Oil painting techniques
Richard T. Glenner
page that discusses the "How to" of using oil painting techniques to
get different effects, styles, composition etc...
I have some good reference books and I am also taking an oil painting
class. I just looking for more in-depth info from artists who are
experienced oil painters.
Thanks for your help and time.
Richard Glenner
rtgl...@onramp.net
Rosa Amarillo
> I just looking for more in-depth info from artists who are
>experienced oil painters.
There are a lot of us reading your post, so ask your questions and
maybe someone can answer. I began painting in oils in 1967--I don't
know if that qualifies me as experienced or not but I do have some
insight into the craft.
--
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Tippy canoe and Tyler (Texas) roses too.
Rosa Amarillo
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Richard T. Glenner
>I need help locating a newsgroup, listserv, gopher ftp site or web
>page that discusses the "How to" of using oil painting techniques to
>get different effects, styles, composition etc...
>I have some good reference books and I am also taking an oil painting
>class. I just looking for more in-depth info from artists who are
>experienced oil painters.
A number of you suggested I ask specific questions, so here goes.
Can anyone comment on using two different techniques to start an oil
painting.
1. Using a monochromatic approach, sketch the objects and define the
shadow and light areas before adding color. vs
2. Sketching the objects, laying down base color(s), building the
painting up with layers of color and adding the shadows as the last
element.
I am looking for the pros and cons of these two approaches.
Thanks again for your help and time.
Richard Glenner
rtgl...@onramp.net
Connie Kroneman
>painting.
>
>1. Using a monochromatic approach, sketch the objects and define the
>shadow and light areas before adding color. vs
>
>2. Sketching the objects, laying down base color(s), building the
>painting up with layers of color and adding the shadows as the last
>element.
I'll start by assuming that you want to do some kind of
representational/realist painting. Drips, splats, and schmeirs generally
don't have tonal underpaintings. : )
The first alternative you mentioned involved a tonal underpainting. This
would lay out the composition and tonal values. Many would say that
catching the Light is the key, so identifying your lights and darks
early is important. I had an instructor that suggested painting a thin
layer of a unifying color (like blue for a bright landscape)all over the
canvas. Then taking a solvent, brush, rag, and wiping out the lights.
Then painting in the darks. Using this as a roadmap, add color. If you
continue to paint it while the underpainting is still wet, you
automatically get a unifying color mix on the canvas. (I don't use this
technique, but it was kindof fun to try).
The second alternative you mentioned involved composition and color.
Some variation of this method of starting with shapes of the appropriate
hues and values seems the easiest to me.
Anyway that you procede, I think you're going to want to quickly reach a
point in each painting where you can evaluate general color, composition,
and tonal values. Then consider it an iterative process of correcting
and adding detail.
Connie Kroneman
Richard T. Glenner
> I chose a mineral violet for my underpainting, mixing with Zinc white in
>different amounts to vary the tone. When I was about 1/2 of the way through the
>composition I realized that I really was enjoying the challenge of making the
>sets of tones seem like their own colors and that the hilights I was adding
>deserved not to be changed later.
Ray,
I got alot of excellent feedback from a number of lists, including
yours in the newsgroup. What is interesting is I decided to try a
combination of both approaches.
I used blues and earth tones for my underpainting. Liked them so much
I didn't change them. Then I added the focus of my compostion(a
hummingbird feeding on a colorful flower) in thin
transparent layers using liquin between layers. I loved it.
The underpainting made the colorful bird and flower really standout.
Your approach of using the monochromatic technique as a finished
painting sounds real interesting after seeing my own. I think I'll
try it too.
--Richard
ACVIM
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Ray(mond) Blum
Glenner) wrote:
> rayt...@interport.net (Ray(mond) Blum) wrote:
>
>
> > I chose a mineral violet for my underpainting, mixing with Zinc white in
> I used blues and earth tones for my underpainting. Liked them so much
> I didn't change them. Then I added the focus of my compostion(a
> hummingbird feeding on a colorful flower) in thin
> transparent layers using liquin between layers. I loved it.
> The underpainting made the colorful bird and flower really standout.
>
So, the result is a combo of blue + earth tones with the hummingbird and
flower in local color (glazed)? Sounds neat!
> Your approach of using the monochromatic technique as a finished
> painting sounds real interesting after seeing my own. I think I'll
> try it too.
BY all means, if nothing else you may be amazed at how much attention
you pay to relative values when it's all that you have to work with.
>
> --Richard
---Raymond
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