How to apply black and white paint? (1) The application of white oil paint: (1) White, as the color with the highest lightness and the strongest covering power, is often used to brighten a local color. (2) Mixing white with any other color will improve the brightness of this color and reduce its purity. (3) Equal mixing with black can produce pure gray, unequal mixing will get different lightness of gray. Mixing white is not the only way to make the color lighter. In nature, any color changes with the intensity of light. Such as red, when it is dark it tends to be blue-purple, when it is bright it tends to be orange. In other words, to enhance the bright red color, you must add orange yellow. (2) The application of black oil paint: Black and any other color harmony may become "dirty" color. (2) Black as an exclusive color, generally applied to the screen independently, or mixed with white into gray use. (3) There are three traditional methods to reconcile black: Deep red + ripe brown + half emerald green = warm black Cooked brown + plain blue + half emerald green = cold black Ripe brown + emerald + deep red = neutral black (3) White and black usage of modern oil painting: Classical oil painting uses white pigments, in addition to color, mainly to strengthen the contrast between light and shade, so that the pigments become opaque and thick in the bright part, the purpose is to use white to brighten the color. Modern oil painting, especially impressionist painters, after observing the outdoor light, generally added white to the pigment to lighten the overall color of the picture. Impressionist painters such as Manet, Monet and Seurat mixed the colors used with lead and white in different degrees to increase the brightness of the colors and achieve the effect of natural light. Black was not found in the spectrum, so the impressionists eliminated it from their palette. Then they learned to blend "black". Combine the pure tones of ultramarine, magenta and emerald green to make them close to black. Renoir called black "the queen of colors", lautrec, Cezanne, Gauguin, Matisse, Picasso and other modern outstanding oil painters have used black in their paintings, which makes their painting colors full of deep power.

Knives, paints and thinners - Oil painting techniques I used three types of palette knives, sizes 1 to 3, all of the same shape, long triangular, with a rounded blunt tip. Knives are not easy to master, but once mastered, they can create effects that are difficult to achieve with any other tool. In most common use a knife work, can see the picture as plasterer mud knife, not much better effect than wipe mud, but, if painting knife nimble robust performance into full play, and combine it and clever brushwork, could create a simple pen or a knife can draw the magic perfect effect. The best examples of this can be found in the best works of the late Nicolas Fitchen. His technique is sometimes so dazzling that it overtakes the subject, reminding one of Chase's warning: "To learn painting so well that you can hide your technique." The picture shows the five knives I use, from left to right are palette knives no. 3, 2 and 1, followed by a regular single-sided blade with a handle that I use to scrape the palette. The one on the far right I can't name, it's probably a medical knife, flat on the bottom, slightly curved on both sides to the top. The blade is hard. But the sides can be sharpened and I use it to scrape excess dry color off the canvas or board. pigment The method of using pigments will be discussed in detail in the chapter "Color" of this book, which is mainly about the characteristics of oil paints. First of all, oil paints are not all the same. No matter it is the same brand or different brand, the quality between them is different. Most American brands say they meet the so-called CS98-62 standard, which means they meet all the specifications in terms of formula, stability and durability. However, since this standard is not legal, you can do as you please. We have to go by what the label says, which is, to put it craggly, we took our chances. Most manufacturers offer two grades of oil paints, one for "students" and one for "professionals". The student's contains a variety of chemicals that do not change, such as barium sulfate, aluminum hydroxide and aluminum stearate. Student paints usually contain more oil per tube than professional ones. Student paint costs less. The quality is also inferior. The raw materials in professional paints are ground very fine, and small amounts of other things may be added to improve their performance. To ensure the quality of his work, a painter must master the knowledge of repeated experiments and comparisons with each brand of paint. Two or three times a year I buy large quantities of material and sample all the colours in the studio for light resistance testing. First, I draw two bars in the same color on the board and let them dry. One was then covered with cardboard and the other exposed to sunlight for three months, and the two were compared. Naturally, some pigments fade a little. Although a painting cannot normally be exposed directly to the sun for three months, through such experiments, I have often found that some so-called "permanent" pigments have undergone unexpected changes of varying degrees. All things considered, I think the paints that painters use today are as good, or better, than they used to be. Upon my examination, I also believe that, with a few exceptions, american-made paints are generally better than Those made in Europe. This is hardly surprising, since Europe has experienced many upheavals in this century. But I think it's just a temporary phenomenon. thinner I don't use thinner than pure resin turpentine. But there are dozens on the market. I have tried most well-known thinners and some less well-known ones. Thinners are used for two purposes. First, they can be added to oil paints to give them a flowing consistency, which is easier to use than if they were extruded directly from a hose. Second, a small amount of pigment is added to a thinner that can be used as a transparent coating. However, only when the color added is already transparent (such as ultramarine or fuchsia) will a truly transparent coating be formed. If the pigment itself is opaque, such as rose earth red or cadmium yellow, it can only form pigment particles suspension or diffusion of glue. This mixture lacks good optics when applied thin. I know many painters who use thinners as a panacea for all kinds of painting problems. On the surface, these thinners improved the quality of the painting, making it more like the painting of a master. It is a common argument that all great masters possess a secret recipe that enables them to create masterpieces. In fact, it is impossible to have a secret recipe other than solid skills. All thinners have one thing in common: they damage pigments. It's simple. The quality of pigment depends on how well the raw material is ground and whether the ratio of oil to pigment is appropriate. All paint factories have chemists constantly checking the quality of their products. Each color specifies the correct ratio of oil to paint, which produces the most beautiful color and the most suitable consistency. The oil content required varies widely from color to color. When a thinner is added, the ideal oil content of the pigment is changed, the color composition is reduced and the quality is changed. In fairness, I would say that the basic idea in favour of thinner is a good one. There should be something added to the pigment to improve its gloss and performance. Unfortunately, no formula can do this without side effects. If thinner has to be used, the formula described by Ralph Meiner in The Drawing Materials and Techniques Manual, Third edition (Wiggin, New York, 1970), p. 216, is probably the best and least harmful to painting. The main reason I don't focus on thinners or other dopants is that I can use a variety of brush strokes (such as dry strokes and thin brushes) to get the same results. When I need to tone the paint (usually at the beginning of a painting), I use refined pure resin turpentine. Turpentine is a volatile oil; it almost completely evaporates. Therefore, the oil content of the pigment remains unchanged. Do not produce yellowing oil film for a long time. Finally, most of my work is direct, like demonstrations 5, 6, 7, so I don't have to worry about the bad effects of using turpentine (the worst effects are too thin and dull).

The emergence of oil painting on easel and its superiority In Europe, easel painting arose in response to religious activities and commercial needs. Medieval parchments and wooden niches were early easel paintings. The widespread use of oil paints in easel paintings in the 15th century gave rise to easel paintings. Nederland miniatures on parchments and single wood panels were already in vogue. In the 16th century, the Venetian school of painting was widely used after stretching canvas on wooden frame. Canvas was the early canvas, and linen came later. In countries like Italy, saints carry religious linens on tight wooden frames for religious activities. Oil painting on canvas has surpassed watercolor painting, egg glue painting, fresco painting and toner painting in terms of expression ability, elasticity of color layer and permanent preservation. In terms of technology, the advantages of oil painting are as follows: The plaster-like oil paints with plasticity have brought flexible and free painting space to painters. Besides the brush, the painter can paint with a scraper and other tools. The painter can make transparent and opaque effects coexist in the full scope of the same picture. Oily pigment drying is slow, the painter can repeatedly alter the picture, and can directly color on the picture, color. Oil painting color bright, conducive to the characterization of the texture of the image, can fully express the complex tonal level of the image, with transparent, vigorous and rich superior effect. Different toners can be used to control the drying time of color, and rich picture texture can be produced by the contrast of the thickness of the color layer and the change of the brush stroke, or painting on the surface of the texture, or adding granular materials in the pigment to express special objects. Oil paints have strong hiding power and plasticity. Can be done at one time, or can be covered in multiple layers, the color layer will not fall off. After the oil layer dry solid durable, bright color, pigment in the drying process without any change. Can draw large canvas oil painting, easy to transport, easy to decorate, easy to collect, easy to keep, easy to clean.

Identification of oil painting As the improvement of living standard and the renewal of people aesthetic concept, at present household decoration gradually focuses on the direction of decoration, light decoration development, artwork is undoubtedly a very good choice for bedroom decoration. Be like canvas work, often be loved artistic bedroom host "receive" enter in, since adornment, it is to collect, really the good method that kill two birds with one stone. At present the oil painting on the market is divided into two kinds from craft: computer oil painting and painting. Computer oil painting feels the oil painting that does not have concave and convex to feel simple sense with the hand, more accurately say is a kind of printed matter only, have oil painting only "form", do not have oil painting "quality", this kind of picture can be bought in a lot of adornment market, but without any artistic value. Another painting for the mainstream of the market, but there is a painting is commonly known as "line painting" oil painting. Most of this kind of oil painting is rough, monotonous and simple. Its drawing method is similar to that of manual workshops, usually dozens to hundreds of pieces are completed together, the first person to draw all the blue, such as the blue sky, the sea, etc. The second person draws all the green, such as mountains, trees, water, etc. The third person draws all the red... And so on. Such paintings have little artistic or collectable value. The canvas on true meaning is becoming the mainstream in household adornment. Generally with the creation of works or rigorous copying works. In terms of form, painters generally choose linen or cotton as canvas, and the pigments of oil paintings are also different. Generally good oil paints are bright in color, strong in adhesion, do not fade, and should be preserved permanently. The outer frame is mostly pure solid wood with polyester embossing, and some also add gold foil. On the market at present has the investment potential of the oil painting is a work is created by the domestic well-known painter, most of them in the domestic arts exhibition many times into the exhibition and collected by cultural institutions at home and abroad, or has the artistic level of relevant certificates, and the creation of a professional gallery collection of oil painting works amount and choose purchase an indicator of the location, Only powerful galleries have the right to represent more artists' paintings.

The development of oil painting has experienced several periods of classical, modern and modern times. Oil painting in different periods is controlled by the artistic thoughts and techniques of The Times, presenting different features.https://painting-portrait.com/ The historical conditions in the early stage of oil painting established the realistic tendency of classical oil painting. 15th century European Renaissance, humanism critique of religion, with a focus on the reality of the society, actively seek many famous painter to gradually get rid of a single Christian classic for the creation of the subject matter, characters, scenery, items from the start to life at that time to observe and describe directly, make the works of religious subjects with obvious secular reality factors, Some painters depict real life scenes entirely. Renaissance painters inherited the Greek and Roman artistic concepts, that is, not only pay attention to the work to describe a certain event or fact, but also reveal the cause and effect of the event or fact, so the formation of a focus on the conception of typical plots and typical image of the art. At the same time, the painter also explored the application of anatomy, perspective in painting, and the role of the distribution of light and shade, forming the scientific principle of modeling. The application of human anatomy makes the figures in the painting have the accurate proportion, shape and structure relationship as real. The establishment of focal perspective makes the painting form the depth space of illusion through composition, and the scenery in the painting is the same as the directional instant visual experience in reality. The method of shading makes the objects in the painting unified under the light from a main light source, forming a clear hierarchy from near to far. The artistic theme of humanism and the modeling concept of pursuing realism can not be perfected in other paintings because of the limitation of tools and materials, and the properties of oil painting tools and materials are just suitable to fully reflect the two. As a result, classical oil painting has become a highly realistic look that has been produced for a long time.https://painting-portrait.com/ Some oil paintings in the 17th century emphasized the sense of light in oil painting, and created the sense of light by using the contrast of cold and warm colors, the contrast of light and shade intensity, and the contrast of thickness and layer, forming a dramatic atmosphere in the picture. Italian painter Caravaggio broke the orderly and harmonious light effect in his previous oil paintings. He intensified the contrast of light and shade on the picture, and often used the large dark part of the background plane to set off the bright figures in the foreground, making people feel the dazzling light in the painting. Spanish painter el. El greco scene processing into under the dappled light shadow, he is not from the light and shade two decent, but from the discontinuous scattered on modelling, the distribution of light and shade of color changes in temperature and forming of continuous change, dignified pen, color bleeding from each other in the extrusion, the uncertain effect of pictures to the person, some even filled with mystery and anxious mood. Rembrandt, a Dutch painter, also took the sense of light in his paintings as a means to express people's mental state. In a large number of portraits he made, the figures were covered by large dark parts, and only the important parts such as face and hands showing expressions showed bright brightness. He used calm colors to paint the dark part in multiple layers to make the dark part appear deep, and used thick paint and painting knife stack color method to paint the light part to create a thick sense of volume. At the same time, the use of brushwork was also explored by many painters.