classical oil painting technique

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INTRODUCTION COMPOSITION PRIMING THE CANVAS DRAWING IMPRIMATURA I UMBER UNDERLAYER II UMBER

UNDERLAYER DEAD UNDERLAYER I COLOR LAYER II COLOR LAYER FINISHING LAYERS CONCLUSION

This TEACHING ZONE has been created specifically for those who are uncertain whether theyshould by the Video Workshop but are interested in learning more about the classical painting techniqueAs I said elsewhere in my site my main goal is to share my knowledge with as many people as possibleand the membership fee is so low that using the Teaching Zone will be affordable to practically everyoneinterested in the Old Masters oil painting technique The Teaching Zone was created on the basis of the

my Video Workshop and takes the form of an Internet book with appropriate interactive multimediatechnology

Introduction

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Hi my name is Alexei Antonov This is my first video course of classical painting technique It is notjust an art workshop This is my first action for the ecology of culture Exponents of modern art may find

some of my ideas politically incorrect This course however has been made for those who treasureeternal values in art Enjoy the show

When we come in the museum and view pictures of Old Masters of the Renaissance epoch we arefascinated by their art or rather by their craft Subtle nuances of tone and color precision of expression

of texture and surface details And the enigmatic lunar color in half-tones We begin to feel that OldMasters were different from us Were they better than our generation

Then entering a modern art hall we see pictures that depict triangles squares and other unidentifiableforms produced by splashing and slapping paint and not only paint with brushes and sometimes not

only brushes on canvas and sometimes not only on canvas To make an abstract picture requiresneither skill nor time unlike a classical still life or portrait

But if you were offered a choice of a beautiful still life and an abstract painting showing a black or redtriangle which one would you chose if say the price were the same Perhaps you will agree with me

that most people would choose a beautiful still life

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In conclusion of this brief introduction some words should be said about every artists material concernsExperience has shown that the classical school of painting can be studied without having a special

talent The only condition is a passionate desire to learn and a little patience The material aspect israther important in this world of ours

If you feel you can be an artist and support your family and yourself with the money earned by paintingremember the competition in the art market is fierce

And in the struggle you have to win not by begging the gallery owner to take your painting onconsignment explaining verbally how extraordinary and talented you are You can win by simply

showing the gallery owner fragment of your painting and all avant-garde painters will then flee thegallery and go to work at the factory to earn their bread honestly It is impossible to deceive the worldclarity virtue and beauty are returning throwing deception ugliness and sin back into oblivion where

they belong


This video course of classical painting will give you an opportunity to understand and practice the OldMasters technique You will learn how to paint a classical still life from the beginning to the end The

course consists of the following sections

I CompositionII Priming the Canvas

III DrawingIV Imprimatura

V Umber UnderlayerVI Dead Underlayer

VII Color LayersVIII Finishing Layers



CompositionThere is no democracy in the world of classical art education If you are trying to do something in your

own way or trying some new technique you are outside the classical art temple

The background in Old Masters still lifes is in most cases dark



When you have placed the objects for your composition you have already started to create When youplace items on the table try to create the exact image of your future painting The first law of

composition place the source of light on the left There are many various types of still lifes we willdiscuss them in our future workshops In this course we will analyze a simple still life composition A

glazed jar white drape and a few fruits may be a good example for understanding the basics of still lifetexture

A lovely pear prefers to show itself to the world only by one certain side

A lemon is just a lemon but it must tell the world about all its brothers You should be very careful whenchoosing object for the composition of your future still life Dont take modern design objects for


example telephones food processors plastic things Remember even Rubens who lived in the 16-17thcenturies chose the then antique objects for his paintings You should not try to be original when

constructing the composition All compositions have been made before and they are not very numerousLearn from the Old Masters and your future admirers will be grateful to you

Light and shadow on the white drape change with every touch As a sculptor you must decide right nowon all the nuances of your painting For inspiration look into the paintings of Old Masters and ignorereproaches of the contemporary school Its exponents have different goals and ideas about beauty A

silver knife doesnt want to be shown together with a country-style jar Now that we have an arrangementof a jar drape and fruit we have to decide on the format of the future still life If we are painting a

vertical composition we have to change this composition to make it suit the vertical format We can dothat by rearranging the drape Particular attention should be paid to the folds

Each fold should be viewed as a separate detail of the entire composition Relying on a happy accident inlaying out the drape you have at the same time to correct certain details

Dew or raindrops add unbelievable freshness to the painting It is difficult to find a still life of an OldMaster without sparkling drops of water


It is conventional wisdom that drawing is the skeleton of the painting color is the muscles andcomposition is the soul of the painting



Priming the canvas

To prime the canvas you will need the following things - a confectioners knife

- a palette knife

-a razor blade with corners rounded at the wheel machine


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Similarly you need to prepare the confectioners knife Its blade should have an elliptic shape

To remove tiny scratches from the blade of the knife use fine sand paper once in a while

For study purposes use ultra-smooth cotton canvas


Prepare a mixture of gesso and modeling paste 50 percent of gesso 50 percent of paste

Even if you use primed canvas you must prime it again Apply as many layers of the priming mixtureas is needed to achieve the surface that will make the canvas texture almost invisible

When applying the priming mixture change the direction of the movement of the knife as long as themixture is soft The movements must be energetic and confident


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Stop before the mixture begins to thicken

To speed up the process use a hair dryerMake sure that the priming layer is well dried

Then use the round-cornered razor blade to remove excessive priming Never use sand paper for thatthere can be a large grain of sand that will make a deep unrecoverable scratch


The desired smoothness of the canvas is usually achieved after priming the canvas three or four timesAfter you have finished priming the surface of the canvas should feel like the surface of the eggshell



Drawing

To become an artist you first need to learn to draw drawing is the basis of art Drawing is a means ofthinking the artist must be able to think without difficulty

Constant drawing from nature constant exercise in that is as important as copying the works of GreatMasters However this topic requires a special workshop now we are discussing painting technique and

preparing the canvas for the next stages

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If you have problems in drawing dont be put off by that use the advantages given by moderntechnology such as a camera slide projector opaque projector or similar gadgets Leonardo da Vincifor example to achieve a better precision of painted objects invented a camera obscura grandfather of

modern photo cameras Dont be afraid to use technical devices in your work a camera is just a tool likea paintbrush

Each step in making a painting beginning with priming the canvas must be carried out with the highestpossible quality Each step should produce an impression of a finished work If you manage to make

seven finished works on one canvas you are bound to be successful

Trey to make as many details as possible in the pencil drawing it will make it easier for you to achieve abetter quality in the next steps


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The main of the pencil drawing is to create a precise structure of borders between areas of highlight andlight light and half-tone half-tone and shadow and reflections

It is also advisable to draw some details of texture This however is done only for your ownconvenience it will help you to memorize texture characteristics

After you have made a pencil drawing on the canvas draw it out in ink

Imprimatura the first oil layer will wash away the pencil leaving the ink drawing as the first layer ofyour painting


Many unfinished paintings by Old Masters give us evidence of the importance of the ink drawingAccording to Cenini the painting in that form was already capable of fascinating the viewer

It is obvious that the ink drawing is not only good in itself it has an important functional valueparticularly for the beginning artist the beginner sometimes has to wash away everything he or she has

done in the umber underlayer The ink drawing remains and the artist doesnt have to draw thecomposition again

A little advice pay particular attention to such details as the ornament of the tabletop lace ornament andother structurally complex elements




ImprimaturaImprimatura is the first oil layer in the Flemish painting technique Imprimatura must have a neutral olivehue

The degree of darkness or lightness of imprimatura should be chosen in relation to the largest light areaof the future painting such as a white drape or a face

You can use only yellow ochre and lamp black However Prussian blue and burnt umber are added toaccelerate drying of the next layers

The presence of Prussian blue and burnt umber in imprimatura enables you to make your mixture warmeror colder

Flake white is added to make brush strokes softer

Prepare the mixture on a white palette it will help you see the degree of transparency of the mixture Themixture should be thinned with 20 parts of turpentine and one part of damar varnish

Add paints to the yellow ocher very slowly and carefully

Be particularly attentive with Prussian blue it is a very intensive pigment

Spread linseed oil on each well-dried previous layer immediately before you begin the next layerThis


leads to a better contact of the paint of the dry layer with the paint of the next layer It also improves theprocess of dry brush blending

Apply the linseed oil with your hand the warmth of the hand helps the oil penetrate into the pores of thedry layer

Then remove excessive oil from the surface with a clean cloth Wipe the canvas well excessive oil isharmful for the paint layers

The mixture should be spread on the canvas with a bristle brush as evenly as possible


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Then blend the brush strokes as carefully as you can with a soft squirrel or camel brush



The dry brush that you use for blending should be cleaned with a cloth regularly to remove paint thatgets on it from the canvas Imprimatura completes the main preparatory stage This layer must dry very

well it takes about 7 days During that time you can begin work on other paintings



I Umber Underlayer

Imprimatura is now well dried


and before you begin the next layer you should scrape the canvas with the round-corner razor blade inorder to remove an occasional brush hair and dust that covered the canvas during the 7 days of drying

Use the razor blade very carefully otherwise you can damage the imprimatura layer

After that oil the canvas and remove excessive oil the way you did before

Do the same thing with the palette


You will need several round and flat kolinsky brushes of different brushes to paint with and several softsquirrel or camel brushes for dry brush blending

The working medium is composed of approximately 2 parts of turpentine one part of damar varnish andone drop of lavender oil From time immemorial lavender oil was used to stimulate intellectual and

physical activity Old Masters knew that and added lavender oil in their working media However it maybe a drop of lavender oil kills the heavy smell of turpentine

Apply burnt umber to the canvas with confident movements but stick to the drawing contour


The technique of making this layer differs significantly from the traditional concept of oil paintingalthough your medium is oil paint use it as if you were using watercolor

This means that light and shadow depend on the degree of transparency of the applied mixture thepigment you add to the medium the darker it will be

As soon as you feel that you have covered an area with a desired tone begin blending with a mediumsize correcting brush Begin blending with the lighter areas moving gradually to the darker ones


After the correcting brush which you use to spread the paint masses more or less evenly use a bigblending brush to achieve the final smoothing effect


One of the aims of making imprimatura is to reduce the amount of applied light paint Therefore therelationship between imprimatura and the umber underlayer must be carried out in a way that would

bring the future corrections to minimum





Remember the golden rule you make the next layer not to correct mistakes in the previous layer but youmake the previous layer to facilitate work in the next layer



II Umber UnderlayerIn the first stage of the umber underlayer it is very important to maintain the construction between lightand shadow of the individual object leaving the tonal relationships between the still life objects for the

next stage of the umber underlayer Be sure you dont make dark areas of the still life too darkRemember in the umber underlayer we shall only be able to make them darker but never lighter

The umber underlayer should consist of several well-dried stages Dont decide on the number of umberstages in advance make as many as necessary to achieve the tonality that will not require improvements


in the next layers Naturally for some dark objects for example black cloth a violin neck some parts ofblack grapes the darkness of umber will be insufficient Nevertheless the tonal construction of the

darkest areas must be made in umber with the greatest possible precision Dont spare your time in theumber underlayer because in the next stages you will rely on it If you are able to avoid major tonalcorrections in the layers that follow the umber underlayer you painting will be fresh and beautiful

Dont forget to scrape the canvas with the razor blade to remove dust and excessive texture of brushstrokes As the result of scraping the canvas after each layer the surface of the canvas should become as

smooth as silk

Scrape the canvas carefully however dont despair if you scraped some areas more than you wantedthese areas can be easily restoredYou will avoid scraping the dry layer to the white canvas if you made

the priming correctly that is if there is no uneven areas after priming

The classical composition laws require that light shall concentrate in the center of the painting and fadeaway near the edges of the canvas

If you are painting a portrait or a complicated composition you will need to make more umber stages Inour case the umber underlayer is completed in two stages


The finishing stage of the umber underlayer may be called the generalizing stage In the generalizingstage you can use larger brushes than in the previous stage

All details of the composition were made in the previous stage In this stage we only have to show tonaldifferences between the objects This means for example that the lemon is darker than the white drape

but lighter than the pear The jar is darker than the background but is brighter lit This is the last task thatyou carry out in the umber underlayer







Dead UnderlayerIt is not coloring that is most important in painting but tone

If you follow the technological rules then even the most successful colorist of the Realistic school willenvy the delicacy and depth of the classical painting


Old Masters believed that the painting should be made in gray color pigments can easily be bought later

The main purpose of the dead layer is to make half-tones of the painted objects

The laws of the classical painting say that the half-tone should be cold whereas a realistic artist can seein the half-tone any imaginable color

If you make the dead layer well then working on the color layer your creativity will be free from thenecessity to solve tonal tasks


Remember the colder the dead layer is the hotter and brighter the color will look on it

It is because of the dead layer finished paintings look lighter or darker warmer or colder

To keep mixtures prepared for the dead layer you may use empty tubes or for shorter periods ofstorage you can use film boxes


Pigments used in the dead layer have passed the test of time They are flake white lamp black yellowocher Prussian blue and burnt umber

Prussian blue and burnt umber accelerate drying and balance cold and warm colors in your mixture

Now after preparing the palette we begin making mixtures


To make a black mixture for the dead layer we take two parts of lamp black one part of burnt umberand about one eighth of Prussian blue

To make a white mixture for the dead layer we take flake white and decrease the intensity of the openwhite by adding a little bit of black mixture


After that we make a middle tone between the light and the dark mixturesThe approximate proportion istwo parts of the black and one part of the light mixture The middle tone mixture should be colored byadding yellow ocher burnt umber and Prussian blueThe proportion depends on your vision of the deadlayer whether you want to make it bluer greener or browner You should avoid violet tones in the dead

layer And remember the dead layer is dominated by the gray color

Then on the basis of the light and middle tone mixtures you make five more intermediate tones

Two more intermediate tones should also be made between the middle tone and black mixtures

The umber underlayer dries in about three weeks

To make sure that the layer is well dried you can oil slightly a corner of a white cloth and rub it on thedark area of the canvas If the white cloth gets brown you must leave the canvas to dry better


When the canvas is well dried scrape it with the razor blade oil and wipe the canvas the way you didbefore


Now the canvas is ready for further work Always begin with dark areas

By touching lightly the painted area identify the suitable tonality of the mixture All the next layers willbe made with two brushes one brush for dark mixtures the other for light mixtures

Sometimes when the mixture on the canvas gets sticky too fast and it becomes difficult to makeblending with a brush you can blend with your fingers


In the umber underlayer you have already chosen the tonality Now you have to rely on it that is youmust repeat the chosen tonality in the dead underlayer

You can make corrections in the tonality without making radical changes

You can alter the tonality towards shadow or light only to a small extent

If we take the range between black and white as consisting of seven tones in the dead underlayer you canchange the tonality only by one tone up or down


A good guide in selecting the right tone is the areas of the umber underlayer seen between deadunderlayer brush strokes

Visible umber areas must not be in a dramatic contrast to your working mixture

For that reason it is very important to work with small brushes even in large areas such as thebackground

You should work as is imitating pen strokes

Visible umber areas function as the third brush

Begin blending with the dark areas they get sticky faster


After blending it may seem that the umber underlayer has become invisible

However it will continue its function particularly in the shadowed areas which must have a thinnerlayer of paint in the dead layer

Sometimes blending may take as much time as applying paint To finish work on a certain area use thebiggest soft blending brush

On the contrary lighter areas require thicker layers of paint because it is the light areas the areas with agreater amount of white pigments which become transparent faster than the darker areas

Besides the blending brush cleaned from the dark paint with a dry cloth will not damage the light area asmuch as the blending brush with the remains of the light paint can damage the dark areas












You can ask why you should make so much work in the umber underlayer if you have to overpaint itThe best answer is found

in the museums paintings made in the classical technique look best of all You should feel creativesatisfaction after finishing each stage while the painting dries between stages it lives in your studio

Your visitors and yourself see it dont deprive yourself of that pleasure The tone in the dead underlayershould be made lighter in light areas and darker in shadows compared to the umber underlayer

However the tone should be darker in light areas and lighter in shadows than in the following colorlayer It is important to make half-tones as precise as possible because they will hardly be corrected in

further layers There will be places that you will not paint at all

In future workshops we will discuss other methods of making the dead underlayer such as Ian vanHaisoms technique His method is characterized by detailed and careful work in the umber underlayer

that results in different tasks to be performed in the dead underlayer In future we shall also discuss someother possible shortcuts Now it is advisable for the artist beginning to work in the classical technique to

make the dead underlayer by painting all elements of the still life in order to understand the tasks andmeaning of the dead underlayer in practice It is recommended to make ten or fifteen paintings using this

method before learning other ways of making the dead underlayer Dont work on the texture in this


stage but begin thinking about it while making blending smoother at places or leaving more visiblebrush strokes in other places

Speaking about the qualities of oil paints it should be remembered that oil paints stick well on thecarefully prepared canvas and are an excellent medium for modeling shading and achieving most

delicate transitions from tone to tone because they remain wet for a long time However it is a mistaketo think that oil painting does not require any methods and you can make layer after layer without any

system On the contrary oil painting requires strict adherence to a certain technique It is true that defectsof incorrect use of oils are discovered not so soon compared to other mediums but they inevitably

become visible sooner or later The best techniques of oil painting were developed in the Renaissanceepoch They make the best examples of painting both from the artistic and technical points of view Theknowledge of the physical characteristics of the materials enabled Old Masters to create the technique of

oil painting that has never been surpassed

In the entire history of oil painting their style and technique are unique in their harmony of materials andartistic taste The knowledge of that technique lived in the artists guilds through the 17th century In the18th century due to the emergence of new ideas in painting that technique was gradually lost As early

as in the first art academies the technical artistic training of the artist was replaced by philosophic artisticeducation Since that time the knowledge of painting technique that had been the basis of the artists

work begins to be viewed as limiting artistic freedom

Dramatic neglect of the oil painting technique occurred in the age of French impressionists whointroduced a non-systematic use of oils Impressionists destructive ideas were brought to gargantuan

proportions by their followers particularly by neo-impressionists Pointillism may have a certain sensefrom the artistic point of view but this method does not arise from the intrinsic properties of oil painting

New ideas in art should look for other materials for their realization if they contradict established andtime-honored traditions From that standpoint impressionism brought in a false style in oil painting thatregrettably has its followers up to now Research into oil painting techniques carried out both by artistsand by scholars was primarily aimed at discovering and regeneration of the lost Old Masters methods

Many aspects of the forgotten technique have been discovered but painting itself went far away from thegoals and principles of Old Masters painting Naturally it is now possible to relate the Old Masters

technique with the modern understanding of art But an oil painting technique whatever its goals may bethat is employed to create long-lasting works of art must arise from the properties and characteristics of

oil paint materials



I Color LayerColor Layers Now we are beginning the first color layer


Make sure that the canvas is well dried Our canvas dried for four weeks After the usual preparation ofthe canvas and the palette before the next stage we begin work on the color layer

Well be using ivory black Prussian blue transparent oxide red burnt umber permanent madder deepred ocher extra fine Indian yellow yellow ocher cadmium yellow deep flake white and our regular

dead underlayer mixtures


The main principle of the first color layer is that you should make shadow areas darker and morecolorful

Working on shadows you should use more transparent mixtures

Working on medium-light areas apply semi-transparent mixturesWhen painting middle tones on largeareas add a little semi-transparent mixture with some Prussian blue Semi-transparency is achieved by

making sparse brush strokes with a small brush with subsequent blending with a dry brush


Lighted areas should be made lighter and more colorful too Working on light areas use more paste-likemixtures applying them rather thickly

Painting the wall that is our background you can make it warmer or colder

To make it warmer you should cover the shadow areas of the dead underlayer with a darker and warmermixture of ivory black burnt umber and permanent madder deep To make the background colder dont

overuse that mixture

The wall will look much colder even if the lighted areas on it will be made with very warm mixtures

By cold colors we mean colors closer to that of ice whereas warm colors are closer to that of flame


Applying color mixtures on a well prepared shape in the dead underlayer leave visible as many deadunderlayer areas in half-tones as possible

Keep in mind that literally a couple of color brush strokes may be enough to make for example the tabletop made in gray in the dead underlayer become dark mahogany


Each layer brings us closer to the concept of texture Texture is the degree of reflection of light by thesurface

We do not carry out texture tasks in the color layer but gradually intensifying lighted areas on theobjects we notice that some objects reflect light brighter and sharper for example the surface of a glassor polished furniture while other objects reflect light more dimly and dispersedly like our white drape or

the mat wall in the background

Now you can see the advantages of this technique particularly for the beginning artists The detail that


you think went wrong is wiped away with a cloth from the previous well-dried layer

To make a correct degree of light on the surface of an object for a certain texture stick to the followingrules In order to achieve a mat effect in the next layers you should use mixtures that are closest to the

tone of the dead underlayer whereby avoiding excessive contrast in transition from light to shadow

The matter is the surface the smoother the transition will be

On the contrary in order to achieve a glossy surface you should intensify the color raise the tone andreduce the lighted part of the surface


Remember that in the last layer the glossiest surfaces will be those that have the lightest and sharpesthighlight Unlike the dead underlayer that is made rather mechanically in the color layer you begin to

think by means of the brush you paint objects wipe paint away with a cloth or with your fingers you tryvarious color mixtures

This is undoubtedly the creative part in our craftsmanship The main thing in this stage is not to overdoit You should leave some color in tone work for further layers

Remember that you wont find anything whiter than the white paint or redder than the red paint Thebrightest and sharpest highlights in the finished painting will be the sun reflected in the sparkles of water

the shiniest elements in our still life


In the jar we can see hints at the texture gray patches blackened at places cover areas where the glazewas lost

It is better to start with the white drape because it requires a greater amount of paint which therefore willtake a longer time to dry

The lightness of the white drape cant approach the light intensity of the water drops

Accordingly we express the whiteness of the white drape not by means of the intensity of the white


color but by means of the darkness of the objects around the drape

We paint the white drape in the color layer with little difference to the previous layer Orange beams ofthe imaginary sun color the bulging parts of the drape very delicately

From time to time add more fresh mixture to light areas in order to increase the thickness of the layer

The transition from light to shadow should be made as smoothly as possible transforming the dead colorof the underlayer into the emphatic bluishness of the half-tone contrasting with the orange light


The folds of the drape are made according to their own laws In some places they form sharp anglesbetween which there are soft round folds We can view a highlight as reflecting the blue sky and the

shiny orange sun

Paint details of the ornament without going into the texture of the threads and the nap of the clothRemember that the mixture for painting the light areas of the white drape should be the same that is why

make a sufficient amount of that mixture


As you can see blending of the delicate tonal transitions of the drapes surface becomes particularlysignificant


Compared to highlight the reflection is a hot glittering of a fireplace or candlelight The reflection isalways warmer than light Dont spare your efforts when blending the soft drape

As you can see there is little work in painting the shadows of the white drape because the half-tonereplaced the shadow The mixture for painting the white drape is made of the corresponding dead

mixture with a small addition of a lighter mixture so that you can achieve a mixture one half-tone higher


In the deep shadow that is not lit by the sunlight the drape is lighted by the imaginary fireplace to theright of us Be careful not to make the tone too highThe resulting mixture should be colored with

cadmium yellow deep and red ocher We can correct the dark areas of the drape only in the constructionof the folds the color and tone of the dead underlayer are quite satisfactory in the shadow Make the dark

edges non-existent even if you are painting the white drape using burnt umber ivory black andtransparent oxide red

Lemon takes a conspicuous place in the Flemish still life Very often you can hear people viewing OldMasters still lifes exclaim Look at this lemon It really makes me hungry


Gastronomic reflexes are not at the last place in the perception of high art Hence a good advice treat thelemon you are painting as something delicious and not just a combination of yellow forms

The skin of the lemon is grainy and glossy The gloss on the lemon skin creates a symmetrical play ofhighlight constellations in the lighted area It is very difficult to make this texture in this layer All we

can do is to paint the color of the skin

While painting the skin use yellow ocher and cadmium yellow deep Make the tone darker in the lightedareas only with burnt umber In shadows to umber you can add ivory black


The darkest places of the lemon skin should be blended with the background tone to avoid the unpleasantmonotony of the sharp contour Generally speaking always try to merge the borders of almost black with

almost white

The classical oil painting technique rests on three principles First the brush stroke shadowing secondlycorrection with a soft dry brush and thirdly blending with a large fluffy dry brush

Paint the lemon flesh with a mixture of Indian yellow and cadmium yellow deep closer to the shadowsadd transparent oxide red


The flesh of a lemon is made of hundreds of transparent water balloons with amber yellow sour juicejoined into a single mass

Where the lemon was cut with a knife there is a microscopic play of highlights that can only be seenthrough a magnifying glass Forget the highlights for the time being Try to perceive the lemon as if

made of semi-transparent amber

The inner layer of the skin is soft and white so treat it as an ordinary opaque detail that has a highlightlight half-tone shadow and drop-shadow


The membranes in the lemon flesh are less transparent and create an additional play of light and shadowWe can perform this task now

Lets make the wooden handle of the knife not very conspicuous in the general coloring of thecomposition


Its construction should be painted with burnt umber and ivory black mixture

To paint the sharp tip of the blade use your sharpest brush The blade of the knife is like a mirror findthe reflections of the drape and the lemon on it

Apply the mixture carefully moving from the lightest area to the half-tone gradually decreasing thethickness of the applied paint


Half-tones consist of their own light and shadow The lighter part of the half-tone that is closer to lightgets lighter and warmer

The darker part of the half-tone that is closer to the shadow gets darker and warmer

The pear is yellow in color but with an orange hue and is not so intensively yellow as the lemon


It has more visible dead underlayer in the light area that is why its color should be made closer to thedead underlayer tone

The gloss of the pears surface is not so shiny as the lemons Certain greenness in the half-tone makes animpression of sour yellow color and the sweetness of the pear is expressed with hot shadows


The use of fingers for wiping away the applied paint can be an irreplaceable method of developing theprevious layer in order to create various hues of color and light

The porcelain plate has a misty mirror surface reflecting nearby details


The golden edging is also a mirror but more contrasting than porcelain The gold in the shadow is almostblack and brown in the light it is a mixture of yellow ocher and gray tone to tone Well discuss

highlights on the edging later




II Color LayerAnother method to make sure that the picture is well died is to scrape the canvas with a razor blade andsee if the paint comes off as shavings or as powder If it comes off as shavings the picture hasnt dried

well enough

In our case the painting has dried too much two months passed since the previous layer

The glossy surfaces will not absorb oil which means that the contact between the fresh layer and the drylayer will be bad and the movement of the brush will be handicapped

To eliminate this problem we can use an onion


Onions ether oil will soften will soften the outer microscopic layer of the dry paint and will make thedry layer have good contact with the fresh paint

In the second color layer well be using flake white regular gray mixture ivory black burnt umberpermanent madder deep Chinese vermilion extra red ocher yellow ocher cadmium yellow deep extra

fine Indian yellow and Prussian blue

The second color layer is made according to the general principal of the first color layer more light andmore color in the direction of the texture As you may have noticed during the drying period the color


layer has got dimmer This means that the top layer has become more transparent and got a little darkerdue to the dead layer We can now see more nuances in half-tones that were not visible immediately afterthe completion of the first color layer Dry your painting in the sun but dont leave it outside overnightThis was recommended by Old Masters because it accelerates drying and makes pigments a little more

transparent The sun makes paints lose lightfastness many times quicker than when the painting gets dryin the studio In this layer delicate nuances of light and shadow come into play more and moreTo createthis effect work with a light and a dark brush with a little difference in tone compared to the tone of the

underlayer

Here we begin to work on very small areas of light and shadow keeping in mind our general principle inlight areas add more light and more color in dark areas add more darkness and more color

We sort of repeat the work we did in the previous layer but we intensify light and color Some areas ofhalf-tones can be overpainted with semi-transparent mixtures with slight deviations in light or shadow

Now the flesh of the lemon is well prepared for making the texture Lets take open white with cadmiumyellow deep and the thinnest brush Now we must find the rhythm of tiny bubbles of the lemon flesh

You can try making reflections with open cadmium yellow deep


You can try making reflections with open cadmium yellow deep The light and shadow play achieved inthe previous layer prompts the movement of the brush

Lets emphasize the difference of the white flesh with cold mixtures

Try to recreate the softness of the white layer of the lemon skin


Light touches of the fluffy dry brush may be very helpful

Once you have painted a lemon two or three times its texture will cause no difficulty for you Try toremember the proportions of your mixtures Dont make the same mistakes try to remember the

succession of operations keep a diary of your observations Theres no competition in the world ofclassical painting Thats why try to find artists holding similar views and study the classical technique

together Even Great Masters worked on their paintings together with other artists For example inRubens paintings many portraits were painted by Van Dyke and fruits and flowers by Snyders

Hypothetically the decay of classical painting began when artists stopped cooperating with each otherCraftsmanship in art can be called the science of painting in other words knowledge based on the use of

method and skill The science of painting was created by generations of artists during a few centuriesThe regeneration of classical painting depends on our joint efforts Unlike the modern school of painting

that calls for originality and uniqueness the classical school gives you the power of knowledge of themethod and rules accumulated for centuries and an army of admirers tired of the destructive ideas of themodern aesthetics admirers who long for simple and understandable beauty The success of a classical a

painting depends on the quality of the painting and to a smaller extent on the name of the artist Theviewers will evaluate the paintings artistic and technical quality on the basis of natural criteria of beautythat people are born with and not on the basis of false aesthetic views disseminated and imposed on us


by venal critics who run the art market An avant-garde artist can of course paint a lemon in the form ofa purple square But it will take some time to explain that the purple square is a lemon and even more

time to convince the viewer that it is beautiful Whatever shape and color the avant-garde artist choosesfor depicting a lemon the lemon will always remain yellow and sourThats why lets go back to our

lemon

The color of the lemon skin is not ready yet for painting the texture and according to our principlemore light and more color we paint the skin one more time

The most difficult part in painting a lemon is to depict the grainy skin Dont hurry in doing that try tofind the right size and proportion of the lemon skin pores

In addition we can identify a birthmark that will make our perfect lemon more life-like


Painting the pear again make it lighter and more colorful keeping the warmth of the orange color in itsyellowness


The pears blemishes painted with permanent madder deep burnt umber and Chinese vermilion speakof its sweetness and ripeness


The warmth in the shadow breathes life into our fruits Blend your red brush strokes with the tender skinof the juicy pear

Highlights on glazed surfaces must be painted over a prior light-ray mixture with Prussian blue

The blue under the highlight is a kind of reflection of the blue sky around the bright orange sun The skyis reflected through the window thats why the blue shape under the highlight is like a rectangular shape

of the window


Dust covering things produces a bad impression in everyday life in the classical painting however abluish coating of dust always looks attractive Thats why a little suggestion if you have any still life

objects dont remove dust from them

Now we are preparing the surface for a highlight Add some burnt umber to flake white cadmiumyellow and vermilion mixture so that the paint dries better for the next layer in which well paint the

highlight again with a greater intensity of light and color


The glaze of the jar is not so glossy as lemon juice drops thats why it must be blended well

Your bright madder deep vermilion and red ocher strokes will remind the viewer that the flesh of the jaris made of brick-red clay As you can see there isnt much paint on the jar but it is sufficient to tell the

viewer about its true color

Now we are correcting the construction of the jar it is our last opportunity

The jars shadow is not just a mixture of black umber and madder It is the reflection on the glazed jar of


the dark space of your room

Using the blending brush we begin making the porous texture of the jar We dip the very tips of thebrushs hairs in the thin mixture and then by touching gently the canvas with subsequent blending we

achieve the desired effect

In the same way we make tiny dots that are visible through the pear skin


By means of careful blending you should make those dots hardly visible

The highlight is made with flake white cadmium yellow deep and a little vermilion Lets check oncemore the construction of the plate

Lets also check the construction of the knife with a very sharp brush


Cover the lighter areas of the table top with vermilion and madder deep but keep in mind that it is notthe highlight yet its the color of the wood

With madder deep and ivory black deepen the shadows and check the construction

Use gray with some Persian blue to make the dust coating in the dips of the ornament Dust changes thecolor but not the shape that is why the dust coating should also have its light and shadow

This orange mixture is used not for highlights but for wood worn to lightness


Having made corrections and blending lets now make cracks in the wood with the dark brush andcomplete them with the light brush with some more blending afterwards

In the unlighted areas the tonal step is much more gentle than in the lighted areas Lets intensify thehighlight on the background in color and tone

Theres always some blue on the border between the sharp drop shadow and light


Closer to the texture the finishing layer blending is always livelier in order to create an additional playof light and shadow

Put the unused paint on another palette for the next days work and keep the palette in the fridgeKeeping the palette with paints in the fridge has the effect contrary to keeping the painting in the sun itll

help to keep your paints fresh

Remove the waste mixtures from the palette and then wash the palette and the brushes with paintthinner


After that wash the brushes in warm water with dish soap that neutralizes any fat thus you will prepareyour brushes for the next days work



TextureWe are now beginning the last layer of the textureThe canvas dried during one month there wasnt much

paint and it has dried well

After the usual preparation we begin work


Well be using flake white regular gray mixture that we have been using since the dead underlayer ivoryblack burnt umber permanent madder deep Chinese vermilion extra red ochre yellow ochre cadmium

yellow deep extra fine Indian yellow transparent oxide red and Prussian blue

Work only on the lightest highlight areas of the drape

Be very attentive in accentuating the direction of folds and wrinkles of the drape

The sign of the drapes texture its nap is seen in the previous layers in which the contour of the drape


was softened at places

At the texture stage the main role will be played by our thinnest brush Keep in mind that there is no andthere cannot be open white in the white drape The ornament should be made to the maximum possible

perfection

As before we are using our gray mixtures adding to them however more and more cadmium yellow andred ochre following our principle more light and more color with each layer


It is in this very stage that our objects gain their final color and shape

Now we can observe a miracle that amazes us in the museum an optical mix of colors due to thetranslucency of the layers

The correcting brush should be used very carefully without wide strokes Only after you make sure thatthe paint has been distributed accurately use the big blending brush

In painting the drape try to depict the most characteristic features of the fabric


At this stage your picture has just been born and during all your lifetime it will be getting more andmore beautiful because all paints have the property of getting more and more transparent as time passesThe goal of the classical painting is not to depict objects as close to nature as possible but to compose abeautiful composition of color and tone Rely on the laws of painting more than on what you see in reallife Real life can give you good prompts particularly in such objects as a drape a rose or a face It is

very difficult to compose these objects the smallest falseness will make the drape look plastic andflowers cardboard But many other textures can be composed well

Theres one more advantage of the classical school we know precisely when the painting begins andwhen it is completed Many proponents of the realistic school suffer a lot because they dont know whento finish and very often they stop in the middle of the work Dont listen when you are advised top stop

painting because your picture looks very elegant You must carry on to the highlight The completedhighlight signals the end of the work

Now we will finish the jars pores that we began painting in the previous layer


Be inventive in this stage but dont overdo it Give your viewer an opportunity to have a good look at thedetails

We are painting the sun in the center of its halo and a couple of little suns on the bends of the jar

Now the water drops To paint them use the color of the nearby darker tone of the surface


Blend the painted base of the drop with the thinnest brush in the most careful way

Touch the drops highlight very gently with the tip of the paint that is hanging on the tip of the thinnestbrush and after that the spherical reflection of the highlight at the other side of the drop

Then also with great care blend your touches


Lets invent a crack on the jar perhaps our village vessel will forgive us this flirtation Very delicatelymake blending with the big brush

The most difficult part in the finishing layer is the grainy skin of the lemon

In fact we are beginning and finishing it in this layer


We use a light brush with a considerable difference in tone and a mixture warmed with vermilion inorder to emphasize the yellowness of the skin with the warmth of the highlight

Dont make irregular thrusts with your brush Concentrate and find the proportion of the pores to thedistance between them

Take your time even if it will take you several days Give that time to the painting your painting andyour viewers will be grateful to you for your efforts If you have to delay your work until the next daywipe oil well from the surfaces that you didnt work on Before you begin work the next day oil these


surfaces locally

Lets invent details that real life objects lack Make the lemon flesh sparkling For inspiration take alemon and cut some skin from it

Similarly paint the second lemon using the two brushes light and dark the same correcting brush withsubsequent blending


First we make a bluish coating with the same highlight mixture of flake white cadmium yellow deepand vermilion dimmed with burnt umber and a little Prussian blue

Then we make the highlight and blend it to make the surface of the pear look mat


Dont forget to make a hint at the bluishness of the sky when you paint highlights

Now the drops Use the color of the nearest shadow

The highlight of the drop is made with flake white with a little cadmium yellow deep


The highlight of cold steel is of the same color as of cold water

We make final corrections Lets make the wood texture with a dark and a light brush with subsequentblending

The highlights are much darker than those of the jar dim the intensity of the highlights with burnt umber


Think of an elegant signature Remember that your painting will live at least three or four hundred yearsand perhaps you will be judged by your descendants by your signature

Lets sprinkle the tabletop with a few drops of water


We can make the background a little livelier by showing a few areas of paint peeled off the wall Imaginethat the previous layer of paint on the wall was of a warmer hue

We make the areas where the paint peeled off the wall a little higher in tone

Now we work on these areas first with a dark brush then with a light brush and blend them after thatBlend well to prevent these areas from coming to the foreground


Now we just used the opportunities of the air perspective

Lets once more light the highlight on the background

The gold in the painting must shine even if it isnt shining in real life or even if it isnt gold at all

The painting that is not varnished looks pleasant as it is you can display it that way too but yourcreation looks at its best only after varnishing


Varnish saves the layers from all sorts of damage After drying the painting for at least six months youmust apply a cover varnish To show how to do it well use another painting because our still life hasnt

dried yet Clean the surface from dust and apply varnish in quick and confident movements

Cover the canvas with the regular non-thinned damar varnish using a soft flat varnish brush

Keep the painting in the horizontal position for at least one day it will make brush strokes spread on thesurface evenly


The process of painting is finished From this moment never expose the painting to the open sun

One may think that the classical painting technique takes too much time and efforts But if you work onseveral paintings simultaneously then after a few months you may be completing almost one painting a

day




ConclusionLets make a brief review of what we have done

Why did we choose this particular painting technique from a variety of Renaissance painting methodsAnyone visiting Renaissance halls in the museum can notice that some paintings look as fresh as if theywere just painted so bright and fresh their colors are In other pictures paints faded grew gray or browndetails are hardly seen The reason is in the painting technique employed by the Renaissance artist Astime passes oil paints become more and more transparent that is why paintings executed on the white

canvas with umber underlayer look as fresh as if they were just made because umber underlayerpractically does not fade at all and the white canvas remains white unlike paintings made on gray ordark brown priming For the same reason you should be very careful with all sorts of corrections in oilpainting Any radical correction will become visible Thus in The Portrait of Philip IV on Horseback

by Velasquez exhibited in the Madrid gallery you can see eight legs because the artist not satisfied withthe original position of the legs overpainted them to be covered with the tone of the ground

Accordingly in order not to lose face with your descendants make all your compositional decisions asearly as in the pencil drawing

You must have as many brushes as you can afford

Kolinsky brushes wear out very fast thats why use a palette knife to make mixtures on the palette whenpossible


Please pay attention to how useful old brushes can be An old flat kolinsky brush with worn out hair canbe used as a semi-dry brush You can use it to apply paint to blend and to remove excessive paint After

applying a sufficient amount of paint use a correcting or blending brush

The main tools in our work were kolinsky brushes They are very goods for both applying paint and fordry brush correction WE used kolinsky brushes of different sizes from size 0 to 1 inch

Applying paint with a kolinsky brush try to use the very tip of the brush imitating pencil or pen strokesBegin each element of the still life slowly and carefully starting with more important details Dont try to

paint the chosen area in one go leave the original brown ink drawing so that you can see the guidecontour as long as possible

For blending and correction we used squirrel camel pony hair and soft synthetic brushes


We used palette knives for priming for making large amounts of the dead underlayer mixtures and formaking small amounts of mixtures on the palette

Our regular set of paints was flake white yellow ochre red ochre burnt umber Prussian blue and lampblack Additional paints that are safe to use are permanent madder deep Chinese vermilion extra

transparent oxide red cadmium yellow deep extra fine Indian yellow and ivory black

The working medium for the imprimatura is made of 20 parts of turpentine and one part of damarvarnish The working medium used in all other layers is composed of approximately 2 parts of

turpentine 1 part of damar varnish and one drop of lavender oil Use pure damar varnish as the covermedium


Canvas We used ultra-smooth cotton canvas

For priming we used a mixture of 1 part of priming gesso and 1 part of modeling paste Prime thecanvas

to the degree of egg-shell smoothness

Overdraw the pencil drawing with water-based brown ink


Imprimatura

From now on oil the canvas and remove excessive oil before each layer

Imprimatura is the middle tone of the lightest area of the painting It is made of yellow ochre lamp blackwith some Prussian blue and burnt umber

Umber underlayer

Before you begin each layer make sure it is well dried it takes from one week to one month dependingon the climate you live in From now on scrape the well dried canvas with a round-corner razor blade

before each layer

In this layer you work on shadows Make the general tone of the painting using burnt umber andworking in several stages


The dead underlayer

is made with mixtures of flake white yellow ochre lamp black burnt umber and Prussian blue Redochre is optional

The main goal is to develop half-tones more light in light areas more darkness in shadows Half-tonesare made as accurate as possible

First color layer

From now on our main principle is more light and more color in light areas more darkness and color inshadows The color layer is painted with the dead underlayer mixtures with colors added to them


Second color layer

The same process as in the first color layer with one difference the painted areas are smaller and morenumerous The goal of the second color layer is to prepare the surfaces for highlights

Texture

The goal is to identify the character of highlights in relation to the degree of texture reflection and topaint them We complete the painting with working on details and the signature

We have finished work on our still life In this course we have discussed the foundations of the classicalpainting technique on the basis of a simple composition Now you can see some of my paintings that Imade during the last few years In my future video courses well discuss more complicated textures of

larger still lifes and portraits Well trace the evolution of the Renaissance painting technique I will sharewith you the secrets of Old Masters and all my discoveries and findings about the lost school of classicalpainting I thank you for your interest in the painting technique that I believe has not been surpassed inthe entire history of art I will be very grateful for your questions suggestions and criticism and I wish

you good luck in your work





Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion

Hi my name is Alexei Antonov This is my first video course of classical painting technique It is notjust an art workshop This is my first action for the ecology of culture Exponents of modern art may find

some of my ideas politically incorrect This course however has been made for those who treasureeternal values in art Enjoy the show

When we come in the museum and view pictures of Old Masters of the Renaissance epoch we arefascinated by their art or rather by their craft Subtle nuances of tone and color precision of expression

of texture and surface details And the enigmatic lunar color in half-tones We begin to feel that OldMasters were different from us Were they better than our generation

Then entering a modern art hall we see pictures that depict triangles squares and other unidentifiableforms produced by splashing and slapping paint and not only paint with brushes and sometimes not

only brushes on canvas and sometimes not only on canvas To make an abstract picture requiresneither skill nor time unlike a classical still life or portrait

But if you were offered a choice of a beautiful still life and an abstract painting showing a black or redtriangle which one would you chose if say the price were the same Perhaps you will agree with me

that most people would choose a beautiful still life

Intel
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they belong
































Priming the canvas


- a palette knife



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Intel
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Drawing




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Intel
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Intel
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Intel
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I Umber Underlayer



































smooth as silk



































































































oil paint materials




















































shiny orange sun





















almost white
































well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion






they belong
































Priming the canvas


- a palette knife



Intel
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Intel
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Intel
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Drawing




Intel
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Intel
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Intel
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Intel
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Intel
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Intel
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I Umber Underlayer



































smooth as silk



































































































oil paint materials




















































shiny orange sun





















almost white
































well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion































Priming the canvas


- a palette knife



Intel
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Intel
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Intel
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Drawing




Intel
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Intel
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Intel
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Intel
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Intel
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Intel
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I Umber Underlayer



































smooth as silk



































































































oil paint materials




















































shiny orange sun





















almost white
































well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion









Intel
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Intel
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Drawing




Intel
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Intel
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Intel
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Intel
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Intel
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Intel
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I Umber Underlayer



































smooth as silk



































































































oil paint materials




















































shiny orange sun





















almost white
































well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion








Drawing




Intel
Cross-Out
Intel
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Intel
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Intel
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Intel
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Intel
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I Umber Underlayer



































smooth as silk



































































































oil paint materials




















































shiny orange sun





















almost white
































well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion







Intel
Cross-Out




























Intel
Cross-Out
Intel
Cross-Out








I Umber Underlayer



































smooth as silk



































































































oil paint materials




















































shiny orange sun





















almost white
































well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion




























Intel
Cross-Out
Intel
Cross-Out








I Umber Underlayer



































smooth as silk



































































































oil paint materials




















































shiny orange sun





















almost white
































well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion








I Umber Underlayer



































smooth as silk



































































































oil paint materials




















































shiny orange sun





















almost white
































well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion

































smooth as silk



































































































oil paint materials




















































shiny orange sun





















almost white
































well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion

































































































oil paint materials




















































shiny orange sun





















almost white
































well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion
















































shiny orange sun





















almost white
































well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion


















almost white
































well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion





























well enough












underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion








underlayer





















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion
















lemon












of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion








of the window



















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion


















































perfection






























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion




























surfaces locally


































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion































day






























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion





























Imprimatura



Umber underlayer


before each layer



The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion

The dead underlayer



First color layer



Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion

Second color layer


Texture









Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion




Local Disk


Composition

Priming the canvas

Drawing

Imprimatura

I Umber Underlayer

II Umber Underlayer

Dead Underlayer

I Color Layer

II Color Layer

Texture

Conclusion

classical oil painting technique

Documents

abstract painting

painting onconsignment

classical school of

teaching zone

art workshop

art market

exponents of modern

modern art hall