First, prepare painting tools. You need to prepare all the painting tools before painting oil paintings. Canvas should be stretched on a wooden frame. The thickness of the cloth pattern and the oil absorption effect depend on the painting effect.
1. Prepare the required materials! Such as (pigments, oil painting pens, turpentine, special oil for oil painting, oil painting palette, waste newspapers, oil painting knives, etc.).
2. The oil painting frame is made to order, usually wooden! Stretch the canvas (linen) (you can do whatever you want), and then brush the white latex three times. Be sure to brush it in place! You can draw when it's dry.
second, select the drawing object. When getting started, you can choose to copy, practice still life painting, and draw landscapes or people. Prepare the object to be depicted before painting. In classical oil paintings, a sketch is drawn first, then the base is made on the sketch, then the texture is done, then the color is painted, and finally the brightening oil, cracking oil, protective oil, etc. (can be omitted). Modern painting mostly uses direct coloring, which is expressed by stacking colors and linking color blocks. This refers to the steps of classical painting.
third, outline the draft. Observe the object to be depicted and draw an imaginary draft on paper.
fourth, draw a sketch. After drawing a draft on paper and sketching, further describe and refine it. Try to grasp the external and internal characteristics of the depicted object.
5. Draw a sketch on the canvas. Copy the sketch that was perfected on paper to the canvas. At this time, we should focus on the outline and pay attention to the rest shape. Sketches can be constantly trimmed to determine a clear image. You can use lines or simple colors to determine the main tone of the depicted object. There are also many methods of oil painting, such as color block connection, cover dyeing and so on. Good artists will use a variety of techniques to achieve the desired results. Generally speaking, oil painting coloring is "from deep to shallow". This is the complete opposite of watercolor. Because the oil painting pigment has strong covering power, white highlights can cover the underlying layers. (Special case: cadmium red is extremely penetrating and difficult to cover. ) The common technique is to draw a monochrome sketch on the canvas with turpentine mixed with the middle color of the picture (still life is usually ochre color) after the background color is dry (or on the sketch draft); After drying, use the inherent color block of the picture to color, and before the pigment is dried, use a clean brush to apply mixed color; Finally, outline the details. In general, this completes an oil painting.
VI. Describe the three-dimensional sense of an object. Draw the three-dimensional sense, texture and atmosphere of the object according to the characteristics of the object. Perfect the picture and complete the whole work. For example, figure painting:
1. Mix the ripe brown and ivory black into a slightly warm middle tone, mainly the ripe brown, add turpentine to make it thin and transparent, paint it on the whole canvas with a large bristle pen (canvas with a medium roughness), and then draw the darkest area of the human body-hair. Paint hair with a thicker color, that is, add less turpentine when mixing the same middle tone. Hair covers the whole face, but it should be able to express the strong expression of the people in the painting. I don't treat the hair block as hair, but treat it as a dark tone with a certain size and shape. Even at the beginning, light and shade and sketches should be drawn accurately. Draw one part accurately, and then draw another part accurately. Each part is interrelated. If one part is not accurate, it will affect others, and the whole situation will be out of control.
2. In this step, the human body image should be clearly drawn. First, use a soft cloth to erase some original tones along the upper surface of human arms and arched knees, resulting in bright layers. The pen use for bristles wipe off more on that outstretched legs and back, creating a bright lay and making the whole arm form a middle tone. You can use a clean soft cloth or pen dipped in turpentine to change the tone, but you must never use opaque white in the outline stage. At this stage, the sideline problem is as important as shading and sketching. It is no accident that these lines from the top of the shoulder to the wrist and through the extended knee are quite obvious, while the lines from the armpit to the bottom of the wrist are not so obvious.
3. Draw all the main highlights on the human body. Don't move the head, arms, shoulders and bent knees for the time being. First, develop a bright tone in the lower part of the trunk, buttocks, the folded foot and the extended legs. The original color layer of these parts has been dried, and it can be wiped off with a soft cloth dipped in turpentine. The rest seems vague, but it is still accurate. Except for the particularly bright part in the end, the tone and shape are correct and the position is appropriate.
4. Color in different ways. Use a heavy and flat brush stroke on the shoulder swelling bone of forearm, triceps and back. In the center of the raised thigh, knee and chest, basically use a palette knife. Use thin and transparent pigments under the arms, between the raised thighs and feet, and behind the pelvis. In the whole process, it is very important to keep the transparency of the dark part. Strong opaque bright part and thick transparent dark part interact, which brings three-dimensional sense to human body. In the processing stage, the dark spots under the arm should be scraped off gently with a palette knife. These dazzling spots are formed by thick horizontal strokes on the rough surface structure of the canvas. In addition, use a badger brush to smooth those ugly strokes under the hips and outstretched legs. Badger brush and mink brush can form beautiful and soft strokes, but they often have weak and loose adverse effects, so we must pay attention to them when using them. The finished human body: oil painting on canvas, 2″×3″. In the completion stage, I once again devoted myself to sideline processing. Where the body turns obviously, such as the top of the knee that can be raised, the sideline will be clearer; Where the figure turns round and blunt, such as under the inner raised thigh and where the left edge of the hair meets the background, the edge is blurred. On the shoulder and the foot that is disturbed, use thick coating method (that is, pile up with thick paint on the surface).
VII. Oil painting techniques
Frustration is a method of coloring with the root of an oil painting pen. After pressing the pen, it is slightly frustrated and then lifted, such as calligraphy, which is vigorous and solid. The difference in color between the tip and the root of the pen, and the difference in the light and heavy direction of the pen can produce many changes and interests.
Pat, the technique of gently patting the picture with a wide oil painting pen or fan pen is called pat. Beating can produce a certain undulating texture, which is neither very obvious nor too simple. It can also deal with the original strong strokes or colors to weaken them.
kneading refers to the method of directly manipulating two or more different colors on the screen with a pen. After the colors are manipulated, natural mixed changes are produced, subtle and bright color and light-dark contrast are obtained, and it can play a transitional role.
line, line refers to the lines drawn with a pen, and oil painting lines are generally marked with soft and sharp clues, but in different styles, round heads, proofreading and old flat pens can also draw thick lines similar to those of a strong book center. At the beginning, both eastern and western paintings are modeled with lines. In early oil paintings, the draft is usually drawn with precise and rigorous line outlines. In Tamperina technique, the method of arranging lines is the main means to form light and shade. Western oil painting evolved into light and shade and body head only later, but even so, the midline factor in oil painting was also influenced by not fade away. Slender and bold. The use of neat or casual lines and repeated overlapping and overlapping lines enriches the language of oil painting, and it is very important to deal with the sideline of different shapes. The use of thread in oriental painting has also influenced the styles of many modern western masters, such as Matisse, Van Gogh, Picasso, Miro and Klee.
Sweep, sweep is often used to connect two adjacent color blocks to make them less stiff. This can be achieved by lightly sweeping with a clean fan pen while the color is still wet. You can also use a pen to sweep another color on the bottom color to produce a color effect that is staggered up and down, loose and not greasy.
Stamping refers to stamping the paint vertically on the screen with the head of a hard bristle brush. Stamping is not commonly used, and it is usually only used when special texture is needed locally.
Pull, pull refers to the need to draw firm lines and sharp edges of objects in oil painting, such as the side of sword or glass. At this time, you can use a painting knife to adjust the color and then use the side of the blade to draw the color on the screen, so that the shape drawn by the painting knife is firm and certain, which is difficult to achieve with a brush or other methods.
Wipe, wipe is to lay the brush horizontally, and wipe the picture with the abdomen of the brush. Usually, it is done in a large area with less colors, which can form a less obvious brush stroke, and it is also a common method to lay the bottom color. On the dry ground color or undulating texture, you can draw an effect similar to that of Chinese painting, making the underlying texture more obvious.
inhibition means that the bottom of the knife is gently pressed down on the wet color layer and then lifted, and the color surface will produce special texture. In some places where special texture needs to be portrayed, the expected effect can be achieved by using suppression techniques.
the method of laying bricks or stones is to use a knife instead of a brush, and to lay colors on the canvas like a mason uses a mud knife to ring mud, leaving a knife mark directly. The method of building by laying bricks or stones can have different thickness levels, and the size and shape of the knife and the direction of the knife will also produce rich contrast. Using a painting knife to draw different colors without too much blending, allowing them to mix naturally on the screen can produce subtle color relations. The color layer with excessive fluctuation can also be leveled by masonry. If the masonry method is used properly, it will have a strong sense of shaping.
stroke, stroke refers to the use of the blade of a painting knife to depict negative lines and shapes on wet colors, sometimes revealing the underlying color. Different painting knives can produce different changes in depth and thickness, and the texture changes of the ups and downs of the points, lines and surfaces formed by the brush strokes and the techniques of sharp painting knives.
point, point method starts from point, and all brushwork starts from point. As early as in the classical Tampella technique, stippling is an important technique to express levels. In Vermeer's works, the brush strokes of dots are also used to express the flicker of light and the texture of objects. Impressionist point-and-time color pen method has become one of its basic characteristics, but Monet, Renoir and pissarro's point method has different changes and personalities. Neo-impressionism, on the other hand, went to extremes, mechanically using dots as his only brushwork. In modern realistic oil painting, the density of points is also used to produce light and shade levels, which can cause a definite but not rigid transition. The combination of point method with line and face in comprehensive painting can produce rich contrast, and oil painting pens with different shapes and textures can produce different point strokes, which can play a unique role in expressing the texture of some objects.
Scraping and scraping are the basic purposes of oil painting knives. Generally, the scraping method is to scrape off the unsatisfactory parts of the picture with the blade, or to scrape off unnecessary details or weaken the strong relationship with the knife, so as to relax the tense picture relationship. At the end of one day's homework, it is often necessary to scrape off some of the colors after painting with a knife so as to dry them in time and continue painting the next day. After the color is dry, you can also use a painting knife or razor to scrape the unevenness flat. You can also scrape the wet color layer with a knife to expose the background color and show various textures.
painting, if stippling and sketching are the means to form oil painting points and lines, then painting is the main method to form oil painting body, that is, surface. The methods of painting include flat painting, thick painting and Bo Tu, and the impressionist stippling method is also called loose painting. Flat painting is the main method of drawing large-area color blocks, and even flat painting is also a common technique of decorative oil painting. Thick coating is one of the main characteristics that distinguishes oil painting from other kinds of pens, which can make the pigment have a certain thickness and leave obvious brushstrokes to form texture. Scraping extremely thick pigment with a painting knife or directly squeezing the pigment onto the canvas can be called heap coating. Thin Xu is diluted with oil and thinly painted on the picture, which can produce transparent or translucent effect. Scattered painting is flexible and vivid with a pen. The coating method combined with rubbing and sweeping is also called halo coating.
Swing, that is, putting the paint directly on the canvas with a pen without making any more changes, is also one of the basic brushstrokes of oil painting. The method of pendulum is often used at the beginning and end of oil painting to find the relationship between color and shape with certain colors and accurate strokes. Often, only a few strokes are needed to change the picture at the key point. Of course, it should be done in the chest before writing.