What oil paints are needed for beginners. How to start painting with oil paints? Selection of oil paints

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Oil paintings are bright works that can decorate any room. They look much more impressive than paintings made, for example, in pencil. The artist is required to invest considerable resources and effort. Therefore, if you decide to take up this art, then be prepared to spend money.

Instructions

1. First, you need to immediately stock up on the necessary materials: primer, brushes, glue, canvas, paints. You'll spend the most on oil paints. But you also need to be able to choose cheaper things correctly. Particular attention should be paid to the choice of canvas. The material it is made from directly affects your paintings. Therefore, you should give preference to canvas made of hemp or flax.
2. Do not start drawing right away; you must adhere to the established order. Pre-glue the purchased canvas so that the paint does not penetrate to the wrong side and does not wet it through. This is quite easy to do; wood glue is suitable for this. When you complete this procedure, take the canvas to dry in a room that is as ventilated as possible. By the way, check if you did everything correctly. An indicator of this will be the strength of the adhesive fold (it should not crack).
3. The next step should be to prime the canvas. Without this you cannot start drawing. Applying primer requires care and close attention. If you do this carelessly and carelessly, the material will not be distributed evenly and will simply ruin the painting.
4. Now you can proceed directly to the drawing itself. Take paints and brushes, start slowly and carefully apply strokes. There is no need to be afraid that smudges may form on the canvas (if you use oil paints, this is excluded, since they have a rather thick consistency). Once you have painted, let the painting dry.

Don't forget that to create a perfect drawing you need to stretch the canvas very tightly. Therefore, we advise you to buy a good subframe. If you do not use this tool, you may end up with only a drawing damaged by cracks.

Video lessons

Oil painting - great way painting on canvas. Classic paintings such as the Mona Lisa were painted in oils, along with beautiful impressionist paintings by Monet or Van Gogh.

Steps

Buy good quality materials for oil painting, the best you can afford. If you're just starting out, you can find many of these items by looking at gift sets that include all or most of them, sometimes in a nice wooden box or on an easel. Minimum you will need:

• Stretched canvas size of the painting you want to paint. It would also be a good idea to purchase a few small canvas boards for practice and preliminary research. You can also use tarpaulin paper or canvas which is padded and suitable for oil painting and in order to be leftist. Try to choose a small board with the exact proportions of your stretched canvas, but if there isn't one, get a large piece that will fit your canvas.
• Tubes of oil paint in the main palette. If you buy a set, it probably has all the colors you need. The simplest palette contains colors such as red, blue, yellow, burnt sienna and a large tube of white paint. If it's Winsor & Newton, you can get lemon yellow, permanent red, ultramarine, or French ultramarine (they're chemically close.) If you're initially choosing a large palette of colors, use a dark alizarin red or a more violet red, but not an orange-red. You can get by without the burnt sienna, but there are other reasons for this besides mixing. If your palette doesn't have this color, use reddish brown.
• Buy oil and thinner. Linseed oil is an oil traditionally used by artists. Some artists believe that walnut is better. If you want your painting to dry faster, choose a product such as Winsor & Newton's "Liquin" that will make the oil dry faster. You also need regular turpentine or odorless turpentine, sometimes called turpenoid or white mineral spirits. It is a liquid that has a strong or weak aroma. It is a paint thinner in the opposite environment. Odorless thinners such as Weber Turpenoid or Gamsol are generally considered healthier to use, but proper ventilation should always be provided to allow some components to evaporate. Oil paint itself is non-toxic, as is turpentine, which does not emit toxic fumes. But some oil paints contain toxic ingredients such as cadmium and cobalt, which can be quite harmful if ingested, so never eat, drink or smoke while using oil paint.
• Buy a coating varnish, something like Damar, designed for oil paintings. The varnish probably contains some toxic fumes and should be used on outdoors or in a well-ventilated area. You should definitely choose removable artist varnish. Varnish should be added after the oil painting is completely dry and will not change the chemical composition of the painting. At this point, you can apply a remover varnish to give the painting a nice glossy finish and protect the paint layer. Every 25 - 30 years, the varnish should be removed (either by the artist or the owner of the painting) with a varnish remover solution and reapplied, since varnishes turn yellow over time and should not be on the painting constantly. This is why very old oil paintings turn brown. They often just need a cleanup and a new clear coat of varnish to look as vibrant as if they were painted last year. You don't need to buy varnish until the painting is finished, since you won't use it until the painting is finished and completely dry. "Retouching" can only be used when the painting is dry to the touch. This will not damage the paint coat, but the painting must be completely dry and you should wait a full month before using varnish. If you want to sell the painting sooner, you can apply a temporary coating.
• Buy brushes. Preferably hard ones. Bristle brushes are less expensive, but good white synthetic fibers that are quite stiff, like bristles, can also be a great choice. Some oil painters also use soft, long-handled sable brushes for various effects. You can use large, small and sparse brushes, depending on the areas, shapes and objects you want to depict in great detail if you like detailed realism. Soft "fitter" brushes with very long, thin, soft hairs are well suited for depicting ship rigs, cat whiskers, and other long linear details. This is done using very thin paints, which can also be used to write your name on the painting or for long flowing lines. As a beginner, it is recommended that you try different sets of brushes or synthetic brushes in different shapes and sizes to get a feel for what style each one conveys.
• A palette knife, paint knife, or non-serrated butter knife can be used to mix the paint. Palette knives are quite cheap if they are plastic. Metal ones are nicer because they don't stain and can last for years if kept clean. Painting knives come in a variety of shapes, from scoops to corners, each with different effects, and you can use them instead of brushes.
• Charcoal or purple pastel pencil to paint on canvas.
• You will need a palette so that you have somewhere to put your oil paints while using them. This could be a palette with small holes, or you can improvise with cheap, simple ceramic, glass or melamine plate. From something that could interfere with the turpentine. Many artists prefer a gray palette because colors reflect best on gray. If you're using a flat piece of glass on your table (very cheap if you're getting it from a cheap picture frame), you can put gray paper underneath it so you have a gray, easy-to-clean palette at all times.
• Two small cups for oil (or Liquin) and thinner. Some kits come with a "double scoop" so they can be attached to your palette. If so, then your set probably also has a palette.
• Rags for painting. This can be any type of clean rags. Heavy paper towels will also work, but the cloth is reusable if washed. Used baby diaper fabric, if washed, even if worn and stained, is perfect for this purpose. Paper towels wear out quickly, so it's best to use old clothes, soft, like old T-shirts and the like. Try to use rags that you don't mind spilling paint on, as you may destroy the fabric design on the painted areas. Use rags that are at the edge of their usefulness unless you want to wash them and keep using them over and over again.
• An easel for working, either a tabletop easel or a standing easel. It doesn't have to be expensive. The cheapest "view easel", which will accept any reasonable sized canvas at a comfortable working angle, and its legs should adjust to different heights, depending on whether you are sitting or standing. If age doesn't interfere with you (or illness or injury that limits the amount of time you can stay on your feet), it will be much better to stand at the easel. This will also allow you to look from the side after every few strokes to see how the painting looks, which is definitely better for painting. You can also lean the painting on a chair or other support, or improvise something similar. A “picture horse” is a bench with a board sticking out at the end that you sort of saddle up on and prop the canvas up into a groove.
• You must decide on the tools. How will you make your sketches, with a pencil or charcoal, on a sketchbook or whatman paper, or maybe even on used paper. They shouldn't become an archive, but if you like your sketches, you can create a sketchbook from them and use a soft pencil/pen/marker for this. These are just sketches to draw something, something selected. Your usual sketchbook and favorite drawing tools.
• A safe, dust-free place for your painting to dry, where nothing happens that could damage the paint on the canvas. Drying time for oil paintings varies from several days to several months. Some oil paintings will take a full year to dry before they can be varnished.

1. Sketch a "notan" painting in your sketchbook or on paper with a gray or black pencil or pen, using the pencil as the gray. If it's a square, it's a square. If it is a rectangular or oval painting, decide whether it will be a vertical "portrait" or a horizontal "landscape". Make the notan very small, just to accommodate the light, dark and middle area paintings. They can range from the size of a large postage stamp to business card. The idea is to see the picture in miniature. Make several variations until you find the best design without worrying about the details.

   Use charcoal or pencil to make a drawing in your sketchbook. It can be quite detailed and heavily shaded, or simple to show you shadows and highlights. This partly depends on how detailed and realistic you want the picture to be. A looser style of painting may have a more sketchy sketch, but should still have one with a more "white, mid and black" tone, so that you can tell where there are at least five values ​​- white accents, light, mid , dark, black accents. Some artists avoid using pure black and white colors, simply use "light, medium light, medium, medium dark, dark" for five views. It depends on the desired effect. If you don't like the sketch, keep trying different versions until you get something you like.

   • In your sketch, make sure that the light falling on a person, object, or landscape element is coming in one direction. Pay attention to where the shadows are coming from. They should all go in the same direction and be shorter if the sun or light is high, and longer if the sun (or the lamp the light is coming from) is low. The direction of the lighting makes all objects more three-dimensional. Draw the shadow shapes carefully and most of your subjects will look three dimensional at this point. This is good for impressionism or realism.
   • If you want to go abstract, sketch in pencil and decide where you want to see specific effects, such as splatter or strong brush stroke textures. Or you can skip the sketching step on paper and move on to the next one.
   • Paint your subject on a canvas canvas, tarpaulin paper, or canvas pad. Use charcoal or purple pastel pencil. Mark out the exact proportions of the canvas on the board, if they are not exactly the same shape, so do it as in the sketches. Make clear outlines. You can detail the markings of the eyes, mouth, all the important shapes on it, or you can just stick to just the basic shapes and basic shadow figures. Either way, it should look similar to the paint in the sketch. If you make mistakes, wipe off the charcoal or pastel pencil with a damp cloth, let the canvas dry, and do it again. This can be completely corrected.

2. Squeeze some paint onto the palette and mix the colors. Place yellow, blue, red and a large smear of white at some distance from each other. Additionally, use burnt sienna. Leave all other colors in the box if it was a gift set.

   Explore the paint "alla prima". Just draw directly on the sketch in each color area. Since it doesn't have to be detailed, you can try painting the color study with a palette knife or painting knife. If you don't like any of your color choices, use a palette knife to scrape off the unsightly smudge and set the unwanted paint aside in case you need a messy one. Brown color. The combination of all three primaries will harmonize in the painting and thus mixed paint will be able to be separated and mixed a little more to turn into pale brown or dark brown and gray shades. No waste with a simple basic palette. Keep playing with the color exploration until you like a simple, bold painting done with a fairly large brush and not a lot of detail. If necessary, make more than one of these until you decide which blends you like. You make this little painting with paint straight from the pipe. It does not require thinner or oil for this technique. If you like the way your test painting looks, you can make a larger one the same way, just using a palette knife and pipe paint with bold strokes on the canvas. No additional paint and no extra layer. This style of painting is fast and strong.

   Draw the outline using soft pencil or a thin stick of charcoal. On landscape painting use a purple pastel pencil. It will be a good choice because this color goes well with all landscape colors without darkening or staining light colors the same way black does. Charcoal and purple pastel pencil are both easy to fix with a damp cloth or rag, so don't worry about making changes to the sketch! Draw on it, and if you get it wrong, wipe it off and try again.

   Prepare some oil in one cup and solvent in another. Clean your brushes and palette knife. Rinse the brush if you used it for color research using a turpenoid: simply dip it in solvent and wipe with a rag.

   Apply a small amount of burnt sienna to your palette. Or, if there is no white or a lot of white in the tri-color mixture, use a thin layer of brown. Dip the brush into solvent, turpentine/turpenoid/Sansodor (Winsor & Newton brand is particularly good). Dip a wet brush into a small amount of paint until you have very thin, clear paint. It's easy. Use a little more paint, do medium light and successively dark areas with burnt sienna, still diluting it until it becomes the texture of ink. Even dark areas should have enough color. The thinner layer you use, the faster this clear coat of burnt sienna will dry.

   • Wow! A transparent burnt sienna painting usually looks pretty cool at this stage. It's still easy to change if you end up too dark or too light color. Take a rag and wipe off the part of the paint you are not happy with and repeat adding the color you want. Or erase everything and change the shape. Gee, you thought oil painting had to be perfect? No, everything here is very easy to fix and make changes. This stage will dry fairly quickly, from a few minutes to half an hour. The finest pieces may be dry to the touch by the time you finish another corner. It is only necessary that the paint is dry to the touch.

3. Remember the "butter at an angle" rule. The first coat you apply may be very thin, almost all turpentine and very little oil. Just a little oil in the paint and it will look different. It can look almost like paper with watercolor applied in a thin layer. You can do sequential washing in different colors, if you want to have fun applying the wash coat. The next layer is "alla prima" or paint straight from the tube, as you did in the color study. This is a kind of medium fat layer, not too fatty and not too weak. After this, especially after the oil or Liquin that you added to the paint, the structure becomes fatter. The problem with oil slope is that the oil layer takes the longest to dry, so there needs to be quick-drying paint underneath it. Otherwise, the outside will dry out, but inside there will be a closed, soft, not dried layer.

   • In the worst case scenario, a painting that is tilted may slide off the canvas on a hot day, losing its color connection.
   • Never use oil pastel under oil paint because their oil formula includes mineral oil which never dries out. If desired, you can add oil pastels to the last layer of your oil painting once it is dry to the touch.

4. Block colors for the main areas and then add a little more paint to make the details lighter or darker, redder, yellower or bluer. Mix half the colors on the palette, half on the canvas. Start with the basic directions of light and shadow, with the right overall colors, then add paint to change them. Shade slowly and mix the colors gently. Where you want the paint to be smooth, don't apply too many strokes. Apply lots of brushstrokes where you want strong texture, like in impressionist painting, or use a stroker knife to create bold textures. By contrasting smooth and bold textures so that some parts of the painting are lifted, the "thick layer" structure encourages all parts to be painted very thoroughly quickly. This changes the amount of "alla prima" texture you apply. Mix some of the oil into the paint if you want to apply thin and brushed strokes to keep the texture smooth. While it is still wet, you can mix more oil or more paint to make this layer thicker or thinner. But if it starts to dry out or tighten, don't add anything else that doesn't contain fat.

   • Unless you want to make an ugly special effect like painting a zombie's face, apply a thick layer of grease to the brush, then leave it to dry incorrectly, then tear off a piece so that the skin of the paint hangs down and a clump of brownish-red grease paint is exposed to the air and dries. , perhaps frozen in the form of drops. Almost any mistake can be turned into a special effect once you know how it works.

5. Oil paints stay wet for days! This means you can paint all day, fool around with them, go to bed, put an empty box on your palette so your cat won't walk on it, and tomorrow start all over again and make changes while the painting is wet. You can use a palette knife to scrape off entire areas before they dry and start over. The slow drying time of oil paint allows you to make many changes before deciding on the final design and then letting the paint dry.

   Leave the painting to dry. This will take at least two weeks if you did not use Liquin as a base. Liquin dries faster than tube paints, so use at least some of it in the paint to ensure it adheres well. This is not fat, but oil straight from the tube. You can also add alkyd oils, which have alkyds (the main ingredients of Liquin media) directly into the paint tube. In this case, the painting can dry in just a couple of days to a week, depending on the thickness of the paint.

   One of the traditional techniques of the old masters is to not rely too much on the texture of the brush. Start as described here by doing a thin coat of burnt sienna using tube paint and cleaning it thoroughly, make a realistic black and white with all the details of your piece just using black ivory paint and titanium white. Let this "grisaille" or "dead coat" dry completely. It will look like a black and white photograph, very detailed. After this, start mixing the oil with all your colors, using them in a very thin layer, and begin to apply them to the grisaille layer. Covering a black and white painting with a variety of transparent colors will allow light to pass back and forth within the dried layers and give the painting a unique light spectrum. Only slow, layered use of colored pencil comes close to this effect. This is one of the things that oil painting is famous for.

   • You can try this method if you have a lot of time to wait for one layer to dry before doing the next. But, if you don't want to wait that long, just let the grisaille layer dry, add a little oil, paint in the right colors and add one final coat of glaze when the paint is dry. You can use both complex and simple versions of oil painting.

6. When you're done with your painting session, clean your brushes by dipping them in solvent and then use a rag to wring the paint out of them. Repeat several times until almost all the paint remains on the rag, otherwise it will require more solvent. Keep rags and supplies away from open flames/electrical circuits/heaters/things that may cause a fire. Place them in a metal can if you have one on hand. If you store the palette with wrung out paint in the refrigerator, this will slow down the drying process and you can use the paint longer. But don't let anyone eat it!

   Store damp paintings in a safe, dust-free place, dark and cool if possible. You can make a vertical drying rack in a cabinet of your own design, where you install pegs a few tens of centimeters apart so that you can lean on the painting. If you paint a lot of oil paintings, a garage is more suitable for drying. Since you are creating thinner vapors, it is a good idea to use the garage and other areas where people do not spend a lot of time or have very good ventilation. Storing these materials in vertical slots will reduce the amount of dust that falls on the paintings themselves while they dry. Dust will accumulate on the top end, and not on the paintings themselves.

   On a “gallery” canvas, which has a depth of 3.8 cm, you should not paint in oils. Just paint the sides, or wrap the painting/paint it black/do something fun with it. You don't need to buy a frame, or sell it to a gallery, or donate it. It is ready to hang when dry and varnished.

7. Wait at least a month after the painting is dry to the touch, then use touch-up varnish to give the painting a temporary shiny, finished look. Some varnishes dry out the matte surface; shiny ones may fade if varnish is applied to them. Wait another eleven months to apply dammara varnish or any other replacement varnish and allow it to dry in a few days. Your painting will now last longer than you.

   • Burnt sienna is a good color base for mixing tones that capture the color of the skin as long as it is not too black and has a bluish tint like African ebony. It will look special if you add a little yellow ocher to it, which can suit most skin tones, including some earthy ones. Add a little red and you can make your hair red or brownish.
   • Oil paint is much denser in texture than regular oil. The student version of the paint has more liquid because it has more oil and less pigment. So paint in a tube, if you like painting with thin liquid paints, will last you much longer than student paint of the same volume, because you add linseed oil, so that the paint is liquid and oil so that it is cheap. The pigments are better in professional oil paints, so they are more concentrated. You can save money by buying paint or impasto medium if you like to apply it thickly with a knife and if you don't want to spend a fortune using pure tube expensive Grade paints.
   • Flaxseed oil is an edible vegetable oil, but commercial and health food store flaxseed oil is not suitable for painting. Different kinds oils for painting have specific properties. Experiment if you like the medium.
   • Student grades of oil paints are very liquid and a small amount of paint can cover large areas.
   • Don't buy large pipes if you don't need them.
   • Once you are used to painting a lot, buy a large tube of ultramarine and a super giant tube of white paint. Ultramarine is used in much greater quantities than other colors. Except in portraits, burnt sienna can also be used often.
   • Always buy a large tube of white paint because this is what you will be using and mixing the most. If it's a mini kit where all the pipes are the same size, buy an extra tube of white paint.
   • When you paint well enough and other people are willing to pay real money for your paintings, in general people will pay more for oil than for another texture, even if they are equally durable and beautiful. People think of oil painting as something extremely valuable and permanent.
   • Use an easel if possible.
   • Do not soak brushes, nap side down, in a can of solvent. The hairs will be permanently bent and the brush will be destroyed. Hold the brush upside down so that the hairs of the brush are not bent and are in a loose state without touching anything (this is what the spring wire is for, to keep the brushes upright upside down without touching the bottom) or just lay the brush flat, where excess liquid can come out of it. Some small stones or something thinner may allow you to do this.
   • If you have an inexpensive student kit with liquid paints, use inexpensive brushes and work a little at a time. Explore the texture and try using thinner for a "skinny" layer before painting with an opaque color and then glazing with a subtle clear color. Practice on canvas boards and pads until you are ready for more expensive canvases and paints, or use a liquid texture to paint with a thin smooth the right kind on stretched canvas. When you don't have materials listed as such, use what you have.
   • Water-soluble oils are another new type of paint. They come with water-soluble linseed oil and water-soluble thinner. They can also be diluted plain water, but this sometimes changes the color a little or makes them a little cloudy. Use water soluble thinner to make wash on canvas and water to clean water soluble oil. Use only water-soluble media with water-soluble oils.
   • Alkyd oils are made by adding an alkyd resin mixed with an oil medium. They are designed to be touch dry quickly within a day or two rather than a week or two. Liquin medium can be mixed to turn regular oil paint into something that dries faster like alkyd paint and can be used in conjunction with it. Do not cover the oily layer like Liquin.
   • Gypsum is a primer for oil painting. You can take a canvas that has not been initiated, buy gesso, prepare and stretch it yourself to get the canvas dimensions you need. Or you can use gypsum to coat wood panels or chipboard panels, use it on the wall to make oil painting like painting. Gypsum has many uses. As a rule, it will not be in the starter kit. It is sold in black as well as white and others light colors, if you want to show the canvas color.
   • To make cleanup easier, if you are working with alla prima, try choosing the largest brush you can complete the painting with and using only that one brush. This saves a lot of hassle associated with cleaning. Single brush paintings tend to have a unity of texture and color, even if you create different textures with the same brush.

   Warnings

   • Do not smoke, use flashlights, open flames, or heaters near oil-based paint rags, solvent containers, or flammable oil-based materials.
   • Do not flush sticky liquids, used solvent, or old dirty paint down the toilet. The liquid will leak into the environment and may be toxic. Even worse, it may stick to your plumbing when it dries and cause big problems. If you live with your parents, this can lead to a lot of trouble. If you rent an apartment, it’s the same. If you own your own home, you will have to shell out money for a plumber. So no matter how you look at it, the toilet is not the place to dispose of toxic paint! Use it for organic waste and spoiled food.
   • Use proper ventilation. If the smell of the thinner is irritating, it is probably dangerous. Unscented thinners are somewhat safer, but they're still not very good if you're drying your paintings in the same room you sleep in without an exhaust fan. An oil painting made with aerosol paint is very dangerous - toxic fumes can ignite!
   • If you are painting outdoors, be careful not to spill used solvent or paint onto the grass. It may be toxic to the environment. Recycle your thinner with water and store the dirty water in a bottle. Throw it away where toxic waste can be left in your city. Sometimes, if you are using very little thinner, soak it up with paper towels and clean with a minimal amount of liquid so that the debris with toxic solids can be sealed and disposed of properly instead of having to deal with throwing out a lot of sticky stuff.

   What you will need

   • Linseed oil (from an art studio) or Liquin, or other medium. Water-soluble linseed oil if you are using water-soluble oil paints.
   • Thinner - turpentine, odorless white spirit, Sansodor, turpenoid or water-soluble thinner
   • Oil paint, minimal titanium white, lemon yellow, permanent red or alizarin crimson, ultramarine and burnt sienna
   • Easel (optional)
   • Brushes (optional if you want to try a painting knife)
   • Palette knife for mixing (can be improvised with a spoon or butter knife), optional painting knives of various shapes
   • Palette/flat piece of glass/disposable paper
   • Rags
   • Brush sink or solvent can, small cup or double ladle
   • Sketchbook plus pencil and pen, additional gray and black markers
   • Canvas or cheap canvas boards for preliminary color studies and texture tests
   • A safe place to dry wet paintings for weeks or months. Once they are dry, they can be cleaned
   • Removable varnish, such as Damar, for final varnishing after the painting has dried for a year. Even an alkyd painting should dry within a year
   • Additional varnish for retouching, as a temporary coating. Used after the painting has dried for only a month (if you want to sell the painting faster or urgently hang it on the wall)

16. Oil painting. Basic information about technology.

IN art school New Art Intention closer to the end of the basic painting courses and drawing courses, beginning artists begin to use oil painting. Due to complexity new technology many questions arise, and, bearing in mind that the new is the well-forgotten old, we decided to publish an article “Initial information about oil painting techniques”. This article was written by the artist F.I. Rerberg (1865-1938), and published in the magazine " Young artist» No. 9, 1937. It contains somewhat outdated methods and techniques for contemporary artists, but completely effective if you are in the field, where you can’t get to a store with art materials and supplies. And it's priceless! Because few artists now fill their own brushes, prepare paints and varnishes, and prime their canvases. But maybe it's worth a try?

The article is completely reprinted, “as is,” with explanations from the 1961 editors (in italics). Our comments will be below.

All the painstaking work of typing and editing this article (and several lessons) was undertaken by Katya Razumnaya, for which we express our deep gratitude to her.

Basic information about oil painting techniques.

Before starting to paint with oil paints, a novice artist needs to know what oil paints are and how to handle them. While working with water paints (watercolors), you have probably noticed that a fine powder settles at the bottom of the glass in which you rinse your brush. It is this powder that imparts color to the paint. The coloring substance is called pigment. If the powder (pigment) is mixed not with glue, which is used to make all water-based paints, but with oil, the result is oil paint. For this purpose, flaxseed oil is most often used, less often nut, poppy and sunflower oil. When exposed to air, these oils do not evaporate like water, but, like glue, turn into a solid mass. There are oils, such as olive oil, that always remain liquid, and paint mixed with them never dries. Other liquid oils evaporate like water. The paint prepared on them quickly becomes a dry powder. Paint powder is not simply mixed with oil, but ground with oil. Small amounts of paint are ground with a chime (the so-called pear-shaped stone body with a flat base). Paint mixed with oil is rubbed with a chime on a stone slab. The movement of the chime is either circular and progressive, or rectilinear in different directions and rubbed until all the paint turns into a homogeneous mass, in which the powder is not felt at all to the touch. The chime and slab must be made of very hard stone (porphyry, granite). The stone slab can be replaced with thick mirror glass. At art paint factories, paints are rubbed using special machines called paint grinders.

The finished grated paint is stuffed into tin tubes (tubes) closed with screwed heads. The paint is made of such thickness that it can be freely taken with a brush and painted on without diluting anything. The paints are sold in this form. If the paint we bought turns out to be too thick, we will have to add a drop or two of oil. It happens, on the contrary, that the paint squeezed out of the tube flows and blurs and does not hold its shape, which indicates that there is excess oil in it. Before you write with this paint, you need to smear it on the paper for several minutes. Excess oil is absorbed into the paper, the paint thickens and becomes usable.

To work, oil paints are placed on the palette. The palette is made of light wood. It is shaped in such a way that it can be comfortably held with the left hand along with several hands. Nowadays, palettes are usually made from plywood glued together in three layers. These palettes are very durable, but heavy. It is better if the palette is cut from one piece of wood and has a large thickness near the hole for thumb, to the left and top edge it should be strongly planed. This palette is easy to hold on your hand and doesn't cut your thumb.

A palette made from plywood must be pre-soaked in oil and dried well. An unoiled palette draws oil from the paints placed on it, causing the paints to thicken.

The paints are placed on the upper left edge of the palette. The middle remains for making mixtures. The arrangement of paints on the palette must be adjusted known order- so that each paint always falls in its designated place. Most often, white paint (whitewash) is placed at the right end of the palette. I. E. Repin placed white in the middle of the upper edge of the palette, to the right of them he placed warm colors - yellow and red, to the left he placed cold colors - green and blue, then black and brown.

Upon completion of work, the palette must be cleaned immediately. Leaving a pile of unused paints on the edge of the palette, the entire remaining surface of the palette should be freed from the paint mass and wiped dry with a piece of cotton wool or a rag, but by no means wash the palette with turpentine or soap and water.

Brushes for oil painting are mostly bristle and, more often, flat.

Oil paints cannot be painted with one brush, like water paints. Brushes cannot be washed while working in oil, so you cannot apply light and dark tones, red and green, etc. to the picture with one brush.

Buy bristle brushes No. 2, 4, 6, 8, 10 and 12 for the first time. Then, undoubtedly, you will want to have more brushes.

To display small details in the picture, you will have to use one or two small brushes made of soft hair. The best of them are core ones. The brush is made from the tip of the kolinus tail. Since kolinsky brushes are expensive and are not always available for sale, you can get by with squirrel or ferret brushes. Buy #5 and #8.

Brushes must be kept very clean. If not washed in time, a dried brush will soon become unusable. After work, dirty brushes can be placed in kerosene*, in which they can stand for one or two days without much harm (*holes are cut in a piece of cardboard or plywood in accordance with the diameters of the brushes. The brushes are inserted into the holes so that they do not fall through, but are suspended).

Before work, brushes removed from kerosene are wiped dry with paper. Wash the brushes with soapy foam and rinse with water until the foam stops completely staining and no traces of paint remain on the brush.

In addition to the listed accessories, without which one cannot paint with oil paints, some other items are less necessary, but useful to the painter: a palette knife (spatula) - a horn or steel knife that is used to clean the palette, mix paints, remove excess paint from a painting, etc.

The artist-painter usually keeps paints and all the accessories necessary for his work in a sketch box, which is convenient to carry with him to sketches. Its purpose is to serve both as a machine for writing sketches and, at the same time, as a repository for raw sketches. There are a lot of sketchbook systems.

What colors should a beginning painter have on his palette? What material can you paint on with oil paints? Do I need to dilute or add anything to the finished oil paints?

In oil painting, first of all, you need white paint - whitewash, which we completely do without when working with watercolors. Until the 19th century, all oil painting was done on white lead. Nowadays, most of our artists paint with zinc white. A beginning painter can, of course, paint with both. But it is better if he remembers that lead white dries faster and, upon drying, forms a very strong layer, but it tends to turn black from bad air (from hydrogen sulfide gas), especially in a dark room. In addition, they are very poisonous. Zinc white does not turn black, but it takes a long time to dry, and the dried layer cracks more easily. Now it is recommended to make a mixture of 2/3 zinc and 1/3 lead white.

Of the red paints, you need kraplak, or garance, a transparent paint of a thick crimson-red color. The bright orange-red dye is called cinnabar. IN Lately We are beginning to replace cinnabar with an equally bright but more durable paint - cadmium red. The brightest of our yellow paints is cadmium yellow. It comes in a range of shades: orange, dark, medium, light, lemon. Buy two of them: dark and light. In terms of brightness of color, cadmium's rival is chromium yellow, or crown. It is much cheaper than cadmium. Cadmium is a durable paint, but crown soon loses its brightness.

Since time immemorial, the most common yellow and red paints have been the so-called ochres. Ohrami still primitive painted silhouettes of animals on the walls of caves. Ocher is natural yellow clay, only washed and crushed. It is found in many places around the world and has various shades yellow, brown, less often red. High temperatures cause all yellow and brown-yellow ocher to turn red. You've probably seen how yellow raw brick turns red after being fired in a kiln.

All ocher is durable and cheap. Buy light yellow ocher and some red (burnt) ocher. Red ocher or its variety is sometimes called flesh ocher, Venetian, Indian, English paint.

Close to ocher natural Siena soil (from the surrounding area Italian city Siena), bright brown, dark yellow and burnt Siena soil are being replaced by lands similar to them in color, available on the territory of our Union. There are a lot of green paints sold, but most of them are mixtures of blue and yellow paints. Each of you can make this mixture yourself. In a set of paints, you can limit yourself to one green paint. The famous Soviet landscape painter Rylov used only one green paint - emerald green. And look, what an abundance of green shades he extracted from his modest palette!

Of the blue paints, especially at first, you could limit yourself to one ultramarine. Lighter blue paint- cobalt - does not completely replace ultramarine, but is necessary in the absence of the latter. The dark blue Prussian blue (or Prussian blue), common among us, seduces beginners with its great strength and brightness. But it’s better not to get used to this paint. It will be difficult to wean yourself off of it, but it is weak and breaks down when mixed with most other paints.

The black paints we currently sell are: burnt bone and grape black.

Of the brown paints currently produced by our factories, Mars Brown is the best.

What material can you paint on with oil paints?

On a very smooth, slippery surface, oil paint does not adhere, glides, and does not stick to the surface. On a porous surface that absorbs oil, oil paint, as they say, dries up, loses its shine, and becomes dull. So, the paint will fade greatly on ordinary white cardboard or paper. If you glue the paper with a liquid solution of some kind of glue, you can avoid dryness, but sizing makes the paper easily brittle.

In the last century, small works were often painted on oiled paper. This is what ours did sometimes famous artist A. A. Ivanov. The paint adheres well to this paper and does not dry out. But over the years, dried oil becomes brittle and oil-soaked paper crumbles like a dry tree leaf. But here's a recommended technique: the paper is glued with strong glue onto thick cardboard, and after that it is soaked in oil. The most common and convenient material for oil painting in our time is canvas. Almost all oil paintings that adorn our museums are painted on primed canvas.

More often, linen or hemp canvas is used for painting, as it is more durable, but they paint on both paper and jute canvas. The canvas fabric should be dense and smooth, without knots. You cannot paint in oils on a blank canvas. Oil, absorbed into the canvas, overeats it. After some time, the oiled canvas becomes brittle and collapses. Therefore, the canvas for painting must be covered with primer - primed. This primed canvas is sold ready-made. But, since both the success of the work and its further safety largely depend on the quality of the soil, you need to be able to choose a primed canvas when purchasing it, or better yet, be able to prime the canvas yourself.

The piece of canvas that you are going to prime must be stretched tightly onto the frame, otherwise the canvas will wrinkle. Before applying the primer, the canvas is glued with a liquid glue solution, preferably fish or gelatin. One leaf of gelatin is diluted in a glass of water. When the glue dries, primer is applied to the glued canvas.

Here good recipe adhesive primer:

Gelatin 10 g, zinc white or chalk 100 g (a little more than half a glass), water 400 cm3 (two glasses). To make the soil more elastic, add 4 cm3 of glycerin or honey. This amount of soil is enough for 2 m2 of canvas. The primer is applied with a brush.

Very good soil is obtained using this recipe:

4 chicken eggs stir in 160 cm3 of water and add 120 g of zinc white (or chalk). This amount of soil can be used to cover 1 m2 of glued canvas twice.

To work with paints, small pieces of primed canvas, paper or cardboard can be attached with thumbtacks to the board. A canvas measuring 50 cm or more must be stretched onto a subframe equipped with pegs inserted into its inner corners, with which you can stretch the canvas if it has sagged or formed folds. You need to practice a little in your ability to stretch the canvas onto a stretcher. Having folded the edges of the canvas onto the sides of the frame, fasten with a nail the middle of one side, then the middle of the opposite and the middle of the third and fourth sides. The canvas is then pulled towards the corners, gradually driving nails from the middle of each side to the corners.

When buying or ordering a machine for your painting (easel), pay attention to the fact that the machine is stable and the painting does not sway or tremble from the pressure of the brush. All folding tripods have very little stability, and for working in a room it is better to have a simple vertical easel with pegs.

I have already said that you can paint with oil paints without diluting them with anything, just as they come out of the tubes. But there are times when you have to resort to additional liquids and compounds during work.

You need to have a bottle of purified flaxseed, sunflower or nut oil. But do not forget that any excess oil in paint is very harmful and leads to yellowing and cracking of the paint layer. If for some reason you need to make the paint more liquid, it is better to dilute it with some liquid that will evaporate from it and will not leave any trace in the paint. Such a paint solvent can be refined petroleum (refined kerosene) or white spirit (solvent No. 2). In addition, there are special varnishes that can be used to dilute oil paint. They are called painting varnishes. Do not mix slow-drying painting varnish with others, which is called "retouche varnish" (retouch varnish). The purpose of the latter is to destroy rottenness*.

(*Since the author of the composition of the varnish does not offer retouching, it is possible to remove the fade with bleached or compacted oil, specially prepared for painting. Some artists, to eliminate the fade before the secondary propivation, wipe the faded areas with a weak solution of dammar or mastic varnish. It is used as a solvent for turpentine varnishes purified turpentine; for varnishes prepared with white spirit, white spirit is used.)

There are also compounds that, when added to oil paint, speed up its drying. I warn the inexperienced painter against these compositions (driers), since some of them, while accelerating the drying of paints, at the same time cause them to blacken and crack.

Having received oil paints and a primed canvas in his hands, an inexperienced painter usually begins to paint with these paints at random, regardless of anything, rejoicing in the fact that he can rewrite the same places many times.

As a result of such treatment of the material, the paintings quickly deteriorate, lose their color, turn black, become covered with cracks, and the recorded areas begin to show through the top layers of paint. Don't make excuses because your first endeavors don't have great prices and no one will regret if our pictures die:

Remember at first some rules for handling oil paints. If you do not expect to finish your work in one day, as they say, in the wet, do not apply the first layer of paint thickly and avoid introducing slow-drying paints into it (kraplak, gas black).

Usually the paint does not dry on the first day, and the next day you can continue working on it wet. When the paint stops staining, you need to leave the work for several days and continue it only when the bottom layer seems to have hardened. You also need to let each layer dry before applying a new one. With secondary registrations, withered areas usually appear on the paint layer, that is, dull areas. These faded areas can be restored to shine by carefully wiping them with retouch varnish. Be careful because the varnish may dissolve paint that is not dry enough. You can coat the dry area with oil, but the next day you need to use a piece of paper to remove the remaining oil that has not been absorbed into the paint, otherwise a yellow spot will form on the oiled area over time. Oil destroys rottenness better than varnish. You can to some extent avoid the formation of withering marks by wiping with retouch varnish all places that are subject to secondary registration. The old masters rubbed such places with a cut onion or garlic*. When making dry adjustments, be aware that oil paints become more transparent over time, and the parts you painted on top begin to show through under the top coat of paint. Therefore, do not just write down the places that you want to destroy, but scrape them off first. (* This method is especially often used in cases where fresh paint is applied to already very dry paint. Rubbing with onion or garlic helps to better adhere the new layers of paint to the underlying ones).

There are many examples of pieces of painting protruding from under the top layer, which the author considered destroyed. A painting by Velazquez has survived, in which the horse turned out to have eight legs, since the four legs painted on top were joined by four, destroyed by the author, but now clearly visible.

There are several techniques for executing an oil painting. In the old days, usually, having carefully drawn the outline, the picture was underpainted, that is, light and shadow spots were installed on the canvas, often in one tone, for the most part brown, paint, sometimes not oil-based. Such underpaintings remained from Leonardo da Vinci. According to the underpainting, the whole picture was painted in colored paints; The picture ended with glazes. Glaze was especially widely used by the great Venetian masters of the 16th century, who were considered unsurpassed colorists.

Nowadays, artists often paint at once, trying to give each stroke of paint the desired shape, aperture, and color. This is how landscape sketches are mostly written. For example, Repin painted in one session, using raw material, not only sketches, but also completely finished portraits, without preliminary drawing, without any underpainting, without any glazing. Repin completed his large figure paintings for a long time, redoing a lot of them, sometimes even starting the painting again on a new canvas. Serov painted portraits for a very long time and, after drying the work, finished it with glazes.

A young aspiring artist must, from the first steps, accustom himself to serious, thoughtful, systematic work and to a strict attitude towards his material.

U rocks of oil painting for beginners in art school New Art Intention begin with practical techniques for learning to paint with oil paints. But before that, artists write whole line acrylic paintings, imitating the oil painting technique in their execution, i.e. They write through underpainting and using a brushstroke technique that is closest to oil painting. Initial work are painted on canvases on cardboard and later, when novice artists get used to oil technology, move on to canvases stretched on a stretcher. Although canvases on cardboard are also used in plein air lessons for drawing sketches. In addition to linen, cotton and synthetic canvases are available for sale; the latter have pronounced “rubber” properties, which is somewhat specific.

Let's add on the above article. Now our artists use both plywood and plastic palettes. Plastic palettes do not delaminate and are easier to handle.

There is a huge choice of brushes now, many beginners in painting lessons work with synthetics, some with a column, some use bristles. The properties of each, or “brush stroke,” are known to them and are suitable for different tasks when teaching painting. The only thing that can be said is that synthetics are durable, the kolonka wears off very quickly on the canvas.

There is also an abundance of color oil paints on sale now. There is no need to cook them. Paints from different manufacturers interact well with each other and mix with oils and varnishes. To dilute paints in painting lessons, we use “threesome” - a mixture in equal quantities varnish (for example, damar), oil (linseed) and pinene (refined turpentine). Sunflower oil It's better not to use it, because... it is semi-dry.

Training and further improvement of painting skills in our school New Art Intention have no time boundaries. Therefore, our artists have created many interesting paintings from still life to landscape, from portraits to abstract paintings.

Painting is one of the main types of visual art. You can paint all your wildest fantasies on canvas. Anyone, even a novice artist, can immerse themselves in the world of oil paints. The main thing is to approach your work responsibly, and then the result will meet your expectations. An oil painting is an exclusive item that can be given as a holiday gift or hung in the house to decorate the interior of a room.

Selection of materials

Oil painting lessons it's not worth saving. Cheap materials will ruin the impression of a novice artist’s work, even if it turns out the way the author intended.

The basis

Traditionally little is written on canvas- stretchers covered with hemp or linen fabric. Stores provide a huge selection of canvases of all shapes and sizes. There are both rectangular and square ones. The basis should be chosen based on the plot of the intended work. If the author is going to depict a landscape, it is better to buy canvases from 30x40 cm, and if, for example, a still life, then you can choose a smaller size - from 20x30 cm. You should not take too large canvases, especially for the first oil paintings, since it is much easier to paint on them more difficult.

In addition, both fiberboard and special thick paper for paints are suitable for oil painting master classes.

Brushes

There are different brushes: round, beveled, flat, for shading, and so on. It’s worth starting with the most common ones, which may be useful for your first work. Palette knives are also used in drawing, but you shouldn’t try your hand at working with them yet.

The choice of brushes must be approached responsibly, since low-quality brushes are not only inconvenient to use, but also spoil the painting. The fact is that hairs in cheap brushes can fall out during a lesson or master class in painting. And if the paint dries, it will be difficult to remove them. This will spoil a lot appearance work, since hairs dried with oil will be visible when close examination. A low-quality brushes may crumble in large quantities.

Beginners don't have to immediately buy all the materials they need for art lessons, as some of them may not even be useful. Different shapes and brush bristles used to depict various objects. For example, one is chosen for landscapes, and completely different for portraits. First you need to purchase several regular flat brushes of different sizes or a set of 4-5 brushes.

Oil

Oil paints Sold in sets and individually in tubes. This is convenient, since the artist can choose the individual colors that he will need in a painting lesson to depict a particular subject. Manufacturers focus on natural shades. Art stores provide a choice of several shades of yellow, white and other colors, which only experienced master.

Before you paint with oil paints, you need to make sure that all the necessary shades of paint are on the table. As a rule, the following are used in the first painting lessons:

• titanium white (manufacturer “Gamma” or “Master Class”). This paint is used the most. You should take two tubes at once;
• cadmium yellow medium (manufacturer “Master Class”). Often used for landscape paintings and still lifes;
• durable red kraplak (manufacturer “Master Class”);
• cadmium red dark (manufacturer “Master Class”);
• mars brown dark transparent (you can take paint from any manufacturer “Gamma”, “Ladoga”, “Master Class” and others);
• blue FC (manufacturer “Master Class”);
• light ultramarine (manufacturer “Master Class”);
• yellow ocher (from any manufacturer). It must be there, since there are a lot of ocher shades in painting. If necessary, they can replace any other color by mixing with other natural shades;
• English red (from any manufacturer). Used as often as yellow ocher;
• lemon cadmium (manufacturer “Master Class”);
• herbal green (any manufacturer, preferably “Ladoga” or “Master Class”);
• emerald (manufacturer “Master Class”);
• cadmium orange (manufacturer “Master Class”);
• cobalt blue spectral (manufacturer "Master Class");
• sky blue (manufacturer "Ladoga");
• turquoise (manufacturer "Ladoga");
• natural umber from Leningrad (any manufacturer). Replaces black paint, but looks more natural.

Must choose materials famous manufacturers . In no case should you skimp on oil, just like on brushes. The Master Class company uses in production natural dyes, so in most cases it is better to take this particular oil. Other series also deserve attention; it is worth paying attention to the specific color.

It is important to pay attention to the stars painted on tubes of oil paints. They signify stability. There should be two to three stars. One should not be taken with one: they are intended for sketches and student work. A painting painted with one-star paints will fade very quickly from exposure to ultraviolet radiation.

Solvents, varnishes and vegetable oils

Painting uses solvents and natural vegetable oils. They are mixed with paint to change its texture. It is necessary to purchase the “Tee” thinner - it is universal and ideal for beginners. As for oils, flaxseed is usually used. To give your work a finished look, you should buy varnish. An ordinary damar one will do, although there are a huge variety of them.

Preparation of the workplace

The place where the artist will paint must be well ventilated and lit. As a last resort, you need to choose a bright lamp, securing it at your workplace.

Preferably use an easel to paint. But if it is not possible to purchase it or make it yourself, you can put up an ordinary wooden chair, laying an old newspaper or paper on it.

The artist must change into unnecessary clothes, because the oil is difficult to wash off. Hair should be pulled back into a ponytail and not interfere with the painting.

Choosing a subject for a future painting

Plot future work is selected based on the capabilities and wishes of the author. There are several options for beginners:

• scenery;
• portrait;
• still life.

The portrait can be considered the most difficult of all of the above. To work on landscapes and still lifes, you need to understand the laws of perspective and light and shade. You should try your hand at depicting a traditional bowl of fruit or a classic meadow. These topics are very common among inexperienced artists, since painting lessons should start with the simplest and lead to more complex ones. It’s not worth taking the most complex plots, because the result will not be what was originally planned.

Master class on working in oil on canvas

Understanding how to paint with oils is not difficult. In progress accuracy and patience are important, because paint is not very easy to work with.

Work plan with oil paintings as follows:

1. you should decide on the topic of the work, and then select the source, that is, a painting by another author for sketching. You can also try drawing from scratch;
2. then the image is transferred to the canvas. This must be done using the usual a simple pencil. You need to draw carefully, since it is more difficult to erase pencil lines from fabric than from paper. But the illustration should be clear and bright: the lines should be clearly visible under a layer of oil paint;
3. Afterwards, colors and their shades are selected, diluent and oils are prepared. It's worth arranging in advance workplace;
4. Oil painting involves applying paint in brush strokes. You need to start reading from the main fragments. You need to work with a brush confidently, do not forget about light, shadow and small details, which may not be visible under a thick oil layer;
5. Afterwards, you need to leave the work in a ventilated area to allow the oil to dry. After some time, for example, a month, you can coat it with varnish.

It is necessary to use oil paint solvents carefully and avoid contact with eyes and skin. Dyes are very caustic, so if they get on fabric, wallpaper or floors, they may not wash off.

Most people choose needlework or other artistic endeavors as a hobby. Moreover, due to the same mass-produced goods, the demand for handmade things increases. Photos or computer images are printed multiple times. You can make a unique thing by learning how to paint oil paintings. Even a beginner can understand this painting technique.

Even if you try to perfectly repeat your plot twice, you still cannot make an exact copy. This is what creates the uniqueness of works of art.

Materials required for work:

• Host.
• Different colors.
• Brushes.
• Solvent and a small container for it.
• Special palette for mixing.

Masters also use palette knives- special metal elastic shovels with wooden handles, which are used to apply paint to the base. It is important for a beginner to master brushes.

In addition, masters paint paintings on easel or a high-quality sketchbook if they go to work in nature to depict oil paintings from life.

Landscapes for beginners are complex plot. It is better to create pictures using your imagination or using photographs. This will make it easier to depict the landscape.

According to professionals, working on an easel is easier, since it’s easier to step away and inspect the result of the work. At first, you can try to practice on the surface of the table, but it is better to take some kind of board and place it on your chair at a certain angle. You will get an overview of your work and you will be able to evaluate its quality well and notice your shortcomings in time.

Remember that paints are used up quickly, so you need to purchase them separately and in large quantities. The release form comes in different sizes. White paint disappears the fastest, but black paint is consumed in very small quantities. First you need to decide plot, and then buy paints of appropriate colors and shades.

In order to draw autumn bouquet you will need one set, but for a summer bouquet a completely different one. In order not to waste your budget on unnecessary colors, it is better to take only the necessary ones in approximately the required quantity. All colors and shades can be obtained with only three main colors(yellow, red, blue), as well as white and black.

Gallery: oil painting (25 photos)

Creating and selecting a base

If you want to make drawing easier for yourself, buy from specialized stores ready-made basics for work on which you can immediately apply paint. They cost a decent amount of money, but they are just right for a beginner, as they greatly simplify the work.

Another great option- This use of fiberboard. Every man's household contains scraps of this material, which remains after repairs. It is easy to find it by asking friends, relatives or a loved one. Surely someone has used it and has leftovers of this stuff in their garage.

The shape of the fiberboard sides is different, one looks very smooth, and the other is quite rough, vaguely similar to a woven structure. Both forms can be used, but on a rough surface it is worth applying more parts and layers of primer, otherwise the color may become dull, since the paint will sink a little into the structure of such a product.

If you decide to try painting a landscape in oil for the first time, you can take a ready-made fiberboard base with a primer already applied. You need to take a small sheet, no larger than a landscape one.

If you want to make a DPV base with your own hands, an easy and inexpensive way is use of simple gelatin, you can add PVA glue to it to make the color white. This primer must be applied in several layers, allowing it to dry first. Three times will be enough. You should feel that the surface has changed. After preparing the base, you can proceed to creating the picture.

Master class oil painting

After creating the foundation and preparing the materials, we begin work in stages:

• Make it on canvas line drawing using a simple pencil or paint.
• Focus on the distribution of shadows and highlights (where there will be bright and dark areas).
• Create the background and any large objects.
• Start drawing small shapes and details.

Sometimes move away from the picture to evaluate the results of your activities. Mix on the palette as you paint. different shades colors. The last step is to frame the painting.

Master class on oil painting for beginners

In this master class we will draw the sea!

Description of drawing step by step:

First of all, you need to prepare the picture with which you are going to paint the sea. Place the canvas on the easel. Create the first strokes on the canvas, making the main background. Wait a little until it dries completely. If you follow the advice of the master class, then you will be able to paint a picture with oil paints of the sea. After finishing drawing, you need to decide on a name, most importantly, do not forget to leave your initials on the work. Authorship is very important because it makes your work stand out.