Classical techniques of oil painting ..

Western classical oil painting is deeply loved by people for its elegance, conciseness, profundity and solemnity. Its genre is often human body, portrait and landscape, which is the cornerstone and main vein of European painting tradition and has a long history. Simple traditional oil painting techniques are as follows.

canvas

1, the traditional oil painting base is composed of two parts: base material and pigment. Linen stretched on a wooden frame is often used, with four layers of coating: one layer of rubber, one layer of earth red coating (iron oxide red powder) and two layers of silver gray coating. Pigment is a mixture of cooked walnut oil (or cooked linseed oil) and pigment powder, so the canvas is oily.

2. Manufacturing method of modern oil-based canvas: Scrape linen twice with white latex and proper amount of water, dry it twice, then polish it with sandpaper, and then scrape a thin earth tone series oil painting pigment mixed with mature oil on the rubber canvas to make it smooth, and then paint it after drying.

Second, painting materials and tools

1. Oil: turpentine, triple oil, cooked walnut oil or cooked linseed oil.

2. Palette: a piece of wood and a piece of white (white plastic or white porcelain).

3. Brush: small round-headed pen and pointed pen, flat pen and fan pen. Small scraper.

4. pigments. Small oil pan. Pencil, drawing paper, ruler.

Three painting procedures

1, draw and describe fine sketches such as objects first, and enter a state of deliberate description from the beginning of sketching; Put the sketch into the canvas and follow the sketch;

2, paving color, the first painting is brighter and more pink than the real thing, there is no high-purity color, and white pigments are added in the dark and bright parts. The second time is still brighter than the object, but this time we have to solve all the problems of modeling. The third time, cover with a thin transparent color for dyeing and polishing.

3. Finish the work with glass.

4. Ink-loving works: You can copy the ink-loving manuscript into a black-and-white picture, then carefully make many smaller squares on the copied picture (the periphery is consistent with the picture), then make a prepared canvas with the same number of squares, accurately enlarge the picture with a light pen, and finalize it with a gray line that has been adjusted to white.

1. Finalization: Blend one part of cooked oil and two parts of turpentine into one part of oil, then blend it into brownish gray with earth red pigment, cobalt blue pigment and white pigment, dip it in brownish gray pigment with an iron pen, blend it with oil and hook it out on the canvas for finalization. Ticking is not copying the manuscript, but continuing to improve and strengthen the understanding of image depth. If it is a sketch, this procedure should be carried out before the pencil sketch is finalized.

2. Laying the first color: squeeze the required pigments onto the wooden palette, which are lead white, khaki, khaki, China vermilion, cobalt blue, ultramarine and iron black from right to left. (Some early European classical oil painters only painted black and white, and then painted transparent colors) Then they squeezed a row of the same pigments under each pigment, added white to each pigment in the lower row, and adjusted it with a painting knife. Dip a small flat pen in cooked oil and turpentine to adjust the second row of white pigments, and start to paint thin and bright. We should strictly follow the part-by-part drawing of the manuscript and pick it up for a long time. The dark parts are also painted white, the color should be simple, but the color should be adjusted more. After each local color is paved, the heavier shadows should be painted with pen and ink. After painting a large area, you can use a fan-shaped pen to sweep lightly, weaken the strokes, connect the colors with a round-headed pen, and outline the details with a pointed pen. And gradually paint the object with opaque color. This time, more turpentine is used, and only a little cooked oil is used, which can be quickly dried. Don't use colors that are too pure. For example, the color of the object is scarlet and bright yellow, and at this time, only white soil red and soil yellow are needed. The whole process is to draw the middle color, and then develop to light and shade. After each painting, you should scrape off the remaining colors on the palette and soak them in water for the next day. Then scrub the palette and pens. After the first color spreading work is completed, you have to wait for about three days before brushing.

3. The second stage of coloring: (The types and arrangement of pigments in the palette are the same as above) Wipe the picture with cooked oil and turpentine. You can also use 1 part vehicle (you can buy bottled liquid vehicle) and 5 parts turpentine to polish the picture, so as to unify the picture and facilitate the color connection in the later period.

Paint with turpentine and medium. At first, the amount of painting media was less, and then gradually increased. The second stage is not completed at one time. The important issue is shaping, which requires in-depth description part by part, rather than isolated painting, and maintains a harmonious relationship until it is completed. In the second stage, try to be as close to the object as possible, and draw a peaceful tone, and finally draw a light and dark color.

With the deepening of the picture, the media economy is used less and less, and the color is used more and more. The color at this stage is still lighter than the final desired color, leaving room for the transparent color mask dyeing at the third stage. If there are problems in the second stage, it is impossible to achieve good results in the third stage. So in the second stage, don't worry about whether the color is dry or not, and whether it absorbs oil or not until it is drawn.

4. The third stage of coloring: this is the transparent cover dyeing stage. Use a white palette (white porcelain is better). In addition to the previous pigments, fresh colors such as medium yellow and deep red are added. After the second stage, dry the picture for five or six days, brush the picture with one medium and four turpentine, then gently wipe off the oil slick and adjust the transparent color to cover the dyeing. This process is also a process of in-depth painting, which can form richer tones and saturated colors. The second stage is not to complete all the details, and some details are better drawn at this stage. Of course, if the painter is skilled, he can completely connect these two stages.

At this stage, white is basically not added to the color, and the purity of the color should be cautious. The freshest colors are only used a little where they are most needed. Ivell paints people's skin color. In the previous stage, only khaki and white were used, and only a little transparent red was added to the rosy part of the face when the mask was dyed, which was enough.

Through this stage of over-dyeing and subsequent local over-dyeing, the sense of body feeling, space depth and color thickness of the picture is strengthened, so as to achieve the beauty of rich, transparent, crystal clear and vigorous special oil painting techniques.

5. Painting polishing: The purpose of painting polishing is to help oil painting display greater brilliance and transparency, fix pigments, restore the inherent color of pigments, isolate painting from air and moisture, and protect painting, which is the final stage of completing the work.