Painting Techniques
The following painting techniques are taught in this course: blending,
glazing, scumbling, dry brush, broken color, alla prima with a brush(es)
and alla prima with a knife.
1.
Blending or sfumato is the process of merging one tone
or color into another so there is no sharp boundary or perceptible
transition visible. This technique is good for creating soft effects.
This effect is further enhanced when colors are translucent and
closely related (analogous).
a. |
Sketch out your composition, then cover it with a wash of
colors. |
b. |
Mix
3 values for 3 analogous colors. |
c. |
Lay
out the colors side by side without touching each other. |
d. |
Blend
with a fan brush, dry brush and/or with finger(s). |
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Note:
The larger the brush the cruder the blend; fingers are best
for the sfumato effect. |
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2.
Glazing is a wet-on wet technique. Color is created by
laying a thin layer of translucent/transparent paint over a dry
layer.
a. |
Lay
out all the transparent paints: alizarin crimson, yellow ochre,
burnt sienna, and viridian. |
b. |
Pour
about 2 tbsp. of painting oil medium into your plastic container
w/clip; use it to make opaque colors more "transparent." |
c. |
Paint
with your glazes. |
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3.
Scumbling is an application of uneven layers of paint using
a rag, a brush, a finger, a sponge, the side of a palm or a palette
knife in a way that the undercoat shows through. This method is
best for the fat-over-lean technique, where the undercoat is dry,
thin, and relatively oil-free. The subsequent coat acts like a filmy
glaze over a matted surface. Though dark colors can be scumbled
over light ones, light over dark gives greater vivacity and impact
to the painting.
a. |
Load
a wide, flat bristle or a round brush, with a little paint
and scrub it onto the surface. |
b. |
Load
a round bristle brush with a little paint, hold it perpendicular
to the surface and apply the paint in a circular motion with
pressure. |
c. |
Load
a wide flat bristle, hold it nearly parallel to the surface
and scrub. |
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Note:
Older brushes are often better for this technique. |
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4 . Dry brush is a dry-on-dry technique. The application
of color is so thin that the undercoat is only partially covered.
The brush is charged with a minimum of paint; the paint is applied
with quick light strokes. Ideally, the procedure is to first paint
in broad areas of colors with very little detail. Let the paint
dry, then fill in the details using the dry-brush technique.
a. |
Load
a wide, flat bristle brush, or a round brush, and squeeze
it to expel as much paint as possible, then lightly drag it
over the surface. You may also hold the brush perpendicular
to the surface, then apply the paint in light circular motions. |
b. |
Load
a fan bristle and dab over the surface to create a stipple
effect. |
c. |
Barely
touch the tip of the brush with paint then lightly work the
paint onto the surface using a scratching or flicking motion. |
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5.
Broken color is a techique favored byVan Gogh. The colors
are not blended; they are mixed optically. Colors will appear more
vivid if they are applied in small strokes of varied hues side by
side. Try using round and flat brushes for different effects.
a. |
Identify the colors for the shadows. Paint the shadows with
the colors, without mixing, or with slight mixing. Do the
same for the medium-valued areas and the lighter-valued areas.
Leave the high-lights for last |
b. |
Step back and look at the painting. If the shadowed areas
are not dark enough, darken your colors. Correct the value
of the medium-valued and lighter-valued areas using a bit
of black, brown or white. |
c. |
Add
in the highlights. |
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Alla prima means "at first;" it refers
to completing a painting within one session, working with a wet-into-wet
procedure. There is no underpainting. The underdrawing is sketched
in with charcoal. Each patch of color is laid down more or less
as it appears in a finished painting. Modification and reworking
is kept to a minimun. View the subject in broad areas (which
means you need to squint a lot). Paint in the middle tones first.
Leave the darkest and the lightest to the last. Avoid details.
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6.
Alla prima with brush(es). |
7.
Alla prima with a knife. |
Material:
In addition to the material you have from the Beginning Oils (see
Basic Material for Oils for list) you will need
1 |
small
bottle of painting oil medium |
4 |
(F8)
canvasses |
1 |
photograph
of a sunset. |
2 |
#10
flat bristle brushes |
2 |
#8
round bristle brushes |
1 |
fan
bristle brush |
1 |
small
tube of viridian paint |
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A summary
of what you need for this course is also included at the bottom
of the class schedule. |
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