المنياتور ( الرسم الدقيق ) ، من كتاب تكنولوجيا التصوير ، د.م محمد حماد

6 - The Miniature (exact drawing)

Pittara in Miniatura is the art of delicate drawing on small areas, even infinitesimally small, and is usually drawn on parchment paper, ivory, wood panels, or other similar materials. Painting is done with watercolors or colors. It is made of gum arabic dissolved in water like gouache colors.There are ancient works of miniatures drawn on deer paper and deposited in the Vatican Library in Rome, and these works of art can unveil the art of Virgilio and Terenzio.

(Biblioteca Estense, Modena) og We find that the miniature of the book written by Carlo il Calvo in the Church of San Paolo ... in Rome, and Borso d'Este in the Cana library, is considered one of the very interesting works. Also, those in the San Marco Museum in Florence and the British Museum in London are among the most famous paintings in the world. It embodies the beauty of the church service books in it in an honest and correct manner. This is really impressive about the important and noteworthy groups of miniatures in many European museums, and some of them are of great archaeological and artistic value, and are rightly considered among the artifacts. We mention, among them, the portrait painted by the artist Parmigianino, the portrait of Clovier's face, the portrait of Lavinia Fontana, and the portrait of the beauty of the Greeks, by Couny. The artifacts are in the Uffizi Gallery and in my house. In the city of Firenze, Italy. There are some famous miniatur paintings, and they are particularly noteworthy, as they are incomplete and incomplete, and show the artistic style that was followed by the teachers in the old schools. And all these Pitti

Elements needed for miniature work:

As for the main elements needed for miniature works, they are parchment, ivory and other surfaces, then colors and brushes.

Liquid fish that is saturated with water, or it is sufficient to remove the greasy contents on the surface by using lime and then pumice stone powder, or to paint it with light bitterness so that in this way the color can stick and spread on the surface of the paper easily. As for gluing parchment paper with glue over the boards, it is done similar to what is done with regard to drawing paper in watercolors. Thus, the parchment sheet is slowly wetted with a piece of sponge and covered with a sheet of white paper, then its surface is wiped vigorously to remove any air bubbles that may have stuck to it, then it is left to dry.

2- Ivory and other surfaces: We note here that ivory is the most suitable surface for miniature painting, which is the material extracted from the tusks and nails of living or recently dead elephants. We do not recommend using old, fossilized ivory because of its hardness, and its color is dark. To clean it, it can be rubbed with Spanish white powder (which is calcium carbonate). But as for whitening it, there are two methods: (1) Dipping the ivory into a paste or a mixture of cold slaked lime with

In this condition, until its color turns white (b), the ivory is dipped for an hour in a solution of alum and water (as soon as this solution boils) while continuing to rub it from time to time with a piece of cloth. After that, it is placed to dry between the folds of a piece of felt, and when it dries, stone powder is rubbed against it. Pumice and sepia fish bone (or bread) to remove any greasy content in it so that it takes the desired color and its surface is suitable for drawing on.In the end, a sheet of polished paper is attached to its back and dried under pressure.

preservation

There are other surfaces that can be drawn on with the miniature, which are the oiled and smooth boards, and the greasy ones are completely removed from them. There are also papers that are fine-grained and pressed well, so that they are bright white. Some artists painted in miniatures on glass with watercolors dissolved in an aqueous solution, in which they used the bitterness of light to fix the colors on the glass, so they made the solution in proportions.

following:

Pure water

10 parts

Gum arabic, bitter gourd, glycerin

parts part

This mixture can be used for drawing on the glass after painting the surface of the glass with a little silicate mixed with white zinc.

- Colors: From the research of the old drawings, you see that the ancients used some colors or dyes for the miniature works, which are mentioned in the following: (a) Rosso di Carminio red, which is taken from a substance extracted from vermicompost insects.
il Cinabro (c) Sina Pro is a mercury sulfate

(b) Acca di verzino, also called colombina or di Venezia. It is called vermilion or china red

(d) minio il minio

(e) il bruno rosso reddish brown

(and) il pietra di fiele

(g) Poora di montagna, a yellow color found in the form of dust in mountainous areas of natural iron oxide. (h) Yellow spinach flour il giallo di spincernino

(i) l'arpimento, which is a poisonous poison and can be replaced with yellow (j) la gomma gutta, which is a yellow color from the sap of a plant known as

chrome.

(n) (l) il massicotto, which is yellow lead oxide. (m) sky blue otter marine loltremare l'indoco, which is a blue colour. (Q) Tlbistro, a dark chestnut color, was popular with ancient painters. (s) il biance di Venezia is white and its color is brown

in the name of Guttaferra.

(k) Neapolitan yellow il giallo di Napoli lead.

It is a compound color of antimonates

(p) the tine of shadows la terra d'ombra (q) the green of the spectrum il verde iride

(R) The green of the mountain il verde di montagna

(t) Black bone il nero d'asso

(u) Black soot or soot il hero di fumo

- Preparing the colors: The colors can be prepared in this way. Two volumes of gum arabic and one volume of pure white sugar are taken with the addition of an amount of water until we get a liquid mixture to dissolve the colors, and it is kept in a sealed bottle. As for the powdered colors, after they are carefully purified and disassembled by rubbing them with fingers to dissolve into small pieces, they are placed in pots of porcelain or earthenware of the appropriate size, and then left to dry. It is worth keeping in mind that watercolors can be used for drawing with a miniature, and some painters tend to use oil colors. E - Brushes for drawing a miniature: It is of great importance in relation to the accuracy of the drawing required in the work of a miniature. In fact, this type of photography is characterized by points
The growing accuracy and the short lines that work with the tip of the brush.. which leads to the result of extreme accuracy that achieves the desired purpose if we provide the color with a little water and stir it. Perhaps it is useful to use fairly large brushes to paint the background and the first painting of the middle layer. The small fine-ended brush can also be used for final finishes

Miniature style:

Minia Tour painting has a character that is very similar to gouache painting, and in it water colors can be used in painting miniatures, bearing in mind that the suitable surface for this type of painting is parchment paper known as La pergamena, ivory, some types of boards and paper with fine atoms, as well as glass ..etc. But parchment and ivory are the best surfaces for luxurious miniature paintings

As for the colors here, they are different from other types of drawing. Instead of preparing them on the color page (pallet) in the usual way, according to their types and value, they are here by means of additional, gradual quantities of colors. Therefore, it is necessary to prepare a layer of colors that is completely different from the one that ends up. This is because the general use of colors is based on the use of brushes, and on the accuracy of the use of dots and short lines of different colors, and they must be distributed in a proper way so that the desired color effect can be obtained through them, and we must put a small amount of colors over each small dot, and it must also be distributed The colors are very accurate and careful, as their quantity should not be increased, except for the extremely accurate and imperceptible degrees. This should not be touched or sprayed before the background is completely dry. We must also bear in mind the necessity of placing each color and we are certain of it. This is because it is very difficult to reduce the amount of color when we have put a lot of it on the plate so that it is more than necessary. We must also always remember that it is almost impossible to perform the process of erasing or erasing the colors or scraping them from the surface. Board . Here we explain in the following points the method to be followed in drawing people in the miniature:

1- The drawing of the miniature must be done in a proper way, using very light lines. Some use the translucent on which the design of the drawing is executed and place it over the ivory. This is for fear that the surface of the ivory will get dirty from the effect of drawing on it with a pencil, or that its lines will remain visible in the drawing. Thus, it is possible to start drawing indirectly.

2 - Preparation and casting dark shadows is the second step.. After moving on to the process of preparation and the use of dark colors in drawing a miniature, it may be useful in this field to draw attention to some old paintings drawn in this style so that we can get to know the different patterns that The ancient masters of photography followed it, for example we mention the painting of the miniature by the Russian photographer
Rossi (1648 - 1700 A.D.) It is in the Victoria and Albert Museum in London, and it has remained clearly drawn in it until now, and we also notice in it the overall shading drawn with burnt sienna clay, while we find in another painting in the Carnavele Museum in Paris that the shading is drawn with red clay only. We also find, in the S. Luca Gallery Museum in Rome, an incomplete painting drawn in the manner of a miniature, illustrating a process of preparation, made of blue, white, and light brown. M . Crispy » G.M. Crespi, so we find white and brown in it, and it is a method of preparation in one color, and this artist used it to depict on the canvas, as is evident in the painting of the photographer’s family, and it is now preserved in the Galeria degli Uffizi Museum.

Many of the miniature paintings preserved in international museums show the method of preparation in one color, and their texture is usually the color of sepia (taken from the ink of the mother of ink) and Chinese ink.. While we find in other paintings that the raw white ivory color performs the function of light color in its utmost degree.

Another good method is to prepare the shading set with the neutral pigment Newman called Chinese ink, Prussian blue, carmine, and gum. It is possible to paint over the one-color preparations that we referred to above with a group of colors that show the color values ​​after the first preparation in one color. We can also notice this style in one of the paintings drawn by the miniature of the artist Pietro Vergine (1800-1863 AD), so we see that he preserved above all the local character, whose degree is lower than that which should be in the end and on a large scale. This process must be done with Neumann's seven dyes, which are formed with water.

Scale 3 - Finishes, improvements, and final touches work after completing the first photography process in dark colors on a large scale, and move on to working out the details for the most accurate parts of the human figure, such as the eyes, mouth, nose, etc. And this is done with more intense and colorful dyes that are distributed through fine dots and short lines with a brush with a very precise tooth, not forgetting the large brush - if necessary - with regard to increasing or decreasing the degree of color intensity. In this way, in some cases, the effect of the powdery and dry color that results from using a small brush alone can disappear. As for the clothes and the background, they are painted with dyes that have a high degree of color saturation.. Rather, those dyes are saturated with glue. As for the backgrounds, it is better to paint them with a color in which the degree of glue is less, so that they are more opaque and more deep. As for the finishing of the clothes and the background, it is done with a color that is less viscous, and the dyes must be saturated in color and contain white, because when they dry, they give them a more distant clarity.