Oil painting layer should as far as possible to use a method of painting. Only in this way can get the vivid feeling, because the sketch and work with the white paint mold physique, has done on the background layer, so can not constrained to show color effects. Resin containing fat light oil painting or increase in heavy oil of turpentine oil especially for Venice. Began with a transparent color of semi-dull first "thin coating" (frottie) is good, at least for each color with a bit of white pigment in order to avoid cracks, and then use a method of painting vividly painted with all kinds of color, will be completed or partially completed. Roman doria gallery with your picture on the venezuela's "Pope the northern x." portrait, is extremely excellent showing an example of this technique. Picture in opaque resin color seems to be drifting in the impression, colour is concise, thick solid color.
Oil painting "the Pope ino, x. the oil portrait, the painter: velazquez
Oil painting "the Pope ino, x. the portrait, the painter: velazquez
Clearly, completely with transparent painting color may be very bad, because the picture will lack of normal color has attractive characteristics. With transparent color should always be seen as a way to achieve a particular purpose, and should not be treated with transparent color as purpose.
Oil will be the base layer brushed again in the above picture, it is not advisable. Resin of high transparency and oil free characteristics, can produce better results.
Solvent such as bitter with turpentine or balsam oil to dissolve the base layer to the surface of the painting, then with a rag or brush, mixed form soft blending effect, this kind of practice is very harmful. This painting will quickly become dark or black is not surprising, because of some underlying have been harmed.
Covering layer (layer 1) at least far somewhat smoother than the background layer coating. Like poppy oil, flax seed oil, walnut oil even such as the fat can be used with resin light oil. According to the law of the ancient technology "thin" fat cover, cover with paint must be better than the base layer a little "fat" (oil).
On the background layer is very thick color should be scraped off, to what extent, depends on the characteristics of the work. Many artists in order to make the color hazy, used to scrape and scribble. Surface with grinding materials will be smooth like the above approach, is harmful to the surface adhesion force. Use alkali wash with water, and even is equally dangerous.
The foregoing content on a painting method, usually applies to cover illustration, especially in the final decisive naturally draw portion of light and dark, can make the painting vivid and fresh.
Preliminary sketches and body shaping the more the better, clear, covering the work more quickly, fresh and full. To repeat it again, as the final effect of the transparent color improper use will damage to the painting.
Keep in mind that should pay attention to in the first place with the light and shade mold physique. According to personal preference, this model may be varied. So it is possible that some painters like slightly inherent with white to carry bright color, and other artists may use light grey constitute his sketches, or green with a certain color, such as soil to draw sketch, etc. A lot of methods are available, as long as remember this basic principle: the underlying to light, and moderately present form, the upper is colour, and the enhancement of body shaping.
If the color too thick layer, and the effect can use overlapping strokes light grey (or contrasting colors, such as skin color in green) to improve the human body shape too similar processing can also be used to abate. Had better let brush vertical cross, because it can produce flat instead of stereoscopic effect. This part also fully dry before further coverage