nin Siderokapsa (Seder Kapı) maden ocaklarını ziyaret edip betimleyen ilk kişidir. Daha sonra Struma nehrine doğru yönelir, Seres (Serez) ve Drama'dan geçer, antik kent Filippi'nin harabelerini gezer, Kavala'da İmarette kalıp bunun gibi vakıf misafirhanelerinin misafirperverliği hakkında yazar. Belon daha sonra Porto Lagos iç denizinden, Komotini'den (Gümülcine), Sapes'deki (Şapçı) şap madeni ocaklarından, Tekirdağ, Marmara Ereğlisi, Silivri'den geçip bunlardan seyahatnamesinde sözeder. Bu sırada İran seferine çıkan, örnek olabilecek bir düzen ve sessizlik içinde hareket eden ve bir kervansaray yakınlarında karargâh kurmuş olan 4.000 kişilik Osmanlı ordusu ile karşılaşır.
1547'nin Ağustos ayında, Belon, İstanbul'a döner ve bay De Fumel'den başka birçok Fransız soylu, yeniçeri, çavuş ve tercümandan meydana gelen kalabalık bir maiyetle Doğu gezisine çıkar. Amaçları ilk olarak Mısır'ı ziyaret etmektir. Belon Çanakkale Boğazı çıkışında Truva harabelerinin yerini tespit eden ilk Avrupalı gezgin olur. Midilli'den geçerken adanın yetiştirdiği ürünler, Sakız'dan geçerken adanın sakızı ve sevecen kadınları, Samos'ta yanlarına aldıkları adanın yerlisi yunanlı denizci, Patmos'da Yuhanna'nın Vahiy kitabı, Leros ve Pserimos adaları, Kos'ta (İstanköy) Hipokrat hakkında yazar; en sonunda Rodos'a demir atarlar. Belon'un seyahat notlarında buradaki şövalye kenti, çarşı ve liman, yerli ürünler ve adanın sakinlerinden sözedilir. Gezginler Ağustos sonunda İskenderiye'ye varırlar. Kahire ile Memfis'i ve Giza piramitlerini ziyaret edip Sina dağındaki Azize Katerina manastırına kadar gelirler. Belon'un seyahatnamesinin Mısır'la ilgili bölümünde bir Avrupalı gezgin tarafından Doğu'nun arap müslüman egzotik dünyasına karşı yöneltilen ilk ve en keskin bakışlardan birini bulmaktayız. Nil nehri ve kanallar, çarşılar, Afrika faunası, kadınlar ve kıyafet gariplikleri, mumyalar, piramitler, Arabistan çölü ve vahalar, Kızıldenizdeki kayıklar, mineraller ve vahşi hayvanlar; bunların tümü ilk kez olarak bir kitap içinde yoğun ve özel bir tarzda konum almaktadır.
Gezginler Mısır'dan Filistin'e doğru yayan olarak yola çıkarlar, on gün sonra oraya varırlar. Kutsallaşmış Yerler Belon için yeni bir araştırma alanı olur. Metninde nadir hayvan, yarı değerli taş, balık, kuş adları sayar, suyun kullanımları ve kuyular hakkında yazar, ağaçlar, fundalar ve yerel bitkilerin adlarını özdeşleştirir. Daima yaptığı gibi çağdaş bilgileri eski metinlerdeki verilerle kıyaslayıp her türün çeşitlerini ve kullanım biçimlerini de kaydeder. Belon Kutsal Yerlere kendi bildiği gibi ibadet eder; ancak tabii ki huşu içinde olan Kudüs, Celile, Nasıra, Beytüllahim ve Eriha gibi mekânlar onu heyecanlandırır.
Kutsal Yerlerde gezilerini tamamladıktan sonra kuzeye doğru yürürler. Susam ve pamuk tarlaları arasından geçip beş gün içinde Şam'a varırlar. Yazar burada da aynı düzenli biçimde Şam şehrinin surları, Suriye'de tıp, hukuk ve kervansaraylar, Mekke'ye giden hacılar, bölgenin nadir faunası, sedir ağaçları, tarım biçimleri, Baalbek harabeleri, Halep sokakları ve eski sikkeler, Antakya ve erken hristiyanlığın kalıntıları, Adana ve Büyük İskender'in muharebe yaptığı ovalar ve Orta Doğu'da görülmeğe değer tüm garip şeyleri sırayla kaydeder.
Orta Anadolu'ya vardıklarında özellikle Türklerin beslenme alışkanlıkları ve dokumacılıkları hakkında gözlemler yapar, ancak bitki araştırmasından bir an bile vazgeçmez, ayrıca kaplıcalar, atlar ve bölgedeki özel koyun cinsini (tiftik) kaydeder. Gezginler Konya ve Akşehir'den geçerek Ankara'ya oradan da Afyon Karahisar'a gelirler ve 1547 yılı kışının geri kalan kısmını 1548'in baharına dek burada geçirirler. Belon bu arada seyahatnamesinin üçüncü bölümünü yazma fırsatını bulur. Bu bölümde Türklerin kökenleri, özel ve kamu hayatları, Osmanlı İmparatorluğunun toplumsal kurumları ve yönetimi, müslümanların adetleri ve dinî inançları hakkında yazar. Yolu Kütahya'ya doğru devam eder ve Bursa'yı ziyaret eder; nihayet İstanbul'a vardığında Fransa elçisi D' Aramon'u Kanuni Sultan Süleyman'ın İran'a karşı yapacağı seferde izlemeye hazır bulur. Seferberlik 1548'in Mayıs ayında gerçekleşir ve yorulmak bilmeyen Belon yanında Gilles ve Thevet ile beraber seferberliğe katılır. Ancak bu kez Fransız doğabilimci sadece İzmit'e kadar ulaşabilir. Buradan İstanbul'a dönüp bir gemiye biner ve 1549 yılı başlarında nihayet Venedik'e ulaşır. 1550'de ise yeni bir diplomatik görevle İngiltere'ye doğru yola çıkar.
Daha sonra Montmorency'lerin himayesine girip bundan sonraki zamanını Fransa taşrasından İtalya'ya kadar uzanan bir alanda bitki araştırmalarına ayırır - nitekim İtalya'dan ülkesine selvi, çınar ve zakkum çeşitleri götürür. Öte yandan gittikçe Reform rejimine karşı tavır alan kilisedeki görevini de sürdürür. Ömrünün son yıllarında, süregitmekte olan dinî çarpışmalarda kendisi de fanatik bir katolik taraftarı olarak faal rol alır. Nihayet 1565 yılının Nisan ayında bir akşam Paris'te esrarengiz bir biçimde öldürülür. Boulogne ormanında bulunan Madrid sarayında kendisine sağlanan misafirhaneye giderken fanatik bir Hugueno tarafından vurulduğu sanılıyor. Henüz 48 yaşındaydı.
Belon 1551 yılından itibaren kitaplarını yazmaya ve yayınlamaya başlar. İlk başta gelen Histoire naturelles des étranges poissons marins adlı yapıtı kendi desenleriyle tamamlanmış bir çalışmadır. 1553 yılında, balıklar hakkında latincede yazılmış De aquqtilibus kitabını yayınlar. Aynı kitap iki yıl sonra De la nature & diversité des poissons başlığıyla fransızca olarak basılır. Gine 1553'te seyahatnamesini de yayınlar. Bu yapıt 1554'te ikinci baskı yapar, 1555'te ise Histoire de la nature des oiseaux çalışması ile birlikte düzeltmeler ve eklemeler yapıldıktan sonra üçüncü kez yayınlanır. Bunlardan başka 1553'de De arboribus coniferis ve De admirabile operum antiquorum başlıklı değişik konulu iki çalışmasını da yayınlar.
Seyahatnamesi 1558, 1585, 1588 yıllarında tekrar basılır, son baskı ise daha öncekilerde bulunmayan iki gravürle zenginleştirilir. Bu gravürler Sina dağı ve Limnos ile Aynaroz dağını görüntülemektedir. Eser 18. yüzyıl içinde latince, ingilizce ve almancaya, 1953'te bulgarcaya çevrilir. Limnos ve Aynaroz ile ilgili bölümler yunancada bulunmakta, ayrıca Girit ile ilgili bölümlerin yunanca olarak yayınlanması da öngörülmektedir.
Belon bir 16. yüzyıl insanı olarak doğanın cazibesine karşı hemen hemen hiç duyarlı olmayan bir pragmatisttir. Kendini tamamen gerçeğin arayışına vermiş bir hümanist gezgin-kâşif in mükemmel örneğini oluşturmaktadır. Belon için gerçek tamamen bitki ve hayvan bilimi konularıyla ilintili olup biriktirdiği özgün bilgiler ilerideki gezginler için (Joseph Pitton de Tournefort'un eseri yayınlanana dek) temel bir el kitabı oluşturur. Belon'dan sonra Joseph Pitton de Tournefort 1700-1702'de Ege adaları ve Anadolu'da seyahat etmiş ve 1717'de yayınlanan seyahatnamesi özellikle yunan adaları betimlemesinde örnek bir eser olmuştu.
Belon hümanist bir doğabilimci coşkusuyla bilginin kuramsal çerçevesini terkedip doğa yürüyüşlerini yaparken gezici bir araştırmacı kılığına bürünür ve sabit fikir derecesinde olan bilimsel düşünüş ve yaşama tarzını fanatik bir biçimde gezindirir .
Yazan: İoli Vingopoulou
Watercolor (American English) or watercolour (Commonwealth and Ireland), also aquarelle from French, is a painting method in which the paints are made of pigments suspended in a water-soluble vehicle. The term "watercolor" refers to both the medium and the resulting artwork. The traditional and most common support for watercolor paintings is paper; other supports include papyrus, bark papers, plastics, vellum or leather, fabric, wood, and canvas. Watercolors are usually transparent, and appear luminous because the pigments are laid down in a relatively pure form with few fillers obscuring the pigment colors. Watercolor can also be made opaque by adding Chinese white. In East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean, and Japanese painting it has been the dominant medium, often in monochrome black or browns. India, Ethiopia and other countries also have long traditions. Fingerpainting with watercolor paints originated in China.Although watercolor painting is extremely old, dating perhaps to the cave paintings of paleolithic Europe, and has been used for manuscript illumination since at least Egyptian times but especially in the European Middle Ages, its continuous history as an art medium begins in the Renaissance. The German Northern Renaissance artist Albrecht Dürer (1471–1528) who painted several fine botanical, wildlife and landscape watercolors, is generally considered among the earliest exponents of the medium. An important school of watercolor painting in Germany was led by Hans Bol (1534–1593) as part of the Dürer Renaissance.Despite this early start, watercolors were generally used by Baroque easel painters only for sketches, copies or cartoons (full-scale design drawings). Among notable early practitioners of watercolor painting were Van Dyck (during his stay in England), Claude Lorrain, Giovanni Benedetto Castiglione, and many Dutch and Flemish artists. However, Botanical illustrations and those depicting wildlife are perhaps the oldest and most important tradition in watercolor painting. Botanical illustrations became popular in the Renaissance, both as hand tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper. Botanical artists have always been among the most exacting and accomplished watercolor painters, and even today watercolors—with their unique ability to summarize, clarify and idealize in full color—are used to illustrate scientific and museum publications. Wildlife illustration reached its peak in the 19th century with artists such as John James Audubon, and today many naturalist field guides are still illustrated with watercolor paintings. Many watercolors are more vibrant in pigment if they are higher quality. Some British market watercolors can be found in many craft stores In America and in other countries too.Materials
Paint
Watercolor paint consists of four principal ingredients:
pigments, natural or synthetic, mineral or organic;
gum arabic as a binder to hold the pigment in suspension and fix the pigment to the painting surface;
additives like glycerin, ox gall, honey, preservatives: to alter the viscosity, hiding, durability or color of the pigment and vehicle mixture; and
solvent, the substance used to thin or dilute the paint for application and that evaporates when the paint hardens or dries.
The term "watermedia" refers to any painting medium that uses water as a solvent and that can be applied with a brush, pen or sprayer; this includes most inks, watercolors, temperas, gouaches and modern acrylic paints.
The term watercolor refers to paints that use water soluble, complex carbohydrates as a binder. Originally (16th to 18th centuries) watercolor binders were sugars and/or hide glues, but since the 19th century the preferred binder is natural gum arabic, with glycerin and/or honey as additives to improve plasticity and dissolvability of the binder, and with other chemicals added to improve product shelf life.
Bodycolor refers to paint that is opaque rather than transparent, usually opaque watercolor, which is also known as gouache.[2] Modern acrylic paints are based on a completely different chemistry that uses water soluble acrylic resin as a binder.
Commercial watercolors
Watercolor painters before c.1800 had to make paints themselves using pigments purchased from an apothecary or specialized "colourman"; the earliest commercial paints were small, resinous blocks that had to be wetted and laboriously "rubbed out" in water. William Reeves (1739–1803) set up in business as a colorman about 1766. In 1781 he and his brother, Thomas Reeves, were awarded the Silver Palette of the Society of Arts, for the invention of the moist watercolor paint-cake, a time-saving convenience the introduction of which coincides with the "golden age" of English watercolor painting.
Modern commercial watercolor paints are available in two forms: tubes or pans. The majority of paints sold are in collapsible metal tubes in standard sizes (typically 7.5, 15 or 37 ml.), and are formulated to a consistency similar to toothpaste. Pan paints (actually, small dried cakes or bars of paint in an open plastic container) are usually sold in two sizes, full pans (approximately 3 cc of paint) and half pans (favored for compact paint boxes). Pans are historically older but commonly perceived as less convenient; they are most often used in portable metal paint boxes, also introduced in the mid 19th century, and are preferred by landscape or naturalist painters.
Among the most widely used brands of commercial watercolors today are Daler Rowney, Daniel Smith, DaVinci, Holbein, Maimeri, M. Graham. Reeves, Schmincke, Sennelier, Talens, and Winsor & Newton.
Thanks to modern industrial organic chemistry, the variety, saturation (brilliance) and permanence of artists' colors available today is greater than ever before. However, the art materials industry is far too small to exert any market leverage on global dye or pigment manufacture. With rare exceptions, all modern watercolor paints utilize pigments that were manufactured for use in printing inks, automotive and architectural paints, wood stains, concrete, ceramics and plastics colorants, consumer packaging, foods, medicines, textiles and cosmetics. Paint manufacturers buy very small supplies of these pigments, mill (mechanically mix) them with the vehicle, solvent and additives, and package them.
Color names
Many artists are confused or misled by labeling practices common in the art materials industry. The marketing name for a paint, such as "indian yellow" or "emerald green", is often only a poetic color evocation or proprietary moniker; there is no legal requirement that it describe the pigment that gives the paint its color. More popular color names are "viridian hue" and " chinese white"
To remedy this confusion, in 1990 the art materials industry voluntarily began listing pigment ingredients on the paint packaging, using the common pigment name (such as "cobalt blue" or "cadmium red"), and/or a standard pigment identification code, the generic color index name (PB28 for cobalt blue, PR108 for cadmium red) assigned by the Society of Dyers and Colourists (UK) and the American Association of Textile Chemists and Colorists (USA) and known as the Colour Index International. This allows artists to choose paints according to their pigment ingredients, rather than the poetic labels assigned to them by marketers. Paint pigments and formulations vary across manufacturers, and watercolor paints with the same color name (e.g., "sap green") from different manufacturers can be formulated with completely different ingredients.
Transparency
Watercolor paints are customarily evaluated on a few key attributes. In the partisan debates of the 19th-century English art world, gouache was emphatically contrasted to traditional watercolors and denigrated for its high hiding power or lack of "transparency"; "transparent" watercolors were exalted. Paints with low hiding power are valued because they allow an underdrawing or engraving to show in the image, and because colors can be mixed visually by layering paints on the paper (which itself may be either white or tinted). The resulting color will change depending on the layering order of the pigments. In fact, there are very few genuinely transparent watercolors, neither are there completely opaque watercolors (with the exception of gouache); and any watercolor paint can be made more transparent simply by diluting it with water.
"Transparent" colors do not contain titanium dioxide (white) or most of the earth pigments (sienna, umber, etc.) which are very opaque. The 19th-century claim that "transparent" watercolors gain "luminosity" because they function like a pane of stained glass laid on paper[citation needed] – the color intensified because the light passes through the pigment, reflects from the paper, and passes a second time through the pigment on its way to the viewer—is false: watercolor paints do not form a cohesive paint layer, as do acrylic or oil paints, but simply scatter pigment particles randomly across the paper surface; the transparency consists in the paper being directly visible between the particles.[3] Watercolors appear more vivid than acrylics or oils because the pigments are laid down in a more pure form with no or fewer fillers (such as kaolin) obscuring the pigment colors. Furthermore, typically most or all of the gum binder will be absorbed by the paper, preventing it from changing the visibility of the pigment.[3] Even multiple layers of watercolor do achieve a very luminous effect without fillers or binder obscuring the pigment particles.
Pigments characteristics
Staining is a characteristic assigned to watercolor paints: a staining paint is difficult to remove or lift from the painting support after it has been applied or dried. Less staining colors can be lightened or removed almost entirely when wet, or when rewetted and then "lifted" by stroking gently with a clean, wet brush and then blotted up with a paper towel. In fact, the staining characteristics of a paint depend in large part on the composition of the support (paper) itself, and on the particle size of the pigment. Staining is increased if the paint manufacturer uses a dispersant to reduce the paint milling (mixture) time, because the dispersant acts to drive pigment particles into crevices in the paper pulp, dulling the finished color.
Granulation refers to the appearance of separate, visible pigment particles in the finished color, produced when the paint is substantially diluted with water and applied with a juicy brush stroke; pigments notable for their watercolor granulation include viridian (PG18), cerulean blue (PB35), cobalt violet (PV14) and some iron oxide pigments (PBr7).
Flocculation refers to a peculiar clumping typical of ultramarine pigments (PB29 or PV15). Both effects display the subtle effects of water as the paint dries, are unique to watercolors, and are deemed attractive by accomplished watercolor painters. This contrasts with the trend in commercial paints to suppress pigment textures in favor of homogeneous, flat color.
Grades
Commercial watercolor paints come in three grades: "Artist" (or "Professional"), "Student", and "Scholastic".
Artist Watercolors contain a full pigment load, suspended in a binder, generally natural gum arabic. Artist quality paints are usually formulated with fewer fillers (kaolin or chalk) which results in richer color and vibrant mixes. Conventional watercolors are sold in moist form, in a tube, and are thinned and mixed on a dish or palette. Use them on paper and other absorbent surfaces that have been primed to accept water-based paint.
Student grade paints have less pigment, and often are formulated using two or more less expensive pigments. Student Watercolors have working characteristics similar to professional watercolors, but with lower concentrations of pigment, less expensive formulas, and a smaller range of colors. More expensive pigments are generally replicated by hues. Colors are designed to be mixed, although color strength is lower. Hues may not have the same mixing characteristics as regular full-strength colors.
Scholastic watercolors come in pans rather than tubes, and contain inexpensive pigments and dyes suspended in a synthetic binder. Washable formulations feature colors that are chosen to be non-staining, easily washable, suitable for use even by young children with proper supervision. They are an excellent choice for teaching beginning artists the properties of color and the techniques of painting.
Reserves
As there is no transparent white watercolor, the white parts of a watercolor painting are most often areas of the paper "reserved" (left unpainted) and allowed to be seen in the finished work. To preserve these white areas, many painters use a variety of resists, including masking tape, clear wax or a liquid latex, that are applied to the paper to protect it from paint, then pulled away to reveal the white paper. Resist painting can also be an effective technique for beginning watercolor artists. The painter can use wax crayons or oil pastels prior to painting the paper. The wax or oil mediums repel, or resist the watercolor paint. White paint (titanium dioxide PW6 or zinc oxide PW4) is best used to insert highlights or white accents into a painting. If mixed with other pigments, white paints may cause them to fade or change hue under light exposure. White paint (gouache) mixed with a "transparent" watercolor paint will cause the transparency to disappear and the paint to look much duller. White paint will always appear dull and chalky next to the white of the paper; however this can be used for some effects.
Brushes
A brush consists of three parts: the tuft, the ferrule and the handle.
The tuft is a bundle of animal hairs or synthetic fibers tied tightly together at the base;
The ferrule is a metal sleeve that surrounds the tuft, gives the tuft its cross sectional shape, provides mechanical support under pressure, and protects from water wearing down the glue joint between the trimmed, flat base of the tuft and the handle;
The lacquered wood handle, which is typically shorter in a watercolor brush than in an oil painting brush, has a distinct shape—widest just behind the ferrule and tapering to the tip.
When painting, painters typically hold the brush just behind the ferrule for the smoothest brushstrokes.
Hairs and fibers
Brushes hold paint (the "bead") through the capillary action of the small spaces between the tuft hairs or fibers; paint is released through the contact between the wet paint and the dry paper and the mechanical flexing of the tuft, which opens the spaces between the tuft hairs, relaxing the capillary restraint on the liquid. Because thinned watercolor paint is far less viscous than oil or acrylic paints, the brushes preferred by watercolor painters have a softer and denser tuft. This is customarily achieved by using natural hair harvested from farm raised or trapped animals, in particular sable, squirrel or mongoose. Less expensive brushes, or brushes designed for coarser work, may use horsehair or bristles from pig or ox snouts and ears.
However, as with paints, modern chemistry has developed many synthetic and shaped fibers that rival the stiffness of bristle and mimic the spring and softness of natural hair. Until fairly recently, nylon brushes could not hold a reservoir of water at all so they were extremely inferior to brushes made from natural hair. In recent years, improvements in the holding and pointing properties of synthetic filaments have gained them much greater acceptance among watercolorists.
There is no market regulation on the labeling applied to artists' brushes, but most watercolorists prize brushes from kolinsky (Russian or Chinese) sable. The best of these hairs have a characteristic reddish brown color, darker near the base, and a tapering shaft that is pointed at the tip but widest about halfway toward the root. Squirrel hair is quite thin, straight and typically dark, and makes tufts with a very high liquid capacity; mongoose has a characteristic salt and pepper coloring. Bristle brushes are stiffer and lighter colored. "Camel" is sometimes used to describe hairs from several sources (none of them a camel).
In general, natural hair brushes have superior snap and pointing, a higher capacity (hold a larger bead, produce a longer continuous stroke, and wick up more paint when moist) and a more delicate release. Synthetic brushes tend to dump too much of the paint bead at the beginning of the brush stroke and leave a larger puddle of paint when the brush is lifted from the paper, and they cannot compete with the pointing of natural sable brushes and are much less durable. On the other hand they are typically much cheaper than natural hair, and the best synthetic brushes are now very serviceable; they are also excellent for texturing, shaping, or lifting color, and for the mechanical task of breaking up or rubbing paint to dissolve it in water.
A high quality sable brush has five key attributes: pointing (in a round, the tip of the tuft comes to a fine, precise point that does not splay or split; in a flat, the tuft forms a razor thin, perfectly straight edge); snap (or "spring"; the tuft flexes in direct response to the pressure applied to the paper, and promptly returns to its original shape); capacity (the tuft, for its size, holds a large bead of paint and does not release it as the brush is moved in the air); release (the amount of paint released is proportional to the pressure applied to the paper, and the paint flow can be precisely controlled by the pressure and speed of the stroke as the paint bead is depleted); and durability (a large, high quality brush may withstand decades of daily use).
Most natural hair brushes are sold with the tuft cosmetically shaped with starch or gum, so brushes are difficult to evaluate before purchasing, and durability is only evident after long use. The most common failings of natural hair brushes are that the tuft sheds hairs (although a little shedding is acceptable in a new brush), the ferrule becomes loosened, or the wood handle shrinks, warps, cracks or flakes off its lacquer coating.
Shapes
Natural and synthetic brushes are sold with the tuft shaped for different tasks. Among the most popular are:
Rounds. The tuft has a round cross section but a tapering profile, widest near the ferrule (the "belly") and tapered at the tip (the "point"). These are general purpose brushes that can address almost any task.
Flats. The tuft is compressed laterally by the ferrule into a flat wedge; the tuft appears square when viewed from the side and has a perfectly straight edge. "Brights" are flats in which the tuft is as long as it is wide; "one stroke" brushes are longer than their width. "Sky brushes" or "wash brushes" look like miniature housepainting brushes; the tuft is usually 3 cm to 7 cm wide and is used to paint large areas.
Mops (natural hair only). A round brush, usually of squirrel hair and, decoratively, with a feather quill ferrule that is wrapped with copper wire; these have very high capacity for their size, especially good for wet in wet or wash painting; when moist they can wick up large quantities of paint.
Filbert (or "Cat's Tongue", hair only). A hybrid brush: a flat that comes to a point, like a round, useful for specially shaped brush strokes.
Rigger (hair only). An extremely long, thin tuft, originally used to paint the rigging in nautical portraits.
Fan. A small flat in which the tuft is splayed into a fan shape; used for texturing or painting irregular, parallel hatching lines.
Acrylic. A flat brush with synthetic bristles, attached to a (usually clear) plastic handle with a beveled tip used for scoring or scraping.
A single brush can produce many lines and shapes. A "round" for example, can create thin and thick lines, wide or narrow strips, curves, and other painted effects. A flat brush when used on end can produce thin lines or dashes in addition to the wide swath typical with these brushes, and its brushmarks display the characteristic angle of the tuft corners.
Every watercolor painter works in specific genres and has a personal painting style and "tool discipline", and these largely determine his or her preference for brushes. Artists typically have a few favorites and do most work with just one or two brushes. Brushes are typically the most expensive component of the watercolorist's tools, and a minimal general purpose brush selection would include:
4 round (for detail and drybrush)
8 round
12 or 14 round (for large color areas or washes)
1/2" or 1" flat
12 mop (for washes and wicking)
1/2" acrylic (for dissolving or mixing paints, and scrubbing paints before lifting from the paper)
Major watercolor brush manufacturers include DaVinci, Escoda, Isabey, Raphael, Kolonok, Robert Simmons, Daler-Rowney, Arches, and Winsor & Newton. As with papers and paints, it is common for retailers to commission brushes under their own label from an established manufacturer. Among these are Cheap Joe's, Daniel Smith, Dick Blick and Utrecht.
Sizes
The size of a round brush is designated by a number, which may range from 0000 (for a very tiny round) to 0, then from 1 to 24 or higher. These numbers refer to the size of the brass brushmakers' mould used to shape and align the hairs of the tuft before it is tied off and trimmed, and as with shoe lasts, these sizes vary from one manufacturer to the next. In general a #12 round brush has a tuft about 2 to 2.5 cm long; tufts are generally fatter (wider) in brushes made in England than in brushes made on the Continent: a German or French #14 round is approximately the same size as an English #12. Flats may be designated either by a similar but separate numbering system, but more often are described by the width of the ferrule, measured in centimeters or inches.
Watercolor pencil
Watercolor pencil is another important tool in watercolors techniques. This water-soluble color pencil allows to draw fine details and to blend them with water. Noted artists who use watercolor pencils include illustrator Travis Charest.[4] A similar tool is the watercolor pastel, broader than watercolor pencil, and able to quickly cover a large surface.
Paper
Most watercolor painters before c.1800 had to use whatever paper was at hand: Thomas Gainsborough was delighted to buy some paper used to print a Bath tourist guide, and the young David Cox preferred a heavy paper used to wrap packages. James Whatman first offered a wove watercolor paper in 1788, and the first machinemade ("cartridge") papers from a steam powered mill in 1805.
All art papers can be described by eight attributes: furnish, color, weight, finish, sizing, dimensions, permanence and packaging. Watercolor painters typically paint on paper specifically formulated for watermedia applications. Fine watermedia papers are manufactured under the brand names Arches, Bockingford, Cartiera Magnani, Fabriano, Hahnemühle, Lanaquarelle, The Langton, The Langton Prestige, Millford, Saunders Waterford, Strathmore, Winsor & Newton and Zerkall; and there has been a recent remarkable resurgence in handmade papers, notably those by Twinrocker, Velke Losiny, Ruscombe Mill and St. Armand.
Watercolor paper is essentially Blotting paper marketed and sold as an art paper, and the two can be used interchangeably, as watercolor paper is more easily obtainable than blotter and can be used as a substitute for blotter. Lower end watercolor papers can resemble heavy paper more while higher end varieties are usually entirely cotton and more porous like blotter. Watercolor paper is traditionally torn and not cut.
Furnish
The traditional furnish or material content of watercolor papers is cellulose, a structural carbohydrate found in many plants. The most common sources of paper cellulose are cotton, linen, or alpha cellulose extracted from wood pulp. To make paper, the cellulose is wetted, mechanically macerated or pounded, chemically treated, rinsed and filtered to the consistency of thin oatmeal, then poured out into paper making moulds. In handmade papers, the pulp is hand poured ("cast") into individual paper moulds (a mesh screen stretched within a wood frame) and shaken by hand into an even layer. In industrial paper production, the pulp is formed by large papermaking machines that spread the paper over large cylinders—either heated metal cylinders that rotate at high speed (machinemade papers) or wire mesh cylinders that rotate at low speed (mouldmade papers). Both types of machine produce the paper in a continuous roll or web, which is then cut into individual sheets.
Weight
The basis weight of the paper is a measure of its density and thickness. It is described as the gram weight of one square meter of a single sheet of the paper, or grams per square meter (gsm). Most watercolor papers sold today are in the range between 280gsm to 640gsm. (The previous Imperial system, expressed as the weight in pounds of one ream or 500 sheets of the paper, regardless of its size, obsolete in some areas, is still used in the United States. The most common weights under this system are 300 lb (heaviest), 200 lb 140 lb, and 90 lb.) Heavier paper is sometimes preferred over lighter weight or thinner paper because it does not buckle and can hold up to scrubbing and extremely wet washes. Watercolor papers are typically almost a pure white, sometimes slightly yellow (called natural white), though many tinted or colored papers are available. An important diagnostic is the rattle of the paper, or the sound it makes when held aloft by one corner and shaken vigorously. Papers that are dense and made from heavily macerated pulp have a bright, metallic rattle, while papers that are spongy or made with lightly macerated pulp have a muffled, rubbery rattle.
Finish
All papers obtain a texture from the mold used to make them: a wove finish results from a uniform metal screen (like a window screen); a laid finish results from a screen made of narrowly spaced horizontal wires separated by widely spaced vertical wires. The finish is also affected by the methods used to wick and dry the paper after it is "couched" (removed) from the paper mold or is pulled off the papermaking cylinder.
Watercolor papers come in three basic finishes: hot pressed (HP), cold press (CP, or in the UK "Not", for "not hot pressed"), and rough (R). These vary greatly from manufacturer to manufacturer.
Rough papers are typically dried by hanging them like laundry ("loft drying") so that the sheets are not exposed to any pressure after they are couched; the wove finish has a pitted, uneven texture that is prized for its ability to accent the texture of watercolor pigments and brushstrokes.
Cold pressed papers are dried in large stacks, between absorbent felt blankets; this acts to flatten out about half of the texture found in the rough sheets. CP papers are valued for their versatility.
Hot pressed papers are cold pressed sheets that are passed through heated, compressing metal cylinders (called "calendering"), which flattens almost all the texture in the sheets. HP papers are valued because they are relatively nonabsorbent: pigments remain on the paper surface, brightening the color, and water is not absorbed, so it can produce a variety of water stains or marks as it dries.
These designations are only relative; the CP paper from one manufacturer may be rougher than the R paper from another manufacturer. Fabriano even offers a "soft press" (SP) sheet intermediate between CP and HP.
Sizing
Watercolor papers are traditionally sized, or treated with a substance to reduce the cellulose absorbency. Internal sizing is added to the paper pulp after rinsing and before it is cast in the paper mould; external or "tub" sizing is applied to the paper surface after the paper has dried. The traditional sizing has been gelatin, gum arabic or rosin, though modern synthetic substitutes (alkyl ketene dimers such as Aquapel) are now used instead. The highly absorbent papers that contain no sizing are designated waterleaf.
Dimensions
Most art papers are sold as single sheets of paper in standard sizes. Most common is the full sheet (22" x 30"), and half sheets (15" x 22") or quarter sheets (15" x 11") derived from it. Larger (and less standardized) sheets include the double elephant (within an inch or two of 30" x 40") and emperor (40" x 60"), which are the largest sheets commercially available. Papers are also manufactured in rolls, up to about 60" wide and 30 feet long. Finally, papers are also sold as watercolor "blocks"—a pad of 20 or so sheets of paper, cut to identical dimensions and glued on all four sides, which provides high dimensional stability and portability, though block papers tend to have subdued finishes. The painter simply works on the exposed sheet and, when finished, uses a knife to cut the adhesive around the four sides, separating the painting and revealing the fresh paper underneath.
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52 Weeks of 2023
Week No. 37: The Brief: “Brenizer Method”
This is an interesting technique if you have not come across it before. You take multiple pictures and combine them in post processing. The result produces a shallow depth of view bringing the subject out from the background. This technique is credited to the wedding photographer Ryan Brenizer.
I used this guide.
digital-photography-school.com/5-steps-to-rock-the-breniz...
My first attempt with many images was a disaster, and I didn't achieve uniformity.
Spent so much time on it, that this time I used less images, and it is like doing a jigsaw puzzle where the pieces don't fit...