How to paint an oil painting?

How to paint an oil painting? General production procedure 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. We can not list all the techniques of classical artists, but can only explain the common and substantial things in their techniques for reference. In particular, each artist has many different characteristics in the production process. However, as the whole system of traditional classical oil painting, it also has some general points in common. Therefore, it can only be briefly summarized as follows. 1, with the line shape Using lines to open shapes is a common method used by painters in the initial stage of painting since ancient times. Since the original painting, line modeling has become an effective way for people to generalize complex shapes, because lines are the representation of the boundary of shapes, which can divide the area of different shapes, show the relationship between different volumes, and more importantly, obtain people's perceptual and rational recognition of shapes. Therefore, no matter how complex the final effect of oil painting is in terms of layers and color levels, the refining and generalization of lines in the initial stage is of great importance. It is first manifested in the setting of the large composition, and then in the positioning and depiction of various forms. Therefore, the composition and arrangement of large shapes must be basically established in this stage, while few changes are made in the later stage, which is the rigorous expression of the traditional oil painting in the formation, so the initial formation must be strict and considerate. From the sketches of classical masters, we can see their generalization and expression of body, and we can also see that their sketches directly serve for the formation of oil painting, rather than exist as independent aesthetic value. At that time, most of the sketches were based on lines, and there were few tonal layers. In addition to the interspersed edges to show the body, it was to simply express the volume and light and shadow relationship in the picture by turning or light-dark boundary. This concise form of line drawing is more suitable for complex and detailed oil painting in the initial stage of succinct formation. Most of the ancient painters sketched directly with paper, and then painted charcoal or toner on the back of the paper to copy the sketch to the canvas on which the base was made. This method is suitable for painters with a very strict style of modeling, which can not only safely obtain accurate modeling, but also avoid damaging the surface of the canvas as a direct sketch on the canvas. There are also methods to draw a sketch relationship directly with tanperla or turpentine and paint on the canvas, but the most common is to use toner or charcoal copy shape and then use tanperla or turpentine paint to paint a monochromatic thin oil effect. Of course, the purpose of Kai Kai is to lay a foundation of form for the work. In order to achieve accurate and fine final effect, Kai Kai must strictly and clearly explain the basic content of the form in the sketch. This procedure often determines the success of the subsequent in-depth depiction. But in the traditional oil painting, some painters only draw the big relationship, big momentum, loose line, some approximate scrawl, and will be accurate and specific things in the later stage to step by step, so that often can get some unexpected vivid effect. However, these two methods and post-production also have a great relationship, if it is in the color stage to be carried out locally one by one, it is best to describe the shape of the line sufficiently and accurately, but if it is the color of the whole method, it is best to use flexible and not too careful with the line shape. 2, the first time spread color The main purpose of the first pass is to succinctly draw large color areas, large physical relations, and lay a good foundation for the later texture, color layer. The large shape relationship here refers to the generalization and overall treatment of all shapes 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, fluctuation can be summarized as a large area of planarization effect and generalization. Large color area refers to the color of all kinds of small changes simplified into the basic inherent color tendency, and color changes and inherent color details are as far as possible to summarize to the large inherent color. From the texture point of view, this first overlay should be as subtle as possible, with uniform thickness and natural connection, and should not show the texture of the final effect too early. If it has been drawn, it can be softened with a fan pen or removed with a painting knife, so as to prepare for real shaping later. From the color layer, this layer of color should be as far as possible compared with the final effect of a few powder, gray, that is to say, do not draw the purity of color and contrast to the final effect, so you can give later cover dye 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, Moreover, after synthesizing with the background color layer, the purity and hue accuracy can be obtained properly. 3. Step by step Shaping refers to the rough plane effect of the first spread of color with brush strokes from large to small volume, the purpose is to make the shape and color gradually clear, real. Since the first pass of color is likely to almost cover the lines of the shape, it requires us to use a certain color difference of the heavy color to delineate again, determine the outline and structure of the body, at the same time, from the dark part of the drawing to the light part of the gradual shaping. Specifically speaking, the shaping stage has several aspects of significance, the first is of course from plane sense to volume sense asymptotic, complete the task of sketch; Second, the gap can be gradually established in terms of texture. That is, the strength of the texture and volume ups and downs are unified, showing that the muscle volume is obvious part is the high point or strong part of the body; Thirdly, color changes can be taken into account at the same time by shaping the shape of the stroke changes. 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, the shaping must be carried out layer by layer from thin to thick, and at the same time, the principle of "fat cover is thin" must still be observed on the oil, so that the color layer with more color oil is left in the transparent cover after dyeing. Shape must have a target, and should not be thick paint. It must be done to the strength of the body, the strength of the texture, the contrast of the dark part of the light part have a considerable grasp and consideration to carry out. Should CONTROL THE RELATIVE RANGE OF THICK COLOR FOR INSTANCE, MUST NOT EXPAND THE RANGE THAT SHAPES ARBITRARILY, AND CAUSE THE CHAOS THAT TEXTURE AND BODY FEEL. Generally speaking, it is to grasp the high point or bright part as far as possible to shape the brush, and treat the dark part and the middle level should be soft and pay attention to cohesion, the thickness of the color layer should be relatively thin. Of course, the brush strokes are also relative. In some painters, the difference between the strength of the brush strokes is very large, while other painters like to control the gap in the subtle span. But generally speaking, there is no lack of shaping this stage, otherwise, the painting can not produce the unique expression of the form of the sense of reality. In shaping the color of this stage relative to the first spread color, purity should be higher, but also can not achieve the final effect all of a sudden, also want to cover dyeing room, relative to the first color, in the hue can be from large to small to seek changes and characteristics. Including the bright and dark part of the cold and warm changes and inherent color hue changes. In addition to the change of brush strokes in shaping, the difference of color is gradually revealed at this time. 4. Cover dyeing and re-shaping In the traditional techniques of classical oil painting, dyeing and shaping are alternated and complementary to each other, which makes oil painting has a strong expressive force. If there is no foundation containing powder thick color, pure cover dyeing is impossible to convey the level of color in purity, because only transparent color is unable to show various degrees of gray changes, more unable to show the difference in texture. On the contrary, it is impossible to obtain both transparency in color and flexibility in purity with the direct painting method, and it can not form a rich sense of color layer, let alone a sense of overall enveloping atmosphere. In the production process of traditional oil pa