Learn The Secrete To All Painting Styles With These Basic Painting Tutorials
These basic lessons comprises of:
Click any above listed links to read more on it.
Distance and Texture is Your Last Exercise
In this exercise we explore form as it appears in heavily textured subjects and the way colors change as they are seen at different distances.
Distance Changes Colors
As the same colors are seen at different distances they change. When matching colors on your palette you will see that all colors acquire their complements when they are seen farther away.
Even in this short distance the middle reds of the tomatoes are different. The farthest one has the most of its complement (green) in it making it look farther away. Also the green tablecloth as it recedes has its complement (red) mixed with it.
Here the intensity of the colors of the leaves creates the impression of near and far. The most intense colors are always in the foreground.
Look For Texture Between Light and Shadow
Textures are most clearly defined at the transition of the light to the shadow. On smooth objects the edge of the highlight defines the degree of smoothness. On rough objects the change from light to dark defines the texture.
Spheres and cones from smooth to rough, the value shapes within the forms create the illusion of three dimensions.
With these things in mind we paint this subject.
The basic shapes and angles are drawn with thinned white paint on a toned canvas.
Landscape paintings begin with the things farthest away in this case the values of the sky.
The three values of the clouds are blended with a Flat and Filbert sable brushes, to create the softest textures.
The ocean values are put in. As colors recede they become less intense so the blue ocean at the horizon has more orange in it than the blue ocean in the front.
All receding colors become less intense. Their complements are added as their distance is increased.
The grass in the distance is the same color as the grass in the on the hill but because it’s farther away it is less intense. The yellow-orange of the grass has its complement, blue-violet, added as it is seen farther away.
Texture begins. The edge of a Flat brush is used to begin the grass.
The darks of the trees are placed first here to further define the drawing. The edge of a Flat bristle brush is used.
Next the lights are placed.
The middle values complete the form.
The lights and darks for the foreground grass are put in.
And the middle value completes the form. Notice the change in intensity of the grass colors in the distance, on the middle hill and in the foreground.
This is the first layer of paint. Oil paint is well suited to working in layers if you want to improve an area or add something else, wait three days for it to dry before adding new paint.
With your review of the basic information and the completion of these four exercises you should have enough different types of painting experiences to be equipped to paint anything you want. So what are you going to do? You can send me a photo if you like.
The Credits Of The Tutorial Goes To: Bill Martin
In this exercise the colored toys provide bright simple forms to practice mixing three values of colors. When you see a colored object you are seeing many values of that color. Because the first step is always simplification, we reduce the values to three, a light, middle and a dark. When these are blended many values are made. Of the three values the middle value is usually the closest to the actual color of the object. The dark is usually the middle value color with its COMPLEMENT added. The light value is the middle value color plus the color of the light, usually white. Highlights, the bright spots of light, are distorted or blurred pictures of the light source.
All forms begin as three values. Shiny forms will also have a highlight.
The dark value will usually have the complement of the middle value added.
Lay out your colors on your palette in this order. On the edge farthest from you, put your white on the left. As a right-handed painter you will have to reach the farthest to get to the white thus reducing the degree of contamination from neighboring colors. Next is cadmium yellow light, then cadmium yellow, cadmium orange, cadmium scarlet, cadmium red, Quinacridone rose, dioxazine violet, French ultramarine blue, thalo blue, thalo green, cadmium green and cadmium green pale. Black may also be added but is so rarely used it is put out only as needed.
If you are using the minimum palette of colors, lay them out as white, cadmium yellow, cadmium orange, cadmium red, Quinacridone rose, dioxazine violet, ultramarine blue and cadmium green. The intermediate colors such as yellow-orange or blue-violet will have to be mixed when needed.
With these things in mind we will paint these toys.
The drawing is made with white paint that has been thinned down.
Starting with the teapot put in the light value first. The blue is a mixture of French ultramarine and thalo blue. For the light we just add white.
Next we put in the dark. The dark is the middle value blue with the addition of blue’s complement, orange. A deep dark is needed so no white is used. In all cases a color’s complement is added to the shadowed part of the object.
The middle value is the true color of the object.
The values are blended with parallel strokes and the illusion of form is created.
Next are the yellows. Three values of yellow are created. The spectrum color is pure yellow. The middle value is Cadmium yellow light with a little white. The light value is the middle value with more white added. Shadows always contain the complement of a color thus the dark is Cadmium yellow pale plus its complement Dioxazine violet. The light value is placed around the highlight. The highlight is a distorted picture of the light source as it is on all shiny objects.
The dark is next. The sequence of light, dark and middle is used. Light is used first to minimize contamination from the wet paint. Dark is next because it is easy to see. The middle value is last and unifies the form.
If an area it is not light or dark it has to be the middle value.
Parallel and curved brush strokes are used for the blends.
Red-red-violet is the spectrum color for the monkey. White is added for the middle value.
More white is added for the light value. The shadow color is the red-red-violet plus its complement yellow-green.
The dark value is placed.
The middle value fills in everything else and is blended.
The colors for the bell lyre are violet-blue-violet with a trace of its complement, yellow, plus white. The mixture is already dark so white is added for the middle value. More white is added for the light value.
The penguin’s feet are orange-yellow-orange with a trace of blue. White is added for the light value. More blue is added to the middle value to make the dark value.
The black for the penguin is actually blue with orange added. Additional white is added for the penguin’s belly values and for the teapot’s top and bottom.
The values are blended.
The background values are placed. Three values of white with yellow and violet will create the flat receding surface of the floor. One value of white with more violet and yellow added creates the back wall that is parallel to the canvas.
The values are blended.
Last the cast shadow values are placed. The color of a cast shadow is the complement of the color of the light. The orange (with some blue) cast shadows indicate a cold light.
The blends finish the painting.
So now you have learned to mix your colors. You know how to create shadow colors and highlight colors and all the transitions in between.
The Credits Of This Tutorial Goes To: Bill Martin’s
Seeing Values Within Colors is Important
In this exercise the colors are seen only as lights and darks (or values). This painting will teach you to paint more complex forms than the previous exercise and it will teach you to see a color’s value. Print out the source photo or create a colorful still life of your own to paint from.
Value is the relative lightness or darkness of a color.
A color’s values create our perception of three-dimension.
Because we create form by first dividing a color into it’s light, middle and dark values it is important to recognize each color’s values.
For identifying particularly difficult color values a VALUE SCALE is useful.
The value scale is placed over the questioned color.
You then determine which value it isn’t. Clearly the value of the blue is not # 9 or # 1. It’s not #’s 8,7 or 6 because the blue is darker than these. The true value of a color will be between too light and too dark on the value scale. The blue is lighter than #2 and darker than # 4. Its value is #3.
Which is too light and too dark here? (It’s a #7 value)
With these things in mind we will paint this subject. Using only black and white mix several values of gray on your palette.
The drawing is made with thinned white paint on a toned canvas. White is used because it will create the least contamination of subsequent colors. The drawing should remain simple because a complex drawing would soon be painted over and lost.
The pure white patches are the highlights. They are put in first here to keep them as clean as possible. The highlight on a shiny object is a distorted picture of its light source. The light value for this pepper is placed around the highlight and wherever else the light value appears.
Next the darks are placed.
If it’s not the light and not the dark it’s the middle value.
The middle and light values are blended with a Flat brush.
The pepper is blended using parallel and curved strokes with Flat bristle and Flat sable brushes.
The first pepper was the lightest in value. This second pepper is the darkest in value. In the three values we use for this darker pepper the light value is the same as the middle value of the first one. Once again the light value is placed around the highlight.
The darks are put in. They are darker than the darkest darks of the first pepper.
The middle values are put in wherever the lights and darks are not. A Flat bristle brush one inch wide was used.
The blends are mostly made with curved brushstrokes using a Sable Flat.
The right hand pepper is a value between the first two. Each of these peppers has its own set of three values.
The cabbage is begun. Its value shapes establish the form first.
The cabbage is loosely blended to strengthen the illusion of three-dimension.
The texture of the cabbage leaves is then established working wet paint into wet paint. This is one of the advantages of a slow drying paint.
The other cabbage is a different set of three values but it has the same form.
The texture is applied to the second cabbage using wet paint into wet paint.
Cast shadows are the absence of light so their values are dependent on the surface value and the strength of the light. Bright light makes dark shadows.
The background cleans up the edges.
Thus you have seen the importance of the values within the colors and how they alone create the illusion of form. Plus you have used the paint in new ways.
The Credits Of This Tutorial Goes To: Bill Martin’s
OIL PAINTIN OVERVIEW
What is Oil Paint? Oil paint is a type of slow-drying paint that consists of particles of pigment suspended in a drying oil, commonly linseed oil. The viscosity of the paint may be modified by the addition of a solvent such as turpentine or white spirit, and varnish may be added to increase the glossiness of the dried oil paint film.
Oil Paints comes in tubes and can be mixed on a palette with palette knife to get another colour, it can then be applied to a surface or space using stiff brushes. Oil Paints can be used on Canvas, Panel, Board or any other suitable surface.
Oil Paints provides room for modification due to its slow drying time. It dries through oxidation and this may take up to three days, the slow drying time has its advantage and disadvantage, the advantage is that it gives room for modifications like, cleaning, blending, and adjusting expecially when making gradual transition from one colour to another. It can be cleaned with rag, palette knife, or any other suitable materials.
The disadvantage of oil paint slow drying time is that colours can smear into each other if not apllied appropriately.
Oil Paint can carry many layers of application, you just have to let one colour dry for at least three days before applying another. Modification can be made sevral times on a layer before applying another. New layer must be thicker than the previous layer to avoid the painting from cracking after drying.
DRAWING: A complex drawing is quickly lost when the oil colors go on, so simple shapes and contour lines make the“ best drawings for oil paintings.
The drawing may be made directly on the canvas or it can be prepared before and transferred to the canvas.
When drawing directly on the canvas, PAINT that has been thinned with thinner is the best. Because it is paint, it doesn’t need to be isolated from subsequent colors.
CHARCOAL can be used for drawing on the canvas. The charcoal drawing must be isolated from the paint layers with FIXATIVE. Vine charcoal is easier to seal with fixative than compressed charcoal.
The drawing can be made with a PENCIL on the canvas. This must be sealed with FIXATIVE before the colors go on. A pencil’s point (if pushed too hard) can make small cracks in the gesso so a thin transparent layer of gesso may need to be applied to re-seal the canvas. If gesso is used in this way the fixative is not necessary.
A drawing that is going to be TRANSFERRED to a canvas is best done on thin tracing paper because the transfer will be clearer. Tape the drawing to the canvas. Transfer the drawing using carbon paper. Draw over your drawing with the carbon paper beneath it. Use a contrasting color ballpoint pen so you can see where you’ve already drawn and to get a consistent line size. The carbon transfer should also be separated from the paint layer with fixative or a thin transparent layer of gesso.
BLEND: A blend is the gradual transition from one color to another. Oil paint, because it takes time to dry, allows you to move the wet paint around on the canvas. This makes it easy to do the thing most difficult to do with other types of paint, the blend. All brushes will blend oil paint. Flat brushes are best and rounds the worst. The principles are the same for large and small blends.The colors are mixed on the palette and applied in their approximate location on the canvas. The brush is then dragged back and forth in a crosshatch stroke between two values until a satisfactory transition is made. Parallel strokes are then used to refine the transition of values. A clean brush is used for the dark to middle and another clean brush for the light to middle.
(A) In a blend the brush strokes are ALWAYS perpendicular to the light. In a circular blend the brush must rotate to remain perpendicular to the light so curved brush strokes are used.
(B) The placement and size of value shapes within a blend create the contour of the surface. Note the value placements for flat surfaces on the left and curved surfaces on the right.
MATCHING COLOURS: A rainbow gives us pure examples of the basic colors of the visible world. The rainbow’s colors are, in order, red-violet, red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue-violet and violet. When this order of colors is formed into a circle we have the COLOR WHEEL. The color wheel is an essential tool for matching colors.
Mixing Skin Tones
Mixing skin tones doesn’t have to be hard. In fact, mixing skin tones is easy! All you have to do is remember this-“Red, yellow, brown, and white-that is how you mix your skin tones right.” It’s true, just about every skin tone in the world can be made by mixing a combination of these colors. Watch the video below and see.
There are so many websites and books out there that make mixing skin tones overly complex. Many websites that I’ve seen say that you have to have about 7 or 8 different colors to mix a good flesh tone. That’s absurd! No wonder so many people run into problems when they are mixing skin tones.
Practice mixing your skin tones first, and then you can move on to more advanced concepts involving skin tones. For example, you may play a bit with complementary colors to create a dynamic contrast between highlights and shadows. Adding cool colors to the shadow areas adds to the natural illusion of light. When you are learning however, just remember the saying-“Red, yellow, brown, and white- That’s how to mix skin tones right.” You can’t go wrong with that.
The following video art lesson shows you how to mix skin tones using red, yellow, brown, and white.
Credits Of This Article Goes To: Matt Fussell
Photo transfers are also called “acrylic transfers” or “gel medium transfers”. No matter what you call them, the outcome is the same. The process is easy and the resulting effect is quite nice.
The process of creating an acrylic transfer is straight forward. Virtually any image can be used but those with high contrast seem to produce the best results. (You can edit the photo in any photo editing software to increase the contrast or make adjustments on a copy machine.)
An acrylic transfer can be a great way of creating visual art on its own or by adding interest to a painting or drawing. It’s also a popular technique for those interested in creating unique pages for scrap-booking.
Photo transfers can be created on almost any surface that will accept acrylic paint and virtually any image that can be photocopied can be transferred. Heavier papers or rigid surfaces work the best – watercolor paper, illustration board, masonite, and canvas are all popular choices. Wood can also be used.
An acrylic transfer basically takes the ink from a photocopied surface and makes it a part of the acrylic on a new surface. The resulting effect is a dream-like or “mysterious” work of art. Additional applications of media can be applied over the image for further embellishment, if so desired, since the image is now essentially embedded into the “painting”.
You will need a few supplies in order to create an acrylic transfer. First, you will need a surface to work on. This can be any surface that will accept acrylic paint. As mentioned before, Watercolor paper and canvas work great. You will also need acrylic gesso, brushes, acrylic medium gel , a photocopied image, and acrylic paint.
Cover the surface with gesso first and let it dry. This is completely optional, but I’ve found that the gesso makes the surface sturdier and accepts the medium a little easier.
You may want to add some color to the surface. You can do this with acrylic paint. You can consider the color relationships as you add the color. I am going to go with a primary scheme in this case, starting with a yellow application first. A few areas are enhanced with a bit of Raw Umber.
Before this layer dries completely, the end of the brush is used to create a few textural marks.
Additional applications of color are added and embellished with the handle of the brush.
The applications of acrylic paint are allowed to dry completely before applying the gel medium. While waiting for the paint to dry, the photocopy can be prepared if so desired. In this case, I’ll tear the edges to create a broken edge.
When the acrylic paint has dried, gel medium is brushed on using a generous application to areas in which the image will be transferred.
While the surface is still wet, the photocopy can be laid over the gel medium with the ink facing the surface. Pressure is applied to remove any air bubbles or wrinkles.
To ensure a good transfer, a brayer is used over the photocopy. If a brayer is not available, a wooden spoon will work just as well.
Let this area dry completely. It is suggested to let the transfer sit for at least an hour. You may use a heat gun or a hair dryer to speed up the drying time if you wish. When dry, the paper can be removed from the ink by spraying water on the surface and rubbing the wet paper with a wash cloth.
You may find that after the transfer has had a bit of time to dry, some white spots will appear where the paper was not removed completely. These areas are easily removed with a bit of water and additional scrubbing with the cloth.
In this example, I’ll tear the edges of the finished work to create a broken edge.
The finished work can be “floated” within a frame so that the torn edges are visible.
The Credit Of This Tutorial Goes To: Matt Fussell