Oil paints are a rather complex material and you will not be able to quickly master oil painting. Even great masters can often edit and rework their works, bringing them to perfection. But along with the difficulties, oil painting opens up new horizons in creativity, makes it possible to make light sketches and more complete deep work, embodies the play of light and shadow, creates an overflow and a smooth flow of colors.
It doesn't matter if you are an artist with many years of experience or are just starting to master art, are going to create a masterpiece or make a small sketch - first you need to choose oil paints, brushes, canvas and other necessary tools.
Before you start working with color, you need to transfer the drawing to the canvas. If you decide to paint a portrait, then sequentially, mouth, nose, face oval, neck, hair. This can be done with a pencil, charcoal or carbon paper. After drawing the drawing, it must be fixed on the canvas. This is done so that the paint adheres better to the base. In addition, particles of the material with which the drawing was applied can interfere with the paint, thereby changing its color. It is better to do this with a special fixer. Can be sketched with heavily diluted oil paints, in this case, no fastening is needed.
There are two main techniques for working with oil paints: in one step - Alya Prima and multi-layer.
Professional artists usually choose the multi-layer painting technique for painting, since it makes it possible to better convey depth and reveals all the possibilities of oil painting. The essence of this method is that after drawing a contour, underpainting is done - they place light spots and shadow accents on the canvas. Do this with a thin layer of highly diluted paint. Then the picture is written more densely in all the variety of colors and shades. And in conclusion, glaze is done - applying translucent colors on already dried basic ones. This creates a deep color with an iridescent effect.
The disadvantage of this method is that it takes six to twelve months to create a picture.
If you decide to master the technique of multilayer painting, then you should study some of the nuances associated with the properties of oil paints. If you do not allow the initial layer to dry out, then during the second registration, the oil can dry out - become dull. Such defects can be removed with a touch-up varnish. You can also use oil, while the residues that have not been absorbed into the paint are removed the next day with a blotter. In ancient times, craftsmen wiped the very dry paint with a cut onion or garlic, this improves the adhesion of the layers to each other.
Each new layer should be equal in thickness to the previous one, or it is worth applying the paint more thickly. But in no case is it thinner, otherwise the paint will simply crack when it dries.
Over time, oil paints become a little transparent, and those unwanted spots that have been smeared over begin to show through the top layer. Therefore, you can finally get rid of unwanted elements only by scraping them off while they are still not dry.
Works in the Alya Prima technique are created much faster. In addition, this method is simpler and great for beginners. The point of painting with this technique is to complete all the work before the paint hardens. That is, from the beginning of the work, the artist has no more than three or four days left. Short terms can also be an advantage if you decide “quick”. The drying time is affected by the thickness of the smear: the thicker the paint, the longer it will take. Therefore, diluted paints are often used here, sometimes allowing them to shine through the oil. This creates the effect of lightness and light.
In order to learn how to paint with oil paints need to:
Now you have everything to paint with oil paints. Finally, it's great to buy some painting manual, get acquainted with the presentation of perspective, composition, basic properties of color and light. Think over the theme of your first work, composition, perspective, color scheme, apply the drawing to the canvas, then start painting in oil.
The methods of applying oil paints can be different, but the leading ones are two: Multi-layered. With this method, paints are applied in several stages and the work process is divided into:
Alla-prima - with this method the paint is applied on a wet base in one layer. This type of oil painting makes it possible to complete the sketch in one session and is more primitive in technical terms. Until the paint has dried, you need to be zealous to write as much as possible. It is allowed to paint on raw paint as long as it allows you to mix other paints with it.
Try, experiment, copy paintings by old masters. Check out tutorials on different styles of oil painting to help you achieve your triumphs faster.
They paint with oil paints not on paper, as is the case with watercolors, but on a special canvas on a stretcher. Paints are also special oil paints. The palette is wooden for them. Prepare special solvents as well. Many special shades are obscene, take the primary colors and lay them out in a further way: warm colors on one side, cold colors on the other. Brushes are also special for them - large, made of natural bristles.
Instructions
1. Let's try to draw a still life. Start with the most basic color relationships. Highlight the most basic colors. Write in broad strokes. Look what colors are in harmony with. In oil painting, it is not recommended to scrupulously draw fragments of the drawing. Everything should be done in parallel with both the background and the objects. First, paint all the primary colors. Then you get the whole picture. Pay attention to the combination of color and shadow. Say, a gray drapery in the shade will be roughly blue, and in the light it will be silvery. The beauty of oil painting is that strokes can be superimposed on each other without waiting for them to dry. Mixing many colors is not recommended. Use 2-3 colors. Significantly, so that all the details of the still life are in harmony with each other. So that one object does not stand out as a lurid spot. When painting, don't go overboard with photographic precision. Tea your task is to convey your feeling, your point of view, your vision of this still life.
2. Once you've drawn the basic colors, start working on the details. Don't forget about reflexes. That is, about the reflection of objects in each other. Don't forget to add shadows, highlights and highlights right away. But never make shadows black. Mix different colors to get dark. Find color accents, so that everything is not identical, all other things must be subordinate to the dominant.
Note!
Oil paints dry much longer. When they are dry, the still life is ready.
Oil painting is one of the most common painting techniques. Oil paints provide the painting with durability. Colors do not deteriorate over time, and the technique itself provides wide probabilities and at the same time is not too difficult, which allows you to quickly learn it.
You will need
- Easel, brushes, paints, solvent, palette, varnishes, palette knife, rags, primed surfaces: canvas on a stretcher, cardboard or canvas on cardboard
Instructions
1. To paint, you will need a canvas stretched on a stretcher or another surface suitable for painting with oil paints. Also used cardboard or canvas glued to cardboard. All surfaces must be primed. If you are just starting to paint oil , then it is better to buy ready-made primed canvases in the store.
2. An easel is an adaptation on which a stretcher with a picture is placed. Drawing without an easel is very inconvenient. Other tools will also work for you, including a palette knife - a special spatula that is comfortable for mixing paints. There is even a painting technique with a palette knife.
3. Brushes - As usual, novice artists get brushes made from coarse bristles, but soft brushes will also work. It is allowed to draw in fact what is desirable, the main thing is that you should not do it with your fingers, because the paints and substances that make up their composition are hefty toxic. They can penetrate the skin into the body and cause poisoning.
4. Before you start writing oil , mix the colors to the desired shade on the palette. A palette knife will help with this. To clean the paint from the brush, use a thinner and rags. It is more excellent to get a shade by mixing no more than 3 colors. The usual material for the palette is wood, but glass is also great because it does not absorb or react with paint.
5. Turpentine is often used as a solvent, but it is quite toxic. Today there are less toxic solvents with more nice smells, and they are nicer to use.
6. Later, after you finish writing, brushes must be rinsed in solvent, and then washed in warm water using soap or shampoo. It is recommended not to put the brushes in boxes, but to keep them in a glass so that they can dry. It is cooler than everyone to install an additional bottom with holes in a container with a solvent for washing brushes. So the fragments of paint will settle at the bottom, without interfering with rinsing the brushes, and the service life of the solvent can be significantly extended.
7. The painting process is personal. Everyone uses their own tricks and tricks. Finally, the drawing skills will fit anyone who decides to take up oil painting. Traditionally, before starting the core drawing, an underpainting is applied to the canvas. These are silhouettes that are painted with a hefty, heavily diluted paint. They are virtually inconspicuous. After that, the drawing itself begins closer. Oil paints are applied in layers, over time working out the details more and more.
Helpful advice
When the painting is ready and dry, it is varnished. Traditionally, they wait about a year for the paints to dry completely. The varnish coating allows you to protect the paints in the painting from shedding and interaction with air. This way the paintings are kept much longer.
Oil painting paints gives great pleasure, and oil paintings create a feeling of comfort and tranquility. Oil painting looks very decent and luxurious. There is always a place in your apartment where you can place your drawing.
You will need
- paints,
- brushes,
- palette,
- easel,
- canvas.
Instructions
1. For painting, you need to buy the appropriate materials. Buy oil paints: whitewash in a large tube, the rest - in medium-sized tubes. For beginners, it is more fun to purchase paints for educational sketches. Once you get the hang of it, you move on to artistic paints. Save your paints in a wooden box.
2. Purchase a complete set of brushes - 3 each of each number. For oil painting, bristle brushes are used, made of cow hair and synthetic.
3. The next thing you need is a palette. Saturate it with oil and dry it perfectly; on the contrary, the palette will absorb oil from paints.
4. Place paints on the left edge at the top of the palette. Leave the middle for mixing. All paint must always be in a certain place on the palette. White is usually placed on the right end.
5. You will also need thinners for oil paints: linseed oil, dammar varnish, refined kerosene, turpentine turpentine.
6. Oil paints traditionally they paint on a primed canvas. The preservation of the drawing depends on the quality of the soil on the canvas. It is better to get a ready-made primed canvas. Beginners can try to paint on primed cardboard. You are allowed to prime the cardboard yourself. To do this, dilute the packaging of store-bought gelatin according to the instructions, cool and cover the cardboard several times.
7. For small paintings, at first you can use a book holder, then use an easel. It is stable and durable.
8. Before you start drawing, consider how to depict what you are planning.
9. First, execute the drawing on paper, the one that you will transfer to the canvas.
10. On the canvas, mark the image with thin lines. Work out a difficult plot in sketches.
11. Perform underpainting - 1st layer of painting. For underpainting, oil paint is diluted with a solvent. It is applied in a thin layer, the one that dries quickly. Then apply a further layer, prescribing details, specifying the shape of the objects.
12. Let the entire layer dry before applying the newest one.
13. In the final layers, linseed oil is added to the oil paints. The paint layer of the painting will be intense and stable.
14. The finished painting is varnished after complete drying of the oil paint.
Note!
After completing the work, the palette must be cleaned and wiped dry with a cloth.
Oil pastels are very different from dry pastels. And it is not recommended to use them together. As you can see from the name of oil pastels, the pigment in it is bound by the oil, and a dense and oily structure is created. Of course, compared to soft pastel , the choice of colors is more limited, there are fewer light gradations. However, the color ranges of this material are gradually increasing.
Instructions
1. Color layers can be created with oil pastel crayons in the same way as with soft pastel or with pencils. However, due to their oiliness, the tendency of rapid clogging of paper grains is monitored. Consequently, be zealous immediately to work with oil pastel easily, without pressing hard on the paper. It's cooler than anyone to use just the tip of a pastel stick. And try to keep it closer to the end - so you will not be able to press hard on it.
2. You will not be able to wash oil pastels with the usual method. But it is allowed to wash it. If you are mistaken, or want to change part of the picture, take a rag, dip it in white spirit or turpentine and diligently erase the color. After that, wait until the paper is dry and continue stroking.
3. Let's try to draw a small still life. It turns out, draw the silhouettes of orange and lemon (say) yellow pastel ... And in this case, it is better to use a bluish-gray paper, so that it was allowed to provide a contrast between bright yellow and orange shades.
4. Draw diagonal orange lines on both fruits and place yellow... Keep the strokes open so you can add color without jamming the paper. After setting the primary colors, you can add more contrast and add additional blue to the orange.
5. Stir in the base color to the shadows on both fruits to neutralize them. For added contrast, add gray around the fruit, slightly darker than the paper used. Now the shape is being created, highlights are added and shadows are emphasized.
6. Experiment with mixing colors to give the fruit a solid texture and texture. Add orange behind and below the fruit with light touches of pastel crayons. This is in order to link the fruit to the background. Well, a simple still life is ready.
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Helpful advice
The technique of rubbing the drawing with a finger to mix colors does not work in the case of oil pastels. Consider this. But the result of mixing is allowed to be achieved in a different way: overlay colors one on top of another, powerfully pressing on the sticks of oil pastels.
Paintings oil - these are brilliant pieces that can decorate any room. They look much more impressive than those paintings that are written, say, with a pencil. From the artist, they require not only an investment of effort, but also considerable funds. Therefore, if you are ready to spend money, then bravely start learning.
Instructions
1. First, stock up on all the necessary materials: paints, canvas, glue, brushes, primer. Of course, oil paints will cost more than each. True, choosing the right more inexpensive items will be equally significant. Be extremely observant about getting the canvas. The material from which it is made directly affects the outcome of your work. Consequently, be zealous to purchase linen or hemp canvas.
2. Don't start drawing right away, follow the established order. In advance, you are obliged to glue the purchased canvas so that the paint does not wet it through and through, penetrating to the wrong side. It is quite easy to make such manipulations; for this, use wood glue. At the conclusion of the procedure, remove the canvas in the most ventilated room for drying. By the way, it is worth checking if you have done everything successfully. This indicator will be the strength of the glue fold (it should not crack).
3. The next step is to prime the canvas. Without this, you cannot start drawing. Please note that primer application requires close attention and care. If you do this thoughtlessly and carelessly, the material will not be evenly distributed and ruin your painting.
4. Now get down to drawing. Grab your brushes and paints, start applying your strokes carefully and slowly. Do not be afraid that smudges form on the canvas (when using oil paints, this is excluded in the thesis, tea they have a rather thick consistency). After creating the painting, give it time to dry.
Helpful advice
Do not forget that you need a strong canvas tension to successfully create a drawing. Therefore, get an excellent stretcher in advance. If you do not use this tool, you can only get a picture damaged by cracks as a result.
Oil paints for painting are highly valued by painters, because they allow them to maximally convey the entire palette of colors of wildlife. With their support, artists reach the pinnacle of skill, creating varied results and common color transitions. What are the coolest oil paints for painting?
Composition of oil paints
The composition of oil paints contains dry pigments and oil - more often than each linseed and cold pressed. It is used because it has a wonderful golden color and has no perceptible odor. For cold and white shades of oil paints, take poppy seed oil, which actually has no color, or walnut oil. Pigments for oil paints are transparent and opaque (glaze and top coat). Transparent pigments give a layer of paint a shine and depth, while opaque opaque pigments let light through but do not give a sense of depth. Today's dry pigments are brighter and more durable and less toxic than the pigments used in the old days. Transparent pigments do not tend to fade. concentration in the process of mixing, while opaque ones, when mixing radically different colors, turn gray quickly. Masters of the decrepit school usually used transparent paints - in contrast to the Impressionists, who chose opaque paints (with the exception of ultramarine). Each of the best oil paints contains one, but the most concentrated pigment. Their mixing is performed in order to give transparency to the layer with the opaque original.
Selection of oil paints
When buying paints, it is imperative to pay attention to their expiration date, manufacturer and application rules - and the information should be submitted in Russian. The more information about the product is indicated on the package, the higher the likelihood of obtaining a truly solid and harmless oil paint. When choosing a product, it is also important to evaluate its smell - it should not be repulsive or cool, and paints for children do not have to have a smell at all. This type of paints is cooler to buy in jars than everyone else - so they can be used more sparingly by putting the required number of paints on the palette. You should not purchase oil paints with toxic acid colors, because the manufacturer could use toxic pigments in their manufacture. In addition, hostile shades distort the aesthetics of the painting and make it unnatural. The main indicator of good quality oil paints is the uniformity of their coloring pigment. Also excellent paint is easy to apply to the surface and easy to spread with a brush. You should not buy even slightly dry paints - they will leave a large number of grains of sand on the surface.
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Painting with oil paints is difficult. To do this, you need to prepare a canvas, brushes, improvised means. The paint is applied in different strokes depending on the shape of the objects being painted and the light and shade on them.
You will need
- Linen / cotton canvas, cardboard, wood or other canvas with acrylic primer; natural pig bristle brushes for shank work and sable brushes for detailing; sponges; rags; palette for mixing paints; thinner / linseed oil for thinning paint and washing the brush; varnish for finished work
Instructions
1. Mark the upcoming drawing on the canvas with support for primitive shapes and contour lines. Use diluted paint, charcoal, pencil for this.
2. Draw spherical and toroidal objects with sickle-shaped and twisted brush strokes, cone-shaped ones with triangular strokes, cylindrical ones with parallel strokes. Draw flat surfaces with parallel brush strokes.
3. Use flat brushes for smooth color transitions. In this case, mix paints on a palette and apply to the intended place of gradation. Move the brush in a forward-backward-forward direction in a crossover manner. Apply parallel strokes in the final stage of the color transition. Work with a clean brush from a darker color to a medium tone, then again with a clean brush from a more clear color to a medium tone.
4. Place transparent glazing layers of oil paint to shade the drawing on the dry layer. In order to get them, use a special liquid to dilute the paint, and apply the mixture with a columnar brush in a horizontal position. If you want to change the color of the picture, when glazing, make the direction of the strokes similar to those on the main layer. Also apply translucent glazing layers with a column brush in a horizontal position. Dilute the paint in a ratio of 1/3 Damar varnish, 1/3 turpentine and 1/3 linseed oil.
Note!
Use a sketch pencil with care, as the sharp tip can damage the canvas primer.
Helpful advice
Mix paints on the palette carefully and slowly. For more clear tones, use white color or glaze.
Flowers are one of the most beautiful creations of nature and truly deserve to be praised by artists in their masterpieces. In this regard, roses can be considered classics. However, it is allowed to draw roses not only with oil paints, but also with simple graphite pencil .
You will need
- A sheet of paper, a medium-soft (3 to 8B) lead pencil, and an eraser.
Instructions
1. To begin with, you should outline the silhouette of a rose with thin, barely noticeable lines. If you need to correct the silhouettes or modify the direction of the stroke, you should use an eraser. This will help you avoid getting confused by countless lines. To simplify the task, you should imagine rose in the form of a cup on which all the petals are attached.
2. Further, with light, with weak pressure, strokes should be made to a light tone of the petals. It is necessary to try to press the pencil as weakly as possible to create the result of the lightness and tenderness of the flower. If necessary, it is allowed to grind the graphite a little, which will give the smoothness of the flowing forms. Special attention should be paid to the separation of light and shade by flower (the greatest shade saturation is distributed over the bottom of the cup).
3. Now it is worth deepening the shadows, pressing the pencil harder while shading under the curling petals. This creates even more dramatic contrast and the highest sense of volume.
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Note!
Don't darken every flower at once. You should slowly pick up the tone of the entire petal.
Helpful advice
When doing shading, do not rush, because a thin and neat shading can emphasize the tenderness of a flower.
A palette knife is a tool that allows you to work with oil paints in a new technique. Unlike a brush, a palette knife applies huge strokes of paint to the canvas, making the picture more voluminous and expressive.
Instructions
1. In the arsenal of artists there are two similar tools: a spatula and a palette knife. If the first one mixes the oil on the palette, then the second one is applied or, on the contrary, the paint is scraped off the canvas. You can distinguish them by the curved handle, which allows the artist to draw palette knife without touching the canvas with your hand. The spatula is usually flat.
2. Prime the canvas and dry it. If necessary, draw a sketch of the upcoming work with a slate pencil.
3. Paint the main areas of the oil painting with the help of a brush. If you are painting a still life, try painting the background with a palette knife using the flat side.
4. Mix a huge amount of oil paint on the palette, so that it was allowed to be applied with voluminous strokes that stand out against the texture of the canvas. If you're styling for the Impressionist genre, use a pure shiny color.
5. Take a good amount of paint with the tip of your palette knife. Apply paint to the canvas and smudge it over the surface, creating a background for a still life. Work palette knife like a spatula when filling walls. Thus, the creation of the background will be completed much faster than if you worked with a brush. However, in this technique, the palette knife will not allow you to create overflows of color: the background will be monochromatic and one-textured. To diversify it, mix shades of the main background color. In order to show the folds on the drapery or play of color and shadow, use the core color, adding clear and dark shades to it, diversify it with other rich colors.
6. Move away from the picture and look at it from a distance. This will allow you to realize where, from the point of view of composition, it is necessary to apply additional colors and make drapery volumes. It is necessary to draw folds on the fabric with the support of a palette knife on the sides. Apply a blob of paint to the canvas with the tip or edge of a palette knife and slightly flatten it with the flat side of the tool. Create the result of bending the fabric not only with color, but also with protrusions when applying paint.
7. With the help of a palette knife, make voluminous accents on objects of a still life. Apply paint with the tip of the tool, placing the flat side against the canvas. At the same time, the edges of the blade will leave angular, textured traces, making the object refined and expressive, slightly cool.
8. To show volume, say, on the thorns of a rose, apply paint with the tip of a palette knife, lifting the blade up. The paint will seem to stretch behind your hand, leaving voluminous elongated marks.
9. Play with the texture of the rest of the items. Apply paint swiftly by moving your hand actively. See how the palette knife listens to your movements, what intricate shapes paint leaves on the canvas. If you have applied unnecessary volume somewhere, scrape off the paint with the edge of a palette knife.
Summer is the time for sketching in nature. Any object on the street can become not only the hero of the picture, but also a useful exercise. The specifics of drawing a bee will allow you to learn how to work with color saturation and texture. It is allowed to draw a sketch from life until the insect flies away, and then finalize the sketch of the house.
You will need
- - paper;
- - a primitive pencil;
- - eraser;
- - a set of oil pastels.
Instructions
1. A material such as oil pastels is more appropriate for the task at hand. She owns intense shades, but at the same time teaches to work faithfully and diligently. In addition, it will allow you to convey the hairiness of the bee's body.
2. Pick up paper for your drawing. Oil pastels are great both on pastel paper and on paper or canvas, primed for working with oil paints. If you want more detail on your design, use a low-grain pastel paper. If you want large, colorful strokes, take a primed surface.
3. With a simple pencil sketch with a hardness of 2T. Mark the location of the bee on the leaf, leaving space around it. Draw the axis on which the body parts of the insect will be located. It is an arc that needs to be divided into three parts - a quarter of each length of the arc will be occupied by the bee's head and the upper section of the body, two quarters will go to its abdomen.
4. Build the parts of the drawing as geometric shapes: the body of the bee is a ball and a cylinder, and the head is a cone. For the entire shape, draw a central axis, and on it place the circles that create the shape. With a few hefty light strokes, mark the outlines of the wings only in order not to "lose" them when working with color. It is allowed to draw the shape of the legs and antennae approximately, without scrupulous alignment.
5. When the frame is built, pick up crayons that match the color. Take in several shades of yellow, sepia, herbal and umber, as well as navy and white.
6. Since it is difficult to correct a drawing with oil pastels, try to be as accurate as possible when applying color. In order to achieve mixing shades, overlay them in layers, but not with a solid fill, but with a grid. Cover the side of the bee's abdomen with a clear yellow mesh, the part of it that is near the paw, darken with hefty light strokes of clear sepia.
7. Cover the back of the insect in each area with an intense honey color. Close to the junction with the second body segment, add a warm brownish shadow. With the same chestnut, mark the stripes, pressing harder on the chalk. After that, in blue, paint a highlight on each of the stripes on approximately the same tier - this will make the illusion of volume.
8. You will need dark brown shades to fill the bee's legs, head, eyes and round body part. After that, finish any of these details with light strokes superimposed on top of the main color - on the legs it will be brick and blue in the places of the highlight, in the eyes - a white highlight and a slight blue around it, on the head closer to the "nose" - grassy.
9. Highlight the villi on the body with light clear yellow strokes. To do this, you need a strong, sharp crayon. If it is dull and softened from the warmth of your hands, place it in the refrigerator for 10 minutes, and then sharpen it with a clerical knife. Apply fine strokes also to the head and lower abdomen of the bee.
10. Draw the veins on the wings in a distinct chestnut silhouette, and on the surface of the wings, blend cold brownish and white colors.
11. Draw the background around the bee with huge diagonal strokes, cover them on top with lines at an acute angle to the first layer. In the shadows, add reflections with warm pastel shades (slightly darker than the bee's body).
12. In the process of completing an intense color, it may turn out that the layer turned out to be too heavy, dense. It is allowed to remove it with the support of a palette knife, scraping off the excess.
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Oil painting. The basics. Lessons by Bill Martin for beginners.
There are things you need to know before you start painting in oils.
All paints are a mixture of dry pigment and liquid. In oil paints, the coloring pigment is mixed with linseed oil. Flaxseed oil is an oil that dries up by air oxidation. It absorbs oxygen from the air and permanently crystallizes the paint pigment. Once the oil dries, it cannot be removed.
Oil paints are thick. They are produced in tubes. The paints are squeezed onto a palette and mixed with a palette knife to obtain new shades. Then they are applied to a vertically positioned canvas with stiff elastic brushes.
Oil paints dry very slowly. You usually need to wait three days before putting on the next layer. This long drying time is both an advantage and a disadvantage. The big advantage is that you have time to think about what you have drawn. This is very useful when you are making gradient transitions from one color to another. Or, if you are unhappy with what happens while the paint is still wet, you can scrape it off with a cloth, palette knife or rubber scraper and redraw.
The disadvantage is that if you put wet paints of two different colors, they may not mix neatly with each other. The palette, brushes, and damp cloth should be handled very carefully to avoid smearing yourself, clothing, food and furniture.
You can work with paint for up to 12 hours in a row, then you must leave the work to dry for three days, after which you can continue working. When the paints are dry, new colors can be applied on top. There can be many layers in the work. Each subsequent layer must be the same thickness or thicker than the previous one, otherwise cracks will appear.
After the work is completely dry (three to six months), a protective layer of Damar varnish should be applied.
DRAWING.
A complex drawing is quickly lost when applying oil paints, so it is better to designate a drawing simple figures and contour lines. The drawing can be done directly on the canvas, or it can be prepared in advance and transferred to the canvas.
When the drawing is applied directly to the canvas, it is better to use diluted paint. Since it is already paint, you do not have to isolate it from subsequent layers.
You can also use coal. The charcoal sketch will need to be isolated from the next layers with a fixer. Soft charcoal is easier to fix with fixer than compressed charcoal.
The drawing can also be applied with a pencil to the canvas. Then also secure with a fixer. The sharp tip of the pencil can create cracks in the primer, so you can add another clear coat of primer. If you have applied another coat of primer, no fixer is required.
In the photo: a can with a fixer, in a box - carbon paper.
It is better to prepare a drawing for translation through a carbon copy on thin tracing paper, then it will be easier to translate. Attach your drawing to the canvas. Translate it using carbon paper. Circle your drawing with an underlined carbon copy. Use a ballpoint pen in a contrasting color to see which areas you have already translated and control the thickness of the lines. The applied design must also be fixed with a fixer or a thin glaze layer of a transparent primer.
TRANSITION OF ONE COLOR TO ANOTHER
Consider a graduated transition from one color to another. Oil paints, because they take time to dry, allow you to move them across the canvas while still wet. That is why it is much easier to make smooth gradations of color with oil than with other paints. This can be done with any brush. But flat brushes work best, and round brushes are worst. The same principles work for small and large stretch marks. 
The paints are mixed on a palette and applied to their intended locations on the canvas. The brush is then passed back and forth in a crosswise manner between two color gradations until a satisfactory result is obtained. Then parallel strokes are carried out to finalize the site. Work with a clean brush from dark to medium, and then again with a clean brush from light to medium. 
(A) In this example, brush strokes are ALWAYS positioned perpendicular to the highlight. Moving the brush in a circle, we try to make strokes perpendicular to the glare, respectively, we get the shape of the strokes of a twisted brush.
(B) Depending on the location of the primary colors of the stretch, an idea of \u200b\u200bthe plane in which the surface is located is created. Notice how the shades are arranged to depict a flat surface (left) and a curved surface (right).
WE CREATE FORMS
All shapes are created from five basic shapes. These shapes are: ball, cone, cylinder, cube and torus (donut, steering wheel). Portions of these shapes form whatever objects we see. Imagine half a cylinder on a cube - and you get the shape of an American mailbox. A half ball and a cone will give you a teardrop shape, a tree is a cone, an oak is a hemisphere (half a ball), and a cylindrical mug usually has a handle in the form of a half torus (donut). 
Chiaroscuro creates shape. Each of these shapes has well-defined locations of light and shadow. The sphere is characterized by sickle and ovals. The cones have a triangular illuminated part and everything else is in shadow. Cubes and flat surfaces contain stretch marks (light to shadow gradient).
The cylinders are made of strips. Thor is made of crescents and stripes.
The concave versions of these shapes have the same chiaroscuro, but without reflexes.
If you can learn to draw these five shapes, you can draw everything.
The ball (sphere) is defined by crescents and ovals. The balls are drawn with crescent and twisted brush strokes. 
Cones are made up of triangles of light and shadow. Cones are painted with triangular brush strokes. 
The cylinders are made up of stripes of light and shadow. The cylinders are written with parallel brush strokes.
Cubes and any flat surface obey the same rules. Graduated transition from light to shadow. If the depicted surface is parallel to the canvas, then it is depicted in one even tone. A cube is a combination of intersecting planes. Each side of the cube contains a chiaroscuro stretch. The cube is drawn with parallel brush strokes.
The torus contains aspects of two other shapes. It has stripes of light and shadow, like a cylinder, in the center, and crescents, like a sphere, along the edges. The torus is written using twisted strokes and sickle strokes. 
Here you can see that to convey the shape of the object, you need to use light and shadow, and not contour lines. Light can be confusing, so first try to see the shape of the object, and only then - how exactly the light falls on this shape.
MATCHING COLORS
The rainbow gives us examples of the pure colors that surround us in the world. Rainbow colors in order: red-violet, red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue-violet, violet. When these colors are framed in a circle, we get a "color wheel". The color wheel is a must when matching colors. 
The circle is positioned so that yellow, the brightest light color, is at the top, and purple, the darkest, at the bottom. From top to bottom, on the right, are yellow-orange, orange, red-orange, red and red-violet. These colors are called warm.
From top to bottom, on the left side, there are yellow-green, green, blue-green, blue and blue-violet. These colors are called cold colors.
Complementary colors. 
Any TWO colors that are opposite each other in the color wheel are called SUPPLEMENTARY colors. Red and green are complementary colors to each other, as they are opposite each other on the color wheel. Yellow and purple are also complementary to each other. Yellow-green and red-purple are complementary colors. Complementary colors placed side by side on the canvas reinforce each other. Complementary colors when mixed on the palette neutralize each other. On this plate, complementary colors are located at opposite ends of the scale, opposite each other. If we move down this scale towards the middle, we arrive at a neutral gray color, the least saturated of all. 
All colors have shades. Pure spectral colors are marked with letters in this picture.
So how do we match colors with all of the above in mind?
We just need to answer these three questions.
1. What color will the desired color be obtained from, where is this color located on the color wheel? (meaning spectral color).
2. How intense is it? (the more we add additional color to the color, the less saturated the color we need becomes).
3. Hue (how dark or light it will be).
This is how it all works. 
Paints are arranged according to colors on the palette. 
We select the color, like a brown leaf.
The spectral color will be reddish purple. White is added to match the hue. A yellow-green complementary to red-violet is added to reduce its saturation. 
We select the color of the green leaf.
Spectral green. Cadmium green is our base color. It contains a bit of yellowness, so we reduce its saturation with a red-violet (quinacridone pink). Yellow-green and red-purple are complementary colors to each other.
Add white to clarify the shade. 
We select the color of the silver tape.
The spectral color is blue. Add white to refine the tonal saturation. Add orange, complementary to blue, and get gray. 
Choosing the color of the 3D object. A piece of soap. 
First, we select the middle. The spectral color is yellow-orange. Add a very small amount of additional blue-violet to reduce the intensity of the color. And a little bit of white. 
To get the lighter areas of our soap, add white to the center of the resulting color. To get the color of the shadow, add another blue-violet to the middle color. 
So, the colors of the soap are matched. Usually, to get the color of the shadow on an object, you need to add an additional color to the main color of the object. For darker shadows, use the main subject color, but with less white. In some cases, adding extra color doesn't darken the color enough, that's when we add a little black.
SHADOWS
Shadows create light. Shadows are divided into three categories. The first is the shaded part of the subject, known simply as SHADOW. The second is the falling shadow from the object, which is formed by the fact that the object blocks the light from the light source. The third category is the shadow on adjacent items. 
The shadow portion of an object is a darker, less saturated version of its base color.
Direct light produces dark shadows. Diffused light produces less intense blurry shadows.
Reflected light in the shadow (reflex). 
Light falling on an object from its environment is called reflected light or reflex. The color of the objects that surround our object significantly affects the reflected light. See the green reflected light in the left ball? Notice the reflected red in the middle ball. Ambient color is an integral part of all shadows. 
The darkness of the surrounding objects also affects the reflected light. The first ball just hangs in the air. The second ball also reflects the white surface. The third ball reflects a black surface. The saturation of the surrounding objects is also an integral part of the shadows.
Falling shadows.
A drop shadow is always characterized by the fact that it is the darkest and most focused at the source of the shadow (at the subject). Drop shadows are written in a darker, less intense color than the color of the surface on which they fall. 
The drop shadow color always contains a complementary color to the light color and a complementary color to the color of the surface on which the shadow lies.
See a blue tint in the shadow of an object that is illuminated with orange light? And an orange tint in the shadow of a subject lit with blue. There is a tint of green in the shadow of an object illuminated with red light. And notice the reddish-purple cast of the shadow cast by the yellow-green light.
Drop shadows are related to shape and texture. 
Drop shadows describe the surroundings of the object. On the left, the wall is defined by the drop shadow of the glass. On the right, the shadow indicates the presence of a mound. 
The edges of the shadow define the texture of the surface on which the shadow falls.
Grass on the left and mud with rocks on the right.
Falling shadows in direct and diffused light. 
Direct light (left) usually comes from a single light source, such as the sun or a spotlight. It produces high contrast and rich dark drop shadows.
Diffuse light usually comes from multiple light sources. It produces low contrast and fuzzy drop shadows. 
Subjects with little or no drop shadow are ALWAYS in diffuse light, where they appear flatter and less textured.
Shadows from neighboring objects. 
These are the dark shadows that we see where objects touch each other. The dark line around the closed door, the dark line under the coffee mug, the dark line between the tightly clenched fingers - this is the shadow from neighboring objects.
It is relatively independent of the direction of illumination. These shadows in the shadows are usually the darkest parts of the drawing. 
A narrow dark bar under the cylinder on the left tells us that the objects are separate. The cylinder on the right is connected to its base.
CONTRAST
We use light and shadow together.
Contrast is the ratio of the lightest to darkest part of an object or its environment.
Tone scale.
Left - high contrast, right - low contrast.
When objects have high contrast, they appear closer to us. When the contrast is lower, objects appear farther from us. Those rocks in the distance seem to us to be located farther from us, their contrast is lower than the contrast of the rock closest to us. 
The gradual saturation of objects with contrast makes them visually closer to us. 
The contrast of the falling shadow and its surroundings can be used to determine the distance.
Low contrast 
Objects in diffused light have the lowest contrast. 
Objects without a drop shadow are always in diffuse light. If the subject has a medium to dark tint, it should have a drop shadow. 
If the object has a tonal transition from medium to light, then it will appear as if in haze or fog.
CONTRAST CREATES A TYPE OF LIGHT. High contrast matches bright lighting. Low contrast corresponds to diffuse lighting, far distance and haze.
TEXTURE
The texture helps you determine what exactly you see.
The texture is best seen when the light transitions to the shadow. On smooth objects, a highlight is a distorted representation of the light source itself. The sharper the focus of this reflection, the smoother the object's surface. A glass bottle has a smoother surface than an aluminum bottle, which in turn is smoother than candle wax. We know how these objects focus the lens flare on themselves.
On objects without bright highlights, the texture is visible well and is determined by the transition from light to shadow.
These ten objects are arranged in order of their degree of texture.
Notice where your eye is looking directly to evaluate the texture of the object.
We look at the transition of light to shadow to determine how textured the subject is.
The texture is in diffused light.
On the left is direct light, on the right is diffuse light.
Objects in direct light appear more textured than objects in diffused light.
The log and towel appear softer and smoother in diffused lighting. Objects appear less textured in diffused light because the transition from light to shadow takes longer.
GLAZING / LESERING LAYERS
Glaze layers are applied over the dried paint.
Transparent layers of oil paint are called glaze. Translucent are glaze layers. To obtain a glaze, the paint is diluted in a ratio of 1/3 of Damar varnish, 1/3 of turpentine and 1/3 of linseed oil. Glaze is a thin transparent layer of paint that is placed on another dried layer to obtain a shade of the third color http://www.kamforum.ru/style_images/1/folder_rte_images/image.gifet. For example, if you put diluted quinacridone pink (clear) over blue, you get purple. If you glaze over exactly the same color, then you will enhance it. Falling shadows on complex textures are very often covered with glaze. Glazing darkens the color a little. (See the lesson "Colors" about transparency and haze).
This is glazing.
For example, the shell of a beetle needs to be greened.
The glazing liquid is mixed with cyan green (transparent color) on the palette until the required degree of transparency is achieved.
Then the mixture is applied with a kolinsky brush on the drawing in a horizontal position. Leave to dry overnight. When using icing, you can change the color of the picture without changing the direction of the strokes of the paint on the base layer.
A glaze is obtained by using a diluted matte color over a dried color of another paint. The glazing layer does not change color and is a translucent layer.
The paint is also mixed on a palette with a mixture for enrobing and applied to a horizontal surface with a core brush.
White (matte color) with glaze gives us rays of light. Leave to dry overnight.
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In order to learn how to paint with oil paints, it would be more correct to say, paint with oil paints, you need to have certain knowledge in this area, namely, to understand the variety of tools that are currently presented in a wide range in stores for artists. An aspiring artist can get lost by going into such a store without prior preparation, because a seemingly obvious set, which is considered to be canvas, brushes and oil paints for good start in this case will not be enough. This article aims to enable you to virtually visit an artist store, as if accompanied by an experienced mentor. So, let's begin!
Canvas
The first thing we will choose with you is a canvas. As a basis for painting with oil paints, you can choose various materials: board, cardboard, metal plate, glass, plastic. But if you and I are talking about classical painting, then, of course, you should choose a fabric that is primed in the right way, tightly pulled on a stretcher and tinkling like a drum. Yes Yes! The canvas should not sag, its surface should be perfectly flat. In the old days, and now too, many professional artists pull the fabric over stretcher themselves, themselves, and primed it. Since these recommendations are intended for novice artists, we will not delve into the topic of stretching the canvas onto a stretcher, we will talk about how to choose the right surface that is already ready for work, namely, a canvas already primed and stretched onto a stretcher.
It is best to canvas canvas was linen, it can be of medium or fine grain size, have an even smooth surface without knots, the thickness of the canvas should be uniform everywhere. The grain of the canvas is various irregularities and knots in the fabric, in the weaving of the threads of the canvas. If there are a lot of such inclusions, the threads are coarse, then you have a canvas with high grain size. It is suitable for drawing heavily textured objects such as old brick walls, knotty tree trunks, rocks, rocks, etc. Here you can work with large pasty strokes, use a palette knife. Therefore, such a canvas is not suitable for drawing objects with a delicate texture, for conveying delicate black-and-white transitions. The delicate transparency of grapes and the face of a young girl cannot be painted on such a surface. For such purposes it will be correct to choose a canvas finer workmanship, smoother, that is, fine-grained. And it is precisely such a canvas that is best purchased for novice artists; by the way, on it, you can make a more detailed preliminary drawing with a pencil. And you can easily erase a fragment of a drawing you don't like.
Pay attention to the quality of the stretcher, that is, the wooden base on which the canvas is stretched. We have already talked about the inadmissibility of its sagging, it remains to add that it is necessary to evaluate wood qualitythe subframe is made of. Usually it is linden, pine or birch. The wood must be well processed, dry, smooth, free of knots, chips, rot and wormholes.
Oil paints
To begin with, you should not buy a large number of paints, it will be quite sufficient to purchase a set of 10-12 colors. The most important thing is that this set contains blue (azure, cobalt), red (medium cadmium, light or dark), yellow (medium cadmium), black (gas soot), white (zinc or titanium white) paints. If you already know how to mix the main colors and get additional ones from them, then even such a minimum is quite enough for you, but it is better to diversify a little, even if your first oil palette is still there! To find out what color is in the tube, look at the color strip on the label. Complement your set with blue paint (sky blue), ocher tint (light ocher or golden), the so-called "earth colors" - natural umber, natural sienna, as well as natural shades of green colors - olive, herbal greens, light green, etc. ...
We remind you once again look at the tube label... Or you can buy a ready-made set of paints. Over time, you will understand which paints are consumed faster, which are not. In addition, before buying paints, it would be good to know in what colors you intend to paint a picture: will it be delicate pastel shades or rich contrasting painting? How big will your work be? This can also influence your choice. And, of course, it would be nice to get acquainted with the table of colors, the names of which are the same for almost all manufacturers, so it is quite possible to navigate by color and see the correct names of the colors and shades you like. The prices for oil paints from different manufacturers are different, they directly depend on chemical composition paints. Paints containing natural rather than synthetic pigments will cost more.
Brushes
Lucky
In the shop window for artists, among other things, you will see a variety of artistic varnishes. They are designed to work directly with paints, that is, the brush is periodically dipped in varnish, then in paint. This is the so-called " painting on varnish"Or" through varnish ". Why is this done. In order for the painting to be immediately bright and juicy. And it is better, of course, to protect the finished work with well-dried paints with varnish. As we have already mentioned, varnish gives richness to paints and, most importantly, protects your work from external influences. When the varnish is dry, the surface of the canvas can be wiped off dust. Varnishes are different in composition, they are mainly made on the basis of soft resins.
Solvents
A very useful and important thing for oil painting. A solvent is needed to dilute paints, in order to clean the brushes before finally rinsing them with soapy foam.
Tee
This is a ready-made composition for diluting oil paints. It usually contains linseed oil, varnish and turpentine. It is this diluent that is poured into the oil can. If it is not at hand, Pinene # 4 solvent plus linseed oil will do.
Oiler
A special container where a tee or solvent is poured. Usually attached to a palette, for which it has a convenient clip-on fastener. Oilers are plastic and iron. It is more convenient to have an oiler with a threaded cap, then you will not spill anything, and the unused contents will not dry out ahead of time.
Palette knife
A necessary and important tool in an artist's arsenal. These are special spatulas designed to scrape off paint residues from the palette, apply and remove paint from the canvas. There are special painting techniques when work on canvas is carried out with a palette knife, and not with a brush. On sale there are sets of palette knives of different sizes and shapes.
Palette
Oh, this is a real business card of any artist! You also need to be able to choose the right palette, the paints on the palette should be placed closer to the edges, there is a place for mixing in the center. Palettes come in different shapes and sizes.
Easel
- a very convenient thing in order to objectively evaluate your work, to see flaws. Easel work is a professional approach. In front of the easel, you can work both standing and sitting. From time to time you need to move away from the canvas for some distance to see all the details. When buying an easel, focus on its strength, reliability of fasteners, size and model that suits you.
Sketchbook
A special device for painting outside the home. This is a kind of suitcase in which you can place everything you need for work: brushes, paints, solvents, canvases, cardboard. It is compact enough, opens and closes, has reliable strong straps for carrying. The sketchbook can be of various sizes, with and without legs that can be adjusted in height. When buying a sketchbook, you need to make sure that it is reliable and durable, has good fasteners. The sketchbook can also be used as an easel at home.
Here are, perhaps, the most basic tips that we hope will be useful to you when choosing materials for painting with oil paints. If you have the full set of tools that we talked about, you can safely start painting your first oil painting! Good luck and creative inspiration!
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You will need
- - oil paints of different colors;
- - brushes with natural bristles (bristle and core);
- - canvas;
- - primer;
- - fine sandpaper;
- - easel;
- - palette;
- - drying oil;
- - palette knife;
- - solvent;
- - turpentine;
- - varnish;
- - the cloth;
- -a cup.
Instructions
Purchase quality oil paints, brushes, and other painting supplies from a specialty store or department. Pay special attention to paints and brushes - these are the main tools of the artist. Good brushes retain their original shape after each stroke, while bad ones practically do not bend and do not return to their original shape when dipped in oil paint.
Stretch the canvas over a stretcher. For painting with oil paints, a dense cotton or linen cloth is used. It must be primed before work. Apply the first coat of primer horizontally. Smooth the surface with sandpaper and, to get rid of small cracks, apply a second, vertical, layer of primer.
Place the canvas on an easel. Pour some turpentine into a cup to cleanse as you work your brushes. After the primer has dried, this will take about an hour. Sketch the painting.
Wipe the palette with linseed oil and wipe dry. Then squeeze oil paints onto it. During work, the palette can be held in hand or put next to it.
Mix the drying oil with the dark oil paints that you will use for the base of the picture. Inject a little solvent into the mixture with a palette knife. This will give the colors a fluidity, and they will fall on the canvas more evenly.
When working on a painting, apply oil paint with neat strokes. If your work is large, then paint with bristle brushes. Perform separate areas with fine lines with calico brushes.
Correct mistakes and inaccuracies in the picture by wiping the paint with a palette knife and using a piece of cloth soaked in turpentine. Then sand the area with sandpaper and wet with literally one drop of linseed oil.