How To Tell If Old Paint Is Oil-Based Or Water-Based Traditional Freehand Paintings Materials and Techniques

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Traditional Freehand Paintings Materials and Techniques

The freehand style is based on the characteristics of freehand brushwork in Chinese calligraphy and painting, with delicate brushstrokes and a relaxed white painting style. Although this is not very accurate, it more or less expresses the technical characteristics of this kind of works. National style oil painting is formed and developed on the basis of classical realistic style and production technology. It gets rid of the rigid and complicated production process, focuses on direct techniques, and uses more thick and thin paints. . In the description of the shape, the overall rhythm of the object is more emphasized, and the charm of the brushwork is especially emphasized, rather than the truth of the details. Freehand painting is more active in the reproduction of color components and expressive factors, and directly expresses the painter’s feelings.

During the Renaissance period, some works of Titian and other painters were strictly separated from realism, showing a tendency of freehand brushwork in some parts. In the later works of Rubens, Velázquez and Goya, more freehand brushwork was used to directly express the shape, color, light, space and texture of objects with skilled skills. The earliest true freehand style of classical realistic oil painting appeared in the 18th century. Romantic painter Delacroix improved direct painting not only in shape and color, but also in painting techniques, leaving behind very successful works, which had an important influence on the French Impressionist style. This influence even carried over to painting in the expressionist style. Influential traditional freehand brushwork painters in modern times include Sargent in the United States, Jon in Sweden and Freud, a contemporary British painter. The Russian touring painting party represented by Russian artists Repin and Serov had the most extensive and far-reaching influence on Chinese oil painting. Chinese oil painters more or less inherited the freehand style of Russian oil painting, and made this technique and style a standard style, and the main techniques guided the techniques used in freehand painting. This is also the main training method for domestic colleges and universities to teach students sketch.

Compared with classical realistic painting, traditional freehand painting pays more attention to the rhythm of brush strokes. The works are usually dominated by opaque paints and heavy paints, using brushes and painting knives to create a thick sense of layering, strong thick color effects and vivid texture of sharpened knives, which more fully reflect the painting materials. They can be combined with indirect techniques and used interchangeably in production methods. Because the direct method does not have to wait for the color to dry, and is limited by many manufacturing processes, the completion time is greatly shortened. In this way, the painter can express his feelings more directly in form and color. However, since freehand painting is a direct technique completed at one time, problems such as shape, color, and texture must be solved at the same time. So, in a way, it’s harder than the transparent technique or layered painting used in classical painting. Therefore, painters are required to be fully prepared in the creation of works and know how to arrange shapes and colors. Be bold and decisive in the drawing of the artwork, but not exhaustive.

There are differences between the freehand paintings of different painters. It is between realism and freehand brushwork. It is bold and has many expression factors, similar to traditional Chinese painting, but generally draws materials from real objects in shape, and pays more attention to changes in color contrast. The written fruit paves the way for the subsequent color layers. After paving, if you do not continue to paint, use a painting knife to scrape off the heavy color and let it dry in time. It can also be modified repeatedly with a paint knife or a razor blade to scrape off the unsatisfactory parts.

After the background layer is primed, it can be painted deeply with neutral pigments such as Damar. The transparent mold should be drawn as complete, sufficient and partial as possible, and finally draw light and shade. But exploring depth doesn’t necessarily mean covering all bottom colors. Instead, many places need to reveal the overlapping coverage of the background color and the covering color to produce rich colors, otherwise it is easy to fall into a dull state and lose the pleasing style. In the creation of freehand painting based on impasto techniques, the pigments do need to be diluted, and the colors are only blended a little, so repeated mixing is not suitable. The coordination effect of different colors on the canvas is stronger than that of color mixing. In addition to pens and knives, you can also draw different changes by hand and other means. For example, heavy medium pigments are used to apply thick layered coats.

Many freehand paintings are painted in wet painting with light and dark pigments or transition colors between pigments and pen pressure contours in overlapping coverage, which are vivid and flexible. In some places, you can use the dry brush method. After the background color is dry, focus on the rubbing method. But it cannot be painted when the primer is half-wet or half-dry. Otherwise, oil-out defects will be left. In addition to this, the use of varnish between the two colors is to prevent oil and restore the original color, and to strengthen the color fastness. After repeated and in-depth moments in the whole painting, it is inevitable that there will be some incongruities in shape and color in each part. At the same time, with more time to focus on the body, it is inevitable that the imbalance will darken the color. So in the end there will be a general adjustment to make the color relationship louder and weaken the details that are too trivial. And some topical use of translucent color thin coat and transparent oil can also be used to weaken or strengthen the effect of staining and covering.

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