I bought a digital oil painting and accidentally dropped one. Colors 1 and 2 are gone. Where can I get them?

Here is a concrete introduction to realistic skills.

———————————— Super realistic! ! ! !

Author: Xu

First, make the canvas: 1, scraping glue Generally speaking, first scrape the glue on the linen, then scrape the red bottom, and finally brush the gray bottom twice, so that the canvas is completed. At present, the materials of canvas are mostly flax, cotton and nylon. Cotton cloth shrinks greatly and is not suitable for oil painting. Linen is more suitable. It is best to use rabbit skin glue for canvas for the first time. The specific method is: first glue the rabbit skin and soak it in water for 6 hours. Put 7% to 65,438+00% glue in the water (this can be determined according to the weather temperature. If the temperature is high, you need to add more water. Sometimes you can soften the glue with less water and then add water. When the coating water is between 25-30℃ and the temperature drops to 17℃, you can scrape the glue on the canvas. If it is really troublesome, you can use imported latex. But this effect is far from it. Lay the inner frame nailed to the canvas flat with the picture facing up, and then scrape the glue. Pay attention to the temperature of the glue during the process, and move quickly when scraping the glue. Finally, scrape the glue off the back of the canvas. Put the canvas in a ventilated place, and after drying, polish off the protruding sections on the canvas with pumice or fine sandpaper. When there is a convex hull on the canvas, you can put the canvas upside down on a smooth and hard material and gently knock it flat with a small hammer. Canvas primer has two functions, one is to cover the tiny fluff on the canvas, and the other is to cover the tiny holes on the canvas. Scraping glue is a difficult and important process. If the glue temperature is too high, the glue will penetrate into the back of the canvas, and it is difficult to scrape evenly when the glue temperature is low, and the effect of combining with the canvas is not ideal. It is best to use rabbit skin glue. If white latex is used, the effect will be poor, because latex is sensitive to heat and alcohol. Red base material: Red base material is made of walnut oil, one part of red lead powder, two parts of white lead powder and three parts of red clay powder (note) by boiling, stirring and grinding. After mixing the above three powders evenly, slowly add cooked walnut oil, and then grind evenly until no obvious particles are felt by rubbing the back of two nails. At this time, add a proper amount of cooked walnut oil for dilution, and the amount of oil added depends on the surface of the canvas and your own needs. The viscosity of oil should be microfilamentous when pulled. In this way, the red substrate is made. Lay the canvas flat and scrape off the red background. Then put the canvas with red background in a dry and ventilated place to dry in the shade. It will take three days to get to the bottom of it. More than three days is not appropriate, because after a long time, the red background and gray background can not be well combined. Grind it with fine sandpaper before removing the bottom of the ash. Be moderate, not over-polished. When there are small bumps on the canvas, put a block of wood or flat stone under it, and then knock it flat on the back with a small hammer. In the red base material, red lead powder is added for quick drying. Ash base material: add a certain amount of lead white powder to a small amount of iron black powder and mix evenly, then add 50% raw linseed oil to blend and grind. During the grinding process, oil is gradually added. It is forbidden to add too much oil and ash base material at a time. The ash base material is thinner than the red base material, and the blade scraping the ash base is thinner, so that the scraped ash base can be thin. After the first time, the bottom of the ash is dry, scrape it for the second time or use a row brush. The ancient masters only used a board brush to brush the gray base material without a scraper, but for Avery, he needed a particularly flat picture, and his second gray base also used a scraper. This medium is a mixture of two liquids, cooked walnut oil and Marti resin varnish. The carrier becomes an indispensable material in the process of painting. Preparation of cooked walnut oil: cooked walnut oil is made by boiling raw walnut oil and lead monoxide. The specific method is as follows: prepare a container that does not absorb oil, preferably a clay pot or a fire-resistant working tool, add 250 ml of raw walnut oil to the container, heat the container with an electric stove, add a small piece of onion, and add 65438+ when there are small bubbles around the onion. In the whole process of cooking oil, the highest temperature should not exceed 120℃, because beyond this temperature, the color of oil will turn black and the drying speed will be too fast. It is best to keep the temperature between110℃-115℃ and cook for about two hours. When the temperature is high, control the power supply. Adding lead white can also make the oil dry quickly, but the effect is not as good as lead monoxide. Adding red lead will make the oil turn red, so adding lead monoxide is the best. In the past, Venetian painters added more than15g of lead monoxide to 250ml of raw walnut oil, and as a result, the oil dried too quickly, which was not convenient for painting. If crude oil is cooked into mature oil, even if lead monoxide is not added, the drying speed of mature oil is still faster than that of crude oil. From15th century to this century, masters painted with cooking oil, and from19th century, people gradually painted with linseed oil. Filter the boiled oil into a small mouth container with filter paper. In order to keep the cooked oil for a long time, it is best to exhaust the air in the container and seal it. Preparation of Marti resin varnish: Measure 75ml of newly distilled turpentine in a measuring cup, then take 50g of Marti resin (resin content in normal varnish is 44%), grind it and pour it into a beaker, then add 75ml of turpentine prepared above, and slowly heat the beaker with low fire to make the resin dissolve slowly. In the process, keep stirring with the off-duty stick until it melts. In the process of heating with a small fire, pay attention to the temperature can not be too high, because too high a temperature will volatilize turpentine. Turn off the fire when the temperature is too high, so the whole heating process will be intermittent. When Marti resin dissolves, it should be filtered with stockings and poured into a container. After a few days, impurities will precipitate and the varnish will almost turn white. Pour the varnish into the vial until it is full, and keep it in a cool place. There is another way to make varnish: put crushed Marti resin into silk stockings and dissolve naturally in turpentine, but the varnish made by this method is as opaque as milk. Preparation of medium: Take one part of Marti resin varnish and one part of cooked walnut oil and mix them, which will become a jelly-like medium in a short time. This is because lead monoxide reacts with varnish, which helps to convert it into jelly paste, and then the medium will be stored in tin tubes. This kind of media began in about16th century. Colloidal media plays an important role in painting. Taking soil red pigment as an example, it becomes transparent after adding medium, so soil red is opaque, which shows that adding medium to other colors can become more transparent. In the process of painting, the pen is very astringent without medium, but after medium is added, the painting is very flat, and there is no accumulation on the surface of the color layer, but with varnish, the situation is different. We can see that when we draw lines on a wet map with media, the lines will never spread around, but when we draw lines on the color base of linseed oil painting (wet color painting), the lines on the base of linseed oil painting will spread. In addition, linseed oil is difficult to be evenly coated on colored surfaces. When you scan the picture drawn by the media with a pen, the picture will not change much, but when you scan the picture drawn by raw flax seeds with a pen, it will blur the picture. When you are not satisfied with the picture drawn by media, you can wash off the color layer with pure media, but when the picture is dry, it can't be washed off. For example, when you are not satisfied with the lines drawn on the screen, you can immediately wash them off with mink brushes and pure media. After painting with pure medium between two color blocks coated with medium, a subtle color transition can be drawn between the two colors without destroying the two color blocks. When painting, in some places, after oil absorption, the surface is brushed with polishing oil to make up for this bad method, because it can make the painting yellow. At this time, it is best to dilute the oil-absorbing surface with one medium and two turpentine, but wait until the picture is dry before brushing. In the process of painting, if you want to draw a part, you can only brush the good part you want to draw. If there is a little oil absorption in the picture, you can rub the oil absorption part with a little pure medium by hand, so the oil absorption problem is solved. But if the oil absorption surface is too large, you can only brush it. When you start painting, you must use less media. One reason is that the media makes oil invisible, and the other reason is that multimedia makes the picture too bright. When you start painting, you usually use three parts turpentine and one part medium. After painting, you can use two parts of turpentine and one part of medium. Making oil painting pigments: Simply put, oil painting pigments are made by adding oil and grinding toner. Commonly used toners include lead powder, khaki powder, khaki powder, cooked brown powder, ivory black powder, ultramarine powder, cobalt blue powder, lake blue powder, Neapolitan yellow powder, China vermilion powder, medium yellow powder, alizarin red powder, emerald green toner and so on. First, put the toner on the grinding plate, add the mixed oil of two parts of raw walnut oil and one part of cooked walnut oil bit by bit, and grind it carefully with a roller. The way to check whether the toner is fine is to rub the color on the back of two fingernails. If there are no obvious small particles, it feels fine after grinding all day, and then put the color in a tin can. Grinding pigments starts from white, and the grinding disc must be very clean. If the grinding disk is new, it must be oiled before grinding, so that toner will not enter the gap. Grinding lead white: use two parts of raw walnut oil and one part of cooked walnut oil. When grinding lead white, use less oil and add it slowly. Grind it after adding oil. This kind of white is called Venetian white. Ancient masters only used lead white, and zinc white was discovered at the end of 19. This kind of white is not good, zinc white is pure, but its hiding power is not strong and it dries slowly. In 1930s, titanium dioxide was discovered again. Titanium dioxide is opaque, but it dries slowly and needs to be ground with a lot of oil. After a long time, it turned into powder and cracked after 20 years. (This is worth noting. ) Making brushes: There are many kinds of oil painting pens, such as sharp pens, round pens, fan pens and flat pens. There are also many kinds of brush hairs, such as mink hair, bristle hair and badger hair. The diversity of raw materials and pen types has contributed to the richness of oil painting techniques. In ancient times, there was no flat pen that we use now, so we can't see the square brush strokes in traditional oil paintings. Ivell introduced the specific methods of two kinds of pens: sharp pen and round pen. Making a round-headed pen: put a bunch of bristles on a small piece of paper, turn the selected bristles head down, roll them together with the paper and put them in a small shell, and then take out the paper to make the bristles neat. There is a thin thread tied in the middle. When it is strong, cut off the thread and then cut off the uneven hair on it. Sharpen the pen tip with a pencil sharpener, dip it in glue, and insert the pen tip into the middle of the bristles. Then take a thin twine and grind the thread end on the wax, make a circle with the thread end against the hair, and wrap the long line from the pen end to the tail end of the brush hair. Cut off the irregular hair at the end of the pen, then insert the thread into the buckle and pull the short end hard, so that it is fastened. Then cut off both ends of the thread and brush it on the surface of the rope with varnish or moisture-proof glue. Finally, soak the fine sandpaper in the water, press and grind it with your fingers on the pen tip in the water, grind the pen tip into a slightly round shape, take it out, and wrap the round hair with a rope. When it is dry, break the rope and use it. This kind of bristle round-headed pen is suitable for the connection of two slightly thicker colors, or for drawing dry and thick colors. The making of the pointed pen: Take a bunch of mink hair and roll it on a small piece of paper, put it into the bullet shell together, take out the paper, tie it firmly in the middle of the pen hair with nitroso thread, tie it at the tail of the pen hair again, and tie it between the two buckles again. Glue water on the silk thread to fix the knot, wrap it with the silk thread while gluing water, and then turn it flat by hand to round the bristles. Cut off the excess hair at the end of the pen, put the hair in water to sharpen the tip, and then wind the iron wire to the thickness of the inner wall of the goose feather tube. Put the goose feather tube into hot water to soften it, take it out, put the bristles into the big end of the goose feather tube, then push it in from behind the goose feather tube with a pen and pop out the nib. The length of the pen tip can be adjusted as required, and it can be used after being inserted into the pen holder. Sable hair tip pen is suitable for drawing details, hooking lines and other purposes. Now all kinds of pens can be bought on the market, as long as you have money. If necessary, such as making some special picture effects, try to make some different brushes. As the saying goes, it is really cool to feel your own feelings. First, draw a fine sketch, and the format of the sketch should be the same as that of the prepared canvas. When sketching, you can not fix the sideline first, so that you can cut the sideline into equal sizes according to the needs of composition. After the sketch is completed, there is a piece of sulfuric acid paper floating on it. First, use a pencil to infiltrate the sketch into sulfuric acid paper. Generally, just draw the outline of each part with lines, and then draw it on the back of sulfuric acid paper with khaki chalk. One method is full painting, and the other method is to paint along the exposed lines, and then fix the sulfuric acid paper on the canvas so that the manuscript can penetrate into the canvas. Another method is to infiltrate the manuscript with carbon paper. Then use 1 cooked walnut oil and 2 parts turpentine to adjust the three colors of earth red, cobalt blue and lead white to brown gray. Dip it in brown-gray with a sharp brush and draw lines on the canvas to finalize it. Only the following four colors are used when drawing the first draft: lead white, khaki, khaki and blue (gray can be used instead). For ancient masters and modern painters, blue is a difficult color. Colour matching with one part cooked oil and three parts turpentine. It is not advisable to use too much cooked oil at first, so as not to make the picture shine. At the beginning of coloring, you should draw some gray, thin and transparent ones, so that you can see the draft line below the color layer and add a proper amount of white to the dark part. Draw shadows and dark parts first, then bright parts, and scan the seam between them with a special fan pen. You have to wait two or three days after the first painting, otherwise the painting will absorb oil. When the background color is dry, scrape off the small color knot of the picture with a small scraper, which is for the beauty of the picture. If you think the picture is too bright, you can wash it with Panama bark. Wipe the cleaned picture and dry it, then take a medium size and add three to four parts of turpentine, and understate the picture for the next step. In this step, color painting is used, and the amount of color painting in the medium is less. Pure medium is mainly used in this stage, but diluted medium (one medium plus three parts turpentine) should be used when drawing details. Why use dilution media to draw parts? When painting with media, it is easy to make the color of the picture diffuse, but painting with diluted media overcomes this shortcoming. Do not use more media in this step. More pictures are transparent and bright, but this stage should not be too transparent and bright, so we should control it well and prepare for the next stage. Then the next step will take about two weeks (of course, sometimes it depends on the size of the picture). At this time, it must be emphasized that the colors on the palette must be simple. Vermeer's palette is simple. When he paints in a medium yellow tone, there is no lemon yellow or other yellow on the palette. Some masters only use several colors when painting portraits, only white, khaki, khaki, black and brown, but the colors they draw are bright and loud. After the first stage of color spreading, the second stage is not completed at one time, but is repeatedly portrayed in depth part by part, while maintaining the unified and coordinated relationship of the whole picture. In the second stage, we should try our best to be close to the object, draw a more peaceful tone, and finally emphasize the relationship between black and white in the picture. Every detail should be swept lightly with a fan pen to make it seamless. After each layer of color is painted, wait at least one day before painting, and brush the place to be painted with turpentine and medium solvent every day. The purpose of this is to combine the two color layers well. The oil absorption place is correspondingly better. If the color of the picture at this stage is lighter than the actual object, then we can make up for it with the next transparent masking stage. Dyeing: After painting for a few days, wash the painting with Panama bark water, dry it with four parts turpentine mixed with one medium, brush the painting with a brush, and dye it transparent later. The process of painting and dyeing is also a process of in-depth description, which can create richer tones and make colors more saturated. First, stick the part that doesn't need to be dyed with tape paper and dye it with pure medium. You can't apply transparent color for a second time immediately. After you finish applying the medium, you can apply it again and again, but it is difficult to apply it while wet and change it later. In some places, you can add a proper amount of white, because the transparency effect will definitely change after adding white. When covering and dyeing a painting, don't dip the pen that has just been washed with turpentine in the medium, because turpentine will spread the color on the painting. When there are too many dyed colors, you can take a few pictures with a hard brush dipped in pure medium, and then you can take some dyed colors. Polishing: first, wash the picture with Panama bark water, wash off the dust on the picture, dry it and then polish it. Generally speaking, a better varnish is Marti resin varnish. Take 15g Marti resin and add 75ml turpentine. In France, Venice turpentine, the size of soybean, must also be added. Dilute it with one part light oil and three parts turpentine. Polishing has to be done twice, both of which are very thin. When polishing, it is best not to use the pen repeatedly and then brush horizontally. The polished picture should be laid flat, and the varnish will dry quickly, and it will dry in about fifteen minutes. The picture just polished is brighter, but it will not be very bright after a while. If it lights up twice, you have to wait for the second time the next day. When the frame is large, it must be polished twice to avoid missing some places. In some modern books, polishing with Dama resin is often introduced. Dama resin is not good for polishing. When it turns white in water, it will affect the picture color, and the whole picture color may turn blue. Finally, it needs to be added that after painting, it will take three or four months to polish. If polishing is needed immediately, it is best to apply a little pure medium to the picture first, and then wipe it gently with a soft felt cloth. The difference (the difference between the painting process of direct painting) is not difficult to understand. Direct painting pays attention to brushwork and has requirements for brushwork; Indirect painting, such as multi-layer transparent painting, is suspected of "making" pictures. In my opinion, direct painting should pay more attention to human nature, but it requires the painter's modeling ability to be very high, that is, to upgrade his skills to the realm of artistic beauty, otherwise the picture will be nothing to look at, which is the real difficulty. As for Ivell's painting method, it is undeniable that "making" is mainly at work. Some people are very smart. They will learn both painting methods at the same time and apply them. Most of the works like Rembrandt are completed by combining direct painting with traditional mask painting (one of indirect painting methods). Xie Luofu is a genius creator of direct painting, but he occasionally uses multi-layer painting (strictly speaking, transparent painting in the classical sense is very different from the so-called multi-layer painting after19th century. Transparent painting belongs to multilayer painting, but multilayer painting is not necessarily transparent painting, which must be distinguished clearly. )。 In my opinion, Ivell's painting method is very different from the previous neoclassical painting method. The process of his painting is not complicated. The complicated thing is the preparation. At least to a large extent, he went back to the earlier Van Ike's practice. It is actually very helpful to know some of his paintings similar to traditional paintings. It is hard for us to imagine that a painter only uses a simple painting method all his life. There is a lot of space between direct drawing and indirect drawing. If you can master both, it may be of great help to your future creation. To give an inappropriate example, mastering these two methods is like mastering China's freehand brushwork and meticulous brushwork at the same time, which is of course very helpful to the creators. The difference is that the aspects that should be paid attention to in western painting are estimated to be more complicated. History tells us that oil painting pigments are by far the most flexible and beneficial to picture modeling, but its disadvantage is also obvious, that is, we have to be careful about their possible chemical reactions.

I study painting. If you don't understand, ask me again and I'll be happy to answer.