There are many different ways to paint but the two most
commonly used ones are, Traditional (indirect painting), a slow and
controlled method. Wet-on-wet (direct painting) with this method, the painting
is usually completed in one sitting, often referred to alla prima - at the
first.
The traditional method often uses tonal under-painting
as the basis of the picture, usually grey (grisaille) or brown (bistre)
in colour. The tonal values of the finished under-painting should be lighter in
tone than required in the finished work, because the application of the glazes
will lower the value. Often more complex in application, whereby transparent
and opaque layers of paint are applied in succession, opaque layers can also be
applied as a scumble. The transparent layers are usually applied as a glaze of
thin colour over the more opaque layers, the opaque layer being allowed to dry
before the glaze is applied. The final layer of paint can be painted directly
into the last glaze. Colours applied by this method usually bring a greater
luminosity to the finished work than can be achieved in the direct method.
Acrylic gesso can be used successfully for under-painting, especially if you
wish to make a quick start.
With the wet-on-wet method, the painting is
completed with, in effect, one layer of paint, which is usually opaque or
semi-opaque. There is a need to make definite decisions about the work, before
and as it progresses. All the elements of the painting have to be mentally
handled at the same time, with regard to tone, composition, shape, form and
colour, etc. Doing a sketch or drawing before starting the work can be
very helpful.
When working in the traditional way it is important to work
'Fat over Lean'. 'Fat' is paint straight from the tube or with linseed
oil added, this makes the paint more flexible when dry. 'Lean' is paint with no
added oil or thinned with solvent. The way it works is to start with paint that
has low oil content (lean), followed by paint with high oil content, then paint
with added linseed oil (fat). As a general rule of thumb, working from dark
colours to light colours helps to maintain this principal.
Vary considerably, and have different uses,
Painting whites are not usually
suitable for priming or under painting.
Cremnitz slow drying.
Flake white lacks opacity.
Titanium whitest and most opaque slow drier.
Zinc least opaque cold white for tints and
glazes.
First layer of paint thinned with solvent.
Next layers of paint have less solvent.
Next layers are tube paint - no solvent.
Next layers are tube paint with a little linseed oil.
Final layer is tube
paint with more linseed oil.
Mixing the Paint
You can mix paint on the palette, on the brush, with a knife
or on the canvas, each will give a different effect - try them all. The flat,
round bladed 'palette knife', is the best for mixing paint on the palette. Mix
small amounts of paint at first until you feel better able to judge quantities.
Dark colours will overpower light colours very quickly. It's
very easy to 'over mix' colours on the palette, this can lead to very flat,
dead looking paint. Something to be avoided!
When mixing colour on the brush, try not to use it like a palette knife,
instead pick small amounts of the colour up with the brush, either by tapping
the brush into the colour or pulling it through the paint.
It's easy to use a painting knife like a palette knife, but painting knives are
engineered to give the correct edge for applying paint to the canvas. You can
load one colour at a time or several on the blade edge. There are a variety of
shapes and sizes of painting knives, recognised by their cranked handle.
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