Brothers and sisters who are studying oil painting, can you tell me about the expression of light and color, as well as the shaping of light and shadow in your oil paintings?

You can first appreciate Afremov's works. He is good at using thick ink and heavy colors to express the city and prefers bright colors with high saturation. The pictures are as gorgeous as fireworks and have great visual impact. He is particularly good at using a palette knife to draw color blocks, color and light landscape themes. His expression of light and shadow is reflected in large color blocks and large layouts. His grasp of reflective objects and environmental colors is very distinctive. Afremov's skill in the use of light and shadow has made him known as the contemporary Van Gogh.

Light and shadow are one of the main factors in oil painting sketching and creation. The realism of objects is often produced by the regular changes in bright and dark colors on the screen. Even without color (referring to monochrome paintings), light and shade can give a work a sense of reality. In other words, if an artist wants to create an illusion of space in a painting, he must control the use of light and dark tones.

When painting with light and shadow, you must have a clear light source. In order to pursue a sense of form, modern painters often reduce the expression of volume to a minimum, but still use light and darkness to create an overall atmosphere.

Impressionist painters' understanding of light and shadow broke through the traditional principle of chiaroscuro, and unrestrainedly pursued color changes under specific time and light. Renoir once placed models under the variegated shades of trees, and carefully studied the wonderful changes in light spots and shadows of leaves on human skin and clothing. Therefore, there are always flashes of color in light and shadow in many of his works. Monet's research on light was even more extraordinary. He decomposed and reconstructed the colors of light and shadow in natural scenery, which is the so-called optical color palette. In Monet's works, the shadows are no longer dark colors, but replaced by some bluish-purple colors with lower brightness and whitening.

Impressionism flattened light, shadow and color, while Matisse, one of the founders of Fauvism, completely abandoned the changes in light and shadow.