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10 Bite Sized Oil Painting Projects: Book 1 Practice Colour Mixing and Technique via Landscapes, Animals, Still Life and More

10 Bite Sized Oil Painting Projects: Book 1 Practice Colour Mixing and Technique via Landscapes, Animals, Still Life and More

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10 Bite Sized Oil Painting Projects: Book 1 Practice Colour Mixing and Technique via Landscapes, Animals, Still Life and More

Panjangnya:
127 pages
46 minutes
Dirilis:
Sep 15, 2016
ISBN:
9781370152506
Format:
Buku

Deskripsi

What does the artist paint after receiving a set of oil painting materials?

A challenging project may not be sought after, merely simple exercises to get the wheels turning. Such projects may require a few hours to complete and entail basic art materials.

This is where this book comes in.

Find 10 straightforward oil painting demonstrations on skies, landscapes, fruit, vegetables, animals, colour-mixing and sources from old masters. Each demonstration lists the art materials required and a project overview describing an introduction to the project, project features and challenges. Step by step images and in depth instructions follow, guiding the artist from start to finish.

Simple compositions permit ample focus upon colour use and technique. And each project can be completed within two hours or so.

A guide on the art materials and the preparatory processes are supplied within the back of this book to prevent duplicate subject matter showing within preview. As can be seen, a blank art surface need not get in the way of practicing oil painting. With 360 colour images.

Note: The demonstrations within this book are now available within a 3 book in 1 compilation entitled: 30 Bite-Sized Oil Painting Projects on 6 Colour Themes.

Dirilis:
Sep 15, 2016
ISBN:
9781370152506
Format:
Buku

Tentang penulis

I have practiced oil painting from the age of six and have since been involved in countless projects and commissions. A graduate from Kingston University, Surrey and with a PCET teaching qualification from Warwick University, I have won competitions, taught life drawing and have written several books and many articles on oil painting and teaching art.


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10 Bite Sized Oil Painting Projects - Rachel Shirley

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Introduction

A SET OF OIL COLOURS and associated art materials may have been salvaged from a forgotten cupboard or a new set may have found a new home. The urge to experiment with oils may spur the artist to give them a try, but a blank art surface may get in the way of embarking upon an oil painting.

What does the artist paint?

My view is the oil paints need to be used, the brushes need to be worn down and the art surface needs to display a layer of oil paint that depicts a scene.

Photos and images might be in abundance, but few may spur the artist to fulfil the art kit’s intended purpose. The composition might be unbalanced, out of focus, lack a focal point or simply not inspire.

A challenging project may not be sought after, merely several simple exercises to get the wheels turning. Such projects may require a few hours to complete and entail basic art materials.

Sample step by step images within this book.

This is where this book comes in.

Find 10 straightforward oil painting demonstrations on skies, landscapes, fruit, vegetables, animals, colour-mixing and sources from old masters. Each demonstration lists the art materials required and a project overview comprising an introduction to the project, project features and challenges. Step by step images and in depth instructions follow, guiding the artist from start to finish.

The compositions are simple, permitting ample focus upon colour use and technique. And each project can be completed within two hours or so.

A guide on the art materials and the preparatory processes are supplied within the back of this book to prevent duplicate subject matter showing within preview. As can be seen, a blank art surface need not get in the way of practicing oil painting.

Exercise1: Exploration of Blue

Lavender Fields 10x10in

Project Overview

Art Materials: primed board, red acrylic paint; oil paints: titanium white, phthalo blue, viridian, permanent rose, burnt umber, burnt sienna and cadmium yellow. Wide and medium bristle brushes; fine, medium and wide sables.

Time needed to complete: Around 2 hours.

Techniques: stippling and blending.

Preparing and applying the red underglaze via diluted acrylic paint prior to the oil painting.

This opening project features lavender fields, the ideal opportunity to explore blues in painting. Like all the demonstrations within this book, the oil paint has been applied in one layer, known as alla prima. Basic art materials have been used within a manageable time frame. The scene depicts a large portion of blue as well as strips of warm colours in the distance. The challenge lies in expressing the subtle variation in blue within the landscape, as well as suggesting a receding landscape via lines that converge.

Project Features

Using complementary colours.

Working brush-marks in various directions to imply textures, such as foliage and lavender fields.

Expressing perspectives via lines that converge into the distance.

Implying distance by muting colours with white and/or neutral colours.

Retaining a fresh feel, echoing of Impressionism by employing bold, fresh brushstrokes without expressing detail. Parallel lines receding into the distance needs to converge in a manner that suggests depth and makes sense.

Challenges

Blues of the lavender field must be suitably muted to convince. An overpowering blue mix including too much phthalo or ultramarine blue could create a garish outcome.

The likelihood of dirty colour mixes resulting from the meeting of complementary (opposing) colours such as violet and yellow within adjacent fields.

Overworking the paint by over-fiddling can rob the painting of freshness, a feature of alla prima.

1 The art board had received a glaze of red acrylic paint, thinned with a little water. (Applying such an underglaze is explained fully at the back of this book). Here, I applied two coats for an almost solid colour. Once the underglaze was dry, I began the oil painting. With a medium sable, I rendered the preliminary marks of the lavender fields via phthalo blue, a little permanent rose and white. Notice how the blue shimmers against the red acrylic underglaze, as red and blue are opposing colours.

2 I continued to work this uneven mix of colours along the rows of lavender converging in the distance. Additional white was applied upon the ridges to suggest an overhead light-source.

3 With a separate narrow sable, I applied burnt umber and a little phthalo blue into the furrows between the bands of lavender. I dragged the dark colour into the adjacent blues in order to blend out the shadows between the furrows,

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