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Oil painting technique
Generally speaking, sketch is just a rough draft, with a few random lines to outline the general shape of the object, and the final effect of the picture is the shaping of color. For artists who use direct painting, this may be the case with sketches. For artists of classical realistic painting, sketch is very important, which is the whole of the artist's modeling language. Because sketch is the most basic artistic expression and the first step for artists to communicate with nature. Here we study the sketch process of young painter Chao Ge, as shown in Figure 25.

(1) Tick off an imaginary draft, draw a large composition and the general expression of the characters on paper with a pencil, and then sketch with the model. Painters often pay attention to perceptual factors when sketching, and the appearance and expression of characters are as close to the object as possible.

(2) In the process of sketching, fully understand the inner temperament of the model and firmly seize this opportunity to open the soul to strengthen it. Then, the painter processes, generalizes and refines according to the sketch.

(3) Create a third sketch on the basis of the continuous evolution and language purification of the first two sketches. This step emphasizes contour processing, which makes the shape more full and the characters have a sense of relief under the action of light and shadow. At the same time, enrich the local content and draw more definitely. After the sketch was finalized, the painter copied it to the canvas in an extremely strict way (grid enlargement method). From this point of view, starting a sketch is a flexible modeling process, which allows and even encourages continuous modification and adjustment, all in order to determine a clear and satisfactory visual image. It is reasonable and necessary to spend a lot of time sketching any oil painting in its initial stage. Sketch is not necessarily a tone, it can be modified and adjusted directly on the canvas with lines, and the relationship between the main tone and color of the picture can also be determined with simple colors.

Here are some drafting tools.

(1) carbon rod. Charcoal sticks and sticks are both suitable for sketching on canvas or wood. Charcoal bars have better performance because they are lighter, easier to erase and more flexible to use. Carbon rods can leave thick lines to make the outline clearer.

(2) charcoal pen. Thin lines are more suitable for drawing details. Some people do not advocate the use of pencils, thinking that lead printing will come up from under the color layer of oil painting.

(3) colored chalk and crayons. It is not easy to use too much on canvas. Avoid using white or light colors. Too much use of colored chalk or crayons in this kind of sketch will make the foundation unstable.

(4) Watercolor and acrylic color. Very thin watercolor will not have any influence on the color coverage of oil painting. If you want a thick coat, use acrylic color.

(5) ink painting. Painting and calligraphy with China ink is very interesting. Ink lines can be covered with oil painting color or kept, and are not easy to be washed off by turpentine.

(6) carbon paper. You can copy the sketch on the paper to the canvas. In the sketch stage, hair gel, glue and other fixatives are essential. It is necessary to spray a layer of fixing solution on materials that are easy to fall off or flood. In addition, all kinds of erasers and rags are also essential items. A painting with transparent vegetable oil mixed with pigments creates artistic images on materials such as cloth, paper and wooden boards. It originated and developed in Europe and became an important painting in the world in modern times. /kloc-before the 0/5th century, the egg-colored paintings in European paintings were the predecessors of oil paintings. While using the egg-colored painting method, many painters continue to look for more ideal blending agents. It is generally believed that/kloc-The Van Ike brothers, painters from the Netherlands at the beginning of the 5th century, were the founders of oil painting techniques. On the basis of previous attempts to dissolve pigments in oil, they used linseed oil and walnut oil as blending agents to paint, which made the painting smooth, the drying time of pigments on the screen was moderate, and it was easy to cover and modify them many times during the painting process, forming rich color levels and glossiness.

After drying, the pigment has strong adhesion and is not easy to peel and fade. They used new oil painting materials to create, which was very influential in the painting world at that time. Oil painting technology soon spread to other western European countries, especially Venice, Italy.

The main materials and tools of oil painting are pigments, turpentine, brushes, knives, canvases, varnishes and picture frames.

① Pigments can be divided into mineral and chemical synthesis. Most of the original pigments are mineral pigments, which are ground into fine powder by hand and adjusted into nosebleeds when painting. In modern times, it was mass-produced by factories and put into tin cans, and there were more and more kinds of pigments. The nature of pigment is related to its chemical composition. When mixing colors, chemical action will cause some bad reactions between pigments. Therefore, mastering the nature of pigment is helpful to give full play to oil painting skills and make the color of works unchanged for a long time.

② Turpentine is a volatile medical oil. In the modulation of oil painting, it plays a role in diluting pigments. It will completely evaporate in a minute or two, and it will be dull after drying. Turpentine and colored oil are mixed in a certain proportion, which makes them dry faster and have brighter colors.

(3) Brushes, made of animal hair with moderate elasticity, are round, flat, short and flat, and fan-shaped.

④ Painting knife, also known as palette knife, is made of elastic thin steel sheet, which is divided into sharp shape and round shape, and is used to evenly mix pigments on the palette. Many painters also use knives instead of pens, painting directly with knives or partially forming pigment layers and textures on canvas to increase expressive force.

(5) Canvas, standard canvas, is made by stretching linen or canvas on a wooden inner frame, mixing it with white powder with glue or oil, and coating it on the surface of the cloth. Generally, it is made into a foundation with a certain pattern effect without oil absorption, or a foundation with half oil absorption or full oil absorption according to the needs of creation. The thickness of the cloth pattern depends on the size of the picture frame and the needs of the painting effect. Some painters use canvas with background color, which is easy to form a unified picture tone, and can also inadvertently reveal the background color when painting. After priming, wood or cardboard that does not absorb oil can also replace canvas.

⑥ Polishing: Generally, after the oil painting is dried, it is covered with varnish to keep the luster of the picture and prevent cavitation and fouling.

⑦ Frame, a complete oil painting includes a frame, especially an oil painting with strong realism. The frame forms the boundary of the viewer's vision of the work, which makes the picture appear complete and concentrated, and the objects in the painting develop in depth in the viewer's feeling. The thickness and size of the picture frame depend on the content of the work. The frames of classical oil paintings are mostly made of wood and gypsum, while the frames of modern oil paintings are mostly made of metal materials such as aluminum alloy. Through the development of oil painting, we can see that the beauty of color layering is constantly being explored and created.

The role and strong plasticity of oil painting pigments are incomparable to other paintings, which makes oil painting have a rhythm and intensity that can resonate with people's thoughts and emotions in perception. Under the action of brush strokes, modeling not only completes the task of modeling, but also directly affects the texture effect of the picture. Rembrandt and Rubens are both good at mastering and controlling texture, because texture directly conveys the psychological feelings of artists and affects the appeal of their works. The so-called reasonable expression of texture includes not only the imitation and reproduction of texture to the object texture, but also the description and expression of the overall artistic conception of the picture. In traditional realistic oil painting, the texture is very competent to reproduce the texture. The delicate and rough texture of an object can be imitated by the corresponding texture, but this is a very passive behavior. The truly beautiful texture is the texture that can express the rhythm of the picture and the artist's feelings and has a high degree of harmony and order. This kind of texture often goes beyond the limitation of texture, penetrates the spirit of the whole picture and the viewer's heart, and becomes the beauty divorced from the specific color layer. In this sense, it is abstract. In traditional oil painting, it is attached to real objects in turn and integrated into the overall atmosphere from small to large. Also known as multi-level 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 representing 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. 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.

Examples of oil painting techniques (Figure): Contour Techniques | Demonstration 1 |- Richards Chimid paints the human body.

However, the monochromatic Bo Tu method does have obvious advantages, especially when drawing complex objects and those difficult-to-master postures. First, because it is monochrome, you can let go to solve the problems of sketch and composition in the drafting stage, regardless of color. Secondly, the thin painting method can be revised repeatedly, and there will be no clutter and filth caused by excessive alteration of ordinary oil paintings. In the drafting stage, the problems of sketch, tone and sideline are solved, and it will be much easier to concentrate on color and structure in the future.

Step 1: Mix the cooked brown and ivory black into a slightly warmer middle tone, mainly cooked brown, add turpentine to make it thin and transparent, draw on the whole canvas with a large bristle pen (canvas with medium roughness), and then draw the darkest area of the human body-hair. Paint your hair thicker, that is, add less turpentine when you adjust the same middle tone. Hair covers the whole face, but it should be able to express the strong expression of the people in the painting. I don't think of a hair block as hair, but as a dark tone with a certain size and shape. Even at the beginning, light, shadow and sketch should be drawn accurately. Draw one part accurately, and then draw another part accurately. Each part is interrelated. If one part is not allowed, it will affect other parts and the whole situation will get out of control.

Step 2: This step is to draw the human image clearly. First, use a soft cloth to wipe off some original colors along the upper surface of human arms and arched knees to create a bright layering. The brush used for brushing rubs off more on the extended legs and back, creating bright layers and making the whole arm form a middle tone. You can use a clean soft cloth or a pen dipped in turpentine to change the tone, but you must never use opaque white in the sketching stage. At this stage, the sideline problem is as important as shading and sketch. It is no accident that these lines from the top of the shoulder to the wrist and through the knee are quite obvious, while those from the armpit to the bottom of the wrist are not so obvious.

Step 3: Draw all the main highlights on the human body. Don't move your head, arms, shoulders and bent knees for a while. First, bright colors are formed on the lower parts of the trunk, buttocks, folded feet and extended legs. The original color layer of these parts has dried up, so it can be wiped off by dipping a soft cloth in turpentine. The rest seem vague, but they are accurate. Except for the particularly bright part at the end, the tone and shape are correct and the position is appropriate.

The third step is to color in different ways. Brush with a heavy and flat brush on the shoulder swelling bone of forearm, triceps and back. In the center of the raised thighs, knees and chest, basically use a palette knife. Use thin and transparent pigments under the arms, between the raised thighs and feet, and behind the pelvis. In the whole process, it is very important to keep the transparency of the dark part. Strong opaque bright part and thick transparent dark part interact, which brings three-dimensional sense to human body. In the processing stage, the dark spots under the arm should be scraped off gently with a palette knife. These dazzling spots are formed by rough horizontal strokes on the rough surface structure of canvas. In addition, use a badger brush to smooth those ugly strokes under the hips and outstretched legs. Badger brush and mink brush can form beautiful and soft brushstrokes, but they often have weak and loose adverse effects, so we must pay attention to them when using them. Finished human body: oil painting on canvas, 20″×30″. In the completion stage, I once again devoted myself to sideline processing. Where the body turns obviously, such as the top of the knee that can be raised, the sideline will be clearer; Where the figure becomes round and dull, such as under the inner raised thigh, and where the left edge of the hair meets the background, the edge is blurred. On the disturbed shoulders and feet, use thick coating method (that is, the surface is piled with thick paint). defeat

Discontinuation is a method of coloring with the roots of oil painting pens. After pressing the pen, it is slightly frustrated and then mentioned, such as calligraphy, which is solid 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 early oil paintings, drafts were generally drawn with precise and rigorous line outlines. In Tan Pelina 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.

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.

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.

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

The point-by-point method starts 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. The combination of pointillism, line and surface in comprehensive painting can produce rich contrast. Oil painting pens with different shapes and textures can produce different pointillism, 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. At the end of one day's homework, it is often necessary to scrape off some colors after painting 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.