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Give yourself and your painting a rest, and allow it to dry overnight. It may not be too pretty, but this is actually an excellent starting point that will guide you through the rest of the painting process. Since you’ve used the midtone yellow ochre as a base layer, you now have an underpainting with the three major tonal areas defined. I didn’t capture my painting at this stage, but here’s a good example from another project. Remember to wipe out the light areas of your background as well as in the figure. Next, use a clean rag dipped in water (if you’re using water mixable paints) or turpentine/odorless mineral spirits (if you’re using traditional oil paints) to wipe out the areas you’ve identified as lights in your drawing. Remember to paint in the dark areas of the background as well as in the figure. You want to keep this layer as thin as possible. Load only a small amount of paint on your brush, and wait until there’s none left before reloading. Lightly paint in the dark areas that you’ve defined in your drawing. If you’re using traditional oil paints, you would thin with turpentine or odorless mineral spirits. Now you’re ready to create a 3-tone wipeout underpainting, using your black and white printout (or intuition if you’re more advanced) as a guide.īegin by squeezing some ultramarine blue oil paint onto your paletteĪnd thinning it with just a few drops of water. Again, in this class, we use water mixable oil paints, and we thin the paint by mixing it with water.
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Once you’re comfortable with your drawing, leave the painting to dry overnight. Lightly block in your subject, beginning with broader shapes, then progressing on to the finer details. We then return to our canvas, armed with a charcoal pencil. As you gain more experience, you’ll be able to do it intuitively. This is an exercise for beginners to assist in learning to identify value ranges. In my photo, I outlined the darks with blue marker and the lights with black charcoal. You’re not looking for the darkest darks and highlights, but rather broader areas of dark, midtone, and light. Next, we print a black and white version of our photograph, and use a pencil to divide the values into three sections: darks, midtones, and lights. If you’re using normal oil paints, you would thin with turpentine or odorless mineral spirits.įor more information and guidelines about imprimatura, click here. Since in this class, we use water mixable oil paints, we thin the paint by mixing it with water. It helps to break up the white of the canvas, to establish a mid-tone ground, and to help mitigate the yellowing that occurs during the aging of an oil painting. We begin by spreading a thinned yellow ochre wash over the entire painting surface. I also use a bottle of Winsor & Newton Artisan Water Mixable Linseed Oil All additional colors are either mixed on the palette or created through glazing onto the painting. Other brands may work just as well, but I haven’t tried them myself. My painter’s box includes the following Winsor & Newton Water Mixable Oil Colours, as suggested by my painting teacher. Not only are they better for the environment (water is used as a solvent), they’re also much better for our health in a crowded classroom (less toxic fumes). In this class, we use water mixable oil paints and mediums. Materials: Water-Mixable Oil Paints, Water, Water Mixable Linseed Oil, Paint Brushes, Canvas/ Canvas Paper/primed wood panel Skills Exercised: Imprimatura, Wipeout Method of Underpainting, Painting Wet on Wet, Painting in Value Gradations, Glazing, Scumbling Project: Oil Painting of a Porcelain Figure Interested in painting along? Join me by following the step-by-step instructions below. Marilou handed me a print-out of this elegant madame with sailor tattoos by artist Jessica Harrison. I don’t consider it ugly, and there was no cast shadow to paint wet-on-wet, but beggars can’t be choosers, now can they? So I, along with a good number of other students, was assigned one. The delicate, reflective, and glossy surface of porcelain especially renders itself nicely to oil painting.
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A beautiful painting, she noted, is often created from a less-than-beautiful subject. She also said not to focus too much on the aesthetics of the image. She advised us to keep things simple, and to look for images with a visible cast shadow. My painting instructor, Marilou van Lierop, asked us students to find online images of ugly porcelain figures. Some art projects are designed to prove a point. Projects were designed by Schilderkunst teacher Marilou van Lierop.
OIL PAINT FX TUTORIAL SERIES
This post is the first in a series of oil painting project tutorials derived from coursework completed at Academie Noord in Brasschaat, Belgium.