Painting in the style of old masters: we paint the picture ourselves

It was on the eve of a wonderful holiday - the New Year - I would like to share with all the secrets of writing paintings in the style of old masters. This master class was created for beginners, amateurs, and, perhaps, even professionals will be interested to get acquainted with my technique of working on the picture.

Immediately I will say that the figure indicated in the column "Time" is approximate, since sometimes I stopped working on the picture for a whole week! To let the paints dry out.

To create a picture, we need:

1. The canvas is primed.

2. A set of oil paints.

3. Brushes bristle and core (a total of 5: 2 thick, 1 medium and 2 thin - to clarify the details).

4. Thinner No. 4 - Pinen.

6. The palette, the plaque on which we will knead the colors.

7. Oilcan, a container for diluent, a small jar.

8. A cloth to wipe brushes about it, dirty in paint.

So, let's get started!

1. We begin with a composite outline. On paper, with a soft pencil, we plan the composition of your future picture. Determine the proportions of the canvas (rectangle, square, elongated rectangle).

We disassemble in the tone - which is darker, which is lighter. Thus, the compositional center is determined. There is usually the most contrast place.

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2. Having defined the composition (which, in fact, we will write), we transfer to our canvas our idea, also drawing in a tone - somewhere the line is thin, dissolving in space, and somewhere on the contrary, thick, turning into a spot. Due to this, it is already clear from the first hours of operation where to move further. Each stage corresponds to a degree of readiness of the picture.

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3. Begin to write from the sky. At least because all the great artists started their paintings from the sky. It serves as a tuning fork for a picture - a spot, the lighter of which there will be nothing.

Still, from myself I will add, in my experience of teaching, the sky does everything well, regardless of the level of technique of the trainee. And if the beginning is good, then in the future, work is inexpressibly more pleasant.

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4. Immediately write green, on wet, until the sky is dry. This is necessary in order to touch the tops of trees with the sky were soft. Due to these touches, space is formed in the depth of the canvas! In the foreground are hard, in the background, soft, merging with the sky.

Well, for the first day is enough, you can rest. And if there are still forces, and the creative excitement is not quenched, then forward, to the next stage!

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5. But now something is beginning to all incomprehensible, but very necessary and useful -  grisaille is called. It's really strange, why do something that you do not see in the paintings of great artists.

I explain: this stage of their work is hidden under the layers of glazes - transparent prose on top of the grisaille paint. For example, in the great Titian restorers counted as many as 15 liquid registrations on top of the grisaille. "Chip" is that if you take a tone, for example, the house is lighter, you can easily bring it to the desired condition with glazes, but if you take it darker, then just rewrite it again!

We leave to dry.

Although, however, these are all the subtleties necessary only to write a picture in the technique of old masters of painting.

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6. Some things can be done without grisaille, as a rule, these are small details that are made in grisaille, and then translate into color there is no special sense - so small before.

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7. Hooray! With grisaille done! We translate our picture into color! Liquid transparent residences (glazes) translate white houses into the color we need, in this case - brown.

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8. And, finally, the final stage. Here we once again go over the whole picture with a brush in hand, we specify the gutter in the process of work drawing, finish small details (faces, pens, etc.).

And ... we grow old picture! We write it under the old days after all. This is done with the help of liquid rubbing with paint - umber natural Leningrad. So that it is hammered into the indentations of the paint layer left by the bristle brush. It is difficult to see in the photo, but in this way the effect of age-old dust, time raid, is created.

Still it is possible all this then zalachit fir varnish or dammarnyj (are on sale in any art interior - in the same place, where paints). It's not obligatory. Rather depends on your preferences, which painting do you like more: matte or glossy. Gloss is just attached with a varnish.

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Well, shortly, that's all! I hope that my experience has been of some help to you.

If you have any additional questions, write, call - everyone will be happy to answer!

Sincerely, Arina Shulpina.