74 pages

English

Découvre YouScribe en t'inscrivant gratuitement

Je m'inscris

Easy Oil Painting , livre ebook

Search Press - Estelle Day

Découvre YouScribe en t'inscrivant gratuitement

Je m'inscris

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

74 pages

English

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

A propos
Informations
Extrait

Description

GreenLight status awarded. Checklist Internal Pages (Final) ranWednesday 29 June 2022 at 13:11

Sujets

Oil

Informations

Publié par	Search Press
Date de parution	10 novembre 2022
Nombre de lectures	0
EAN13	9781800930704
Langue	English
Poids de l'ouvrage	26 Mo

Informations légales : prix de location à la page 0,0541€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

E A SY O I L PA I N T I N G E A SY O I L PA I N T I N G BEGINNER TUTORIALS FOR SMALL STILL LIFES

E ST E L L E DAY

E A SY O I L PA I N T I N G

BEGINNER TUTORIALS FOR SMALL STILL LIFES

ESTELLE DAY

To my daughters Scarlett & Mathilda xx

A QUARTO BOOK

Published in 2022 by Search Press Ltd Wellwood North Farm Rd Tunbridge Wells Kent TN2 3DR

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form by any means, electronic, mechanical, photocopying, recording or otherwise, without the permission of the copyright owner.

ISBN: 978-1-80092-079-8 ebook ISBN: 978-1-80093-070-4

Conceived, designed and produced by Quarto Publishing plc The Old Brewery 6 Blundell Street London N7 9BH www.quarto.com

QUAR.342332

Editor: Katie Hardwicke Projects editor: Anna Galkina Editorial assistant: Ella WhitingPhotographers: Nicki Dowey and Estelle DayDesigner: Rachel Cross Illustrator: Kuo Kang Chen Art director: Gemma Wilson Publisher: Lorraine Dickey

Meet Estelle About this book

C O N T E N T S

CHAPTER 1: Paint, supplies, workspace Paint choices Canvases & other materials Drawing materials & brushes Setting up a workspace

CHAPTER 2: Techniques Transferring a drawing Underdrawing Underpainting Fat over lean Glazing Blending Alla prima Impasto Dry brush Tonking

CHAPTER 3: Understanding colour How to look at colour Tonal range & value Colour mixing Arranging a palette

6 7

8 10 12 14 16

18 20 22 24 26 28 29 30 31 32 33

34 36 38 40 42

CHAPTER 4: Subjects What should I paint? Creating a still-life set-up Local colour

CHAPTER 5: Projects Egg Espresso cup Lemon Apple Silver jug Red onion Glass vase Autumn leaves Green pear

Glossary Index Acknowledgements

44 46 48 51

52 54 64 74 84 92 102 112 122 132

142 143 144

Meet Estelle

I was îrst introduced to oil painting by my parents when I was very young. I often watched them both paint in their spare time and I can remember being shown how to mix colours and clean brushes at the kitchen table. My parents would take me on regular visits to galleries and exhibitions, and I owe my love of art and painting to them. During my years at art college and university, I enjoyed trying out dierent mediums – sculpture, woodworking and printmaking – and over the years, I have experimented with watercolour, acrylic paints and ink drawing. Oil painting, however, has always been (and probably always will be!) my favourite medium to work with. I love the vibrancy of oil paints, their smooth, buttery consistency, and the fact that you can build up layers (I even love the smell!). It is also a very forgiving medium, with a long drying time that allows you to make adjustments. As a student, I worked for years in the National Gallery shop in London. I loved wandering around the galleries during my breaks, in awe of the great masterpieces, including those of the Dutch and Flemish still-life masters, whose work undoubtedly had an inuence. One painting that really caught my eye and made a lasting impression on me was a small still life by Spanish artist Francisco de Zurbarán calledA Cup of Water and a Rose. The observer is not distracted by a busy or complicated composition but instead focuses entirely on a few simple, everyday objects, so beautifully rendered by the artist that they appear far from ordinary. I believe that any object can be beautiful and interesting to paint and, as Zurbarán’s painting showed me, a still life doesn’t need to be complicated in order to be captivating. In this book we will focus our attention on one object at a time (thus eliminating the problem of composition) and I will oer guidance on how to paint various textures and materials, including glass, silver and natural forms. The paintings in this book are ideal if you don’t have a large area to work in – I speak from experience! We’ll be working on small linen boards, so in terms of space, you’ll require little more than a desk and somewhere to set up your still-life objects. The projects are achievable if you only have small pockets of time in a busy life, too – the paintings can be completed in one session or worked on over a period of days; it’s completely up to you. If you are new to oil painting, I suggest that you read the îrst part of the book (pages 8–51), as it is always a good idea to arm yourself with information about materials, techniques, colours and how to set up a workspace before beginning any real painting. When starting anything new, it always takes time and practice, and there will inevitably be a few bumps along the way. I continue to learn so much through trial and error, so don’t be afraid to make mistakes – they are a valuable part of the process. The best way to learn is to dive in, experiment and, most importantly, have fun!

Happy painting,

Estelle

6 M E E T E S T E L L E

About this book

Before you put brush to canvas, make sure you read through chapters 1–4 to familiarize yourself with the basics. Chapter 1: Paint, supplies, workspace (pages 8–17) covers paints, brushes and other tools you need to begin. Chapter 2: Techniques (pages 18–33) is where to look if you need more detail about any of the processes mentioned in the projects. Chapter 3: Understanding Colour (pages 34–43) contains an introduction to the fascinating world of colour and how to mix paints, and Chapter 4: Subjects (pages 44–51) has all the information you need for choosing what to paint and how to set up a still life properly.

While you can start with any project in the book, the projects are ordered so that you pick up new skills as you progress, so if you are a beginner, it is best to begin with the irst two projects.

Here you wîLL ind details on the set-up used for each still Lîfe. ALL the projects in this book have a consistent light source coming from the top left, and there are ideas for experimentingwith lighting and set-ups on page 48.

Before starting to paint, it is a good idea to organize your palette and to premix your colours accordîng to tonaL vaLue (see page 38) – thîs will save you a lot of time as you will have all the coLours you need to hand.

P R OJ EC T 8 AU T U M N L E AV E S

Autumn is possibly the most beautiful and striking season, with amboyant leaves on display forafewmagicalweeksoftheyea.rForthisproject,wewillattempttocapturetheseeetingcolours and paint them in the form of atrompe l’oeil, creating the illusion of three-dimensional reality. The biggest challenge will be painting the leaves before they dry up!

S E T - U P I s e le c te d t w o a u tu m n le ave s fro m a c h e rr y tre e, o n e re d andtheothermoreyellowincolour.Istuckthemontosomen e u tra l g re y p a p e r in sid e m y s h a d o w b o x , u sin g a lit tle double-sidedtape.Myilghtispositionedatananglethatp ro d u ce s c le a r s h a d o w s o n th e g re y p a p e r a n d I m o ve d m y shadowboxailttleclosertomydeskease,lsothatIcoulds e e th e le ave s b e t te r.

122 PROJECTS

B E G I N N E R S : T R A C E T H I S

PAINT COLOUR S Ivory Black Permanent Magenta Cadmium Red Titanium White Kings Blue Deep Burnt Umber CadmiumYellow Yellow Ochre

TOOL S AND MATER IAL S Linen board (10 x 10cm/ 4 x 4in.), primed with transparent gesso (see page 12) GraphiteorpastelpencliPutty eraser Ruler Fixative spray Transparent primer Diluent Primed white card strips, for colour matching (optional) Smallpaletteknfief,ormixing Rag or paper towel Size 0 round brush Size 2/0 round brush Sîze 0 iLbert brush Soft brush, for blending and softening

1 . U N D E R D R A W I N G D raw out your leaves, m arking where the shadow s and highlights are. I also înd it helpful to draw the leaf veins. Don’t draw a horizon line for this paintin g, asthiswouldspolithetrompe l ’oeilef fec t – we want the leaves to look as if they are hanging in space, not lying on a sur face. Fix your drawing and, if you wish,applyacoatoftransparentprime.rAllowtodry.

T I P Tokeepitsimple,trydrawingandpaintingjustoneleaf,buildingupacollectionof different studies as you master the style.

124 PROJECTS

Takeagood-quailtyphoto of your leaves to use as a reference in case they start to shrivel up as you work!

Make sure everything on this list is within reach. For tîps on how to organîze your workspace, see page 16.

If you want to try painting exactly the same subjects as those in the book, you can use this feature to trace the underdrawings (see page 20). Though ît îs aLways better to work from life, this method works well for absolute beginners as every step of the painting process can be followed faithfully, while practising different technîques.

All of the paintings in this book are painted on 10 x 10cm (4 x 4în.) Lînen boards, which is an achievable size for beginners and perfect if your workspace îs smaLL.

A B O U T T H I S B O O K 7

CHAPTER 1

PA I N T, S U P P L I E S , WORKSPACE

If you’ve never used oil paints before, this chapter will help to demystify which paints, brushes and other equipment are essential for the projects in this book. Here you will also înd advice for setting up a workspace.

SerIes number IndIcaTes The quaITy of The paInT; The hIgher The number, The beter The quaITy.

Winsor & Newton Wintonstudent-quality Cadmium Red made from pigments PR188 and PR170.

Hue means ThaT The manufacTurer has creaTed The coour from a bend of ess expensIve pIgmenTs.

Ready-made oil paints consist of pigment bound in linseed oil. The pigment gives the paint its colour, and it is the quality of the pigment that is important when selecting your paints and îs relected în the prîce and type of paint. Other considerations include the paint’s transparency, its permanence, and lightfastness, all given on the paint tube’s label.

range costs more but the paints are more vibrant,

waste. As you become more accustomed to working

in oils, consider switching to artist-quality paints. This

employees are generally artists themselves, so can

worldwide, so visit your local art shop – the

mixed with white it is beautifully luminous.(8)

drying pigment with green undertones; when

white is really useful for bright highlights and

Titanium White PW6:This slow-drying, opaque

for mixing with other colours to create solid

Ultramarine Blue PB29:This warmer blue is

chromatic blacks. This is perfect for those really,

tube of this even though we can mix our own

Ivory Black PBK9:It’s useful to have a small

getting a larger tube of this paint as it is probably

backgrounds and foregrounds. I recommend

Yellow Ochre PY42:This greeny-gold Earth

colour is always on my palette. Great for

darkening yellows.(12)

‘Earths*’. Perfect for roughly painting

undertones and is one of the fundamental

transparent brown pigment has greenish

Raw Umber PBR6:This fast-drying, semi-

really dark occlusion shadows.(2)

underpaintings.(4)

Cadmium Red PR108:This fast-drying, rich colour

Burnt Umber PBR6:Fast-drying and semi-

compositions and blocking in shadows.(3)

undertones than Raw Umber and is brilliant for

transparent, this Earth has more red-brown

green pears or apples.(11)

bright green that I love using when I’m painting

Optional extra colours:This list has suggestions

its intensity and ability to create warmth. It is

with oil paints, you can add or replace colours

for a starter set, but as you become more familiar

Permanent Magenta PV19:This is a rich, deep

with your favourites. As an extra (but not an

can be expensive but I love its warmth and

opacity – ideal for making red apples pop!(5)

very opaque and has rich undertones – ideal for

yellow for painting lemons! A transparent, slow-

Lemon Yellow PY3:Unsurprisingly, this is a great

Cadmium Yellow PY35:Another more expensive

coLour, but I ind ît îndîspensabLe because of

red-violet colour that makes lovely pinks and

purples and can also be used as a glaze.(6)

so frequently. Other colours I love includeBurnt

Sienna,Indian YellowandAlizarin Crimson.

essential extra) to the above colours, I also like to

have a tube ofKings Blue Deepbecause I use it

Cobalt Blue PB28:This fast-drying, semi-transparent and fresh blue is, in my opinion, one of the ‘cooler’ blues. It is fairly expensive but is lightfast and mixes well, creating beautiful greens.(9)

Paint choices

the one you’ll use most.(1)

painting lemons.(7)

Permanent Green Light PG7, PW6, PY74:

This mixed pigment, semi-transparent colour is

extremely lightfast and permanent. It is a vivid

one of my favourites, with rich and intense

undertones – it produces lovely violets.(10)

1 0 P A I N T , S U P P L I E S , W O R K S P A C E

P A I N T , S U P P L I E S , W O R K S P A C E 1 1

*’Earths’ are, as the term suggests, brown colours that exist naturally in the earth and are considered the oldest pigments, going back to prehistoric times. They include umbers, siennas, and ochres.

It can be confusing walking into an art shop and seeing row upon row of colourful tubes of paint – there are so many to choose from and it isn’t always easy to know which ones to pick, especially if you are new to oil painting. In this section, I will explain the dierent qualities of the many types of oil paints that are available. Listed below are the paints that form my basic palette, and their dierent qualities.

TIP The pigment number is the chemical description of the pigment, not the manufacturer’s colour code. It is useful to differentiate the two, as you can then switch between brands and buy the same colour from a different oil paint manufacturer if you take note of the pigment number you need.

more permanent, and there is a much wider choice

brands that are of high quality:

of colours on offer. Here are some recommended

Permanence raTIng: The durabIITy of The coour when exposed To IghT. AA Is exTremey permanenT; B Is moderaTey durabe.

and do not wish to spend too much initially, then

student-quality range. If you are new to oil paints

offer help and guidance.

notice that there are two kinds of oil paints – artist-

As you browse through tubes of paints, you will

quality (or Professional) and the less expensive

•Winsor & Newton:Artists’range andWinton range (this is the budget student-quality range). •I use mostly Michael Harding Oils and some Winsor & Newton artist-quality paints. •There are many other reputable oil paint brands

Winsor & Newton Artists’artist-quality Cadmium Red made with single pigment PR108.

the student-quality paints might be a good option

to begin with. Less expensive than the artist-quality

tubes, they will allow you to get a feel for oil paints

and experiment without worrying too much about

ArTIsTs’ coour has a sInge code IndIcaTIng ThaT IT Is a more expensIve pIgmenT.

ARTIST-QUALITY AND STUDENT-QUALITY PAINTS

Left to right: mediums and îxative spray; wooden palette and pad of disposable paper palettes.

Left to right: stretched primed canvas; unprimed wooden board; pre-primed gesso board.

There is a huge variety of palettes available, made

of wood, glass, ceramic and plastic– all of which

deveLoped more conidence în usîng oîL paînts.

Palettes:You will need a palette to mix your paints.

to start with (I still use them sometimes). They are

deinîteLy somethîng worth expLorîng once you have

palette sheet out of the pad and dispose of it. If I

you have inîshed paîntîng; you sîmpLy tear the used

diluent in is also essential. Art wipes are useful to

ix my underdrawîngs on my Lînen boards, so that

and/or old rags, for any spills and for wiping brushes.

A solvent pot or an empty jar with a lid to keep your

box, which helps stop the paints drying out.

Other materials:You will need some paper towel

are ine, but I hîghLy recommend paper paLettes

convenient as there is no cleaning up to do once

of my own gesso for good measure).

expensive, these boards are ready to be painted on

(although I personally always add one or two coats

underneath. I add another coat of gesso after I have

the paint and your original drawing will still be

painting (which does happen), you can wipe off

It is useful because if you are not happy with your

when I start painting, the drawing doesn’t smudge.

paînt over tîme, whîch wouLd resuLt în a duLL inîsh.

sealant, stopping the oil being drawn out of the

Gesso creates a smooth surface and acts as a

ixed my drawîng and before I start paîntîng, just for

keep nearby; they are perfect for removing oil paint

from hands and surfaces.

good measure!

Let it dry overnight before applying any oil paint.

you can apply another coat at this point if you wish.

drawings in graphite, pastel or charcoal in order

Fixative:Thîs îs a coLourLess spray used to ‘ix’

one îs ine) and appLy a thîn Layer onto your surface.

to stop them from smudging. I use this spray to

to give extra texture to the surface, but I paint it on

Some artists leave visible brushmarks in the gesso

linen colour provides a warm undertone to paint

are available in art shops and online. The natural

texture of the canvas. They often come in packs of

over (rather than bright white), and I also like the

can also buy raw canvas fabric and stretch your own

canvases onto a wooden frame.

three and are economically priced.

Stretched canvases:These come primed, but you

gesso îs sîmpLe – take a wîde lat brush (a utîLîty

Glazing medium:This is not an essential medium

but good to have if you plan on trying out ‘glazing’.

I demonstrate how to glaze on page 28, but I

don’t actually use this technique in any of the

projects in the book. I love this technique and it is

mixes left, I put my palette inside an airtight palette

haven’t inîshed my paîntîng and I stîLL have paînt

smoothly, making sure I don’t leave any lumps. To

clean your brush, remove any excess gesso from the

bristles with a paper towel and then rinse with warm

water. Gesso becomes touch-dry very quickly and

It also gives a surface ‘grip’ – even though the linen

boards that I use are pre-primed, I always give them

a coat of my own transparent gesso, as I ind the

surface a little slippery for my preference. Applying

cut your own boards if you have the right tools).

Primed gesso boards:Though slightly more

are a beginner. When you’re new to using oil paints

to know which ones you really need, especially if you

Odourless or citrus-scented diluent:This is used

it is best to keep it simple.

All the projects in this book are painted on small

linen boards, measuring 10 x 10cm (4 x 4in.), which

different oil painting products are available and hard

It can be quite daunting when you realize how many

to clean brushes and thin oil paints. Avoid using

is well-ventilated and avoid direct contact with your

usually made from plywood or hardboard (you can

Wooden boards:These come unprimed and are

in price, but the odourless/citrus-scented diluents

turpentine or white spirit – they might be cheaper

using them: make sure the room you are working in

are a safer option. Care should still be taken when

Canvases & other materials

1 2 P A I N T , S U P P L I E S , W O R K S P A C E

CANVASES

good ‘ground’ for your support is really important.

or board that hasn’t been prîmed irst – provîdîng a

RECOMMENDED OIL PAINTING MATERIALS

skin and eyes.

painting. Never paint straight onto canvas, paper

Gesso:This is used to prime the surface before

P A I N T , S U P P L I E S , W O R K S P A C E 1 3

OTHER SUPPORTS

Univers
Ebooks
Livres audio
Presse
Podcasts
BD
Documents

Livre audio en ligne - Développement personnel Livre en ligne Tout le catalogue Tous les Intérêts

Easy Oil Painting , livre ebook

Oil

YouScribe

Le catalogue

Le service

Les conditions