Four Traditional Guidelines of Oil Painting?

In the 20th century oil painting, formed by different artistic concepts of different schools, and constraints on the form of art presents a variety of tendencies, the traditional oil painting technique of a certain aspect of the factors are often as a form of artistic concepts embodied by the intensification of, and even pushed to the extreme, the language of the form of oil painting has been highly valued. Oil painting has its own technique of traditional basic guidelines, and the traditional basic guidelines of oil painting are mainly four, we can learn more about it below.

One, first soft and then sure

The traditional classical oil painting is valuable because it will be the strong and weak order of the texture of the integration of volume, light and dark in the strong and weak order, which produces a kind of extreme harmony of the beauty.

In the universal technique of classical oil painting, in order to establish this harmony, the gradual advancement of texture in the production must be synchronized with the gradual advancement of volume, chiaroscuro, and color layers. Due to the programmatic nature of classical oil painting in the production, all the steps are gradual, therefore, in order to maintain the perfection of the picture texture, generally do not shape the shape of the brushstrokes beforehand to fix the dead can be piled up too thick, otherwise it will affect the production of the oil painting for many times the production of the painting method and the charm of the performance of the oil painting, so the texture of the texture of the weak to the strong in the classical painting as on the gentle slope as is the gradual climb, each small change is in the big Each small change is revealed in the context of a larger order. In terms of production program, what is too fixed in advance may not be unaltered in the progress of production, and too much alteration will inevitably lead to the confusion of various other factors and order. Therefore, it is only when the conditions of the form and color are slowly matured that the shaping of the form is slowly confirmed. Therefore, at the beginning of the stage is always on the various parts of the shape and color, light and dark, such as the relationship between the articulation of each other, the transition between each other, each other, soft grasp of an overall relationship between the fat cover the thin principle, and gradually towards the affirmation of the contrast, clarity.

Such in the texture from weak to strong order, in order to gradually determine the focus or high point to accurately shape and strengthen, and only in this way can the whole picture of the dark part of the surface luster and the bright part of the surface luster to form a certain difference. But because it is advancing layer by layer, this difference is not too large, so as to form an overall, well-proportioned, harmonious sense of gloss and texture.

Two, the first gray saturated

First gray saturated is an effective method for transparent painting, Rubens in ancient times, that is, "fat cover thin" said. It was first proposed to ensure the smooth filming of oil paint and the durability of oil paintings. The formation of a solid film of pigment requires that the color powder and the color mixing oil reach a most suitable ratio in order to realize, and neither the powder weight nor the oil weight can achieve a solid and long-lasting film. Since it is a multiple painting method, it is necessary to consider the role of each step in the process. In order to facilitate the effective production, covering more oil-containing pigments with less oil-containing pigments not only contributes to the adhesion of the layers, but also produces the strongest film on the final surface, which, in turn, must depend on the proper absorption of the powder-containing pigments in the layers. In addition, "fat cover thin" is not only considered from the characteristics of oil pigment conjunctiva, but also related to the final transparent effect produced by the action of transparent and opaque colors. Pure transparent color is generally saturated with oil content, poor covering power, and cannot exactly express the change of color purity and various gray feelings in nature. It must be overlapped by the color of the bottom layer which is less saturated than the object itself, that is to say, some colors of the powder in order to achieve the accurate expression of the purity of various hues in the nature. In contrast, other powder pigments, despite their clear hue and covering power, do not have the characteristic of transparency. The final accuracy of the color must be achieved by many times of shaping and overdyeing, that is, the purity is increased layer by layer, and at the same time, not only the final transparency of the color layer is obtained, but also the final result of the image is also gradually portrayed and presented.

But with the continuous development of oil painting, people demanded that "fat cover thin" can more accurately and vividly express the real space and reality of the form, and express the rich changes of color in purity and warmth and coldness, so the method of "fat cover thin" developed into the method of "multi-layer, multi-change". Therefore, the method of "fat, cover and thin" has developed into the law of multi-layer and multi-variation. Characterized by the first color will be a low purity of pink to show the general shape of the relationship between color, each pink and gray with the tendency of the future color and brightness, for example, the future is a very heavy black, where it is painted only black gray, bright red is painted into a more pinkish red or bright yellow, these are for the next few steps to gradually fat transparent pure color cover dyeing to prepare for the next few steps. In this way, the overlap between the relatively pinkish-gray color and the transparent color of high purity achieves rich color layers, texture, and accurate hue and purity. Rembrandt is the one who pushed this technique to the extreme, his bright colors are all unified under the oil layer, and the dark colors are not simple transparent colors, but rely on the overlap of soft heavy gray to produce a transparent and thick oil painting flavor. Therefore, his paintings are extremely charming in color, saturated but not gaudy, nor burnt; transparent but not lacking in the comparison and expression of subtle gray, in the overall sense of heaviness allows you to appreciate the most vivid and subtle form and color relationship in nature and the best fit between the oil layer and the texture, which is essentially a sublimation of all the vivid form and color characteristics of nature into the beauty of the material and language of the painting, so as to get the extreme expressive power of the oil painting. This is essentially sublimating all the vivid features of form and color in nature into the beauty of the material and language of oil painting, thus obtaining the extreme expressiveness of oil painting.

Third, take the inherent color first, then find the changing color

The principle of inherent color here does not mean to use the simple and direct pure color on the palette to generalize and replace the hue of the object being painted, but it refers to a kind of color tendency after accurately grasping the characteristics of brightness and purity of the color, which includes all the complex hues in the nature. Moreover, this principle of inherent color mainly starts from the way of observing color, that is to say, when observing and generalizing color, we must unify the small hue variations, brightness and purity variations of the objects in the big hue after they are combined. Therefore, the setting of the area of intrinsic color is something we must consider at the initial stage of painting, and with this foundation, it is easy for us to look for the subsequent hue changes from different perspectives. As we go deeper into the details, the small changes in color are also deepened and enriched accordingly. We can start from the beginning to set the inherent color to look for the left and right neighboring colors or even contrasting colors, for example, in our initial set of warm yellow-gray skin tones, we can find out the color of the red and green pouring, and even purple pouring color. But again, this search for variations is relative; they must be presented in a large tendency of warm yellow. So the variegated colors identified actually have only a subtle tendency to change enough to show their complementary color relationships, and then the hues can be made richer and more vivid. But if the beginning of the focus on the various changes in color, is bound to affect the color of the order, but also not conducive to the shaping and texture of the layer by layer.

Four, the first plane after the volume

This is a sketching sense of the problem, in essence, a concept from the whole. Painting in the traditional sense is to create three-dimensional space on a plane. The plane, then, is the foundation of all spatial possibilities, and with this foundation, the painter can gallop his imagination into an infinite depth of space. However, the volume of space as well as the ups and downs in painting are relative, and are established in the mutual comparison and contrast of each form, body, and surface, and the task of the painter is to take the initiative in grasping the relationship among them, so that the volume of space can be adapted to his own needs.

First plane and then volume can let us grasp the ups and downs more actively and conveniently, in the relative plane of the object we can go in and out, selectively shaping certain should be prominent part of the volume, and the rest is relaxed, let it take its place, that is to say, let us in the plane of the orderly establishment of the should be the space, the volume of the relationship between the strong and the weak. Without this awareness, it is easy to show every regional volume undulation when painting, and as a result, the strong and weak order of the picture itself is lost, allowing the degree of undulation of each part to fight against each other resulting in mutual counteracting and losing the overall effect.

Additionally, the idea that the plane comes first and then the volume comes later is also based on the relationship between the degree of production and the order in which it is done. The shaping of the volume itself is also done layer by layer. The subtle layers of the color scale of classical oil painting must be accomplished through multiple transparent, translucent and opaque paintings, so the shaping is always gradual. Relative volume is first established on the plane, and then extreme volume is gradually built up again with each shaping of the overlay. This is one of the reasons why planes come before volumes.

In fact, the so-called basic guidelines of traditional techniques is based on the traditional masters in the techniques of **** the same characteristics and aesthetic standards summarized in some of the guidelines, that is, on the basis of the experience of the previous generation, that is, the crystallization of the wisdom of the predecessors, we need to learn a little.