The expressive skills of painting

Mastering perfect expression skills is an ability to make a work reach a high artistic level. The skills and methods of painting are directly related to artistic expression, appeal and aesthetic value. Therefore, there is no artist who does not attach great importance to the research and exploration of painting techniques. In fact, there are no fixed procedures for various painting techniques; The continuous improvement of painting tools and materials, the renewal of artistic concepts and aesthetic consciousness, and the emergence of various new painting styles will promote the continuous innovation and evolution of techniques. However, in their own professional practice, various paintings have accumulated a lot of technical experience that can be widely used, which is worth learning and learning from.

A thick painting and a thin painting.

In the process of gouache painting, most colors need to be mixed on the palette before entering the picture. The blending of colors and the amount of water and white powder are the problems that reflect the performance techniques and gouache characteristics. Watercolor painting simply uses water to control the thickness of pigment, thus resulting in the change of brightness, and uses the wet and dry color of water to obtain the special performance effect of watercolor painting through color infiltration or reset. Oil painting uses colored oil (turpentine or linseed oil) and white to control the thickness and lightness of color. Gouache painting is between the two. Water can make the pigment thin and translucent, and the brightness of white painting paper can also penetrate the excellent layer. Moisture makes the color thick, and the thickness changes in lightness, which will play the infiltration effect of wet painting like watercolor. This is the thin painting method in gouache painting.

If you use the thick painting method in oil painting to do gouache painting, you have to use less water and use more pigments and white to improve the thickness and brightness of colors. The thin gouache painting method, although using a lot of water, can not achieve the vivid, bright, smooth and moist artistic effect of watercolor painting. Thick painting can't be like oil painting, and a thick color layer can be firmly attached to the painting paper. We often see some gouache paintings, which are so thick that the color layer cracks and falls off and the picture is damaged.

In gouache painting, water has two purposes: one is to dilute the color and facilitate free painting; Secondly, moisture can make the color fade in different degrees, and make the bright paper color penetrate the excellent layer, showing the change of brightness. If you use a lot of water and let the colors flow on the paper, you can also have the effect of blending water and color. Generally, the Bo Tu method with plenty of water is often used in gouache painting for the first time, which can make the color layer soft and delicate and has the effect of receding. This method is often used to draw the shadow part and foreground of the scene. Thin painting can't give full play to the artistic characteristics of gouache because water is multicolored and thin, and the powder factor and hiding power will be weakened, so thin painting is often only suitable for partial or first color painting.

Thick gouache painting is easy to produce the artistic characteristics of gouache painting. Therefore, the amount of pigment in the color mixing box must be kept wet and dry, so as to ensure that enough pigment can be dipped when the brush is inserted into the pigment grid, and it can be very rich and full when colored or painted on paper, and it can be used freely. Sometimes you can dip in several different colors, and draw appropriate colors through brushstrokes while shaping objects, which can draw vivid effects of various colors competing for each other. Of course, without enough experience and basic ability, it will never be easy to do this. Because of many bright objects or scenery, such as sky, water, roads, houses and so on. It is necessary to fill a lot of white to meet the requirements of lightness, so when gouache painting needs to use white, it is necessary to boldly use white and ensure a certain thickness, which can make the modeling thick and powerful, and produce a strong and weak contrast effect with the thin painting part. Generally speaking, in terms of color thickness, thick painting is the main way to obtain better gouache painting effect.

Second, the cohesion of gouache painting

Gouache painting is easy to draw, with clear color blocks and distinct outlines, but it is difficult to draw naturally and softly. In realistic painting and sketch, it is often a difficult problem to express the relationship between reality and reality of objects. In sketching practice, it is common to draw the outline of an object as clearly as clipping. This shortcoming will separate the object from the surrounding environment and weaken the three-dimensional sense and space sense of the object. There are two reasons for this situation: first, the observation method, starting from the local, does not compare the virtual and real relationship of the object contour, which is a cognitive problem; Second, although we know the relationship between reality and reality through observation, we lack the method to express this relationship. The former solution has been described in Chapter 3, Section 5, "Observation and deployment of colors", while the latter solution needs to understand some basic laws of the relationship between water and pink.

The key to the effect of gouache painting by cohesion method is to control the change of color brightness correctly. In the section "Observation and deployment of colors", we have talked about how to use the palette to find the correct relationship between colors in the palette before entering the screen. This is a good way to get the right color cohesion through the palette. Some gouache paintings are done in one go, when the color is not dry, by wet painting. When the colors are not dry, the colors are easier to connect. Cold and warm color blocks can also partially overlap where the two color blocks are connected when the colors are not dry, and a transitional intermediate color is produced after mixing, so that the connection is natural and soft, and there are no stiff marks. The outline of an object's backlight surface is always blurred, which is integrated with the background or projection. It is virtual in the contrast between reality and reality, and weak in the contrast between strength and weakness. This virtual color relationship is most suitable for wet painting to achieve ideal cohesion effect. However, in the process of painting a work, it is difficult to keep the color of the picture wet for a long time, and after the color dries, it loses the effect of wet painting. At this time, you can use a clean brush to coat a layer of water on the parts that need to be connected, so that the dry color condition can be restored to the wet color condition, and then adjust the color of the connection according to this color condition. In this case, the painter will be much more convenient and sure. This method is often used in gouache painting, because the color of gouache painting is obviously different from dry and wet. If you don't use the above method, continue to paint on the dry color layer. The connection between colors mainly depends on experience. What needs to be grasped is that the painted colors are basically the same in personality, and can be naturally connected after drying, and will not be stiff and disjointed. This can also use the remaining first color in the color mixing box as the basis for connection, or first call out the hue of the color to be connected with it as the standard for continuous connection. These are the methods adopted without experience. With experience, it is not difficult to judge how to allocate connecting colors. Another dry connection method is to connect two different color blocks naturally and softly by using flat cables and color dots, showing a rounded three-dimensional effect. You can use any color line or idea to draw a transitional middle color at the joint, and you can achieve the performance effect. This is the same as in printmaking, where the arrangement of cables is used to express the level of handover.

Three strokes

Brush is the main tool for painting performance (there are other tools for painting knives and pursuing special effects). In China's traditional painting techniques, pen and ink are the core, and brushwork plays a more critical role. Chinese painting is characterized by brushwork, pen and ink, and paper.

The combination is effective, and it plays an important role in modeling, skeleton layout and even vivid charm through the means of point, line and surface.

Because of the different material selection and production methods, the brushwork of traditional Chinese painting has different performances, including center, side, forward stroke, reverse stroke and various strokes that are lighter than reality. Through the combination of various strokes and ink colors, the works are rich and varied, showing strong expressive force and appeal. Although western painting is not as important and effective as Chinese painting in terms of brushwork skills, brushwork can not be ignored in terms of expression skills. The brushwork skill of China's traditional painting can provide important enlightenment and is worth learning.

Gouache, like Chinese writing brush, has different functions determined by different materials and methods. In color painting, color is expressed through various strokes and techniques. Texture (soft and hard), modeling (size), modeling (flat, round, sharp), dipping color, water content, color thickness, wet and dry, and various brushstrokes and techniques truly and vividly represent complex and diverse images and scenery. Brush strokes can strengthen the atmosphere and artistic conception of the theme, express the passion of the author and the sense of movement of some themes, and also produce the rhythmic beauty of the picture. Many unique color effects are often obtained through brush strokes. The modern surrealist painting style is indifferent to the expressive force of brush strokes, and even the whole picture has no traces of brush strokes, which makes the image as neat as a photo. This is a painting style, and its purpose is to pursue a sense of reality that is no different from reality.

The brushwork in painting is closely related to the painter's style and personality. From the choice of subject matter, the treatment of art to the pursuit of expression method and emotional artistic conception, it is inseparable from brushwork. This kind of brushwork skill is difficult to introduce comprehensively, but it should be the basic knowledge and skill that must be mastered for some commonly used conventional brushwork.

The difference between a large pen and a small pen-the application of brushes with different sizes is related to the observation method and the habit of using pens. At the beginning of painting, people generally used to use small pens. This is because when sketching at this stage, they often focus on the details and parts in the habit of observing the scenery, and pursue the description of the details they see clearly, so they choose a small pen. This kind of performance effect can be imagined, and it is difficult for the branches of the picture to form the center of the theme and produce touching charm. If you take landscape sketch as an example, you should at least know that using a lot of background color makes color important. For the sky, the ground, the hills and some parts that need to be concise and summarized, we should also use yamato; Small pens should be used to shape small images and depict details in depth. In the process of drawing an exercise problem, from beginning to end, many large and small brushes need to be separated and used alternately, so that the strokes will not be monotonous and lack of expressiveness. Brush strokes are artistic means to shape the body and express the theme. To shape the image of people or natural scenery, brushwork must be used in combination with the physical characteristics and structure of objects, and circular objects must be shaped with many arc brushwork. Vertical objects often need horizontal brushwork to shape, such as drawing the thick trunk or arms and legs of the human body, which can be thicker combined with horizontal brushwork; When drawing water or land, generally use long horizontal, which can show the profound sense of plane; When painting a large area of still life desktop, background, wall and sky in a landscape, the brushwork should avoid being monotonous and boring like that of a mason painting a wall, and the brushwork of horizontal, straight and oblique strokes should be used at will to increase the vividness. However, it should be noted that these color blocks are behind the main object and have a certain depth. They are foil objects, so you should be calm and calm with your pen. Use a brush of the right size. Due to the different themes of the picture, the required artistic conception and artistic conception are inevitably different, such as the peaceful artistic conception, which mostly adopts horizontal and soft brushwork; Use strong, lively, decisive and clear brushstrokes to express cheerful, turbulent and tense pictures; The calm and steady style is closely related to the serious and solemn artistic conception of the picture; Soft and casual brushwork can strengthen the artistic conception of beautiful lyricism; Bold brushstrokes can show the roughness, boldness and magnificence of the theme.

The effective use of formal factors such as point, line and surface in brush strokes is an important condition for making the picture produce rich and vivid performance effects. The combination of line and surface to express the body has a special painting effect. Dry, wet, thick and thin lines in brush strokes, positive side, light side, heavy side, fast side, slow side, imaginary side, real side, etc., can properly express various images and picture effects. Chinese brush has the characteristics of lively and smooth lines and easy use. Square-headed flat pen is suitable for representing scenes with heavy three-dimensional sense with block brushwork. Some novice gouache writers often have shortcomings in skills and methods, which can be summarized as follows:

(1) focuses on the local, devotes to the details of small strokes and loses the generality;

(2) Only one brushwork is used to describe objects with different shapes and textures, and there is no brushwork change, resulting in monotonous effect and loss of vitality;

(3) The pen can not be closely combined with the body structure, and the body shaping lacks rigor and heaviness;

(4) the pen is cumbersome and the writing has no sense of rhythm;

(5) the brushwork is weak, and there is no change in strength and realism, which makes the picture lose its look.

Four-painting knife method

Painting knife is a very common tool in oil painting. It has various shapes and different effects. Gouache painting knife is borrowed from oil painting, which is a kind of creation, and its special effect adds another style to gouache painting technique.

There is no fixed pattern for gouache painting with a painting knife. Some gouache painters use oil painting knives, or make them into various shapes and sizes according to their own painting requirements, such as sharp points, square heads and round heads, which can be decided at will. In any case, this kind of knife needs to be thin and elastic. As long as you have this characteristic, even if you use plastic or bamboo chips, it can be an economical and practical painting knife.

When drawing a knife, it is better to use a brush to be free. It can draw soft strokes or lines with different thicknesses, and it is difficult to express specific and detailed images. Only suitable for thick painting, not suitable for thin painting with much water, which is the limitation of painting knife. However, its application function is similar to the performance effect of painting knife in oil painting, and it is very suitable and has a unique effect on objects with rough shape and obvious appearance contrast, such as rocks and mud, generalized foreground or overgrown trees, building walls, bricks and tiles, and large-scale scenery such as sky, mountains and water.

Generally, you can't add water to dilute the pigment when using a painting knife. The amount of pigment to be matched should be correctly estimated. You can't scrape the paint onto the paper before coloring. But through the skill of painting knife changes, the color effect is shown. In fact, the color of the painting knife has the factors and effects of color juxtaposition, so it is more vivid, loud and tough than the color in painting, thus drawing subtle and unexpected colors. The painting knife can also scrape lines and surfaces with different shapes and textures on the wet background and the front of the knife through the weight of force and different speeds, and the effect is very wonderful. In addition, the painting knife can also dip the knife surface in a thin color, and gently smear a layer on the dried color surface, which is similar to the brush stroke effect of dry painting, which can enrich the color relationship, enhance the strong color sense, and can also be used to adjust the tone relationship. All the above are some practical experiences of painting knife in painting techniques. When using a painting knife, we should also pay attention to its adaptability. In some places where it is impossible to achieve technical results, we should not use painting knives. Painting knives generally need to be matched with brushes to obtain a complete artistic effect.

five elements

Why should we focus on the lines in gouache technique? Lines, like light and shade, are a technique of modeling. Because from the perspective of painting practice, from the beginning of sketch training, the significance and expressive force of lines in modeling have been perceived, but their aesthetic value and influence on artistic style have not been fully realized. In China traditional painting, line drawing, as the modeling basis, has become a major feature of painting style. In western painting, some impressionist painters absorbed the charm of line expression because of the influence of oriental art, thus creating new forms and styles. The artistic characteristics of gouache meet the requirements of decorative form, and lines are naturally an important factor. From the works of Ding Shaoguang appreciated in this book, we can find that his decorative painting style combines the decorative interests of eastern and western classical art and modern art, and the lines not only enhance the gorgeous flashing effect of colors, but also are full of musical rhythm. The artistic function and characteristics of lines have a relationship of inheritance and development with the neat, rigorous and beautiful lines in traditional meticulous heavy color painting. Others, such as bright and vigorous lines in woodcut prints and elegant lines in folk New Year pictures, are all formal factors that gouache can learn from. In application, lines can be used as the basic skeleton of composition and image expression, and then colored. You can also spread colors first, and then use lines to enhance the image performance. Lines can be different in thickness and depth, moist and smooth, or dry and old-fashioned. The application of various lines in gouache painting should be flexible and creative according to different requirements, and its effect will be very rich and interesting.

Oil painting stick, sandpaper or emery cloth for grinding.

The limitations of oil painting tools and materials lead to the complexity of oil painting techniques. For centuries, artists have created a variety of oil painting techniques in practice, so that oil painting materials can give full play to the performance effect. The main techniques of oil painting are:

(1) transparent superposition method, that is, paint diluted with color oil is used for multi-level description without adding white. It is necessary to brush the next layer after each layer is dry. Because the color of each layer is relatively thin, it can vaguely reveal the color of the lower layer and form a subtle tone with the color of the upper layer. For example, painting a stable blue color on a deep red layer will produce a rich effect of purple in the blue, that is, heating up in the cold, which is often a tone that cannot be transferred on the palette. This painting method is suitable for expressing the texture and heavy feeling of objects, especially for vividly depicting the delicate color changes of human skin, making people feel that blood flows under the skin epidermis. Its shortcomings are narrow color gamut, meticulous production process and long time to complete the work, which is not easy to express the artist's current artistic creation feelings.

(2) Opaque superposition method, also called multi-layer coloring method. When painting, first draw a large figure with a single color, and then shape it with multiple colors. Dark parts are often painted thin, while middle tones and bright parts are painted thick layer by layer, or covered or left, forming color block contrast. Because of the different thickness, it shows the rich charm and texture of color. There is no strict difference between transparent and opaque paintings, and painters often use them comprehensively in one painting. When expressing objects in darkness or shadows, transparent masking color method can produce a stable and profound sense of volume and space; The rule of opaque color superposition is easy to shape the body outside the dark part and increase the saturation of the picture color. /kloc-before the 0/9th century, most painters used these two painting methods, which usually took a long time to make their works. Some have painted a layer and left it for a long time, and then painted it when the isochromatic layer is completely dry.

③ Opaque primary color method, also known as direct coloring method. That is to say, after the outline of the object is made on the canvas, the color laying is basically completed at one time by virtue of the color feeling of the object or the idea of the color of the picture, and the incorrect part is scraped off with a painting knife before the color adjustment is continued. In this painting method, each dip has thick pigment, high color saturation and clear brush strokes, which is easy to show vivid feelings when painting. /kloc-Many painters have adopted this painting method since the mid-9th century. In order to achieve the effect of full-color layer after one-time coloring, we must pay attention to the use of brushstrokes, that is, painting. Commonly used painting methods are divided into flat painting, loose painting and thick painting. Flat painting is to draw a large area of color with one-way strength and even strokes, which is suitable for shaping a static body in a stable and calm composition; Casual painting means that the brush strokes are loose and flexible according to the natural turning trend of the painted object; Thick coatings are all or part of the thick piles of pigments, some of which form color layers or blocks up to several millimeters, which make the pigments present interesting textures and enhance their image.

As an artistic language, oil painting contains many modeling factors such as color, light and shade, lines, texture, brushwork, texture, light, space, composition and so on. The function of oil painting technique is to reflect all modeling factors comprehensively or individually. The expression of oil painting materials fully provides the possibility of applying oil painting techniques on a two-dimensional basis. The production process of oil painting is a creative process in which artists consciously and skillfully master oil painting materials, choose and apply techniques that can express artistic ideas and form artistic images. Oil painting not only expresses the ideological content endowed by the artist, but also shows the unique beauty of oil painting language-painting.

defeat

Discontinuation is a method of coloring with the roots of oil painting pens. After pressing the pen, make a slight stroke, stumble and lift again, such as calligraphy, which is vigorous and solid. The colors of the nib and the root of the pen are different, and the light and heavy direction of the pen holder is different, which can produce many changes and interests.

Flap/flap

The technique of gently patting the picture with a wide oil painting pen or fan pen is called patting. Flapping can produce a certain undulating texture, which is neither very obvious nor very simple. You can also process the original strong strokes or colors to weaken them.

massage

Rubbing refers to the method of directly manipulating two or more different colors on the screen with a pen. After color processing, it produces natural mixed changes, obtains subtle and bright colors and contrast between light and shade, and can play a transitional role.

line

Lines refer to lines drawn with pen drawing, and oil painting lines are generally drawn with soft and sharp clues, but in different styles, round heads, proofreaders and old flat pens can also draw thick lines similar to strong books. At first, both eastern and western paintings were modeled on lines. In the morning oil paintings, drafts are generally drawn with precise and rigorous line outlines. In Tempella technique, the method of arranging wires is the main means to form light and shade. Western oil painting later evolved into light and shade and head, but even so, the midline factor in oil painting has been indelibly influenced. Slim and bold. The use of neat or random lines and repeated overlapping and overlapping lines enriches the language of oil painting, and it is very important to deal with different shapes of sideline. The use of lines in oriental painting has also influenced the styles of many modern western masters, such as Matisse, Van Gogh, Picasso, Miro and Klee.

oil painting

Oil painting is a major kind of painting in western painting. The art of painting by mixing pigments with quick-drying oil on treated canvas, boards, thick paper or walls. Early oil paintings used the technique of "Tempere", that is, using egg yolk or egg white as padding, dissolving mineral pigments, and then coating the painting with a thin and transparent oil paint. /kloc-who was the Dutch painter in the 0/5th century? Eco brothers changed to quick-drying oil such as linseed oil and walnut oil as blending agent, which made the color easy to blend and was widely used. It is characterized by free strokes and can be laid layer by layer, which can improve color brightness and fully show the realism and rich color effects of objects. Since then, new materials and technologies have spread all over Europe. Where is it? The Echo brothers are therefore called the creators of European oil paintings. At the beginning of the 20th century, more and more people studied oil painting in China, among which Li Shutong (1880- 1952) was the first one to study oil painting and introduced this technique to China.

total/complete victory

Color scanning is often used to connect two adjacent color blocks to make them less rigid. This can be done by gently sweeping with a clean fan pen when the color is not dry. You can also use a pen to sweep another color on the background color to produce a color effect that is staggered up and down, loose and not greasy.

stamp

It means that after dipping the pigment with a hard bristle brush, the pigment is vertically imprinted on the screen with a pen. Stamping is not commonly used, and it is generally only used when special textures are needed locally.

Latex material

Latex material is an excellent traditional material with a long history and has been developed in modern times. Emulsion materials are mixed materials containing water-based and oil-based components, both of which have their own advantages. Egg color, cream color, wax and other Tampere painting materials belong to emulsion series. Emulsion materials can be diluted with water, and the drying speed is fast, similar to water-based materials; It can be opaque, sticky, insoluble in water after drying, and has the advantages of oily substances. Various modern synthetic pigments of propylene and ethylene not only retain the characteristics of traditional emulsion materials, but also have the advantages of oily materials, which have irreplaceable functions of other materials and are new materials with great development prospects.

Oily material

Oil painting is the main kind of painting with oily materials and natural resin as painting media, which evolved from traditional latex materials such as egg color and brewing protein. Oily materials are characterized by slow drying, luster and repeated coating. Oily materials have strong expressive force and rich technical effects, which can be said to contain almost all the technical characteristics of other materials and paintings. The characteristics of oily materials allow the modeling of objects to be described in depth and in detail, and can show the rich and vivid color relationship of objects, thus satisfying people's desire to reproduce visual reality since14th century and promoting the development of western painting to realism. Since its birth, oil painting has occupied a major position in western painting circles and developed all over the world, which also proves the superiority of oily materials. The transformation from water-based materials to oily materials is a long process, which has gone through thousands of years. It is a major breakthrough in painting materials and techniques and even in the history of art. The use of oil and resin is one of the important features that distinguish western painting materials and techniques from eastern painting materials and techniques.

Pull

Pulling refers to drawing solid lines and sharp edges of objects in oil painting, such as the side of a sword or glass. At this time, you can adjust the color with a painting knife, and then draw the color on the screen with the side of the blade. The shape drawn by the painting knife is three-dimensional and definite, which is difficult to achieve with a brush or other methods.

beat

Wipe is to put the brush sideways and wipe the picture with the belly of the brush. Usually it is carried out in a large area with less color, which can form less obvious brush strokes and is also a common method of laying background color. On the dry background or undulating texture, you can draw an effect similar to traditional Chinese painting, making the underlying texture more obvious.

restrain

Pressing is to gently press and lift the wet color layer with the bottom of a knife, which will produce a special texture on the color surface. In some places where special textures need to be portrayed, the expected effect can be achieved by using suppression technology.

Water-based materials

The earliest pigments used by human beings are mainly water-soluble materials. In early paintings, it is very natural to use natural substances such as water, gum or animal glue as diluents and binders for pigments. They are easy to obtain and easy to use, which is consistent in the early paintings of the East and the West. Nowadays, watercolor and gouache pigments are all water-based media, and their expression techniques are free and smooth, which can produce a light and transparent effect. It is also the main material type of oriental painting such as Chinese painting and Japanese painting.

Oil painting materials

Oil painting materials can be divided into three categories: base materials, oil painting pigments and media materials. The base material refers to the backing material and the undercoat layer bearing the painting pigment layer. Oil painting pigment is the main material that directly expresses the color and texture effect of painting. Binders are all kinds of diluents, adhesives and polishing agents used to adjust the properties of pigments and combine with base materials.

Bricklaying/masonry

The method of bricklaying is to use a knife instead of a brush, just like a mason uses a mud knife to circle mud on the canvas, leaving a knife mark directly. The masonry method can have different thickness levels, and the size, shape and direction of the knife will also produce rich contrast. Draw different colors with a painting knife, and let them mix naturally on the screen without too much mixing, which can produce subtle color relations. The color layer with excessive fluctuation can also be leveled by masonry. If the masonry method is used properly, there will be a strong sense of shaping.

row

Depiction refers to the use of the blade of a painting knife to draw negative lines and shapes on wet colors, sometimes showing potential colors. Different painting knives can produce different depth and thickness changes, as well as the texture changes of the ups and downs of points, lines and surfaces formed by brush strokes and sharp painting knife techniques.

main points

Point-all methods start from the point, and all brushwork starts from the point. As early as in the classic Tempella technique, stippling is an important technique to express levels. In Vermeer's works, the strokes of dots are also used to express the flicker of light and the texture of objects. Impressionist stippling has become one of its basic characteristics, but Monet, Renoir and pissarro have different changes and personalities. Neo-impressionism, on the other hand, went to extremes, mechanically using dots as his only brush strokes. 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. In the comprehensive painting method, the combination of point method with line and surface 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.

razor

Scraping is the basic usage of oil painting knife. Scraping is generally used to scrape off the unsatisfactory parts of the picture with a blade, or to scrape off unnecessary details or weaken the strong relationship with a knife to relax the tense picture relationship. After a long day's homework, it is often necessary to scrape off some painted colors with a knife in order to dry them in time and continue painting the next day. When the color is dry, you can also use a painting knife or razor to scrape off the uneven places. You can also scrape off the wet color layer with a knife to expose the background color and show various textures.

app; application

If stippling and sketching are the means to form the points and lines of oil painting, then painting is the main method to form the surface of oil painting. The methods of painting include flat painting, thick painting and Bo Tu, and impressionist pointillism is also called casual painting. Flat painting is the main method to draw a large area of color blocks, and even flat painting is a common technique for decorative oil painting. Thick coating is one of the main characteristics that distinguishes oil painting from other kinds of pens. It can make the pigment have a certain thickness and leave obvious brushstrokes to form a texture. Scraping off extremely thick pigment with a painting knife or squeezing the pigment directly onto the canvas can be called heap coating. Thin Xu diluted with oil and painted thinly on the screen can produce transparent or translucent effect. The pen used for sketching is flexible and vivid. The coating method of wiping and sweeping is also called halo coating.

sway

Putting the paint directly on the canvas with a pen without making more changes is called posing, which is also one of the basic strokes of oil painting. The pendulum method is often used at the beginning and end of oil painting, and the relationship between color and modeling is found with certain colors and accurate strokes. It often takes only a few strokes to change the picture at key points. Of course, do it in your chest first, and then write. Wipe-wipe is to put the brush horizontally and wipe the picture with the abdomen of the brush. It is usually carried out in a large area with less color, which can form less obvious brush strokes and is also a common method for laying the background color. On the dry background or undulating texture, you can draw an effect similar to traditional Chinese painting, making the underlying texture more obvious.