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Pink rose with ant
The goal of the classical painting is not to depict objects
as close to nature as possible, but to compose a beautiful composition
of color, tone and texture.
Spread linseed oil on each well-dried previous layer immediately
before you begin the next layer. This leads to a better contact of the
paint of the dry layer with the paint of the next layer. It also improves
the process of dry brush blending. More...
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Pencil Drawing Composition |
Pencil Drawing
The main of the pencil drawing is to create a precise
structure of borders between areas of highlight and light, light
and halftone, halftone and shadow, and reflections.
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Pencil Drawing Composition |

Pencil Drawing |

Pencil Drawing |
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Imprimatura |
Imprimatura
Imprimatura is the first oil layer in the Flemish
painting technique. Imprimatura must have a neutral olive hue. The
degree of darkness or lightness of imprimatura should be chosen
in relation to the largest light area of the future painting
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Umber Underlayer |
Umber Underlayer
Imprimatura is now well dried.
The technique of making this layer differs significantly from the
traditional concept of oil painting: although your medium is oil
paint, use it as if you were using watercolor.
Remember the golden rule: you make the next layer not to correct
mistakes in the previous layer, but you make the previous layer
to facilitate work in the next layer.
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Umber Underlayer |

Umber Underlayer |

Umber Underlayer Detail |

Umber Underlayer |
The basic set of paints is the following oil colors:
Flake White, Yellow Ochre Light, Red Ochre, Burnt
Umber, Prussian Blue, Ivory Black, Madder Lake Deep.
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Dead Underlayer |
Dead Underlayer Palette
The dead layer - is made with Flake White, light ocher,
red ocher, burnt Umber, Prussian Blue and Ivory Black. The aim of
this Underlayer is penumbra. The picture must look as if its objects
were lit with moonlight - olive cold gray color.

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Dead Underlayer Detail |

Dead Underlayer |

Dead Underlayer |

Dead Underlayer Detail |
Dead Underlayer
You have already chosen the tonality. Now you have
to rely on it, that is you must repeat the chosen tonality in
the dead underlayer.
You can make corrections in the tonality without making radical
changes. Light are applied thickly, half a tone higher; shadows
are very transparent, half a tone lower.
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