Simple drawings with oil paints. Oil painting on canvas

Foreign artist and good art school teacher Johannes Vloothuis teaches thousands of students how to paint with oils (among other painting techniques). Johannes gave us the 10 best tips for oil painters. I think you will agree that every artist should know these basic painting techniques.
1. Use white underpainting or quick-drying white.
One common problem that plagues oil painters is that when you add a layer of paint on top of another, they tend to blend together. For example, it is difficult to add snow on mountain tops when the first coat of paint has not yet dried.
When an artist gets into a rage and faces such a problem, he gets upset and puts the painting aside, and returns to work after a few days. There are special new whites that can solve this problem, unlike standard titanium whites. They are called quick-drying white or white underpainting.
2. Fine lines with oil.

Most, if not all, oil painters get frustrated when they try to paint fine lines with oil paint, especially over paint that has not yet dried. Even signing a painting is not so easy if the signature is small. Here are some ways to achieve this without waiting for the oil to dry out:

• Use a plastic card instead of a spatula
• Use acrylic paint over dry oils
• Another innovative way is to use pastels. It usually doesn't dry, but you can seal it with a coat of varnish.

• It is more difficult to evaluate and select a color on a white background
• In plein air in sunny weather, a white canvas will be too bright. You can, of course, wear glasses, but there will be obvious problems with choosing the color
• It is almost impossible to paint an entire white canvas in a quick, spontaneous plein air and you will be left with white gaps between the strokes.
• Oil paint is not 100 percent opaque, so the gaps in the underpainting between strokes will play an important role in the perception of the painting. If you are painting a picture with warm colors, for example autumn, then it is better to make the underpainting in a cool color

Underpainting of Johannes Canyon Vista


Completed landscape of Canyon Vista, Johannes Vloothuis
4. Apply oil in a thick layer

One big advantage of acrylic and oil paints is the ability to apply thick, thick layers that can convey a three-dimensional appearance. Other paints such as watercolors and pastels do not have this quality. My advice is to start with a thick layer of oil paint and work your way down to a thin layer. Add drops of paint only for small details - tree trunks, stones, flowers, leaves.
In the picture below you can see that the flowers and leaves are applied in a thick layer and therefore create a foreground effect.


Carmel Mission Johannes Vloothuis
5. Dry brush to create texture

To paint heaps of leaves, a lawn, foam in the crash of waves and waterfalls, use the “Dry Brush” technique. Dry brushing is a term used to describe the technique of applying paint by "stroking" small amounts of paint. The dry brush technique can be used to make wood look scuffed, paint lots of small leaves, paint foam near water, and add weeds to grass.
For a more visual representation, in the video below you will see how to draw a tree using the dry brush technique.

All people have tried to draw since childhood. Some people do it well, and in the future a person will connect their life with art, but some people don’t succeed in everything. Everyone has been to a gallery or art exhibition at least once in their life. And, of course, from time to time there was a desire to take and draw something yourself, just for yourself. Today we will tell you where to start our creativity.

For oil painting you will need:

1. Stretched canvas;
2. Palette;
3. Pencil 2B;
4. Decorator brush 25 mm;
5. Brushes for working with oils;
6. Oil paints.

Oil paints are sold either in specialized stores or in regular supermarkets. They come in two types: a set, which contains several different colors of paint, or they are sold individually. It is best to buy oil paints separately. Firstly, this way you can replenish your collection by using some colors more often and others less often. Secondly, if you run out of paint of a specific color, you will just need to buy more, rather than purchasing a whole set.

It is best to choose special brushes for working with oil. The most convenient brushes are made from pig bristles. They are harder and will work great for your job. It is better not to experiment and do not paint with your fingers, this can be dangerous, since oil paints are very toxic.

You may also need a palette for your work. If you plan to paint constantly, then you should buy a special wooden palette. But in principle, glass or a plate can serve as a palette. The paint should be squeezed out onto the palette gradually, from left to right. You should never immediately mix light and dark colors. The middle of the palette should remain empty, where we will mix our paints. There are also special whites that can be used between paints. Usually a lot of them are consumed, so it is better to stock up on them in advance.

Oil painting technique

There are several types of techniques for working with oil: a la prima and multi-layer.

A la prima is a technique that involves quickly applying paint to a canvas. This technique does not require preliminary pencil sketches. We still paint the landscape in oils gradually, but very quickly. If you did not have time to finish your painting, you can finish it the next day, since the paint will not have dried by this time. In this technique, it doesn’t matter at all whether we paint the sky with oil, or paint the mountains with oil, or paint water with oil, the main thing is a generous amount of paint.

Multilayer technique Suitable for longer work. This technique involves applying several layers of paint. When we paint nature with oils, we need exactly this technique. Since in one painting, you can combine many images and transfer them on canvas.
We always paint a landscape in oils step by step. Don't grab everything at once. To begin, draw what you want onto the canvas with a pencil. This is done in order to correctly distribute the ton and paint in the future. Afterwards, it is recommended to apply primer. In principle, there are canvases already saturated with soil. The primer itself helps the paint adhere better to the canvas.

LET'S LOOK AT SOME EXAMPLES THAT YOU CAN TRY TO DRAW IN OIL:

1. How to paint grass with oils.

This is the easiest thing you need to start with. Prepare the necessary paint and make several shades of green on the palette. Initially, if you doubt your abilities, draw what you want with a pencil. And then, use paints. Apply paint onto the canvas smoothly, from bottom to top. Use darker paint at the bottom, and lighter paint at the top. Work carefully with the brush, do not make too many lines so that they do not turn into a blot.

2. How to paint water with oil.

Water is the next stage, already more complex. Try to convey shallowness and depth with shades of paint. This can be done by using a lighter blue color or, conversely, a darker blue. Take a canvas and roughly mark on it with a pencil the places where it is deep and where it is shallow. Prepare paint on the palette. Apply paint to the canvas gradually. First, paint the area where it is shallow, use light tones of paint for this, then depth, here a dark blue color will come in handy. Don't forget about color transitions. You can also create waves using small strokes of white paint.

3. How to paint trees in oils.

First draw a tree on the canvas with a pencil. Try to convey the tree branches, foliage and contours as naturally as possible. The pencil is very easy to erase and this will allow you to practice before working with paints. Then take on the paints. To begin, depict the trunk itself using brown paint, add small stripes in a darker shade, depicting the bark of a tree. Draw the branches in lighter tones. Foliage can be any color. If the tree is spring, then you can “play” with green shades, but if it is autumn, then yellow, red and green colors are perfect.

4. How to paint grapes in oils.

The drawing of grapes requires special attention. Before work, carefully study either similar works or photographs depicting this berry. One of the most difficult elements will be the leaves, which will require special attention. If this is still very difficult for you, just draw berries. Draw bunches of grapes with a pencil. Try to stick to a natural oblong shape. Afterwards, first paint the contours of the berries with darker paints, paint over the rest of the berries with a little lighter paint. Use white paint or other light colors to create highlights.

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For those who have never studied music, an evening in the company of musicians using technical terms can be a real whirlpool of intricate, beautiful language. A similar situation can arise when talking with artists who paint with oils: in an instant the conversation turns to a discussion of the advantages of a canvas made of one material or another, the subtleties of pigments, recommendations for choosing a brush for painting and an analysis of the method of painting on a wet layer.

The variety of language that goes hand in hand with the art of oil painting may seem overwhelming at first, but if you take the time to familiarize yourself with its terms and best practices, you will be able to use all of these concepts with ease. If you're a beginner, don't expect the realism of the Old Masters to come to you right away. It will take some time to learn the specific properties of oil paint, especially drying time and strict rules for layering.

As in any environment, it is best to relieve yourself of high expectations and allow yourself room for experimentation and discovery. To help bright artists looking to try oils, we spoke with two artists and art teachers. As a result, we have five tips for beginners.

1. Safety first

Before you begin, it is very important to determine where you will be drawing. Many substances, such as turpentine, produce toxic fumes that can cause dizziness, fainting and, over time, breathing problems. Turpentine is also very flammable, and even rags that absorb it can spontaneously ignite if not disposed of properly.

It is essential that you work in a ventilated area with access to a safe disposal method. If you don't have the opportunity to work in such a space, try painting with acrylic paints, which can easily take on some of the properties of oil paints using special media.

The pigments in oil-based paint often contain hazardous chemicals that can be absorbed through the skin, so you should wear protective gloves and clothing. You can buy something new for these purposes, or use old clothes for your studio wardrobe. Additionally, artists usually buy latex gloves in bulk; If you are allergic to latex, replace them with nitrile gloves. Finally, if you are working with loose pigments, be sure to wear a respirator.

These steps may seem obvious, but they can prevent chronic exposure to toxic materials and health problems throughout your life.

2. Take time to study your materials.

With all the safety precautions in place, you can start to slowly figure out what materials and tools you like best. Typically, an artist just starting out with oil paint will want to collect a set of brushes, rags, a palette, painting surfaces, primer, turpentine, and several tubes of paint.

For Margot Valengin, an artist who teaches throughout the UK, her most important tool is her brush. “If you take care of your brushes, they will last a lifetime.” Start with a variety of types, looking for variations in shape and material. Valenjin advises buying them in store yourself rather than online. This way you can physically understand and feel all the properties and differences of the brushes.

When it comes to paints, Valenjin recommends investing in less expensive paints if you're a beginner. A tube of professional paint can cost around $40, so it's best to buy cheaper paints while you're still practicing and experimenting. As you progress, you will begin to figure out what brands and paints you like. “For example, it turns out that you like red from this manufacturer, but blue from another. Once you know a little more about colors, then you can invest in buying pigments that suit you.”

In addition to brushes and paints, be sure to buy a spatula to mix paints - if you use your own brush instead, the bristles will wear out prematurely. Many beginners also feel obligated to spend money on a palette, but Valenjin notes that this is completely optional. Find a piece of glass at home, wrap the edges with adhesive tape - and that's it, your paint palette is ready.

To prime the canvas, many artists use acrylic gesso—a thick white primer—but rabbit glue can also be used. You will also need a solvent - turpentine, for example - and several types of oil-containing substances. For example, using linseed oil will allow paints to dry faster, and drying oil will extend this period.

Oil paint dries So slow , and even if the surface appears dry, the paint underneath may still be wet. When using oil paint you should always remember two rules:

1. “From thin to thick.” Start with small strokes of paint and add less turpentine as you go; otherwise, the layers of paint will dry unevenly and the surface of your image will crack over time.
2. If you don't want your paint to crack, always apply oil over acrylic.

3. Limit your palette

When you go shopping for paint, you'll likely be greeted by a wall-sized rainbow. But instead of buying everything, stick to a few colors - choose your tubes carefully. “The most productive method to start with is to limit your palette,” says Cedric Chisom, an artist and teacher in Virginia. “The best choices to start with are cadmium orange and ultramarine blue.” When you work with two opposing colors like blue and orange, it forces you to focus on value—how light or dark your color looks—rather than intensity or saturation.

If you add another color to your palette - cadmium yellow (pale yellow) or alizarin crimson (magenta) - you will see how few colors you need to create any other shade. “You can buy all kinds of green paint in the store, which you can also make yourself from a mixture of yellow and blue. Creating your own shades is a great exercise for beginners,” adds Valenjin.

If you are not strong in color theory, create a table of your own experiments. Draw a sheet and add one color to each cell. Then add a similar amount of one other color and explore all the combinations.

4. Try painting with a spatula

The first exercise that Chisom recommends to his students is to draw a picture with a spatula instead of brushes. “One of the main problems is with the assumption that pencil drawing skills transfer to painting. Students become fixated on painting and quickly come across the concerns associated with oil paint: the material is not dry, the color can structure the image better than line, that the success of the painting depends half on the chosen surface.”

Using a spatula forces you to let go of ideas of precision and line and focus on how stretching color and shape can create an image. Chisom recommends working on a surface no smaller than A4, as more space can encourage you to make more confident strokes.

5. Draw the same object over and over again

When I first studied oil painting at Cooper Union, I was incredibly annoyed that we had to paint the same still life over and over again for three months. But looking back, how important it is to have a constant subject when mastering the technical aspects of painting.

If you continue to paint the same subject for a long period of time, you get away from the pressure that comes with choosing a subject for your painting. Instead, your creativity will be entirely spent on applying paint to canvas. If your focus is on oil painting technique, you can start paying close attention to each stroke: what it means, how thick or thin it is, how it directs the light. “When we look at a painting, we can see the brush marks, we can see what kind of brushes the artist is using. Sometimes artists try to remove traces. Some people use rags,” says Valenjin. “The artist’s brushstrokes make the painting unique.”

An artist's style can be as conceptually complex as the subject they are painting. This is especially true in the case of working “wet” - when the next layer of paint is applied to the previous one that has not yet dried. When you work in this style, it is difficult to apply paint in a way that creates the illusion of a realistic painting, so the tactility and fluidity of the paint becomes a central idea. Or sometimes, as in color field painting, the work uses large planes of color to create an emotional or atmospheric effect.

Sometimes, instead of telling a story, paintings tell a story like this.

In order to learn how to paint with oil paints need to:

Now you have everything to paint with oil paints. Finally, it’s a good idea to buy some kind of painting manual, get acquainted with the concept of perspective, composition, and the basic properties of color and light. Think over the theme of your first work, composition, perspective, color scheme, apply the drawing to the canvas, then start painting in oils.

Methods of applying oil paints can be different, but there are two leading ones: Multilayer. With this method, paints are applied in several stages and the work process is divided into:

Alla Prima- with this method, paint is applied over the raw base in one layer. This type of oil painting makes it possible to complete a sketch in one session and is more technically primitive. While the paints have not dried, you need to be diligent in writing as much as possible. You can paint on wet paint as long as it allows you to mix other paints with it.

Try, experiment, copy paintings by old masters. Get acquainted with manuals on different styles of oil painting - this will help you achieve triumphs faster.

With oil paints they write not on paper, as is the case with watercolors, but on a special canvas on a stretcher. The paints are also special oil paints. The palette for them is wooden. Prepare special solvents. Many special shades are indecent, take the primary colors and arrange them further: warm colors on one side, cold ones on the other. The brushes for them are also special - large, made of natural bristles.

Instructions

1. Let's try to draw a still life. Start painting with the most basic color relationships. Highlight the most basic colors. Write with broad strokes. Look what colors harmonize with what. In oil painting, it is not recommended to meticulously draw fragments of the picture. Everything should be done in parallel, both the background and the objects. First, paint the primary colors completely. Then you get a complete picture. Pay attention to the combination of color and shadow. For example, a gray drapery in the shadow will be approximately blue, and in the light it will be silver. The beauty of oil painting is that strokes can be applied to each other without waiting for them to dry. Mixing many colors is not recommended. Use 2-3 colors. It is important that all the details of the still life are in harmony with each other. So that one item does not stand out as a clumsy spot. When you draw, don't try to achieve photographic accuracy. Tea, your task is to convey your feeling, your point of view, your vision of this still life.

2. Once you've painted the main colors, start working on the details. Don't forget about reflexes. That is, about the reflection of objects in each other. Don't forget to add shadows, lights and highlights right away. But never use black paint for shadows. Mix different colors to create a dark look. Find color accents so that everything is not identical, all other things must be subordinated to the dominant.

Note!
Oil paints take a long time to dry. When they dry, the still life will be ready.

Oil painting is one of the particularly common techniques for painting pictures. Oil paints provide longevity to the painting. The colors do not deteriorate over time, and the technique itself provides a wide range of possibilities and at the same time is not too difficult, which allows you to quickly learn it.

You will need

• Easel, brushes, paints, solvent, palette, varnishes, palette knife, rags, primed surfaces: canvas on a stretcher, cardboard or canvas on cardboard

Instructions

1. To paint, you will need a canvas stretched on a stretcher or another surface suitable for painting with oil paints. Cardboard or canvas glued to cardboard is also used. All surfaces must be primed. If you are just starting to draw oil, then it is better to purchase ready-made primed canvases in the store.

2. An easel is an adaptation on which a stretcher with a painting is placed. It is very inconvenient to paint without an easel. Other tools will also work for you, including a palette knife - a special spatula that is comfortable for mixing paints. There is even a technique for painting with a palette knife.

3. Brushes – as usual, novice artists buy brushes made of coarse bristles, but soft brushes will also work. You can paint with whatever you want, the main thing is that you should not do it with your fingers, because the paints and substances that make up them are very toxic. They can penetrate the skin into the body and cause poisoning.

4. Before you start writing oil, mix the paints to the desired shade on the palette. A palette knife will help with this. To clean the brush from paint, use solvent and rags. The best way to get a shade is by mixing no more than 3 colors. The usual material for a palette is wood, but glass is also excellent because it does not absorb paint or react with it.

5. Turpentine is often used as a solvent, but it is quite toxic. Today there are less toxic solvents with better smells that are nicer to use.

6. After you finish writing, the brushes must be rinsed in solvent, and then washed in warm water using soap or shampoo. It is recommended not to put the brushes in boxes, but to keep them in a cup so that they can dry. It’s cooler to install an additional bottom with holes in a container with solvent for washing brushes. This way, paint fragments will settle on the bottom without interfering with rinsing the brushes, and the service life of the solvent can be significantly extended.

7. The painting process is personal. Everyone uses their own tricks and tricks. Finally, drawing skills will suit anyone who decides to take up oil painting. Traditionally, before starting a rod drawing, an underpainting is applied to the canvas. These are silhouettes that are painted with heavily diluted paint. They are virtually invisible. After this, the drawing itself begins. Oil paints are applied in layers, developing more and more details over time.

Helpful advice
When the painting is ready and dry, it is varnished. Traditionally, they wait about a year for the paints to dry completely. The varnish coating allows you to protect the paint on the picture from falling off and interacting with air. This way the paintings are stored much longer.

Oil painting paints brings great pleasure, and oil paintings create a feeling of comfort and tranquility. Oil painting looks very decent and luxurious. There will always be a place in your apartment where you can place your drawing.

You will need

• paints,
• brushes,
• palette,
• easel,
• canvas.

Instructions

1. To practice painting, you need to buy appropriate materials. Buy oil paints: white in a large tube, the rest in medium-sized tubes. For beginners, it is better to purchase paints for educational sketches. Once you have gained the skill, you will move on to artistic paints. Save your paints in a wooden box.

2. Buy a complete set of brushes - 3 brushes of each number. For oil painting, bristle brushes, cow hair and synthetic, are used.

3. The next thing you will need is a palette. Soak it in oil and dry it well; on the contrary, the palette will absorb the oil from the paints.

4. Place the paints on the left edge at the top of the palette. Leave the middle for making mixtures. All paint must always be in a certain place on the palette. Whitewash is usually placed on the right end.

5. You will also need oil paint thinners: linseed oil, dammar varnish, purified kerosene, turpentine turpentine.

6. Oily paints traditionally painted on primed canvas. The preservation of the drawing depends on the quality of the soil on the canvas. It is better to purchase a ready-made primed canvas. Beginners can try painting on primed cardboard. You can prime the cardboard yourself. To do this, dilute a package of store-bought gelatin according to the instructions, cool and coat the cardboard several times.

7. For small paintings, at first you can use a book stand, after that use an easel. It is stable and durable.

8. Before you start drawing, think about how to depict what you have in mind.

9. First, draw a drawing on paper that you will transfer to canvas.

10. On the canvas, mark the image with thin lines. Work out a difficult plot in sketches.

11. Perform the underpainting - the 1st layer of painting. For underpainting, oil paint is diluted with a solvent. It is applied in a thin layer, one that dries quickly. Then apply a further layer, describing the details, clarifying the shape of the objects.

12. Allow all layers to dry before applying the new one.

13. In the final layers, linseed oil is added to oil paints. The paint layer of the painting will be intense and stable.

14. After the oil paint has completely dried, the finished painting is varnished.

Note!
After completing the work, the palette must be cleaned and wiped dry with a cloth.

Oil pastels differ in many ways from dry pastels. And using them together is not recommended. As the name of oil pastel suggests, the pigment in it is bound by oil, creating a dense and oily structure. Of course, compared to soft pastel, the choice of colors is more limited, there are fewer gradations of light. However, the color ranges of this material are gradually increasing.

Instructions

1. Layers of color can be created with oil pastel chalks in the same way as soft pastels. pastel or pencils. However, due to their oiliness, there is a tendency to rapidly clog the grain of the paper. Therefore, be diligent in immediately working with oil pastel easily, without pressing hard on the paper. It's cooler to use just the tip of a pastel stick. And try to hold it close to the end - this way you won’t be able to press hard on it.

2. You will not be able to wash oil pastels using the usual method. But you can wash it. If you make a mistake or want to change part of the design, take a cloth, dip it in white spirit or turpentine and carefully wipe off the color. After this, wait until the paper is dry and continue applying strokes.

3. Let's try to draw a small still life. It turns out, draw the silhouettes of an orange and a lemon with (say) yellow pastel. And in this case, it is better to use bluish-gray paper, so that you can provide a contrast between the bright yellow and orange shades.

4. After applying diagonal lines of orange to both fruits, add yellow. Leave the strokes open so you can add color without crowding the paper. After setting the primary colors, you can introduce more contrast and use an additional blue color on the orange.

5. Mix the base color into the shadows on both fruits to neutralize them. For added contrast, add a slightly darker shade of gray around the fruit than the paper used. Now the shape is created, highlights are added and shadows are emphasized.

6. To give your fruit body and texture, experiment with mixing colors. Add orange color behind and underneath the fruit with light touches of pastel crayons. This is necessary in order to connect the fruit with the background. Well, a simple still life is ready.

Video on the topic

Helpful advice
The technique of rubbing the drawing with your finger to mix colors does not work with oil pastels. Please take this into account. But the mixing result can be achieved in a different way: layer the colors one on top of the other, pressing firmly on the oil pastel sticks.

Paintings oil - These are brilliant pieces that can decorate any room. They look much more impressive than those paintings that are written, say, in pencil. From the artist they require not only an investment of effort, but also considerable funds. Therefore, if you are ready to spend money, then bravely start learning.

Instructions

1. First, stock up on all the necessary materials: paints, canvas, glue, brushes, primer. Of course, oil paints will cost the most. True, the right choice of more inexpensive items will be no less significant. Be extremely observant when receiving the canvas. The material from which it is made directly affects the outcome of your work. Therefore, try to purchase canvas made of flax or hemp.

2. Don't start drawing right away, follow the established order. You must glue the purchased canvas in advance so that the paint does not wet it through and penetrate to the reverse side. It is quite easy to carry out such manipulations; to do this, use wood glue. At the end of the procedure, remove the canvas to a maximally ventilated room for drying. By the way, it’s worth checking if you did everything successfully. This indicator will be the strength of the adhesive fold (it should not crack).

3. The next necessary step is priming the canvas. Without this you will not be able to start drawing. Please note that applying primer requires close attention and precision. If you do this thoughtlessly and carelessly, the material will not be distributed evenly and will ruin your painting.

4. Now start drawing. Take your brushes and paints and begin to carefully and slowly apply strokes. Do not be afraid that smudges will form on the canvas (when using oil paints this is excluded in the thesis; they have a rather thick consistency). After creating the painting, give it time to dry.

Helpful advice
Do not forget that to successfully create a drawing you need a strong tension on the canvas. Therefore, purchase an excellent subframe in advance. If you do not use this tool, you will only end up with a drawing damaged by cracks.

Oil paints for painting are highly valued by painters because they allow you to fully convey the entire palette of colors of living nature. With their support, artists reach the pinnacle of skill, creating different results and regular transitions between colors. Which oil paints are best suited for painting?

Composition of oil paints

Oil paints contain dry pigments and oil - most often linseed and cold-pressed. It is used because it has a beautiful golden color and has no noticeable odor. For cool and white shades of oil paints, use poppy oil, which has virtually no color, or walnut oil. Pigments for oil paints are transparent and opaque (glaze and covering). Transparent pigments add gloss and depth to a paint layer, while opaque opaque pigments allow light to pass through, but do not provide a sense of depth. Modern dry pigments are brighter and more durable, and also less toxic than pigments used in the old days. Transparent pigments do not tend to fade concentration during the mixing process, while opaque colors turn gray very quickly when mixing radically different colors. Masters of the old school usually used transparent paints - in contrast to the Impressionists, who chose opaque paints (with the exception of ultramarine). The best oil paints contain each one, but the most concentrated pigment. They are mixed to give transparency to the layer with the opaque original.

Selection of oil paints

When purchasing paints, you must definitely pay attention to their expiration date, manufacturer and application rules - and the information should be provided in Russian. The more information about the product is indicated on the packaging, the higher the likelihood of receiving truly high-quality and non-hazardous oil paint. When choosing a product, it is also important to evaluate its smell - it should not be repulsive or strong, and paints for children do not have to have a smell at all. This type of paint is best purchased in jars - this way you can use them more economically by putting the right amount of paint on the palette. You should not purchase oil paints with poisonous acid colors, since the manufacturer may have used toxic pigments in their production. In addition, hostile shades distort the aesthetics of the painting and make it unnatural. The main indicator of good quality oil paints is the uniformity of their coloring pigment. Also, excellent paint is easy to apply to the surface and spreads easily with a brush. You should not buy paints that are even slightly dry - they will leave a large number of grains of sand on the surface.

Video on the topic

Painting with oil paints is difficult. To do this, you need to prepare a canvas, brushes, and available materials. The paint is applied in various strokes depending on the shape of the objects being drawn and the light and shade on them.

You will need

• Linen/cotton canvas, cardboard, wood or other canvas with acrylic primer; brushes made of natural pig bristles for core work and sable brushes for drawing details; sponges; rags; palette for mixing paints; solvent/linseed oil for thinning paint and washing brushes; varnish for protective coating of finished work

Instructions

1. Mark your upcoming drawing on the canvas using primitive shapes and contour lines. Use diluted paint, charcoal, and pencil for this.

2. Draw spherical and toroidal objects with crescent-shaped and twisted brush strokes, conical objects with triangular strokes, and cylindrical objects with parallel strokes. Flat surfaces can also be painted with parallel brush strokes.

3. For smooth color transitions, use flat brushes. In this case, mix the paints on the palette and apply them to the required gradation area. Move your hand back and forth in a cross pattern. At the final stage of creating a color transition, use parallel strokes. Work with a clean brush from the darker color to the mid-tone, then again with a clean brush from the clearer color to the mid-tone.

4. Place transparent glazing layers of oil paint, shading the drawing, on the dried layer. To get them, use a special liquid to dilute the paint, and apply the mixture with a kolinsky brush in a horizontal position. If you want to change the color of the design, when glazing, make the direction of the strokes similar to those on the main layer. Also apply translucent glaze layers with a kolinsky brush in a horizontal position. Dilute the paint in a ratio of 1/3 Damara varnish, 1/3 turpentine and 1/3 linseed oil.

Note!
Use a pencil for sketching drawings with caution, because its sharp tip can damage the primer of the canvas.

Helpful advice
Mix the colors on the palette carefully and slowly. To obtain more clear tones, use white or glaze.

Flowers are one of the most beautiful creations of nature and are truly worthy of artists glorifying them in their masterpieces. In this regard, roses can be considered classics. However, you can paint roses not only with oil paints, but also with simple graphite pencil .

You will need

• A sheet of paper, a medium-soft graphite pencil (3 to 8B) and an eraser.

Instructions

1. To begin with, you should outline the silhouette of the rose with thin, barely noticeable lines. If you need to correct silhouettes or change the direction of a stroke, you should use an eraser. This will help you avoid getting lost in countless lines. To simplify the task, you should imagine rose in the form of a cup on which all the petals are attached.

2. Next, using light strokes with weak pressure, you should dial in a light tone of the petals. You must try to press as lightly as possible on the pencil to create the result of the lightness and tenderness of the flower. If necessary, the graphite can be ground a little, which will give smoothness to the flowing forms. Special attention should be paid to the division of light and shadow throughout the flower (the greatest saturation of the shadow is distributed along the lower part of the calyx).

3. Now it’s worth deepening the shadows, pressing harder on the pencil when shading under the curling petals. This creates an even sharper contrast and a greater sense of volume.

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Note!
Don't darken every flower at once. You should slowly gain the tone of the entire petal.

Helpful advice
When doing shading, do not rush, because thin and neat shading can emphasize the delicacy of a flower.

A palette knife is a tool that allows you to work with oil paints using a new technique. Unlike a brush, a palette knife applies huge strokes of paint to the canvas, making the picture more voluminous and expressive.

Instructions

1. Artists have two similar tools in their arsenal: a spatula and a palette knife. If the oil is mixed first on the palette, then the paint is applied second or, on the contrary, the paint is scraped off the canvas. They can be distinguished by their curved handle, which allows the artist to draw palette knife without touching the canvas with your hand. The spatula is usually flat.

2. Prime the canvas and dry it. If necessary, draw a sketch of the future work with a slate pencil.

3. Paint the main areas of the painting in oil using a brush. If you are painting a still life, try painting the background using a palette knife, using the flat side of it.

4. Mix a large amount of oil paint on the palette so that it can be applied in voluminous strokes that stand out against the background of the texture of the canvas. If you are doing an impressionist style, use a clean, brilliant color.

5. Take a fair amount of paint with the tip of a palette knife. Apply paint to the canvas and smear it over the surface, creating a background for the still life. Work palette knife like a spatula when puttingtying walls. This way, creating the background will be completed much faster than if you worked with a brush. However, in this technique, the palette knife will not allow you to create color shifts: the background will be monochromatic and uniform in texture. To diversify it, mix shades of the main background color. To show the folds in the drapery or the play of color and shadow, use the core color, adding clear and dark shades to it, and diversify it with other rich colors.

6. Step away from the painting and look at it from a distance. This will allow you to understand where, in terms of composition, you need to apply additional colors and create volumes of drapery. You need to draw folds on the fabric with the support of a palette knife using the sides. Apply a bead of paint onto the canvas with the tip or edge of a palette knife and lightly level it with the flat side of the tool. Create the result of the bending of the fabric not only with color, but also with protrusions when applying paint.

7. With the help of a palette knife, make voluminous accents on still life objects. Apply paint with the tip of the tool, placing its flat side on the canvas. At the same time, the edges of the blade will leave angular textured marks, making the object sophisticated and expressive, slightly cool.

8. To show volume, say, on the thorns of a rose, apply paint with the tip of a palette knife, lifting the blade upward. The paint will seem to stretch behind your hand, leaving voluminous, elongated marks.

9. Play with the texture of other items. Apply the paint quickly, actively moving your hand. See how the palette knife listens to your movements, what intricate shapes the paint leaves on the canvas. If somewhere you have applied unnecessary volume, scrape off the paint with the edge of a palette knife.

Summer is the time for sketching in nature. Any object on the street can become not only the hero of a picture, but also a useful exercise. The specifics of drawing a bee will allow you to learn how to work with color saturation and texture. You can make a sketch from life until the insect flies away, and then finalize the sketch of the house.

You will need

• - paper;
• – a primitive pencil;
• – eraser;
• – a set of oil pastels.

Instructions

1. A material such as oil pastel corresponds to the task at hand. She masters intense shades, but at the same time teaches to work faithfully and diligently. In addition, it will allow you to convey the hairiness of the bee’s body.

2. Select paper for drawing. Oil pastels fit well both on pastel paper and on paper or canvas primed as for working with oil paints. If you want more detail in your design, use fine-grain pastel paper. If you want large colorful strokes, take a primed surface.

3. Use a simple pencil with hardness 2T to make a sketch. Mark the location of the bee on the sheet, leaving space around it. Draw an axis on which the insect's body parts will be located. It is an arc that needs to be divided into three parts - a quarter of each length of the arc will be occupied by the bee's head and the upper section of the body, two quarters will go to its abdomen.

4. Construct the parts of the drawing as geometric figures: the bee’s body is a ball and a cylinder, and the head is a cone. For the entire figure, draw a central axis, and on it place circles that create the shape. Use a few very light strokes to outline the outlines of the wings just so as not to “lose” them when working with color. The shape of the legs and antennae can be drawn approximately, without scrupulous alignment.

5. Once the frame is built, select crayons that match the color. Take several shades of yellow, sepia, grass and umber, as well as dark blue and white.

6. Since it is very difficult to correct a drawing with oil pastels, try to be as precise as possible when applying color. In order to achieve mixing of shades, apply them in layers, but not with a solid fill, but with a grid. Cover the side of the bee's abdomen with a clear yellow mesh, the part of it that is located near the paw, darken it with very light strokes of clear sepia.

7. Cover each area of ​​the insect's back with an intense honey color. Closer to the junction with the second body segment, add a warm brownish shadow. Use the same chestnut color to mark the stripes, pressing harder on the chalk. After this, paint a highlight in blue on each of the stripes on approximately one tier - this will create the illusion of volume.

8. You will need dark chestnut shades to fill the bee's legs, head, eyes and round part of the body. After this, refine each of these details with light strokes applied on top of the main color - on the paws it will be brick and blue in the highlights, on the eyes there will be a white highlight and a slight blue around it, on the head closer to the “nose” it will be grass.

9. Highlight the villi on the body with light, clear yellow strokes. To do this you will need a strong, sharp chalk. If it becomes dull and softens from the warmth of your hands, place it in the refrigerator for 10 minutes, and then sharpen it with a utility knife. Apply thin strokes also to the head and lower part of the bee's abdomen.

10. Draw the veins on the wings with a distinct chestnut silhouette, and on the surface of the wings shade cool brownish and white colors.

11. Draw the background around the bee with huge diagonal strokes, and cover them on top with lines at an acute angle to the first layer. In the shadows, add reflections with warm pastel shades (slightly darker than the body of a bee).

12. In the process of applying an intense color, it may turn out that the layer is too heavy and dense. You can remove it with the help of a palette knife, scraping off the excess.

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Oil painting. Basics. Bill Martin's lessons for beginners.

There are things you should know before you start painting in oils.
All paints are a mixture of dry pigment and liquid. In oil paints, the coloring pigment is mixed with linseed oil. Flaxseed oil is an oil that dries out through the process of oxidation with air. It absorbs oxygen from the air and crystallizes the paint pigment on a permanent basis. Once the oil dries, it cannot be removed.
Oil paints are thick. They are produced in tubes. The paints are squeezed onto the palette and mixed using a palette knife to obtain new shades. Then they are applied to a vertically positioned canvas with hard elastic brushes.
Oil paints dry very slowly. Typically you need to wait three days before adding the next layer. This long drying time is both an advantage and a disadvantage. The big advantage is that you will have time to comprehend what you have drawn. This is very useful when you make gradient transitions from one color to another. Or, if you are unhappy with how it turns out while the paint is still wet, you can scrape it off with a rag, palette knife or rubber scraper and repaint.
The downside is that if you put wet paints of two different colors next to each other, they may blend together unevenly. The palette, brushes and damp canvas must be handled very carefully so as not to smear yourself, clothes, food and furniture.
You can work with paint for up to 12 hours at a time, then you must leave the work to dry for three days, after which you can continue working. When the paints have dried, you can apply new colors on top. There can be many layers to a work. Each subsequent layer must be the same in thickness or thicker than the previous one, otherwise cracks will occur.
After the work is completely dry (from three to six months), you need to apply a protective layer of Damara varnish.

DRAWING.

A complex design is quickly lost when applying oil paints, so it is better to denote the design with simple shapes and contour lines. The drawing can be done directly on the canvas, or it can be prepared in advance and transferred to the canvas.
When applying a drawing directly to the canvas, it is better to use diluted paint. Since it's already paint, you won't have to seal it from subsequent layers.
You can also use coal. The charcoal fill will need to be isolated from subsequent layers with fixative. Soft charcoal is easier to fix with fixative than compressed charcoal.
The drawing can also be applied with a pencil to the canvas. Then also secure with fixative. The sharp tip of a pencil can make cracks in the primer layer, so you can additionally apply another transparent layer of primer. If you have applied another coat of primer, no fixer is required.

In the photo: a can of fixer, in the box there is carbon paper.
It is better to prepare a drawing for translation using carbon paper on thin tracing paper, then it will be easier to translate. Attach the drawing to the canvas. Translate it using carbon paper. Trace your drawing with carbon paper underneath. Use a ballpoint pen of a contrasting color to see which areas you have already translated and control the thickness of the lines. The applied pattern must also be secured with a fixer or a thin glaze layer of transparent primer.

TRANSITION ONE COLOR TO ANOTHER

Let's consider a graduated transition from one color to another. Oil paints, because they take time to dry, allow you to move them around the canvas while they are still wet. This is why it is much easier to create smooth gradations of color with oils than with other paints. This can be done with any brushes. But flat brushes are best, and round brushes are worst. The same principles apply for small and large stretch marks.


The paints are mixed on the palette and applied to their intended places on the canvas. The brush is then moved back and forth in a cross pattern between the two gradations of color until a satisfactory result is obtained. Then parallel strokes are carried out to finalize the area. Work with a clean brush from dark to medium, and then again with a clean brush from light to medium.


(A) In this example, the brush strokes are ALWAYS perpendicular to the highlight. Moving the brush in a circle, we try to make strokes perpendicular to the highlight, respectively, we get the shape of the strokes of a twisted brush.
(B) Depending on the location of the main colors of the stretch, an idea of ​​the plane in which the surface is located is created. Notice how the shades are arranged to represent a flat surface (left) and a curved surface (right).

WE CREATE FORMS

All shapes are created from five basic shapes. These shapes are: ball, cone, cylinder, cube and torus (donut, bagel). Parts of these forms form any objects that we see. Imagine half a cylinder on a cube and you get the shape of an American mailbox. Half a ball and a cone will give you the shape of a teardrop, a Christmas tree is a cone, an oak tree is a hemisphere (half a ball), and a cylindrical mug usually has a handle in the shape of half a torus (donut).


Chiaroscuro creates form. Each of these forms has clearly defined locations of light and shadow. The sphere is characterized by a sickle and ovals. The cones have a triangular illuminated part and the rest is in shadow. Cubes and flat surfaces contain stretch marks (a gradient transition of light into shadow).
The cylinders are made of strips. Thor - made of crescents and stripes.
Concave versions of these forms have the same chiaroscuro, but without reflections.
If you learn to draw these five shapes, you can draw anything.

The ball (sphere) is defined by crescents and ovals. Balls are painted with crescent-shaped and twisted brush strokes.


Cones are made up of triangles of light and shadow. Cones are painted with triangular brush strokes.


The cylinders consist of stripes of light and shadow. Cylinders are painted with parallel brush strokes.

Cubes and any flat surfaces follow the same rules. Graduated transition from light to shadow. If the depicted surface is parallel to the canvas, then it is depicted in one even tone. A cube is a combination of intersecting planes. Each side of the cube contains a chiaroscuro stretch. The cube is drawn with parallel brush strokes.

The Thor contains aspects of two other figures. It has stripes of light and shadow, like a cylinder, in the center, and crescents, like a sphere, at the edges. Thor is written using twisted strokes and crescent strokes.


Here you see that to convey the shape of an object you need to use light and shadow, not contour lines. Light can be confusing, so first try to see the shape of the object, and then how exactly the light falls on that shape.

COLOR MATCHING


The rainbow gives us examples of the pure colors that surround us in the world. The colors of the rainbow in order: red-violet, red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue-violet, violet. When these colors are arranged in a circle, we get a “color wheel.” The color wheel is a must when comparing colors.


The circle is positioned so that yellow, the brightest light color, is at the top, and purple, the darkest, is at the bottom. From top to bottom, from the right, there are yellow-orange, orange, red-orange, red and red-violet. These colors are called warm.
From top to bottom, on the left side, there are yellow-green, green, blue-green, blue and blue-violet. These colors are called cool.

Additional colors.


Any TWO colors opposite each other on the color wheel are called COMPLEMENTARY colors. Red and green are complementary colors to each other because they are located opposite each other on the color wheel. Yellow and purple are also complementary to each other. Yellow-green and red-violet are complementary colors. Complementary colors placed side by side on the canvas enhance each other. Complementary colors neutralize each other when mixed on the palette. On this plate, complementary colors are at opposite ends of the scale opposite each other. If we move toward the middle of this scale, we end up with a neutral gray color, the least saturated of all.

All colors have shades. The pure spectral colors in this picture are indicated by letters.
So how do we select colors keeping all of the above in mind?
We just need to answer these three questions.
1. What color will make the color we need, where is this color located on the color wheel? (meaning spectral color).
2. How intense is it? (the more additional color we add to the color, the less saturated the color we need becomes).
3. Hue (how dark or light it will be).

Here's how it all works.


The paints are arranged by color on the palette.


We select a color like a brown leaf.
The spectral color will be red-violet. White is added to match the shade. Yellow-green, complementary to red-violet, is added to reduce its saturation.


Select the color of the green leaf.
Spectral green. Cadmium green is our base color. It contains a bit of yellow, so we tone it down with red-violet (quinacridone pink). Yellow-green and red-violet are complementary colors to each other.
We add white to clarify the shade.


Select the color of the silver electrical tape.
Spectral color blue. We add white to clarify the tonal saturation. Orange, complementary to blue, is added and we get gray.


Selecting the color of a three-dimensional object. A piece of soap.


First we select the middle. Spectral color – yellow-orange. We add a very small amount of additional blue-violet to reduce the intensity of the color. And a little bit of white.


To get light areas of our soap, we add white to the resulting color in the middle. To get the color of the shadow, add more blue-violet to the color of the middle.


So, the colors of the soap have been selected. Usually, to get the color of a shadow on an object, you need to add an additional color to the main color of the object. For darker shadows, use the base color of the subject, but with less white. In some cases, adding additional color doesn't darken the color enough, so that's when we add a little black.

SHADOWS

Shadows create light. Shadows are divided into three categories. The first is the shadowed part of the object, known simply as the SHADOW. The second is a falling shadow from an object, which is formed when the object obscures the light from the illumination source. The third category is the shadow of neighboring objects.


The shadow portion of an object is a darker, less saturated version of its base color.
Direct light produces dark shadows. Diffused light produces less intense, blurry shadows.
Reflected light in the shadow (reflex).


Light falling on an object from its surroundings is called reflected light or reflex. The color of the objects that surround our subject significantly affects the reflected light. See the green reflected light in the left ball? Notice the reflected red in the middle ball. The color of the environment is an integral part of all shadows.


The light and shadow saturation of surrounding objects also affects the reflected light. The first ball just hangs in the air. The second ball also reflects the white surface. The third ball reflects the black surface. The light and shadow saturation of surrounding objects is also an integral part of shadows.

Falling shadows.

A cast shadow is always characterized by being darkest and most focused at the source of the shadow (the subject). Falling shadows are painted in a darker, less intense color than the color of the surface on which they fall.


The color of a falling shadow always contains a complementary color to the color of the illumination and a complementary color to the color of the surface on which the shadow lies.
See a blue tint in the shadow of an object that is illuminated by orange light? And an orange tint in the shadow of an object lit in blue. In the shadow of an object illuminated by red light there is a shade of green. And notice the red-violet hue of the shadow cast by an object illuminated with yellow-green light.
Drop shadows are associated with shape and texture.


Falling shadows describe the surroundings of an object. On the left, the wall is defined by the falling shadow of the glass. The shadow on the right indicates the presence of a mound.


The edges of a shadow define the texture of the surface on which the shadow falls.
Grass on the left and dirt with rocks on the right.

Falling shadows in direct and diffuse light.




Direct light (left) usually comes from a single light source - for example, the sun or a spotlight. It produces high contrast and rich, dark cast shadows.
Diffuse light is usually obtained from several light sources. It produces low contrast and unclear cast shadows.


Objects with virtually no cast shadow are ALWAYS in diffuse light, where they appear flatter and less textured.

Shadows from neighboring objects.


These are the dark shadows we see in places where objects touch each other. A dark line around a closed door, a dark line under a mug of coffee, a dark line between tightly clenched fingers - this is the shadow of neighboring objects.
It is relatively independent of the direction of illumination. These shadows in the shadows are usually the darkest parts of the drawing.


A narrow dark stripe under the cylinder on the left tells us that the objects are separated. The cylinder on the right is connected to its base.

CONTRAST

Using light and shadows together.

Contrast is the ratio of the lightest and darkest parts of an object or its surroundings.

Tone scale.

On the left is high contrast, on the right is low contrast.

When objects have high contrast, they appear closer to us. When contrast is lower, objects appear further away from us. Those rocks in the distance seem further away from us, their contrast is lower than the contrast of the rock closest to us.


The gradual saturation of objects with contrast makes them visually closer to us.


By the contrast of the falling shadow and its surroundings, you can determine the distance.

Low contrast


Objects in diffuse light have the lowest contrast.


Objects without a cast shadow are always in diffuse light. If an object has a tonal gradation from medium to dark, it should have a cast shadow.


If an object has a tonal transition from medium to light, then it will appear as if in a haze or fog.

CONTRAST IS CREATED BY THE TYPE OF LIGHT. High contrast corresponds to bright lighting. Low contrast corresponds to diffuse lighting, distant distances, and haze.

TEXTURE

Texture helps define what exactly you are seeing.

The texture is best seen when light fades into shadow. On smooth objects, glare is a distorted reflection of the light source itself. The sharper the focus of this reflection, the smoother the surface of the object. A glass bottle has a smoother surface than an aluminum bottle, which in turn is smoother than candle wax. We know how these objects focus the glare on themselves.

On objects without bright highlights, texture is clearly visible and is determined by the transition from light to shadow.

These ten objects are arranged in order of their texture.
Notice where your eye immediately looks to appreciate the texture of an object.

We look at the transition of light to shadow to determine how textured an object is.

Texture in diffused light.

On the left is direct light, on the right is diffused light.

Objects in direct light appear more textured than objects in diffuse light.
The log and towel appear softer and smoother in indirect lighting. Objects appear less textured in diffuse light because the transition from light to shadow takes longer.

GLAZING/LAYER LAYERS

Glazing layers are applied on top of the dried paint.

Transparent layers of oil paint are called glazing layers. Translucent are layers of glaze. To obtain glaze, the paint is diluted in a ratio of 1/3 Damara varnish, 1/3 turpentine and 1/3 linseed oil. Glaze is a thin transparent layer of paint, which is placed on another dried layer to obtain a shade of the third color. For example, if you put diluted quinacridone pink (a clear color) onto blue, you will get purple. If you glaze the exact same color, you will enhance it. Falling shadows on complex textures are often covered with glaze. Glazing darkens the color slightly. (See the “Paints” lesson about transparency and matte).

This is glazing.

For example, the shell of a beetle needs to be greened.

The glazing liquid is mixed on a palette with cyan green (transparent color) until the required degree of transparency is achieved.

Then the mixture is applied with a core brush to the drawing in a horizontal position. Leave to dry overnight. When using glazing, you can change the color of the design without changing the direction of the paint strokes on the base layer.

Glaze is created by using a diluted matte color over the dried color of another paint. The glaze layer does not change color and is a translucent layer.

The paint is also mixed on the palette with the glazing mixture and applied to the horizontal surface with a core brush.

White (matte color) with glazing gives us rays of light. Leave the work to dry overnight.
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