How to draw flowers with oil step by step Master class oil painting

Now many people choose needlework as a hobby or various options artistic creativity. As the market is filled with mass-produced goods, the demand for souvenirs is growing self made. Photographs or computer illustrations are printed multiple times. An exclusive thing you can create by learning how to write for beginners. It is quite possible even for a beginner to master this painting technique. So you will make a wonderful gift or decoration for the interior. Even if you try to repeat the same story twice exactly, you still won’t get a perfect copy. This determines the uniqueness of the original works of art.

Preparation of materials

To create oil paintings for beginners, you will need the following:

• base (canvas or fiberboard);
• paints;
• brushes;
• solvent (white spirit) and a small container for it;
• palette for mixing colors.

Professionals also use palette knives - special flexible metal spatulas with a wooden handle, which apply paint to the canvas. It is enough for a beginner to master the brushes. In addition, professionals paint pictures on an easel or a special sketchbook, if they go out to work in nature to paint pictures from nature for novice artists - the plot is quite complicated. It is better to do them by imagination or using a photo. It will be easier.

From the point of view of professionals, it is more convenient to work on an easel, as it is easier to step back and evaluate the result from afar. In your first experience, you can practice on the surface of the table, although it is better to take some kind of plywood and put it on your knees or put it on a chair at an angle. Such a review of your work allows you to better assess its quality and notice errors in time. Although for the first experience it is worth doing it in a way that is convenient and comfortable for you, so as not to be distracted from the main thing.

Please note that paints are consumed unevenly, so for a beginner it is better to purchase them separately. The release form is offered in various sizes. White paint is the fastest to leave, but black paint is used in very small quantities. It makes sense to first decide on the plot, and then purchase paints of the appropriate shades. For you will need one set, and for summer landscape- another. In order not to waste money on unnecessary colors, it is better to buy only the necessary ones in approximately the required amount. Although in fact all shades can be obtained with only three primary colors (yellow, red, blue), as well as white and black.

Which base to choose?

Traditionally, oil is painted on canvas, but for a beginner, this can be difficult, as the fabric needs to be stretched onto a stretcher and primed. However modern technologies progressed in this direction. In specialized stores, ready-made bases are sold, on which paint is immediately applied. They are not cheap, but they are just right for a beginner, as they greatly facilitate the work.

Another option is to use fiberboard. In the household of any man there are scraps of this material stored after repair work. It is easy to find it by asking friends, relatives or acquaintances. Someone has definitely used it and keeps leftovers in the pantry just in case.

The texture of the sides of fiberboard is different, one looks absolutely smooth, and the other is rough, vaguely resembling a woven structure. You can use both, but on a rough surface it is better to apply more layers of soil, otherwise the color may seem dull in the future, as the paint will, as it were, fall into the structure of such a "canvas".

If for the first time you decide to try the oil painting technique for beginners, you can use the finished fiberboard base with the primer already applied. They are also sold in specialized craft stores. It is better to take a small sheet size, not more than landscape. When you have gained some experience, you will acquire or prime yourself a format of any size.

You can order a frame for your future picture. Decorated, any canvas looks elegant and finished. However, most often a baguette is selected by color, width to already finished work. This is also an interesting and creative process. When you see the same image in different frames, you will understand how different the impression the canvas makes. In a good frame, even oil paintings by novice artists look exquisite, and poor design can ruin a professional canvas. So this stage should also be treated very carefully.

If you still decide to prepare the WPV base yourself, a simple and cheap way is to use ordinary gelatin, you can add PVA glue to it to make the color white. Such primer should be applied in several layers with preliminary drying of the previous one. Three times will be enough. You should feel that the surface has become different. When the base is prepared, you can proceed to

Types of brushes

To work with oil, bristles or synthetics are used. Their villi are hard, elastic, and interact well with the composition of the paint. To get started, you can buy two or three pieces. Thin, for example No. 1, will be required to work out the details, wide ones are needed to complete large background surfaces in the case of a landscape - sky, grass, water, draperies in a still life. Do not use squirrel brushes for oil work. They will deteriorate. After each application, especially if you are going to take a long break from creative process Clean the tools thoroughly with solvent to prevent the paint from drying on them.

Oil paintings for beginners in stages

Given that you have prepared the materials and the base, creating a canvas, regardless of the plot, consists of the following steps:

1. Draw a line drawing on the canvas with a simple pencil or just paint.

2. Distribute shadows and highlights - the darkest and brightest parts of the image, respectively.

3. Complete the background and all large objects.

4. Draw small details.

Do not forget to constantly move away from the picture, evaluating the result from afar. In the process, try to mix various shades of colors on the palette. The final touch will be the design of the picture in the frame.

Plots

To do simple pictures oil for beginners, choose the appropriate topic. The easiest way to make a still life, that is, a composition of household items, vases of flowers. If you work from nature, and you will need a lot of time for the first time, use objects that will not change in a week. You may have to do the painting in several steps, so when composing a still life for the subject of an oil painting for beginners, it is better not to use flowers. They may change color, wither, or new buds will open. The perception of the composition will change. It will be difficult for you. The easiest way is to work with a photo or copy an easy image you like. Do not take plots with a lot of details. It is very difficult to paint a portrait.

How to make a landscape?

If you want to decorate a wall with a nature view done by yourself, it is better to use the tutorial on how to paint oil paintings for beginners step by step. According to the prepared instructions, this is quite possible to do. The main thing is to understand what elements the image consists of, and it is better to start working from the background and the general space, moving sequentially to more small details located closer to the viewer.

Let's go to the open air

It is very pleasant to paint oil paintings in nature, but you need to work quickly, as the weather can deteriorate, and the sun is constantly moving, changing the direction of light and shadows. Beginning artists can use the camera to capture the initial one. If you get tired of working for a long time for the first time, then you can finish the picture at home.

How to draw flowers?

If you want to decorate the interior of the room with an oil painting with a bouquet in a vase, it is better to choose asters as a first experience. Perfect fit. They are not difficult to make, as they are a simple elliptical shape, and small petals are easy to make in separate strokes in a circle. Daisies, sunflowers, lilacs, lupins, mimosa are also suitable - in a word, choose those that have inflorescences or individual elements of a simple, clear shape that can be created in one stroke, drawing a few details later. Your task is not to transmit photographic accuracy object, but to create a beautiful impression of what he saw.

So, you have learned how to create oil paintings for beginners. Choose the plot you like, buy necessary materials and start an exciting creative process.

Oil painting. Basics. Bill Martin's Lessons for Beginners.

There are things you need to know before you start painting in oils.
All paints are a mixture of dry pigment and liquid. In oil paints, the coloring pigment is mixed with linseed oil. Linseed oil is an oil that dries out in the process of air oxidation. It absorbs oxygen from the air and crystallizes the paint pigment permanently. Once the oil dries, it cannot be removed.
Oil paints are thick. They are produced in tubes. Paints are squeezed onto a palette, and mixed with a palette knife to obtain new shades. Then they are applied to a vertically positioned canvas with hard elastic brushes.
Oil paints dry very slowly. Usually you need to wait three days before putting on the next layer. Such long time drying is both an advantage and a disadvantage. The big advantage is that you will have time to think about what you have drawn. This is very useful when you make gradient transitions from one color to another. Or, if you are unhappy with how it turns out while the paint is still wet, you can scrape it off with a cloth, palette knife or rubber scraper, and repaint.
The downside is that if you put wet paints of two different colors next to each other, they can mix with each other sloppily. The palette, brushes and wet cloth must be handled very carefully so as not to smudge yourself, clothes, food and furniture.
You can work with paint up to 12 hours in a row, then you must leave the work to dry for three days, after which you can continue working. When the paints have dried, you can put new colors on top. A work can have many layers. Each subsequent layer must be the same thickness or thicker than the previous one, otherwise cracks will occur.
After the work has completely dried (three to six months), you need to apply protective layer damar varnish.

DRAWING.

A complex pattern is quickly lost when applying oil paints, so it is better to indicate the pattern simple figures And contour lines. The drawing can be done directly on the canvas, or it can be prepared in advance and transferred to the canvas.
When applying the drawing directly to the canvas, it is better to use diluted paint. Since it's already paint, you don't have to isolate it from subsequent coats.
You can also use charcoal. The charcoal charge will need to be isolated from the next layers with a fixer. Soft charcoal is easier to fix with fixer than pressed charcoal.
The drawing can also be applied with a pencil to the canvas. Then also fix with a fixer. The sharp tip of the pencil can make cracks in the primer layer, so you can additionally apply another transparent layer of primer. If you have applied another coat of primer, no fixer is required.

In the photo: a spray can with a fixer, in a box - carbon paper.
It is better to prepare a drawing for transferring through carbon paper on thin tracing paper, then it will be easier to translate it. Attach the drawing to the canvas. Translate it with carbon paper. Outline your drawing with carbon paper underneath. Take advantage of this ballpoint pen contrasting color to see which areas you have already translated and to control the thickness of the lines. The applied pattern must also be fixed with a fixative or a thin glazing layer of a transparent primer.

TRANSITION FROM ONE COLOR TO ANOTHER

Consider a graduated transition from one color to another. Oil paints, because they take time to dry, allow you to move them around on the canvas while they are still wet. That is why it is much easier to make smooth color gradations with oil than with other paints. This can be done with any brush. But the best fit flat brushes, and worst of all - round. For small and large stretch marks, the same principles work.


Paints are mixed on a palette and applied to their intended places on the canvas. Then the brush is moved back and forth in a crosswise manner between two gradations of color until a result that satisfies you is obtained. Then parallel strokes are carried out for the final processing of the site. Work with a clean brush from dark to medium, and then again with a clean brush from light to medium.


(A) In this example, the brush strokes are ALWAYS perpendicular to the highlight. Moving the brush in a circle, we try to make strokes perpendicular to the highlight, respectively, we get the shape of strokes of a twisted brush.
(C) Depending on the location of the primary colors of the stretch, an idea is created of the plane in which the surface is located. Notice how the shades are positioned to represent a flat surface (left) and a curved surface (right).

WE CREATE FORMS

All forms are created from five basic forms. These shapes are: ball, cone, cylinder, cube and torus (donut, bagel). Parts of these shapes form any objects that we see. Imagine half a cylinder on a cube - and you get the shape of an American mailbox. A half ball and a cone will give you the shape of a teardrop, a fir tree is a cone, an oak is a hemisphere (half a ball), and a cylindrical mug usually has a handle in the form of a half torus (donut).


Chiaroscuro creates a form. Each of these shapes has well-defined locations of light and shadows. The sphere is characterized by a sickle and ovals. The cones have a triangular illuminated part and everything else is in the shade. Cubes and flat surfaces contain stretch marks (gradient transition of light into shadow).
The cylinders are made up of strips. Thor - from crescents and stripes.
Concave versions of these shapes have the same chiaroscuro, but without reflexes.
If you learn how to draw these five shapes, you can draw anything.

The sphere (sphere) is defined by crescents and ovals. Balls are painted with crescent-shaped and twisted brush strokes.


The cones are made up of triangles of light and shadow. Cones write with triangular brush strokes.


The cylinders are made up of strips of light and shadow. Cylinders write with parallel brush strokes.

Cubes and any flat surfaces follow the same rules. Graduated transition from light to shadow. If the depicted surface is parallel to the canvas, then it is depicted in one even tone. A cube is a combination of intersecting planes. Each side of the cube contains a chiaroscuro stretch. The cube is drawn with parallel brush strokes.

The torus contains aspects of the other two figures. It has bands of light and shadow like a cylinder in the center and crescents like a sphere around the edges. Thor is written using twisted strokes and crescent strokes.


Here you can see that to convey the shape of the object, you need to use light and shadow, and not contour lines. Light can confuse you, so first try to see the shape of the object, and only then - how exactly the light falls on this shape.

COLOR MATCHING


The rainbow gives us examples of the pure colors that surround us in the world. The colors of the rainbow are in order: red-violet, red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue-violet, violet. When these colors are framed in a circle, we get a "color wheel". Color circle - necessary thing when matching colors.


The circle is positioned so that yellow, the brightest light color, turned out to be at the top, and purple, the darkest, was at the bottom. From top to bottom, on the right, are yellow-orange, orange, red-orange, red and red-violet. These colors are called warm.
From top to bottom, on the left side, are yellow-green, green, blue-green, blue and blue-violet. These colors are called cool.

Additional colors.


Any TWO colors opposite each other in color wheel are called COMPLEMENTARY colors. Red and green are complementary colors to each other, as they are located opposite each other on the color wheel. Yellow and purple are also complementary to each other. Yellow-green and red-violet are complementary colors. Complementary colors placed side by side on the canvas reinforce each other. Complementary colors when mixed on the palette neutralize each other. On this plate, complementary colors are at opposite ends of the scale opposite each other. If we move towards the middle on this scale, we will end up with a neutral gray color, the least saturated of all.

All colors have shades. Pure spectral colors in this picture are marked with letters.
So, how do we choose colors, keeping all of the above in mind?
We only need to answer these three questions.
1. What color will the color we need come from, where is this color located on the color wheel? (meaning the spectral color).
2. How intense is it? (the more we add an additional color to the color, the less saturated the color we need becomes).
3. Hue (how dark or light it will be).

Here's how it all works.


Paints are sorted by color on the palette.


We select the color, like a brown leaf.
The spectral color will be red-violet. White is added to match the hue. Yellow-green, complementary to red-violet, is added to reduce its saturation.


We select the color of the green leaf.
Spectral green. Cadmium green is ours base color. It contains a bit of yellowness, so we reduce its saturation with red-violet (quinacridone pink). Yellow-green and red-violet are complementary colors to each other.
White is added to refine the shade.


We select the color of the silver electrical tape.
The spectral color is blue. White is added to clarify the tonal saturation. Orange, complementary to blue, we add and get gray.


We select the color of a three-dimensional object. A piece of soap.


Let's pick the middle one first. The spectral color is yellow-orange. At all small amount additional blue-violet is added to reduce the intensity of the color. And a little bit of white.


To get light areas of our soap, add white to the resulting color of the middle. To get the color of the shadow, add another blue-violet to the color of the middle.


So, the colors of the soap are selected. Usually, to get the color of the shadow on the subject, you need to add an additional color to the main color of the subject. For darker shadows, use the main color of the subject, but with less white. In some cases, adding an extra color doesn't darken the color enough, that's when we add some black.

SHADOWS

Shadows create light. Shadows fall into three categories. The first is the shaded part of the subject, known simply as the SHADOW. The second is a falling shadow from an object, which is formed by the fact that the object obscures the light from the light source. The third category is the shadow of neighboring objects.


The shadow part of an object is a darker, less saturated version of its base color.
Direct light produces dark shadows. Diffused light produces less intense blurry shadows.
Reflected light in the shadow (reflex).


Light falling on an object from its environment is called reflected light or reflex. The color of the objects that surround our object significantly affects the reflected light. See the green reflected light in the left ball? Notice the reflected red in the middle ball. The color of the environment is an integral part of all shadows.


The light and shade saturation of the surrounding objects also affects the reflected light. The first ball just hangs in the air. The second ball also reflects the white surface. The third ball reflects a black surface. The light and shade saturation of surrounding objects is also an integral part of the shadows.

Falling shadows.

A drop shadow is always characterized by being darkest and most focused at the source of the shadow (the subject). Drop shadows are written in a darker, less intense color than the color of the surface they fall on.


The drop shadow color always contains complementary color to the color of the lighting and the complementary color to the color of the surface on which the shadow lies.
See the blue tint in the shadow of the subject that is illuminated by the orange light? And an orange tint in the shadow of an object lit in blue. In the shadow of an object illuminated with red light, there is a tint of green. And notice the red-purple hue of the shadow cast by the object illuminated by the yellow-green light.
Drop shadows are about shape and texture.


Drop shadows describe the environment of an object. On the left, the wall is defined by the falling shadow of the glass. On the right, the shadow indicates the presence of a mound.


The edges of the shadow determine the texture of the surface that the shadow falls on.
Grass on the left and mud with rocks on the right.

Drop shadows in direct and scattered light.




Direct light (left) usually comes from a single light source, such as the sun or a spotlight. It gives high contrast and rich dark drop shadows.
Diffused light is usually obtained from several light sources. It gives low contrast and fuzzy drop shadows.


Objects with little or no drop shadow are ALWAYS in ambient light, where they appear flatter and less textured.

Shadows from neighboring objects.


These are the dark shadows we see where objects touch each other. dark line all around closed door, the dark line under the coffee mug, the dark line between tightly clenched fingers - this is the shadow from neighboring objects.
It is relatively independent of the direction of illumination. These shadows in the shadows are usually the darkest places in the drawing.


The narrow dark strip under the cylinder on the left tells us that the objects are separated. The cylinder on the right is connected to its base.

CONTRAST

Let's use light and shadow together.

Contrast is the ratio of the lightest and darkest part of an object or its surroundings.

Tone scale.

Left is high contrast, right is low contrast.

When objects have high contrast, they appear closer to us. When the contrast is less, objects appear farther away from us. Those rocks in the distance seem to us located farther from us, their contrast is lower than the contrast of the rock closest to us.


The gradual saturation of objects with contrast makes them visually closer to us.


The distance can be determined from the contrast of the falling shadow and its surroundings.

Low contrast


Objects in ambient light have the lowest contrast.


Objects without a drop shadow are always in ambient light. If an object has a medium to dark tonal range, it should have a drop shadow.


If the object has a tonal transition from medium to light, then it will appear as if in a haze or fog.

CONTRAST CREATES A TYPE OF LIGHT. High contrast corresponds to bright lighting. Low contrast corresponds to ambient light, far distance, and haziness.

TEXTURE

Texture helps define what you see.

The texture is best seen when light transitions into shadow. On smooth objects, flare is a distorted display of the light source itself. The sharper the focus of this reflection, the smoother the surface of the object. Glass bottle has a smoother surface than aluminum, which in turn is smoother than candle wax. We know how these objects focus the highlight on themselves.

On objects without bright highlights, the texture is visible well and is determined by the transition from light to shadow.

These ten objects are arranged in order of their degree of texture.
Notice where your eye is immediately looking to appreciate the texture of an object.

We look at the transition of light into shadow to determine how textured an object is.

Texture in diffused light.

On the left - direct light, on the right - diffused.

Objects in direct light appear more textured than objects in ambient light.
The log and towel appear softer and smoother in diffused light. Objects appear less textured in ambient light because the transition from light to shadow takes longer.

GLAZING / GLAZING LAYERS

Glazing layers are applied over the dried paint.

Transparent layers of oil paint are called glazing. Translucent - these are layers of glazing. To obtain a glaze, the paint is diluted in a ratio of 1/3 Dammar varnish, 1/3 turpentine and 1/3 linseed oil. Glaze is a thin transparent layer of paint that is placed on another dried layer to get a shade of the third color. For example, if you put diluted quinacridone pink (clear color) on blue, you get purple. If you glaze exactly the same color, then you will strengthen it. Falling shadows on complex textures are often glazed. Glazing slightly darkens the color. (See the lesson "Paints" about transparency and haze).

This is glazing.

For example, the shell of a beetle needs to be greened.

Glazing liquid is mixed on a palette with cyan green (transparent color) until the desired degree of transparency is achieved.

Then the mixture is applied with a kolinsky brush to the drawing in a horizontal position. We leave to dry overnight. When using glazing, you can change the color of the drawing without changing the direction of the strokes of paint on the main layer.

Glazing is obtained by using a diluted matte color over the dried color of another paint. The glaze layer does not change color and is a translucent layer.

The paint is also mixed on a palette with a mixture for glazing and applied to a horizontal surface with a kolinsky brush.

Hello, friends! Today in the gallery I decided to post free lesson creating a bouquet of flowers with oil paints. Or in other words: master class how to paint flowers with oil.

Before us is the final picture with spring flowers in a vase, that is, what we should get at the end of the lesson.

So let's get started. Let's take a canvas.

In this case, I used a canvas that was not stretched on a stretcher. But this does not affect the result at all. So it doesn't matter whether the canvas is stretched on a stretcher or not - the main thing is not to look for excuses, but without fear to take up painting a vase of flowers with oil paints.

The picture shows that I took a brush and without thinking I painted over the entire canvas with oil paint. Moreover, oil paint should be well diluted in thinner or white spirit.

In the next picture, I decided to finalize the background spot of our future floral masterpiece and added oil paint. What happened - you see for yourself.

Then I made a rough outline of our future vase and roughly drew the location of the green leaves of our bouquet of flowers. This is an approximate location - so you can safely experiment in this place.

This picture is not much different from the previous one. However, if we take a closer look, we will see that a glare has appeared on the vase (a bright spot in the upper part of the vase). There was also a shadow from the vase. From this was created pleasant impression that the vase "stands" on the plane of the table. I also decided to add the dark end of our table on which the vase is placed (at the very bottom of the picture).

The image of our future is already beginning to take shape. flower painting in a blue vase. However, we do not stop there, we continue our free master class: How to draw a bouquet of flowers with oil.

What kind of flower picture can be without the flowers themselves - you say. And then the flowers begin to appear.

Moreover, before applying our flowers to the canvas, we first remove excess paint in those places. As you can see in the picture, we are removing some of the foliage. And we apply our future beautiful flowers.

In this picture of our master class, we have all the main flowers. And the picture already looks very nice :-)

But we do not stop at this one and continue to draw further on our bouquet of flowers in a blue vase.

This picture shows me starting to add the green leaves of our flower bouquet.

The main green leaves are drawn. Also, a few leaves fell on the table near our blue vase with a bouquet.

And finally the final stage. This is the final image of our flower bouquet in a blue vase. As you can see, I decided to add a few more flowers to our bouquet. Namely, 2 medium-sized yellow flowers and many small blue flowers. This caused more petals to attack the table. They also had to show :-)

It seems that our today's master class has come to an end:.

I want to add one more image for you for clarity:

This is an enlarged fragment of our bouquet of flowers, or rather yellow flower. As you can see oil paint is not to be spared in creating a painting.

And if I haven’t really tired you with my master class yet, then I will show you my working palette.

This is what my palette looked like when we completed our master class: How to draw a bouquet of flowers with oil.

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 took oil paints in the hands of a few years ago, and not to 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.