Tips on Oil Painting - Advanced Palette
In this article I will discuss the tube colors belonging to an advanced palette based on a basic 6-color palette. I find these colors the most useful and often necessary to round out a versatile palette.
The 6-color basic palette consists of the following colors:
1. Lemon Yellow
2. Cadmium Yellow
3. Cadmium Red
4. Permanent Rose
5. French Ultramarine
6. Phthalo Blue
To these 6 colors we, of course, add
7. Titanium White
8. Ivory Black
Note that you can already create amazingly diversified paintings with the above palette. But, for various reasons, artists tend to add a variety of other colors to their palette. One reason is that tube colors are, by and large, always brighter than mixed colors. Other reasons have to do with the tinting strength or the undertone of certain tube colors. Or, maybe just because a certain tube color looks particular good to the artist and can not easily be mixed.
Here are a number of tube colors I like to work with beyond the ones already mentioned:
* Burnt Sienna - Burnt Sienna is a warm, orange-red, and transparent brown. This brown is a medium-to-fast drier and has a medium tinting strength. Mixed with Lemon Yellow it yields a clean orange-brown.
* Cerulean Blue - Cerulean Blue is a cool, green leaning, and opaque blue. This blue is a medium-to-fast drier and has a medium-to-low tinting strength. Mixed with Lemon Yellow it yields a spring green.
* Cadmium Orange - Cadmium Orange is a warm, red or yellow leaning, and opaque orange. This orange is a slow drier and has a high tinting strength. Mixed with Permanent Rose it yields a sharp hot orange.
* Cadmium Yellow Light - Cadmium Yellow Light is a warm/cool, somewhat green leaning, and opaque yellow. This yellow is a medium-to-slow drier and has a high tinting strength. Mixed with Cadmium Red Light it yields a bright orange.
* Cadmium Red Light - Cadmium Red Light is a warm, orange leaning, and opaque red. This red is a slow drier and has a high tinting strength. Mixed with Cadmium Yellow Light it yields a bright orange.
* Yellow Ochre - Yellow Ochre is a warm, brown leaning, and opaque yellow. This yellow is a medium-to-fast drier and has a medium tinting strength. Mixed with Cadmium Yellow it yields a glowing sandy color.
* Burnt Umber - Burnt Umber is a warm, red leaning, and fairly transparent brown. This brown is a fast drier and has a medium-to-high tinting strength. Mixed with Cerulean Blue it yields a series of colors from green-gray to green-brown.
* Viridian - Viridian is a cool, blue leaning, and transparent green. This green is a medium drier and has a medium tinting strength. Mixed with Burnt Sienna it yields a nice fall green.
* Cobalt Blue - Cobalt Blue is a cool, violet leaning, and semi-transparent blue. This blue is a fast drier and has a low-to-medium tinting strength. Mixed with Permanent Rose it yields a glowing violet.
There are few more colors I use occasionally, such as Dioxazine Purple, Permanent Sap Green, Raw Sienna, and Raw Umber. But the palette here described has more than enough colors in it to paint just about anything as long as you also use mixtures of these colors.
Showing posts with label Arts. Show all posts
Showing posts with label Arts. Show all posts
Friday, November 7, 2008
Tips on Oil Painting - Painting Edges
Tips on Oil Painting - Painting Edges
The proper use of edges in your oil paintings is very important. They are, in fact, crucial in bringing your painting subject to live and make it stand out. There are many ways you can use edges to enhance your oil paintings. Here are some of them:
* Degree of Hardness - The proper implementation of edges can be used to express the degree of hardness or softness of objects and subjects.
* Degree of Roundness - How you manipulate edges is also important in reflecting the degree of roundness and sharpness of objects and subjects.
* Directional Indicator - Edges are an excellent help in mapping your painting. That is, they can be used to lead the viewer’s eye around the painting and ultimately to the focal point or area.
This can be done in such a manner that the viewer is hardly aware of the manipulation. In the West, people’s eyes enter a painting from the left. So, here is an opportunity to design your composition on the left as an invitation to enter your painting. From there, edges and forms can be used to lead and guide the viewer further into the painting and to the focal point. On the right of the focal area your composition should be designed to lead the viewer’s eye back around to the focal area.
Of course, you are always free to break these sorts of rules if you have an interesting reason to do so. Also, be aware that in the East people enter a painting from the right. So, in the end, you are somewhat faced with a dilemma but this is not something you need to worry about.
In real life most edges look soft because our eyes are constantly moving which has the effect of blurring edges. An edge will only assume its sharpness if we specifically focus on it because when we focus the eye comes to rest.
Therefore, it is best to keep the edges soft in general unless you want to draw attention to a certain feature. Because the focal area is the area where you wish the viewer to pay the most attention it is only natural that in that area you may want to include a number of sharp edges.
The other situation in which to use a sharp edge is when you want to make a certain feature appear to advance, i.e., to make it come forward relative to its neighborhood.
However, in general, avoid excessive use of hard edges because they work against the creation of realism. That is, too many hard edges will detract from the realistic illusion of your painting. On the other hand, a painting totally devoid of hard edges tends to look uninteresting and dull because it tends to reduce to whole painting to an even undifferentiating scene. So, the solution is to put in a few hard edges but not too many.
Then there is also the subject of the so-called lost edges. These are very interesting edges that can add a lot of interest to your painting. These edges are usually applied when two neighboring shapes have the same value.
The whole idea of a lost edge starts with a visible edge and when this edge enters an area of equal values it becomes invisible or gets lost. Further down, the edge reappears where the values of the neighboring areas start to diverge again.
The eye has a natural tendency to fill in the lost edge. The use of lost edges is artistically very powerful and should be part of your repertoire of tricks. Allowing the colors of one form to work themselves into the neighboring planes of equal value is a delightful way to loosen up a painting and make it visually dynamic. Note that a painting for some reason, as it progresses, has a tendency to tighten up, i.e., to become mechanical.
In conclusion, there are three types of edges: the soft edge, the hard edge, and the lost edge. Most of the edges are on the soft side. Hard edges should be used sparingly with the intent of attracting attention or to advance certain features. The lost edge is usually used where values of neighboring forms become equal. They serve as a way to loosen up a painting.
The proper use of edges in your oil paintings is very important. They are, in fact, crucial in bringing your painting subject to live and make it stand out. There are many ways you can use edges to enhance your oil paintings. Here are some of them:
* Degree of Hardness - The proper implementation of edges can be used to express the degree of hardness or softness of objects and subjects.
* Degree of Roundness - How you manipulate edges is also important in reflecting the degree of roundness and sharpness of objects and subjects.
* Directional Indicator - Edges are an excellent help in mapping your painting. That is, they can be used to lead the viewer’s eye around the painting and ultimately to the focal point or area.
This can be done in such a manner that the viewer is hardly aware of the manipulation. In the West, people’s eyes enter a painting from the left. So, here is an opportunity to design your composition on the left as an invitation to enter your painting. From there, edges and forms can be used to lead and guide the viewer further into the painting and to the focal point. On the right of the focal area your composition should be designed to lead the viewer’s eye back around to the focal area.
Of course, you are always free to break these sorts of rules if you have an interesting reason to do so. Also, be aware that in the East people enter a painting from the right. So, in the end, you are somewhat faced with a dilemma but this is not something you need to worry about.
In real life most edges look soft because our eyes are constantly moving which has the effect of blurring edges. An edge will only assume its sharpness if we specifically focus on it because when we focus the eye comes to rest.
Therefore, it is best to keep the edges soft in general unless you want to draw attention to a certain feature. Because the focal area is the area where you wish the viewer to pay the most attention it is only natural that in that area you may want to include a number of sharp edges.
The other situation in which to use a sharp edge is when you want to make a certain feature appear to advance, i.e., to make it come forward relative to its neighborhood.
However, in general, avoid excessive use of hard edges because they work against the creation of realism. That is, too many hard edges will detract from the realistic illusion of your painting. On the other hand, a painting totally devoid of hard edges tends to look uninteresting and dull because it tends to reduce to whole painting to an even undifferentiating scene. So, the solution is to put in a few hard edges but not too many.
Then there is also the subject of the so-called lost edges. These are very interesting edges that can add a lot of interest to your painting. These edges are usually applied when two neighboring shapes have the same value.
The whole idea of a lost edge starts with a visible edge and when this edge enters an area of equal values it becomes invisible or gets lost. Further down, the edge reappears where the values of the neighboring areas start to diverge again.
The eye has a natural tendency to fill in the lost edge. The use of lost edges is artistically very powerful and should be part of your repertoire of tricks. Allowing the colors of one form to work themselves into the neighboring planes of equal value is a delightful way to loosen up a painting and make it visually dynamic. Note that a painting for some reason, as it progresses, has a tendency to tighten up, i.e., to become mechanical.
In conclusion, there are three types of edges: the soft edge, the hard edge, and the lost edge. Most of the edges are on the soft side. Hard edges should be used sparingly with the intent of attracting attention or to advance certain features. The lost edge is usually used where values of neighboring forms become equal. They serve as a way to loosen up a painting.
Art Materials and Tools: Drawing - Pencils
Art Materials and Tools: Drawing - Pencils
Drawing is probably the most immediate of all art forms. It allows you to put down your observations instantly. In addition, all you really need to draw is a pencil and a sheet of paper (even a napkin will do). So, drawing is to the arts what boxing is to sports. You just come to the party with your skills and not much else.
Unfortunately, drawing is also one of the more demanding art forms and it takes a lot of practice to become really good at it. However, drawing is a real basic art form, i.e., it is a prerequisite to learning many other art forms such as painting and sculpting.
Above all, drawing is an excellent vehicle for learning to see the world as it "really" is. It is a way to overcome the often greatly simplified memories of everyday objects we have stored in our brains since childhood. These simplifications are necessary and important for a human to function normally. It would indeed be maddening if we needed to recall every detail of an object before we could recognize it. Unfortunately, to give a pleasing artistic and particularly a realistic rendition of objects on a piece of paper, these ingrained memories or schemas are not sufficient and are generally far removed from reality. Just have a look at how children draw the sun or a tree.
Finally, drawing also allows you to put your own interpretation on your observations and ultimately lets you produce your very own art.
In this article we will discuss the various pencils used by the professional artist.
1. Graphite Pencils
Graphite pencils are the most direct and simplest of drawing tools. They are made from graphite and come in grades from very hard to very soft:
9H 8H ... 2H H F HB B 2B 3B ... 8B 9B
Hardest Softest
The F-pencil is somewhat of an odd duck in the series. It produces a fairly fine line and is often used to draw hair. The HB-pencil separates the hard pencils from the soft ones. In practice, you do not really ever use all 22 grades. I personally use mostly a 3B, a 5B, a 9B, and an F. For really fine lines I sometimes use a 2H pencil. But this is more of a personal preference and you should make your own choices.
Pencils do not cost much, so buy the best you can find. It is more than worth it. A good graphite pencil currently cost about a dollar.
2. Graphite Sticks
Graphite is also available in sticks. These sticks are usually wrapped in a plastic film. They are graded just like ordinary graphite pencils as we explained in Section 1. They are ideal for large-scale projects. They are also inexpensive so don’t be stingy and buy the best.
3. Colored Pencils
Colored pencils cannot be blended and must be built up in layers. Blending is achieved by putting one transparent layer of color on top of another. This way it is possible to obtain very interesting optical effects. Colored pencil art has made great strides in the last twenty or so years. Great pieces of art have been produced with colored pencils. Today, colored pencil art is very well respected and many artists specialize in creating very detailed and intricate drawings.
4. Water-soluble Pencils
This is the latest variety of pencil to come along. Water-soluble pencils provide a valid alternative to watercolors. The pencil marks turn into a watercolor-like wash when they are brought in contact with water. This wash can then be manipulated with a paint brush.
These four types of pencils are the most basic and have been used by most drawing artists. Of course, pencils are not the only tools that can be used to draw. Other drawing materials and tools will be discussed in future articles.
Drawing is probably the most immediate of all art forms. It allows you to put down your observations instantly. In addition, all you really need to draw is a pencil and a sheet of paper (even a napkin will do). So, drawing is to the arts what boxing is to sports. You just come to the party with your skills and not much else.
Unfortunately, drawing is also one of the more demanding art forms and it takes a lot of practice to become really good at it. However, drawing is a real basic art form, i.e., it is a prerequisite to learning many other art forms such as painting and sculpting.
Above all, drawing is an excellent vehicle for learning to see the world as it "really" is. It is a way to overcome the often greatly simplified memories of everyday objects we have stored in our brains since childhood. These simplifications are necessary and important for a human to function normally. It would indeed be maddening if we needed to recall every detail of an object before we could recognize it. Unfortunately, to give a pleasing artistic and particularly a realistic rendition of objects on a piece of paper, these ingrained memories or schemas are not sufficient and are generally far removed from reality. Just have a look at how children draw the sun or a tree.
Finally, drawing also allows you to put your own interpretation on your observations and ultimately lets you produce your very own art.
In this article we will discuss the various pencils used by the professional artist.
1. Graphite Pencils
Graphite pencils are the most direct and simplest of drawing tools. They are made from graphite and come in grades from very hard to very soft:
9H 8H ... 2H H F HB B 2B 3B ... 8B 9B
Hardest Softest
The F-pencil is somewhat of an odd duck in the series. It produces a fairly fine line and is often used to draw hair. The HB-pencil separates the hard pencils from the soft ones. In practice, you do not really ever use all 22 grades. I personally use mostly a 3B, a 5B, a 9B, and an F. For really fine lines I sometimes use a 2H pencil. But this is more of a personal preference and you should make your own choices.
Pencils do not cost much, so buy the best you can find. It is more than worth it. A good graphite pencil currently cost about a dollar.
2. Graphite Sticks
Graphite is also available in sticks. These sticks are usually wrapped in a plastic film. They are graded just like ordinary graphite pencils as we explained in Section 1. They are ideal for large-scale projects. They are also inexpensive so don’t be stingy and buy the best.
3. Colored Pencils
Colored pencils cannot be blended and must be built up in layers. Blending is achieved by putting one transparent layer of color on top of another. This way it is possible to obtain very interesting optical effects. Colored pencil art has made great strides in the last twenty or so years. Great pieces of art have been produced with colored pencils. Today, colored pencil art is very well respected and many artists specialize in creating very detailed and intricate drawings.
4. Water-soluble Pencils
This is the latest variety of pencil to come along. Water-soluble pencils provide a valid alternative to watercolors. The pencil marks turn into a watercolor-like wash when they are brought in contact with water. This wash can then be manipulated with a paint brush.
These four types of pencils are the most basic and have been used by most drawing artists. Of course, pencils are not the only tools that can be used to draw. Other drawing materials and tools will be discussed in future articles.
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