Oil Landscapes Step by Step

Oil Landscapes Step by Step

by Wendon Blake, George Cherepov
     
 

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Beautifully illustrated, easy-to-follow guide features 32-page color section demonstrating use of colors in landscapes and showing development of 7 varied landscape paintings by brilliant landscapist George Cherepov. Other sections offer expert advice about basic techniques, composition, lighting, special problems, more. 63 color and 54 black-and-white… See more details below

Overview


Beautifully illustrated, easy-to-follow guide features 32-page color section demonstrating use of colors in landscapes and showing development of 7 varied landscape paintings by brilliant landscapist George Cherepov. Other sections offer expert advice about basic techniques, composition, lighting, special problems, more. 63 color and 54 black-and-white illustrations. Introduction.

Product Details

ISBN-13:
9780486415277
Publisher:
Dover Publications
Publication date:
02/28/2001
Series:
Dover Art Instruction Series
Pages:
64
Product dimensions:
8.20(w) x 10.70(h) x 0.30(d)

Read an Excerpt

Oil Landscapes Step by Step


By Wendon Blake

Dover Publications, Inc.

Copyright © 2001 Donald Holden
All rights reserved.
ISBN: 978-0-486-14617-1



CHAPTER 1

COLORS AND MEDIUMS


Color Selection. When you walk into an art supply store, you'll probably be dazzled by the number of different colors you can buy. There are far more tube colors than any artist can use. In reality, all the paintings in this book were done with just a dozen colors, about the average number used by most professionals. The colors listed below are really enough for a lifetime of painting. You'll notice that most colors are in pairs: two blues, two reds, two yellows, two browns. One member of each pair is bright, the other is subdued, giving you the greatest possible range of color mixtures.

Blues. Ultramarine blue is a dark, subdued hue with a faint hint of violet. Phthalocyanine blue is much more brilliant and has surprising tinting strength—which means that just a little goes a long way when you mix it with another color. So add phthalocyanine blue very gradually. These two blues will do almost every job. But George Cherepov likes to keep a tube of cobalt blue handy for painting skies and flesh tones; this is a beautiful, very delicate blue, which you can consider an "optional" color.

Reds. Cadmium red light is a fiery red with a hint of orange. All cadmium colors have tremendous tinting strength, so remember to add them to mixtures just a bit at a time. Alizarin crimson is a darker red and has a slightly violet cast.

Yellows. Cadmium yellow light is a dazzling, sunny yellow with tremendous tinting strength, like all the cadmiums. Yellow ochre is a soft, tannish tone. If your art supply store carries two shades of yellow ochre, buy the lighter one.

Browns. Burnt umber is a dark, somber brown. Burnt sienna is a coppery brown with a suggestion of orange.

Green. Although nature is full of greens—and so is your art supply store—you can mix an extraordinary variety of greens with the colors on your palette. But it is convenient to have just one green available in a tube. The most useful green is a bright, clear hue called viridian.

Black and White. The standard black, used by almost every oil painter, is ivory black. Buy either zinc white or titanium white; there's very little difference between them except for their chemical content. Be sure to buy the biggest tube of white sold in the store; you'll use lots of it.

Linseed Oil. Although the color in the tubes already contains linseed oil, the manufacturer adds only enough oil to produce a thick paste that you squeeze out in little mounds around the edge of your palette. When you start to paint, you'll probably prefer more fluid color. So buy a bottle of linseed oil and pour some into that little metal cup (or "dipper") clipped to the edge of your palette. You can then dip your brush into the oil, pick up some paint on the tip of the brush, and blend oil and paint together on your palette to produce the consistency you want.

Turpentine. Buy a big bottle of turpentine for two purposes. You'll want to fill that second metal cup, clipped to the edge of your palette, so that you can add a few drops of turpentine to the mixture of paint and linseed oil. This will make the paint even more fluid. The more turpentine you add, the more liquid the paint will become. Some oil painters like to premix linseed oil and turpentine, 50-50, in a bottle to make a thinner painting medium, as it's called. They keep the medium in one palette cup and pure turpentine in the other. For cleaning your brushes as you paint, pour some more turpentine into a jar about the size of your hand and keep this jar near the palette. Then, when you want to rinse out the color on your brush and pick up a fresh color, you simply swirl the brush around in the turpentine and wipe the bristles on a newspaper.

Painting Mediums. The simplest painting medium is the traditional 50-50 blend of linseed oil and turpentine. Many painters are satisfied to thin their paint with that medium for the rest of their lives. On the other hand, art supply stores do sell other mediums that you might like to try. Three of the most popular are damar, copal, and mastic painting mediums. These are usually a blend of a natural resin—called damar, copal, or mastic, as you might expect—plus some linseed oil and some turpentine. The resin is really a kind of varnish that adds luminosity to the paint and makes it dry more quickly. Once you've tried the traditional linseed oil-turpentine combination, you might like to experiment with one of the resinous mediums.

Other Solvents. If you can't get turpentine, you'll find that mineral spirits (the British call it white spirit) is a good alternative. You can use it to thin your colors and also to rinse your brushes as you work. Some painters use kerosene (called paraffin in Britain) for cleaning their brushes, but it's flammable and has a foul odor. Avoid it.

CHAPTER 2

EQUIPMENT


Bristle Brushes. The brushes most commonly used for oil painting are made of stiff, white hog bristles. The filbert (top) is long and springy, comes to a slightly rounded tip, and makes a soft stroke. The flat (center) is also long and springy, but it has a squarish tip and makes a more precise, rectangular stroke. The bright (bottom) also has a squarish tip and makes a rectangular stroke, but it's short and stiff, digging deeper into the paint and leaving a strongly textured stroke.

Knives. A palette knife (top) is useful for mixing color on the palette, for scraping color off the palette at the end of a painting session, and for scraping color off the canvas when you're dissatisfied with what you've done and want to make a fresh start. A painting knife (bottom) has a very thin, flexible blade that's specially designed for spreading color on the canvas.

Softhair Brushes. Although bristle brushes do most of the work in oil painting, it's helpful to have some softhair brushes for smoother, more precise brushwork. The top two brushes here are sables: a small, flat brush that makes smooth, rectangular strokes; and a round, pointed brush that makes fluent lines for sketching in the picture and adding linear details such as leaves, branches, or eyebrows. At the bottom is an oxhair brush, and just above it is a soft, white nylon brush; both make broad, smooth, squarish strokes.

Brush Washer. To clean your brush as you paint, rinse it in turpentine or mineral spirits (called white spirit in Britain). To create a convenient brush washer, save an empty food tin after you've removed the top; turn the tin over so that the bottom faces up; then punch holes in the bottom with a pointed metal tool. Drop the tin into a wide-mouthed jar—with the perforated bottom of the tin facing up. Fill the jar with solvent. When you rinse your brush, the discarded paint sinks through the holes to the bottom of the jar; the solvent above the tin remains fairly clean.

Easel. For working indoors, a wooden studio easel is convenient. Your canvas board, stretched canvas, or gesso panel is held upright by wooden "grippers" that slide up and down to fit the size of the painting. They also adjust to match your own height. A studio easel should be the heaviest and sturdiest you can afford, so that it won't wobble when you attack the painting with vigorous strokes. For working outdoors, you can get a lightweight, collapsible, tripod easel; to keep it steady in the wind, some professionals sharpen the three legs and drive them into the ground.

Palette. The wooden palette that comes inside your paintbox is the traditional mixing surface that artists have used for centuries. A convenient alternative is the paper tear-off palette: sheets of oilproof paper that are bound together like a sketchpad. You mix your colors on the top sheet, which you then tear off and discard at the end of the painting day, leaving a fresh sheet for the next painting session. This takes a lot less time than cleaning a wooden palette. Many artists also find it easier to mix colors on the white surface of the paper palette than on the brown surface of the wooden palette.

Paintbox. A paintbox usually contains a wooden palette that you can lift out and hold as you paint. Beneath the palette, the lower half of the box contains compartments for tubes, brushes, knives, bottles of oil and turpentine, and other accessories. The lid of the paintbox often has grooves into which you can slide two or three canvas boards. The open lid will stand upright—with the help of a supporting metal strip which you see at the right— and can serve as an easel when you paint outdoors.

Palette Cups. These two metal cups (or dippers) have gripping devices along the bottom so that you can clamp the cups over the edges of your palette. One cup is for turpentine or mineral spirits to thin your paint as you work. (Don't use this cup for rinsing your brush; that's what the brush washer is for.) The other cup is for your painting medium. This can be pure linseed oil; a 50-50 blend of linseed oil and turpentine that you mix yourself; or a painting medium that you buy in the art supply store—usually a blend of linseed oil, turpentine, and a resin such as damar, copal, or mastic.


BRISTLE BRUSHWORK

Cliff and Rocks. The stiff, white hoghairs of a bristle brush are best for broad, rough strokes, which usually show the marks of the bristles. If you use the paint straight from the tube—adding little or no painting medium—the color has a thick, pasty consistency. A stiff bristle brush, loaded with stiff color, is particularly effective for painting roughly textured subjects such as a rock formation. If you add a little painting medium to make the tube color more fluid, the paint becomes creamier and you can make softer strokes like those in the sky at the upper right. Oil painters generally do most of their work with bristle brushes, covering the canvas with big, broad strokes.


SOFTHAIR AND BRISTLE BRUSHWORK

Trees, Near and Far. Like the rocks on the preceding page, these trees are begun with broad strokes of a bristle brush. However, the paint is diluted with medium to a more fluid consistency, so that the brush makes a softer, smoother stroke, which you can see most clearly in the shadow side of the foreground tree. The hoghairs still leave a distinct mark in the paint, but the stroke isn't nearly as rough. On top of the big strokes of the bristle brush, the tip of a round, softhair brush does the more detailed work. The softhair brush adds the paler touches of the leaves in sunlight, the linear strokes of the branches, the vertical shadow strokes on the sunlit treetrunk, and the scribbly strokes of the grass beneath the trees. The slender, delicate hairs of the softhair brush won't carry as much thick paint as the bristle brush. Softhair brushes work best with fluid paint, so add plenty of medium.


CLIFF PAINTED WITH BRISTLES

Step 1. The shapes of the cliffs and rocks are drawn with straight strokes of a small filbert carrying paint that's diluted with turpentine to a very fluid consistency. Undiluted tube color is too thick for drawing lines, so you've got to add turpentine or medium.

Step 2. A larger bristle brush picks up some slightly thicker color diluted with just enough medium to make the paint flow smoothly. Then the dark shadow sides of the cliff and rocks are painted with broad strokes. Notice how the texture of the canvas board breaks up the strokes, which begin to suggest the roughness of the rocks.

Step 3. Now the sunlit faces of the boulders and the cliff are painted with undiluted tube color. This stiff paint is applied with the short, stiff bristles of a bright, which makes a stroke that has a particularly rough texture. The paint is so thick that it doesn't cover the canvas in smooth, even strokes. You can see that the strokes are ragged and irregular. On the face of the big rock at the center, the weave of the canvas breaks up the stroke to accentuate the rocky texture.

Step 4. For the softer, more fluid strokes of the sky, a large filbert picks up much creamier paint, diluted with medium to a more fluid consistency than the rocks. You can still see the brushstrokes, but they're softer and less distinct. For details such as the dark cracks, the point of a round, softhair brush adds a few dark strokes of very fluid color containing plenty of medium. Finally, a bright adds some thick strokes of undiluted color to strengthen the sunlit tops of the rocks.


TREES PAINTED WITH BRISTLES AND SOFTHAIRS

Step 1. For drawing the complex curves of the foliage and the delicate shapes of the trunks and branches of these trees, a round, softhair brush will do a more precise job than a bristle brush. The color is thinned with turpentine to the consistency of watercolor. Then the tip of the brush moves smoothly over the surface of the canvas, making crisp, graceful lines.

Step 2. To block in the darks of the foliage, a large filbert picks up a fluid mixture of tube color and painting medium. The bristle brush scrubs in the tones with broad strokes that retain the marks of the stiff hoghairs and suggest the texture of the foliage. Notice the small, rough strokes which really begin to look like leaves at the top of the tree.

Step 3. The filbert completes the large shapes of the foliage with broad strokes of fluid color containing a lot of painting medium. Then the tip of a round, softhair brush adds precise, linear strokes for the sunlit and shadow sides of the trunk and branches. The shadow strokes are precisely drawn with fluid color containing enough medium to make the paint flow smoothly.

Step 4. A flat, softhair brush picks up fluid color to complete the distant tree with soft, smooth strokes that blend the lights and darks and soften the edges of the leafy masses. Then the tip of a round, softhair brush picks up a slightly thicker mixture of tube color and painting medium to dash in the sunlit leaves with small, quick strokes. The same brush paints the sunlit sides of the trunks and branches with long, slender strokes of this creamy mixture. Then, picking up more fluid color, a round brush scribbles the shadowy grass at the bases of the trees.


MOUNTAINS IN IMPASTO TECHNIQUE

Step 1. This picture will be completed with thick color—for which painters use the Italian word impasto—but the shapes are first drawn with precise strokes of fluid color. The tip of a round softhair brush defines the mountains and the trees with tube color thinned with turpentine to the consistency of watercolor.

Step 2. Now the dark shapes of the distant mountains at the horizon are painted with a creamy mixture of tube color and painting medium. The shadowy patch of snow is painted with slightly thicker color—tube color and a little less painting medium. At this stage, all the work is done with bristle brushes.

Step 3. The shadowy patches of snow in the foreground are painted with a bristle brush that carries color diluted to the consistency of thick cream. The really thick color is saved for the sunlit patches of snow, which are pure tube color undiluted with painting medium and applied in solid, heavy strokes. A round softhair brush adds small, dark touches such as the trees.

Step 4. To add some strokes of shadow to the sunlit snow, a bristle brush digs back into the thick, wet color applied in Step 3. Then the foreground is completed with strokes made by a round, softhair brush. The strategy of this painting is worth remembering. The most distant shapes are painted with smooth, fairly thin color. The thick color is saved for the sunlit foreground.


(Continues...)

Excerpted from Oil Landscapes Step by Step by Wendon Blake. Copyright © 2001 Donald Holden. Excerpted by permission of Dover Publications, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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