Learn to paint with oil paints. Oil paintings for beginners in stages

Pasta is a product that is loved all over the world! It's a delicious, nutritious meal that's ready in minutes. And how many delicious things can be done on their basis! There are hundreds of options for one pasta, for example, the famous one. But there are still soups, casseroles, and simply.

But if you do not know how to cook pasta correctly, then you are unlikely to be able to experience all the advantages of this wonderful product. And although at first glance this is a simple procedure, there are still such nuances and features that you just need to take into account if you want to cook the perfect meal.

How to cook pasta the right way

The easiest way to cook pasta so that it does not stick together, does not spread and turns out crumbly is to follow the instructions that are on each package. The most valuable thing there is the cooking time.

Step by step, the universal scheme looks like this:

• we collect a sufficient amount of water in a saucepan, bring to a boil, salt;
• fall asleep, stirring, the right amount of vermicelli or pasta;
• We are waiting for re-boiling, reduce the heat to a minimum and cook until tender.

But you need to take into account that the pan should be voluminous, comfortable, since the ideal proportions of water, pasta and salt in grams look like this - 1000:100:10.

By the way, according to cooking standards, a serving for 1 person is 100 g of pasta. That is, if lunch is planned for 4, the volume of the pan should be at least 5 liters.

I always measure pasta before cooking with a kitchen scale. If dinner is for two, then I boil 200 g of pasta garnish. This is the perfect portion.

Therefore, in packages with Italian pasta, the weight is always a multiple of 100 g. But domestic manufacturers, as usual, are cunning, sometimes they produce packages of 450 g.

After boiling, the actions may differ. It is considered correct to simply drain the water from the pasta, add a piece butter and submit. But this applies only to those products that are made from durum wheat or from whole grain flour. If this is the usual simple vermicelli from soft wheat varieties, then rinsing with cold water is indispensable, as well as without subsequent frying with some kind of fat, otherwise we will get a slippery sticky lump.

How much you will cook for time also depends on the type of pasta, the type of flour from which they are made, as well as the dish for which they are intended.

Cooking durum wheat pasta

Let's start with the most popular and useful - durum wheat pasta. They have a lot of vitamins complex carbohydrates and micronutrients. The shapes and sizes are very diverse - horns, spirals, noodles, butterflies, shells and long spaghetti. And this is without taking into account the Italian variety with their cannelloni, tagliatelle, etc.

Almost all of them are cooked according to the standard scheme from 8 to 12 minutes. At the 8th minute, it's better to start trying, because everyone has their own preferences. In general, as you know, in the homeland of pasta, those that are cooked “al dente” are considered ideal.

Al Dente is translated “to the tooth”, that is, the degree of readiness is such that the pasta itself is already soft, but still springy when biting.

Separately, we will dwell on such types as spaghetti and nests - they are a little more difficult to cook. The secret to cooking long spaghetti is to lower them into boiling water gradually until they are all under water. Then the whole process proceeds as with any other

Nests should be cooked in a wide, voluminous dish - ideally, this is a frying pan with high sides or a stewpan. There should be enough boiling water so that the “nest” is completely covered. We lower the pasta balls into boiling and salted water so that they do not touch each other. You can not interfere - you can move a little. Ready to take out carefully with a slotted spoon.

How to cook whole grain pasta

Whole grain pasta is also very healthy, but because of its gray-brown color, it looks less appetizing. They are boiled for 7-10 minutes, and then, if desired, you can simply put them in a colander and, seasoned with oil, serve.

And you can wash it, and then warm it up with some kind of sauce. For example, the classic will perfectly complement the taste and aroma of the dish.

Cooking plain pasta

Pasta made from soft wheat is inferior in usefulness to those listed above, and a real gourmet will never buy such. But in the kitchen ordinary person this product happens frequently. For example, I really like vermicelli.

A side dish of such pasta is prepared with mandatory subsequent rinsing under cold running water. You need to cook them for no more than 7 minutes. I personally make it even easier:

• I throw vermicelli into boiling water;
• I stir, waiting for the water to boil again;
• I cover with a lid and turn off the fire completely - this will not work with an open lid;
• after 3-4 minutes I mix again, and after another 4-5 I drain the water and rinse.

I like this method because the pasta itself does not stick to the pan, does not stick together, does not tend to “run away”, and even if it has missed a few minutes, they do not boil “into porridge”.

A bit of exotic pasta

In large supermarkets appeared and non-standard types pasta - buckwheat, rye, etc. Especially popular are Asian rice pasta, which are prepared in the same way, but it takes about 5 minutes to cook.

Bright colored butterflies or durum wheat spirals, as well as black pasta, also look unusual. Their cooking is no different from the standard scheme, but when choosing, make sure that the dyes are natural (spinach, beet juice, turmeric, etc.), otherwise there is no benefit, and the dishes will all be stained.

Any pasta or vermicelli turns out to be tastier if you add a piece of butter or 1 tbsp to the water during cooking. olive.

Cook in a slow cooker, double boiler or microwave

For cooking pasta, you can use not only pots, stewpans or frying pans - modern kitchen devices can also quite cope with this task.

The easiest way to do this is in the microwave. We choose a suitable dish, preferably with a lid and holes, and always high - otherwise the water will leak out. Pour the pasta with water in a ratio of 1: 2, set the highest power and turn it off after 7-9 minutes. Stir, let it brew for 2-3 minutes, drain the water and the garnish is ready. You can sprinkle with grated cheese and put in the microwave for another minute.

We cook in a slow cooker according to the same principle as in a saucepan - we throw it into boiled water, cook for about 10 minutes, do not forget to mix. It is important to choose the right mode here - the water should not be in full swing during cooking. Focus on the features of a particular model.

In a double boiler, it is better to cook pasta from durum varieties, as the rest will simply stick together. This is done as follows: pour a sufficient amount of water into the lower bowl, pour pasta into the upper bowl (we use a container for cooking rice), fill them with water, salt and cook until tender. In time, it will be longer by 3-4 minutes than with the usual method.

Secrets of cooking popular pasta dishes

Not only a side dish is prepared from pasta, so you need to know the features of cooking for certain dishes:

• small pasta is suitable for making soups in broth, which must be thrown into boiling liquid 8-10 minutes before the end of cooking;
• milk soups with noodles will turn out more delicious if you first boil the pasta in a small amount of water until half cooked, and then just pour in the boiled milk and bring to the desired condition over low heat;
• the simplest dish - pasta with stew - will come out perfect if the pasta is cooked “al dente”, and after adding the meat, it is aged for another 10-15 minutes on low heat;
• for lasagna, do not boil the sheets if the amount of sauce covers all the ingredients by at least 0.5 cm, otherwise it is better to pre-cook for 1-2 minutes.

And you can not just boil pasta, but cook boiled-fried ones - it turns out quite interesting, especially if you add grated cheese at the end. How to do this, you can learn from the video:

A week ago, Yulia Skrypnik, editor of the MIF.Creativity platform, sent me a message: “Nastya, hello! Can you make an article next week with an exercise in Classical Painting Lessons? I answered that I would do it, and a thousand and one fears of a creative person spun in my head:

“I can't paint with oils. I'm in last time I took oil paints in my hands a few years ago, and I can’t say that this experience was successful. Suddenly, nothing will work out for me at all and I will only spoil the canvas. ”

Pushing my fears aside, I began to study the book. Of course, in paper form, simply because its smell is inspiring in itself.

The book is divided into 4 chapters and each of them has several lessons. I planned to read the book before last page and then choose which of the lessons I will do. However, there was so much new knowledge and inspiration that already on page 48 I took oil paints and thinner out of the box and climbed into the wardrobe in search of an old outdated T-shirt. And what about a t-shirt? Read more 😉

Lesson 2, which we will study with you, is devoted to imprimatura with wiping. I didn't know what it was either until I started reading the book, and that's okay.

Imprimatura(from Italian imprimatura - the first layer of paint) - a term used in painting: color tinting of the surface of an already finished white primer.

You have probably seen the work done using this technique.

Materials:

• Drawing materials- paper and pencil, or charcoal if you are going to draw directly on the surface
• primed surface - wooden surface or canvas
• Palette
• Oil paint natural umber. You can use natural sienna or earthy green - experiment with colors
• Titanium white or quick-drying whites such as alkyd. They are convenient because they dry overnight.
• Linseed oil(optional)
• Cotton rag- a torn t-shirt will do (paper napkins are not recommended)
• Large bristle brush

Above, I have listed the materials recommended by the author of "Lessons in Classical Painting" - Juliet Aristide. I didn't follow all of these instructions. The “same” material may not always be at hand; you should not give up creative experiments because of this.

First stage: staging a still life

Then it's time to start drawing. I did it immediately on canvas with a pencil, however, the author recommends first doing it on paper, and then transferring it with tracing paper. And this good advice, because trying to use the eraser on the canvas is fraught with the formation of "dirt". I didn’t get hung up on the drawing either, because the purpose of this lesson is tonal underpainting.

Before proceeding with imprimatura with wiping, it is worth checking how the surface of the canvas or wood panel absorbs the paint. Some types of cheap acrylic primer hold the paint well, it will be difficult to wipe it to the surface color. If you come across such a primer, you can pre-coat the entire surface with a very thin layer of linseed oil.

And now the most interesting! It is necessary to cover the canvas with a thin layer, intensively shading the paint with a stiff, fairly large bristle brush. The author recommends not to be afraid of too dark a color and not to dilute the paint, because otherwise the layer will come out too thin, but I thought that my paints had been idle for a long time and had thickened, so I added a thinner, and this was really a mistake.

Tip from the book: If the picture is too large and complex to finish it in one session, the process can be broken down into stages (for example, the first half in one day, and the second half in another)

Let's start wiping. The outline of the pattern shows through the layer of oil, so it's not difficult. It is necessary to constantly intercept the rag in order to use clean parts. For large areas, it is convenient to wipe the paint off index finger, and for small items, I wrapped a rag around an orange stick.

The wiped underpainting can be finished after step 4, but if you add dark and light accents, the work takes on a more finished look. Therefore, using the glazing method, I added white and dark color deepened the shadows.

Work is ready! Several obvious mistakes were made, jeans were stained with paint, but most importantly, an incredible pleasure was received from conquering their fears.

I used to be afraid of books about classical painting, it seemed to me that they were created at least for students of specialized universities, but it turned out - this is not at all the case.

I urge you not to be afraid! Try something new, go beyond the usual materials and techniques.

Have you been dreaming of trying to paint with oil paints for a long time, but don't know what you need for this? We've put together 28 tips to help beginners figure things out. We wish you inspiration!

1. The main set of oil paints consists of the following colors: Crimson Alizarin, Cadmium Yellow, Yellow Ocher, Titanium White, Cadmium Red, Ultramarine Blue, Martian Black. From these shades it is possible to create any other color.

2. Buy white with a margin. When mixing paints, it will be used up very quickly.

3. For an enjoyable painting experience, spare no expense for quality oil paints and tools.

4. For the first drawing experience, it is enough to buy a couple of brushes different types. For example, you can purchase round, flat and bristle brushes in different sizes.

5. You can use old rags and jars to clean your brushes.

6. It is not necessary to buy a palette for paint, it is enough to use a board or cardboard.

7. There is a rule in oil painting: thick to liquid. For the first layer, buy a solvent. Apply a thick layer on top of it.

8. Draw in a well lit area with natural light. Otherwise, the colors may then differ from those that they seemed in a specific light.

9. The easel is adjusted according to your height and position so that you can sit without discomfort and labor.

10. Oil paints difficult to remove from fabric. So wear things that you don't mind.

11. To begin with, a pencil or charcoal sketch should be placed on the canvas. Build a composition.

12. To make the drawing realistic, determine where the light source will be. So you can easily depict darkened and illuminated areas, shadows, penumbra, highlights.

13. Light color is obtained by adding white, shadow - by adding black.

14. To make the paint not so thick, mix it with turpentine or linseed oil. Add them to the paint slowly to get exactly the consistency you need.

15. Take your time to apply the second layer. Let the paint dry. Usually it is 3 days.

16. Learn to mix colors. Add layers of paint so that adjacent paints flat brush could be mixed. The smear should go in the direction of mixing.

17. To make the glaze, you will need 1/3 linseed oil, turpentine and oil varnish. Mix them and you get a transparent color that can be mixed with other paints to make a glaze.

18. To create the effect of a more transparent figure, you can use a brush with natural bristles. Apply dots to the canvas with a brush at an angle of 90 degrees.

19. To create a thick layer of paint, use a palette knife. Smear the paint with a knife on the canvas. This is the best tool for conveying movement and drawing the landscape.

20. Paints dry for about 3 days. Take this time to critically evaluate the drawing. You can correct the picture or completely erase the details.

22. Clean brushes with turpentine and an old rag. Rub off the paint until the water runs off the brush and runs clear. If the paint dries on the brush, then the tool is unlikely to save anything.

23. Paintings take 3 or more months to dry. Until then, leave your creation in a well-ventilated place where no one will disturb the painting.

24. After your painting is dry, it should be varnished. You will protect your picture and colors from fading.

25. Avoid using Ivory Black for backgrounds as it takes a very long time to dry.

26. Linseed oil is not used for light colors. Otherwise, they will turn yellow.

27. In order to wipe the oil paint off your hands, use a different oil (baby or olive). Wipe off the paint with a cloth and do not wash your hands until you have completely wiped off the paint.

28. Apply colors to the intended places, and then mix them with a brush until you get a gradation that satisfies you.

Oil painting is a wonderful way of painting on canvas. classical paintings, such as Mona Lisa, were painted in oils, along with beautiful impressionist paintings by Monet or Van Gogh.

Steps

Buy good quality materials for oil painting, the best you can afford. If you are just starting out, you can find many of these things by looking at Gift Baskets which include all or most of them, sometimes in a beautiful wooden box or on an easel. The minimum you need:

• The stretched canvas is the size of the painting you want to paint. It would also be a good idea to get some small canvas boards for practice and preliminary research. You can also use tarpaulin paper or canvas, which is lined and suitable for oil painting and for left-handed painting. Try to choose a small board with the exact proportions of your stretched canvas, but if there isn't one, get a large piece to fit your canvas on.
• Pipes of oil paint in the main palette. If you're buying a set, it probably has all the colors you need. In the simplest palette, there are colors such as red, blue, yellow, burnt sienna and a large tube of white paint. If it is Winsor & Newton, you can get lemon yellow, permanent red, ultramarine, or French ultramarine (they are chemically close.) If you initially choose a large palette of colors, use dark red alizarin or more purple, red, but not orange red. You can do without burnt sienna, but there are other reasons besides blending. If your palette does not have this color, use reddish brown.
• Buy oil and thinner. Linseed oil is an oil traditionally used by artists. Some artists believe that walnut is better. If you want your painting to dry faster, choose a product like Winsor & Newton's "Liquin" which will make the oil dry faster. You also need regular or unscented turpentine, sometimes referred to as turpenoid or white spirit. It is a liquid that has a strong or weak aroma. It is a paint thinner in the opposite environment. Unscented thinners such as Weber Turpenoid or Gamsol are reputedly healthier to use, but you should always have proper ventilation so that some components can weather out. The oil paint itself is non-toxic, as is turpentine, which does not emit toxic fumes. But some oil paints contain toxic ingredients such as cadmium and cobalt that can be quite harmful if swallowed, so never eat, drink or smoke while using oil paint.
• Buy a top coat, something like Damar, made for oil paintings. The varnish probably contains some toxic fumes and should be applied on outdoors or in a well-ventilated area. Definitely should choose a removable art varnish. Varnish must be added after the oil painting is completely dry and cannot change chemical composition paintings. Removable varnish can be applied at this point to give the painting a nice glossy surface and protect the paint layer. Every 25 to 30 years the varnish should be removed (either by the artist or the owner of the painting) with a varnish remover and reapplied, as varnishes turn yellow over time and should not be permanently on the painting. This is why very old oil paintings turn brown. They often just need a cleaning and a fresh coat of clear varnish to look bright, as if they were painted last year. You don't need to buy varnish until the painting is finished, as you won't use it until the painting is complete and completely dry. "Retouch" can only be used when the painting is dry to the touch. This will not damage the paint layer, but the painting must be completely dry and you must wait. whole month before using varnish. If you want to sell the painting sooner, a temporary coating can be applied.
• Buy brushes. Preferably hard. Bristle brushes are less expensive, but good white synthetic fibers that are quite stiff like bristles can also be a great choice. Some oil painters also use soft, long-handled sable brushes for various effects. You can use large, small and sparse brushes, depending on the areas, shapes and objects you want to depict in the smallest details if you like detailed realism. Soft "rigger" brushes with very long, fine, soft hairs, good for ship rigging, cat whiskers, and other long linear details. For this, very fine paints, which can also be used to write your name on a picture or for long smooth lines. A beginner is advised to try different brush sets or synthetic brushes. different forms and sizes to understand what style each of them conveys.
• A palette knife, a painting knife, or a non-serrated butter knife can be used to mix the paint. Palette knives are quite cheap if they are plastic. Metallic ones are better because they don't stain and can last for years if kept clean. Painting knives have various forms, from scoops to nooks, each with different effects and you can use them instead of brushes.
• Charcoal or purple pastel pencil to draw on the canvas.
• You will need a palette so that there is a place to put oil paints during their use. It can be a palette with small holes or you can improvise with cheap plain ceramic, glass or melamine plate. Of something that might hinder the turpentine. Many artists prefer a gray palette because colors reflect best on grey. If you use a flat piece of glass on your desk (very cheap if you get it from a cheap photo frame), you can put some gray paper under it to have a gray, easy-to-clean palette at all times.
• Two small cups for oil (or Liquin) and thinner. Some kits come with a "double scoop" so they can be attached to the palette. If so, then your set probably also has a palette.
• Rags for painting. It can be any kind of clean rags. Thick paper towels are fine too, but the fabric is reusable if washed. The fabric of used baby diapers, if washed, even worn and dyed, is great for this purpose. Paper towels wear out quickly, so it's best to use old clothes, soft like old T-shirts and the like. Try to use rags that you don't mind spilling paint on, as you can ruin the fabric pattern on the painted areas. Use rags that are on the edge of their usefulness unless you want to wash them and keep using them over and over again.
• An easel for work, either a tabletop easel or a permanent easel. It doesn't have to be expensive. The cheapest "survey easel", which will fit any reasonably sized canvas at a comfortable working angle, and its legs should adjust to different heights depending on whether you're sitting or standing. If age doesn't get in the way (as well as illness or injury limiting the amount of time you can stay up), it's much better to stand at the easel. It will also allow you to look from the side after every few strokes to see how the painting looks, which is definitely better for painting. You can also lean the painting against a chair or other support, or improvise something similar. A "picture horse" is a bench with a board sticking out at the end, which you kind of saddle up and prop up the canvas in a groove.
• You must decide on the tools. How will you sketch, with a pencil or charcoal, on a sketchbook or whatman paper, or maybe even on used paper. They are not meant to be archived, but if you like your sketches, you can create a sketchbook out of them and use a soft pencil/pen/marker for this. These are just sketches to draw something, something favorite. Your usual sketchbook and favorite drawing tools.
• A safe, dust-free place for your painting to dry, where nothing happens to damage the paint on the canvas. Drying time for oil paintings varies from a few days to several months. Some types of oil painting will be able to dry whole year before they can be varnished.

1. Sketch the "notan" painting in your sketchbook or on paper with a gray or black pencil or pen, using the pencil as the gray. If it's a square, it's a square. If it is a rectangular or oval painting, decide whether it will be a vertical "portrait" or a horizontal "landscape". Make the notan very small, just enough to accommodate the light, dark, and middle areas of the painting. They can vary in size from large postage stamp up to size business card. The idea is to see the painting in miniature. Make multiple choices until you find best design without worrying about the details.

   Use charcoal or pencil to make a drawing in your sketchbook. It can be quite detailed and carefully shaded, or simple to show you shadows and highlights. This, in part, depends on how detailed and realistic you want to see the picture. A freer style of painting might have a more sketchy sketch, but should still have one with a more "white, medium and black" hue, so that you can tell where there are at least five values ​​- white accents, light, medium. , dark, black accents. Some artists not to use pure black and white colors, just use "light, medium light, average, medium dark, dark" for the five kinds. It depends on the desired effect. If you don't like a sketch, keep trying different versions until you get something you like.

   • In the sketch, make sure that the light falling on a person, object, or landscape element comes in the same direction. Notice where the shadows are coming from. They should all go in the same direction and be shorter if the sun or light is high, and longer if the sun (or the lamp that gives off the light) is low. Lighting direction makes all objects more three-dimensional. Carefully draw the shapes of the shadow and most of your subjects will look three dimensional at this point. This is good for impressionism or realism.
   • If you want to abstract, sketch with a pencil and decide where you want to see specific effects such as splatter or strong stroke textures. Or you can skip the sketching step on paper and move on to the next one.
   • Draw the object on canvas canvas, canvas paper, or canvas pad. Use charcoal or purple pastel pencil. Mark the exact proportions of the canvas on the board if it's not exactly the same shape, so do it like the sketches. Make clear outlines. You can detail the markings of the eyes, the mouth, all the important shapes on it, or you can just stick to the basic shapes and basic shadow figures. Either way, it should look like the paint on the sketch. If you make mistakes, wipe off the charcoal or pastel pencil with a damp cloth, let the canvas dry, and do it again. It is quite possible to correct this.

2. Squeeze some paint onto the palette and mix the colors. Spread yellow, blue, red and a large stroke of white at some distance from each other. Additionally, use burnt sienna. Leave all other colors in the box if it was a gift set.

   Examine the paint "alla prima". Just draw directly on the sketch in the area of ​​each color. Since this is not meant to be detailed, you can try to paint a color study with a palette knife or a painting knife. If you don't like any of your color choices, use a palette knife to scrape off the unsightly stroke and set the unwanted paint aside in case you need a dirty brown. The combination of all three primaries will harmonize in painting and thus mixed paint can be separated and mixed a little more to turn into pale browns or dark browns and grays. No waste with a simple basic palette. Keep playing with color exploration until you like a simple, bold painting done with a fairly large brush with not much detail. If necessary, make more than one of these until you've decided which blends you like. You are making this little painting with paint straight out of a tube. She does not need thinner or oil for this technique. If you like how your trial painting looks, you can do big topic the same way, only with the help of a palette knife and pipe paint with bold moves on canvas. No extra paint and no extra layer. This style of painting is fast and strong.

   Draw an outline with soft pencil or thin sticks of charcoal. On landscape painting use purple pastel pencil. It will be a good choice because this color goes well with all landscape colors without darkening or coloring light colors as much as black. The charcoal and purple pastel pencil are both easy to fix with a damp cloth or rag, so don't worry about making changes to your sketch! Draw, and if you get it wrong, wipe it off and try again.

   Prepare some oil in one cup and thinner in another. Wipe brushes and palette knife. Rinse the brush if you have used it for color research using turpenoid: simply dip it in solvent and wipe with a rag.

   Apply a small amount of burnt sienna to your palette. Or, if there is no white or a lot of white in the tricolor mix, use a thin layer of brown. Dip the brush in thinner, turpentine/turpenoid/Sansodor (Winsor & Newton brand is especially good). Dip the wet brush into a small amount of paint until you have a very runny transparent paint. It's easy. Use a little more paint, do medium light and successively dark areas with burnt sienna, still thinning it out until it becomes ink texture. Even dark areas should have a sufficient amount of color. The thinner the layer you use, the faster this transparent layer of burnt sienna will dry.

   • Wow! A clear painting in burnt sienna usually looks pretty cool at this stage. It's still easy to change if it's too dark or too light color. Take a rag and wipe off the part of the paint that you don't like and repeat with the addition desired color. Or erase everything and reshape. Gee, you thought oil painting had to be perfect? No, everything here is very easy to fix and make changes. This stage will dry fairly quickly, from a few minutes to half an hour. The finest details may be dry to the touch by the time you finish the other corner. It is only necessary that the paint be dry to the touch.

3. Remember the "oil on the slope" rule. The first coat you apply may be very thin, almost all turpentine and very little oil. Just a little oil in the paint and it will look different. It can almost look like paper with a thin layer of watercolor on it. You can do successive washes in different colors if you want to have fun applying a "wash" layer. The next layer is "alla prima" or paint straight from the tube, as you did in the color study. It's kind of a medium body layer, not too oily and not too light. After that, especially after the oil or Liquin that you added to the paint, the structure becomes fatter. The problem of oil tilt is that the oil layer takes the longest to dry, so there must be a quick-drying paint underneath. Otherwise, outer side dry, and inside there will be a closed soft, not dried layer.

   • In the worst case scenario, a painting that has a slant can slip off the canvas on a hot day, losing the mix of colors.
   • Never use oil pastel under oil paint because their oil formula includes mineral oil that never dries out. If desired, you can add oil pastel to the last layer of oil painting when it feels dry to the touch.

4. Block out the colors for the main areas and then add a little more paint to make the details lighter or darker, redder, yellower or bluer. Mix half the colors on the palette, half on the canvas. Start with basic light and shadow directions, with the right general colors, then add paint to change them. Shade slowly and mix colors gently. Where you want the paint to be smooth, don't go overboard. Apply lots of strokes where you want strong texture, as in an impressionist painting, or use a stroke knife to make bold textures. By juxtaposing smooth and bold textures so that some parts of the painting are lifted, the "overpainting" structure ensures that all parts are painted very thoroughly quickly. Therefore, the amount of "alla prima" of the texture you've applied changes. Mix some of the oil into the paint if you want to apply thin and brushed strokes to keep the texture smooth. While still wet, you can mix in more oil or more paint to make this layer thicker or thinner. But if it starts to dry or tighten, don't add anything else that doesn't contain fat.

   • If you don't want to do an ugly special effect like a zombie face, put a thick layer of fat on the brush, then leave it to dry incorrectly, then tear off a piece so that the skin of the paint hangs down, and the lump of brownish-red grease paint is exposed to the air and dried, and , perhaps, and froze in the form of drops. Almost any mistake can be turned into a special effect once you know how it works.

5. Oil paints stay wet for days! This means you can paint all day, fool around with them, go to bed, put an empty box on your palette so your cat won't walk on it, and tomorrow start over and make changes while the painting is wet. You can use a palette knife to scrape off entire areas before they dry and start over. The slow drying time of oil paint allows for many changes to be made before deciding on a color. the final version and then let the paint dry.

   Leave the painting to dry. This will take at least two weeks if you have not used Liquin as a base. Liquin dries faster than tube paints, so use at least some of it in the paint so that it sets well. This is not fat, but oil straight from the tube. You can also add alkyd oils, which have alkyds (the main ingredients of Liquin Medium) directly into the paint tube. In this case, the painting can dry in just a couple of days to a week, depending on the thickness of the paint.

   One of traditional methods old masters - don't rely too much on texture brushes. Start as described here by making a thin coat of burnt sienna with pipe paint and carefully cleaning it to make realistic black and white with all the details of your subject just using ivory black paint and titanium white. Let it be "grisaille" or " dead layer completely dry. It will look like a black and white photograph, very detailed. After that, start blending the oil with all your colors, using them in a very thin layer, and start applying them to the grisaille layer. black and white painting different transparent colors will allow the light to pass back and forth within the dried layers and give the picture a unique range of light. Only slow, layered use of colored pencil comes close to this effect. This is one of the things that oil painting is famous for.

   • You can try this method if you have a lot of time to wait for one layer to dry before doing the next one. But, if you don't want to wait that long, just let the grisaille dry, add some oil, paint in right colors and add one final layer of glaze when the paint is dry. You can use both complex and simple oil painting options.

6. When you're done with your painting session, clean your brushes by dipping them in thinner and then use a rag to squeeze the paint out of them. Repeat several times until almost all of the paint is on the rag, otherwise it will require more thinner. Keep rags and Consumables away from open flames/electrical circuits/heaters/anything that could cause a fire. Put them in a metal jar if you have one on hand. If you store a squeezed paint palette in the refrigerator, it will slow down the drying process and you can use such paint for a longer time. But don't let anyone eat it!

   Store damp paintings in a safe, dust-free, dark and cool place if possible. You can make a vertical dryer in a cabinet of your own design, where you place pegs a few inches apart so you can lean on the painting. If you write a lot oil paintings, a garage is more suitable for drying. Since you're creating thinner fumes, it's a good idea to use the garage and other areas where people don't spend much time or have very good ventilation. Storing these materials in vertical slots will reduce the amount of dust that falls on the paintings themselves while they dry. Dust will accumulate on the top end, and not on the paintings themselves.

   On canvas "gallery", which has a depth of 3.8 cm, you should not paint in oils. Just paint the sides, or wrap the painting/paint it black/do something fun with it. You do not need to buy a frame, or sell it to the gallery or donate it. It's ready to hang when it's dry and varnished.

7. Wait at least a month after the painting is dry to the touch, then use retouching varnish and give the painting a temporary shiny and finished look. Some varnishes dry out the matte surface, shiny ones can fade if varnish is applied to them. Wait another eleven months to apply dammara polish or any other replacement polish and let it dry for a few days. Your painting will now last longer than you.

   • Sienna burnt is good color base for mixing tones that convey the color of the skin, if it is not too black and has a bluish tint, like on African ebony black. It will look especially if you add a little yellow ocher to it, which can betray most skin tones, including a little earthy. Add some red and you can make red or brownish hair.
   • Oil paint is much denser in texture than regular oil. Student paint has more liquid because it has more oil and less pigment. Thus, tube paint, if you like thin liquid paints, will last you much longer than student paint of the same volume, because you add linseed oil to make the paint thin and oil to make it cheap. Pigments are better in professional oil paints, so they are more concentrated. You can save money by buying paint or impasto medium if you like to apply it thickly with a knife and if you don't want to spend a fortune using pure Grade tube paints.
   • Flaxseed oil is edible vegetable oil, but linseed oil from general stores and health food stores is not suitable for painting. Different kinds oils for painting specific properties. Experiment if you like the environment.
   • Student varieties of oil paints are very liquid and large areas can be covered with a small amount of paint.
   • Don't buy big pipes if you don't need them.
   • After you get used to painting a lot, buy a big tube of ultramarine and a super giant tube of white paint. Ultramarine is used in much greater quantities than other colors. Unless in portraits, burnt sienna can also be used often.
   • Always buy a large tube of white paint because you will be using and mixing it the most. If it's a mini kit where all the pipes are the same size, buy an extra tube of white paint.
   • When you paint well enough and other people are willing to pay real money for your paintings, in general, people will pay more for oil than for another texture, even if they are equally durable and beautiful. People think of oil painting as something extremely valuable and permanent.
   • Use an easel if possible.
   • Don't soak your brushes upside down in a can of solvent. The hairs will be permanently bent and the brush will be destroyed. Hold the brush upside down so that the hairs of the brush are not bent and are in a free state, not touching anything (this is what a wire with a spring is for to keep the brushes upright upside down without touching the bottom) or just lay the brush flat, where can you get out of it? excess fluid. Some small stones or something thinner may allow you to do this.
   • If you have an inexpensive student kit with liquid paints, use inexpensive brushes and work a little at a time. Examine the texture and try thinner for a "lean" layer before painting with an opaque color and then glaze with a subtle transparent color. Practice on canvas boards and pads until you're ready for more expensive canvases and paints, or use a liquid texture to paint with a subtle smooth right look. stretched canvas. When you don't have materials listed as such, use what you have.
   • Water soluble oils are another new type paints. They come with water soluble linseed oil and water soluble thinner. They can also be diluted with plain water, but this will sometimes change the color a little or make them a bit cloudy. Use water soluble thinner to make wash on canvas and water to clean water soluble oil. Use only water soluble media with water soluble oils.
   • Alkyd oils are made with the addition of alkyd resin mixed with an oil medium. They are designed to dry quickly to the touch within a day or two, not after a week or two. Liquin media can be mixed to turn regular oil paint into something that dries faster like alkyd paint and can be used with it. Do not cover the oily layer as well as Liquin.
   • Gypsum is the primer for oil painting. You can take a canvas that has not been primed, buy gesso, prepare and stretch it yourself to get the canvas dimensions you need. Or you can use gypsum to cover wood panels or chipboard panels, use it on the wall to make an oil painting like a mural. Gypsum has many uses. It, as a rule, will not be in the starter kit. It is sold in black as well as white and others light colors if you want to show the canvas color.
   • To make cleanup easier, if you're working with alla prima, try picking the biggest brush you can complete the painting with and use just that one brush. This saves you a lot of cleaning up hassle. Paintings painted with the same brush tend to have a consistent texture and color, even if you create different textures with the same brush.

   Warnings

   • Do not smoke, use flashlights, open flames, or heaters near oily paint rags, solvent pails, or flammable oily materials.
   • Do not flush sticky liquids, used solvent, or dirty old paint down the toilet. The liquid will be released into the environment and may be toxic. Even worse, it can stick to your plumbing when it dries and cause big problems. If you live with your parents, this can lead to big trouble. If you rent an apartment - the same. If you own your own home, you will have to shell out for a plumber. So no matter how you look at it, the toilet is not the place to dispose of toxic paint! Use it for organic waste and spoiled food.
   • Use proper ventilation. If the smell of thinner is annoying, it is probably dangerous. Unscented thinners are somewhat safer, but they're still not great if you're drying your paintings in the same room you sleep in without an exhaust fan. Oil painting painted with spray paint very dangerous - toxic fumes can ignite!
   • If you are painting outdoors, be careful not to pour used solvent or paint onto the grass. It may be toxic to environment. Recycle your diluent with water and keep dirty water in a bottle. Throw it in a place where you can leave toxic garbage in your city. Sometimes if you use very little thinner, you will absorb it paper towels and clean with as little fluid as possible so that debris with toxic solids can be sealed and disposed of properly instead of having to deal with throwing away a large number sticky things.

   What will you need

   • Linseed oil (from the art workshop) or Liquin, or other medium. Water soluble linseed oil if you are using water soluble oil paints.
   • Thinner - turpentine, odorless white spirit, Sansodor, turpenoid or water-soluble thinner
   • Oil paint, minimal titanium white, lemon yellow, permanent red or alizarin crimson, ultramarine and burnt sienna
   • Easel (optional)
   • Brushes (optional if you want to try a painting knife)
   • Palette knife for mixing (you can improvise with a spoon or butter knife), optional painting knives of various shapes
   • Palette/flat piece of glass/disposable paper
   • Rags
   • Brush washer or solvent can, small cup or double bucket
   • Scrapbook plus pencil and pen, extra gray and black markers
   • Tarpaulin or cheap canvas boards for preliminary color studies and texture testing
   • A safe place to dry wet paintings for weeks or months. Once dry, they can be cleaned
   • Removable varnish, such as Damar, for final varnishing after the painting has dried for a year. Even an alkyd painting must dry within a year.
   • Additional varnish for retouching, as a temporary cover. It is applied after the painting has dried for only a month (if you want to sell the painting faster or hang it on the wall urgently)