Oil Painting Lessons
Titian and Giorgione are generally credited with originating what became known as the Venetian Method of oil painting. The Venetian Method, or Venetian Technique, shares with the Flemish Method the use of transparent glazes for the shadows, darker darks and for certain special effects, and opaque highlights, but differs from the Flemish method in several important ways. The combination of large, stiff brushes, short paint, and the tooth of the canvas made the painting of hard edges more difficult. Sharp edges occur quite naturally in the Flemish Technique, with its smooth surface, long paint and soft hair brushes, whereas the stiff brushes and short paint produced soft edges as a normal result on a coarse textured canvas. Titian (or perhaps Giorgione, who died young), however, apparently found the softer edges more to his liking, and used them extensively, as they gave the effect of being slightly out of focus. The edges could be sharpened selectively, where desired, to call the...
The earliest oil painting method evolved from the earlier discipline of egg tempera painting, as an attempt to overcome the difficulties and limitations inherent in that medium. As this took place initially in Flanders, the method is referred to as the Flemish Technique. Essential to this method of painting are a rigid surface primed pure white, and a very precise line drawing. The Flemish painted on wood panels primed with a glue chalk ground, which caused the transparent passages to glow with warmth from beneath the surface of the paint. As this method did not easily accommodate corrections once the painting was under way, it was necessary to work out the idea for the picture with studies done on separate Once the isolating varnish or imprimatura was dry, painting commenced with the application of transparent glazes for the shadows. The paints used by the early Flemish practitioners were powdered pigments ground in walnut or linseed oil. There is widespread speculation regarding...
This lesson is a summation of the practical demonstration I sometimes give to further explain some of the points made in the previous lesson. My purpose is to use common household materials to make an oil painting while my method of teaching this is similar to those cooking shows you see on TV. My desire is to familiarize the students with what 'might' have happened during the 'invention' of oil painting back in the sixteenth century and thus remove some of the hesitation from trying the method themselves. Next I separate the egg keeping the yolk and mix that with some of the saffron. I paint this mixture on to the stretched napkin. This seals the surface and gives a nice quick drying yellow surface. Those who have made mayonnaise will also realize that egg yolk will mix with oil if carefully added and it was most likely this transition that originally led to the development of oil painting anyway. You will find the brush a little more difficult to handle as the pigments are much...
It is useful to understand the evolution of the picture frame. Frames evolved from painted decorations of architraves and cornices that surrounded frescoes on walls and ceilings (as in the Sistine Chapel below), to actual plaster and timber mouldings used when oil paintings became transportable. Today frames have become 'stand alone' items of mass production. With the development of oil painting as a medium and canvas as its ground it became important to protect these new 'mobile' or moveable works of art. Obviously someone had the bright idea to make the frame perform all functions, protection, decoration and finally as part of some intended environment (room). All this has led to much confusion with a minefield of styles, frame mouldings and architecure to negotiate.
Oil Painting Materials AL21. Sculpturing Domenico Mazzone AL22. Egg Tempera Painting Kirk Miller AL23. Oil PaintingTechniques William F. Powell 264. Starling Out in Oil Painting Robert Moore 272. Step-by-Step Oil Painting Barry Thomas 208. The Magic of Oil Painting 2 William Alexander K02. Pencil Drawing Kit K03. Colored Pencil Drawing Kit K07. Calligraphy Kit WALTER FOSTER CARTOONING KITS ( 14.95 ca.) K08. Animation Kit K09. Cartooning Drawing Kit K10. Cartoon Animals Kit WALTER FOSTER PAINTING KITS ( 19.95 ea.) K04. Watercolor Painting Kit K05. Acrylic Painting Kit K06. Oil Painting Kit
When you starl to draw, hold the pencil two different ways. The first is the way you hold a pencil to write a letter The second is how you normally hold a brush lor oil painting belween the thumb and firsl finger, wilh the pencil under the palm of the hand Notice in the illustration (right) how the little finger acts as a guide for your hand. It is easier to control the amount of pressure on the pencil when you et the nail of your little finger glide over the paper. In both methods of holding the pencil, do nol grip it too lightly.
The earliest known European oil paintings are a series of late thirteenth-century Norwegian altar frontals. There are some indications that these actually may have been painted with a mixture of drying oil and egg yolk. Analytical work suggests that linseed oil was the common oil in these early oil paintings, as well as in the paintings of the fifteenth-century Netherlandish painters, which are the earliest accomplished European paintings essentially done with drying oils. An example is St. Luke Drawing the Virgin, by Rogier van der Weyden, a painting done mainly with a linseed oil medium (Figure 3.8). Drying oils do not all dry at the same rate. Painters would naturally seek faster drying oils. But the same reactions that lead to drying also result in yellowing as the oil film ages. And unfortunately, faster drying oils also yellow more than do slower drying oils. The yellowing of the oil medium would have a quite noticeable effect on white passages (turning them a dirty white) and...
When you burnish, you apply colored pencil heavily with a firm pressure that makes the pigment totally cover the paper surface. Because of the wax content of Prismacolor pencils, the pigment goes on with a creamy feel, and the colors become very opaque with the heavy pressure. This can make the colored pencil mimic the look of oil painting, with bright colors and a shiny impression. Many of the subjects I used to paint in oils I now do in colored pencil with similar results.
This oil painting of an evening scene at Burnham Overy Staithe is so evocative of Norfolk rivers. I know them well, having sailed on them over many years. Although Ian lias used a very restricted palette, he seems to have captured even the smell and the taste of the scene. The whole landscape is Hooded with light from the evening sky which adds to the strong feeling of unity in this atmospheric painting. enormous economy of stroke, but this is soundly based on knowledge and experience. I admire his work enormously and was delighted when he agreed to show his paintings in the book Oil Painting Impressionists and again in this final chapter of Skies.
The oil painting shown in Figure 7.7a was made to take advantage of the unique image-producing qualities of neutron-induced autoradi-ography. It is composed of layers of images superimposed upon one another beginning with the head painted in raw umber. Over the image of the head lies a grid of blue lines followed by squares of the same cobalt blue color. Once the painting was completed, it was exposed to a flux of neutrons produced in a nuclear reactor designed for research purposes. The intervention of the neutron flux initiated the radioactive decay of a variety of elements present in the pigments. The emission of beta rays incident on photographic film in contact with the painting surface produced a series of images, three of which are shown in Figures 7.7b,c, and d. Film exposures are timed to correspond to the decay rate of specific elements. In the first exposure, (Figure 7.7b) made 15 minutes after activation and of 10 minutes duration, atoms of cobalt altered by the flux of...
Rembrandt Harmenszoon Van Rijn, whom many consider the greatest artist of all time, learned all that was then known about oil painting while still a very young man, surpassing his teachers very early in his career, and then proceeded to add his own discoveries to the technical knowledge of his time. To this day his best works remain unsurpassed, and serve as inspiration to the rest of us who paint. This being the case, any book on advanced techniques must address Rembrandt separately and at such length as the author's knowledge allows. What technical information Rembrandt was taught may be discerned by studying the works of his instructors, Jacob Isaacxszoon Van Swanenburch and Pieter Lastmann. Such study also immediately shows the genius of Rembrandt by the extent to which he so obviously surpassed them both, and in how early in his career he did so. Nonetheless, his training under them was an important factor in his artistic development, and should not be minimized. Both teachers...
Assuming that you usually do most of your oil painting indoors, you will need sketches of outdoor scenes for reference. Make a small sketch for color alone. This, coupled with pencil sketches for detail, or photographs of the spot, will provide much better source material for the final work than will an attempt to make a larger and detailed preliminary painting in the limited lime at your disposal outdoors. If your sketch box is large, try using large brushes. Concentrate
Or simply the manner of ordinary oil painting may be adopted with the glass colors, and tiie picture treated as by an artist in oil. In some particular cases colors may he laid on corresponding places 011 both sides of the glass, in order to produce certain effects by the light falling through the two together. Thus, purple on one side and gold yellow 011 the other, give a magnificent, fiery scarlet blue and yellow, according to their-respective intensities, give different shades of green the latter, again, with bine 011 the opposite side, serve for excellent distance colors. And finally, by the mixture of several colors, the most diversified intermediate tints may be obtained, so that glass-painting in its present state may be brought to assimilate with oil painting in its power of producing varied effects.
Advanced Painter Techniques is organized to provide you with chapters that show the techniques used to paint specific subject matter. You can start at the beginning and work through to the last chapter, or you can pick individual chapters and work through them in any order. Though different information is presented in each chapter, the knowledgeable Painter user should have no problem moving between chapters. Chapter 1 Painting an Image with a 3D Feel This chapter covers painting a portrait that has a traditional oil painting look and feel. Painter X has an unsurpassed capability to utilize texture in a variety of ways, some of which are shown here. Chapter 2 Painting Clouds, Water, and Stone In this chapter, I focus on painting a landscape using Painter X.
I am concerned you may think I am confusing computer graphics with oil painting. I am not as this is a lesson about 'looking'. In either case we must still learn the essence or nature of things before we can make them - using paint or computers. With our 'pearls,' as with the world, that is the starting point, and remember, everything exists in relationship to light and other things nearby. The rest is simple logic - either with a brush or computer. OK, lets look some more into the world of the painter.
My oil painting shown left is a more familiar example as it is arguably the most famous hole in golf. The tee is on a hill above the green and the length of hole is 155yds. It is a par 3. Again, under normal circumstances, it is impossible for the human eye to focus on both the green and the tee as it is for a camera to satisfactorily render such images.
This chapter is a mix of general painting methods combined with Painter-specific features and techniques. In this chapter, I will show you how to use Painter X to paint a portrait that has the look of a traditional oil painting. You can imitate the 3D effect of oil paint by using many of the tools found in the program. While this chapter will not be an exhaustive look at using these features, it is a good start. We will build on these techniques in subsequent chapters. The actual sequence of steps used for this digital portrait is close to the method I would use to create a traditional oil painting.
Aside from picture varnishes, the major use of resins in oil paintings was in glazes. An oil-resin medium produces a rich, shiny paint layer, well suited to glazes. One popular color in European medieval and later periods is known as copper resinate. It was often made by dissolving a green pigment (verdigris) in a mixture of oil and resin. Pine may have been the major resin used for this purpose.
You can use various methods to change the value and color of a blank canvas before painting on the computer. Filling the area with a color using the Paint Bucket tool is often enough. For this particular project, though, we want the look and feel of a traditional oil painting, and a simple fill will not suffice. Also, the canvas already has some color and a pattern that we don't want to cover. The solution is to use one of Painter X's Watercolor brushes to paint a darker tone across the canvas. The effect will be the same as a coating of thinned oil paint brushed over a canvas.
In this section I have put together a series of portraits, some of which were done specially for this book, and others which were drawn previously. Almost all of them are studies for oil paintings or for more elaborate drawings and I chose them because the intermediate stages of implementation, more than the 'finished' works are the ones which show how to recognise and tackle the problems of composition, pose, anatomy and working technique.
For the past few years a great improvement lias been made in the execution of portraits in black and colored crayons. Crayon painting is much easier in its execution than oil painting, and pictures may be completed at one sitting, owing to the fact that dry colors are used instead of oil, which may easily be removed or changed at will, left and resumed again at any time desired. In this department of art crayon takes the dace of Irush and paint In all the different places where colors are used. Colors. The colors employed in pastel painting are about the same as used in oil painting, with some exceptions. The best for crayon work are the following
Denis John-Naylor studied Natural History Illustration at Bournemouth College of Art and Wildlife Painting at Swansea Institute. He is a self-employed consultant and a part-time teacher of watercolour, pencil, acrylic and oil painting in adult education. His hobbies include plein air painting, reading biographies and listening to music.
The application of the wide-nib marker to sketching is similar to the use of pastels and oil-painting brushes all have a premeasured applicator. It is this characteristic that makes markers unique. Rather than simply using them to fill in areas, a task that can be done with many other color media, this characteristic should be creatively exploited.
This oil painting w as done very close to home at Lydney Docks on the Severn estuary, looking towards the Severn Bridge. This once-thriving port is now virtually deserted, but offers great opportunities to paint undisturbed, with its huge vistas of sky and water. I was particularly attracted by the reflections of the sky in the water and the light on the mud flats, which were anything but a dull, flat brown and presented quite a challenge. What I attempted in this oil painting was to get varying amounts of warm and cool colours into the clouds. I feel this makes for a more interesting effect than simply painting white clouds in a blue sky. The use of too much pure white in an oil painting tends to make it look chalky and rather amateurish. Keep the white for highlighting - in buildings or boats, for example. help to provide freedom. Even an oil painting will lose its vigour if one is too 'careful' with it. Something to avoid is the over-use of pure white. Even white billowing clouds...
Each object having been drawn in with the conte, it is now tinted or colored by working over the black markings with the neccssarv colors. It is like the operation of glazing in oil painting, as under the light lines of the tracing of the colored crayon the conte drawing is still visible. By blending and again drawing with conte, and again glazing as often as may be necessary, we approach the finish of the picture, which is completed by sharp touches of light put in with sharp points of the broken ends of colored crayon. The color should be used sparingly, and the black chalk should appear prominent in the drawing. Do not rub in the colors in finishing or you destroy the effeet. The beauty of the work depends upon the paper being perceptible through the final finish. Any markings too sharp, may be worked down by the finger or blender. These retouchings arc repeated until the desired effect be obtained.
The Direct Painting Method differs from the Venetian Technique and the Flemish Technique in that the artist paints in full color from the very beginning, without requiring an elaborate under drawing or underpainting, and without resorting to the use of glazes or scumbles. All paints except the deepest darks are used as if they were opaque, and are usually applied heavily enough as to appear so. The object, ideally, is to paint the entire picture wet into wet, from start to finish. Terms such as Alla Prima (Italian) or Premier Coup (French) are sometimes used for this technique, indicating that the picture is to consist of one layer of paint, applied all at once, in one sitting. In practice, this is not always possible, and great pains must then be taken to nonetheless make it appear as if it were done alla prima. be called sketches. Hals was proficient in the Venetian Technique as well, and used it for his commissioned portraits. The Direct Painting technique was elevated to...
Many of the pigments which change color by the action of impure air, and are, therefore, useless in water-color painting, may, nevertheless, be safely used in oil painting , for this reason In water color the powder colors are mixed with only just enough of some binding cement (called a vehicle), such as gum, size, sugar, etc., to prevent their being easily rubbed off the paper, and are, therefore, freely exposed to the action of the atmosphere, or of the colors with which they may be mixed but in oil colors the powder colors are ground up in oil, so prepared as to oxidise rapidly in the air into a kind of impermeable leathery resin, which, completely enveloping each particle of color, effectually protects it, not only from the action of impure air, but also of neighboring particles of different colors. And it thus happens that pigments may be used in oils with tolerable safety which in water color might turn black in a few days. Indeed, the white which we invariably use in oils flake...
Canvas Painting For Beginners
Become the artist you want to be Canvas Painting for the Beginner. Have you always wanted to paint but did not know the first thing about it? Have you sketched thousands of pictures in your sketch book and wanted to put them on canvas? Now you can with the help of this book. We teach you everything to get you started in the wonderful world of fine arts. You can learn to express yourself with color.