Traditional oil painting general production procedures

When it comes to making program, we have to emphasize production program is for each artist himself first, desires and habits, the purpose of the method is concerned, it is not absolute, fixed rules, we can only on the basis of the traditional painting period is the most common and representative techniques to get a regular understanding and experience. It is impossible for us to list all the techniques of classical artists, but we can only explain the common and substantial things in their techniques for everyone to use for reference. Especially in the production process of each artist has a lot of different characteristics, but as the whole system of traditional classical oil painting, it also has its general points in common, so it can only be briefly summarized as follows. 1, shape with a line It has been a common method adopted by painters in the initial stage of painting since ancient times. Since the original painting, line modeling has become an effective method for people to summarize complex shapes, because lines are the expression of body boundaries, which can divide the area of different shapes, and also show the relationship between different volumes. More importantly, it can obtain people's perceptual and rational recognition of body cognition. Therefore, no matter how complex the final effect of oil painting is in levels and color levels, the extraction and generalization of lines in the initial stage is crucial. It is first shown as the setting of a large composition, followed by the positioning and description of each part of the body. Therefore, the composition and the arrangement of the big shape must be basically established in this stage, and rarely changed in the later stage, which is the rigorous performance of the traditional oil painting on the shape, so it requires that the initial shape must be strict and considerate. We can see from the sketch of the classical masters their generalization and expression of the form, but also can see that their sketch is directly for the oil painting shape and service, rather than as an independent aesthetic value. At that time, most of the sketches are based on lines, and there are few tonal levels. In addition to the interspersed display of the body of the edge line, it is to express the volume and light and shadow relationship in the picture succinctly by turning or the boundary line between light and shade. This concise line drawing form is more suitable for complex layers, rich details of oil painting in the initial stage of the concise shape. In ancient times, most painters drew sketches directly on paper, and then painted charcoal or toner on the back of paper to copy the sketches to a good base of the canvas. This method is suitable for the painter who has a very rigorous style in modeling, and not only can safely obtain accurate modeling, but also does not hurt the surface of the canvas like directly sketching on the canvas. There are also directly on the canvas with Dan pull or turpentine and paint sketch relationship method, but the most common or first with toner or charcoal copy shape and then with Dan pull or turpentine pigment paint monochrome thin oil effect. The purpose of kaixing is of course to lay a foundation for the work. In order to achieve an accurate and fine final effect, Kaixing must strictly and clearly explain the basic content of the body in the sketch. This procedure often determines the success of the subsequent in-depth portrayal. However, in traditional oil painting, some painters only draw big relationships and big momentum when they shape, use loose lines, and some approximate sloppy, while leaving accurate and specific things in the later stage to gradually carry out, which often can obtain some unexpected vivid effects. However, these two methods and post production also have a great relationship, if it is in the color stage to local one by one, it is best to describe the shape with line fully and accurately, but if it is the overall color method, it is best to use flexible and not too careful line shape. 2, the first time to spread color The main purpose of the first time to spread color is to succinctly draw a large color area, large body relations, and lay a good foundation for the subsequent texture, color layer. The big form relationship mentioned here refers to the general and overall treatment of each form in the picture, leaving out small details and small changes in the sense of sketch, reducing the level of light and shade, and even the volume and fluctuation can be summarized as a large area of planarization effect. Large color area refers to the color of all kinds of small changes simplified as the basic inherent color tendency, and color changes and inherent color details are summarized as far as possible to the large inherent color. From the texture of this first spread color should be as implicit as possible, uniform thickness, natural cohesion, and should not be the final effect of the texture of strong and weak contrast early display, if already painted, can be used to soften the fan pen or remove with a drawing knife, for the real later shaping preparation. Tell from color layer this color should compare final effect pink as far as possible a few, gray a few, that is to say do not paint the final effect of color purity and contrast at a stroke, so can give later cover catch leave room. Should use less as far as possible and this color palette oil, should be given priority to with turpentine or add a few color mixing thin oil painted every color gamut, each part should not leak, including shadow, also want to use this powder containing oil and less toning color layer at the bottom, because including color powder more and less oil layer has good absorbency, hood of pure color in spite of the heavy oil will not sticky, And after synthesizing with the background layer, it can get the proper measure of purity and hue accuracy. Step by step Shaping refers to the establishment of large volumes from large to small with brush strokes on the rough plane effect of the first time of painting, so as to make the shape and color gradually clear and realistic. As the first color is likely to almost cover the lines of the shape, we need to use heavy colors with certain color differences to redraw, determine the outline and structure of the body, at the same time, from the dark part of the painting to the light part of the gradual shaping. To be specific, the shaping stage has several aspects of significance. First of all, it is of course asymptotic from plane sense to volume sense to complete the task of sketch. Secondly, the gap can be gradually established in terms of texture. That is, the strength of the texture and the strength of the volume of ups and downs unified, showing the obvious part of the muscle volume is also the high point or strong point part of the body; Third, in color, you can take into account the change of color by shaping the shape of the brush stroke. Shape is a step by step, don't the beginning to come up with the final result, the most strong brush strokes, and should have to consider every picture again to next time smoothly, because from the skin texture and paint adhesion, skin texture against after early to finalize the design phase of the correction, and began to YanLiaoCeng too thick to form strong smooth conjunctiva, unfavorable to stage after color layer adhesion, Therefore, shaping must be carried out layer by layer from thin to thick, and at the same time, the principle of "fat cover thin" must still be observed on the oil, so that the color layer containing more toning oil is left in the transparent cover later. Shape must aim at the target, and should not be full of thick paint. The contrast that must accomplish to strong or weak of body, flesh is strong or weak, dark ministry bright ministry has quite hold and consideration ability to undertake. For example, the relative scope of thick color should be controlled, and the scope of shaping must not be arbitrarily expanded, resulting in chaos of texture and body sense. Generally speaking, it is to seize the high point or the bright part as far as possible to shape the brush, while the dark part and the middle level should be soft and pay attention to cohesion, and the thickness of the color layer should also be relatively thin. Of course, the brush strokes are also relative. In some painters, the gap between the strength and weakness of the brush strokes is very large, while others prefer to control the gap between subtle spans. But in general, there is no lack of shaping this stage, otherwise it can not produce the kind of real sense of the unique performance form of oil painting. In shaping the color of this stage relative to the first time shop color, the purity should be higher, but also can not suddenly achieve the final effect, the same for cover dye leeway, relative to the first time color, on the hue can be from large to small to seek changes and characteristics. Including the bright part and dark part of the cold and warm changes and inherent color hue change. With the change of the brush strokes in shaping, the sense of difference in color is gradually shown at this time. 4. Cover dyeing and re-shaping In traditional classical oil painting techniques, cover dyeing and shaping are alternating and complementary to each other, which makes oil painting have a strong expressive force. If there is no foundation of thick pink color, pure cover dyeing is impossible to convey the level of purity of color, because only transparent color cannot show various degrees of gray variation, let alone the sense of difference in texture. On the contrary, it is impossible to obtain the flexibility of both transparency and purity of gray in color, but also cannot form the rich sense of color layer, and cannot obtain the overall sense of enveloping atmosphere. In t