[Reprinted] [How do I copy antique oil paintings]

My copy of antique oil painting: Guo Lan Excellent/Painting.

The classical techniques of oil painting came into being with the appearance of oil painting types. Compared with direct painting, it has two significant differences: classical techniques are more strict in the choice of materials and painting procedures; Glaze dyeing was used in classical techniques, and19th century was basically replaced by direct painting. It has a history of hundreds of years, forming a huge genre and complex techniques. For example, Rembrandt, Rubens, Xia Erdan and other masters have different painting techniques and materials, some with white glaze dyeing, some with gradual glaze dyeing, and the painting effect is also different. This paper briefly introduces the painting steps of the classic technique of white lifting.

The first is sketching. Most painters finish the detailed sketch first, and then copy it to the formal oil painting foundation. Some painters sketch directly on the canvas. Both of these methods need to be well drawn, accurately modeled and deeply described.

Second, color stereotypes. Generally, a strong colloidal monochromatic pigment is used to finalize the manuscript, so that the color dries quickly and the next step is to use the background color without staining the manuscript.

Third, do the background color. Make background colors with different shades and hues according to the requirements of picture tone or the habits of painters. Pigment diluted with turpentine and cooked linseed oil can be brushed on the base, which can make the background color uniform, uneven or set off the brush strokes.

Fourth, do modeling and sketching. Using the depth of the background color, the reverse painting method is adopted, that is, white is used to shape the sketch relationship of the body on the background color, similar to chalk drawing on the blackboard. This step requires drawing as fully as possible, both as a whole and in detail, and all kinds of texture effects that finally appear on the screen are also made in this step.

Five, glaze dyeing, also known as cover dyeing. The pigment is diluted with three oils (i.e. turpentine, cooked linseed oil or cooked walnut kernel oil and varnish on the resin), and then dyed repeatedly on the screen to complete the color effect. Try to choose pigments with strong transparency.

Sixth, strengthen the outstanding details with direct drawing. In actual painting, it often appears that the whole painting process is repeated after covering, dyeing and painting, and dyeing after painting. After the finished product has been dried for more than half a year, brush the varnish twice. That's it.

The works painted by classical oil painting techniques have small color changes, strong three-dimensional sense, durability and are easily accepted by people, and are popular interior decoration works.

The antique oil painting I copied: Grapes is excellent/painting.

My experience in copying antique still life oil paintings

There are three ways to copy:

First, all kinds of oil paintings were copied and carefully presented for many years. Finally, copying was inseparable from the original.

Second, copy completely in your own way. In the process of copying, you only take the original as a reference, and you have many interesting colors and strokes. Therefore, the copy is not much different from the original.

Third, whoever copies his works must learn his methods. His methods are similar to the original works in overall spirit and have great feelings. Its purpose is to really study and learn the original skills and methods. If you find a little difference, don't change it immediately. You should be exactly the same from the whole to the details. This method is more suitable for color training stage. At the beginning, we even pay attention to how the host grasps the overall relationship, color and space, and how to deal with the primary and secondary, virtual and real. As for the study of complex techniques and styles, through long-term training and the enhancement of basic skills, you will naturally master them slowly. Let it be, let it be.

My antique oil painting: Lotus Love is excellent/painting.

Painting on old paintings, or long-term multi-layer painting, the pigments on some pictures will crack, gradually tilt up and fall off. This is because the lower layer is too "fat" because it is mixed with more conjunctival oil. Color oil is divided into muddy oil and conjunctival oil. Volatile oil participates in color matching, and most of it volatilizes during pigment drying. For example, turpentine, gasoline and banana oil are all volatile oils, while gasoline and banana oil are almost all volatilized during drying, which is called "lean oil". Another oil pigment, such as linseed oil, walnut kernel oil and luminous oil containing resin, is basically non-volatile in the drying process and is conjunctival, which is called "fat oil". After the color layer drawn with the pigment mixed with oil is dry, draw the color for the first time. If the combination is not good, it is easy to crack and fall off. However, after the color layer of the dilute oil mixed pigment is dried, the secondary color painting can be firmly combined without cracking or falling off.

Therefore, painting should follow the principles of "fat" and "thin". That is, the first color scale is made of turpentine, the second color scale is made of turpentine and linseed oil, and then the proportion of linseed oil is gradually increased. Finally, the first color tone of the work can be mixed with pure linseed oil or walnut oil and luminous oil.

If you add a color layer to the fat map, you can use the method of "oil cutting". Wash the map with weak alkali to remove oil, such as saponin, light washing powder water, etc. Then wash the alkali with clear water and dry it before coloring, which can also make the old and new color layers closely combined.

The steps of painting portraits with oil painting materials and tools are as follows:

First determine the composition, draw the colors of hair, face, calves and clothes with simple lines, and emphasize the overall contrast.

Second, draw the colors of the bright part of the face and gaskin, and pay attention to the accuracy of its brightness and chromaticity.

Third, draw clothes and backgrounds in most colors. Adjust the subtle contrast of facial colors and pay attention to shaping the local shapes of face and tibia.

Four, according to the structure and light in-depth description of the color and volume of each part, enrich the details of the main part, pay attention to the overall effect.

When we copy an antique oil painting, we can copy a famous painting with film, and then project it with a flashlight in the darkroom to outline the sketch you need to draw. Then slowly describe its details, so that a classic oil painting that is completely fake will be displayed in front of your eyes.

When painting the clothes of characters in classical oil paintings, we should pay attention to various colors, materials and styles to produce different visual effects. Clothes are worn on people, and their shapes are restricted by the structure and volume of the human body. To draw clothes, we must understand the ups and downs of the human body under the clothes through the surface of the clothes, and express the essence of the human body structure through the light and shade, color and grain of the clothes. Because of its important role, clothes cling to the place where the human body faces upwards, or where the human body exerts its strength. When wearing thin clothes in summer, the shape of clothes in these parts is also the shape of human body. The dress part under the skirt forms a regular pattern and shape, and the pattern is concentrated on the part that pulls it. If you don't pay attention to these rules and make mistakes, clothes won't stick to the human body, causing holes in clothes.

Clothing patterns are divided into natural clothing patterns and sports clothing patterns. Clothes are crumpled by iron, and the short and dense lines of cotton-padded clothes are all original natural lines, which play a certain role in expressing the texture of clothes. The pattern of sportswear is the main object of painting research and expression. The shoulder line begins at the acromion and disappears at the armpit. The lines on the elbow begin from the olecranon process to the inside of the arm and gradually disappear. The pattern of the chest begins from the breast to the waist and gradually disappears; The garment pattern of sitting legs starts from the knees and goes to the inside and outside of the legs; The pattern of the buttocks starts from the buttocks, goes under the buttocks and disappears. It can be seen that the clothing pattern starts from the high part of the structure and disappears to the low part. When the human body twists and rotates, it will also produce obvious clothing lines, which is also formed when the highest point of the protruding structure moves to drive the clothes. When drawing sportswear, you should choose the main and essential ones that can express the structure, volume and sense of movement. Casual, trivial and rhythm-breaking should be deleted or simplified.

Clothing grain is the main means to express clothing texture. Different fabrics have different patterns. Woolen clothing lines are few and neat; Silk clothing lines are thin and long; The clothing lines of chemical fiber are hard and straight; Cotton-padded jacket has short, dense and curved lines.

Because clothes are worn on people, the complexity of people's modeling also makes clothes form a rich turning point and changes in cold and warm colors. The light-receiving part of the clothes forms various faces with the human body, and is influenced by the color of the light source differently with the fluctuation of the volume, thus forming a slight color change between the color of the light source and the inherent color. In the dark, due to the interaction of clothes colors, there is a tendency to strengthen the inherent color of clothes lines. Some thin clothes are exposed to light in some dark places, and the colors are unusually bright and clear. The colors of armpits, inner legs and cuffs are basically unaffected by light sources and environment, and the colors are dignified and integral, which is very weighty. Pay attention to the outline of clothes, it will rotate with the three-dimensional structure. The color of the dark part is closely related to the background, so it is necessary to deal with the outer contour line and create a three-dimensional figure in the clothes with a sense of space. Draw every detail, which is the essence of my antique figure painting. For everyone to appreciate and learn from. -You Jia/Painting, and Experience Introduction-