Painting layers cover illustration of this ancient oil painting technique is based on the principle of division of labor. Painting with a method of painting, drawing, modelling and color must be processed at the same time, this makes all sorts of different factors are hard to juggle perfect; With multilayer cover drawing, painting is carried out step by step, the preliminary sketch, to shape the form and the work is a little color on the background layer. Some artists all accurate details in the background layer; And some painters sketch only roughly effect, do not consider the details.
Ancient masters use multilayer cover illustration reasonably, the need of special technical problems, all the trouble such as sketch and the modelling of the main effects on the initial stage of painting. The preliminary work to do by the apprentice and often then masters the use of it as the basis of a method of painting techniques. So will save their works had a complete drawing fresh, and a finished product than modern type tend to be more perfect. The ancient masters, only a few kinds of color to complete the whole picture or with warm color to move, or use cool color to move, then use the other color on it, but not fully cover the bottom color, so that the base color often with shadow and transition between hue to cooperate. By above knowable, the purpose of the background layer and layer divided into master is to imitate the ancient method of painting, rather than to project.
Make the appropriate background layer should also make it simple, attaches great importance to the preparatory work, help to cover. If possible, cover should be completed at a time.
Imagine if the base layer and the net effect of color and brightness is consistent, can easily lose oil painting reproductions newness. Have a contrasting color of the background layer, such as red and green, makes sense only if one want to get dark, because this method can make the color part damage. Must remember, continuous coverage warm will strengthen each other, and cold tonal on covering warm will weaken each other. There is no doubt that the whole painting with a flat background layer, easier than using the inherent in the underlying color or contrast to get harmonic, whole is tonal. At the bottom of the original color or contrasting colors often make broken (see chapter one "non-ferrous foundation effect").
To less arduous, with very few focus and thin layer of the tu yi on the underlying tone light to finish this drawing, need to have confidence and determination of clearly, otherwise will bring vexed the mending, and all the novelty will be lost because of repair. Close to the background layer and covered with of cover each other, and also will become lifeless. It is best to use several kinds of pure, not too mixed light color attune. Light grey color layer is used to color of skin is always beneficial. If the base of color is overweight, or shape and work as a whole is not satisfactory, can use a modified grey, scattered horizon apply on light and shade shape is not good. After drying, can in the above drawing again.
If skin parts used in the base layer thick, close to the final effect of red or yellow, you must use the method of thin brush, use a light brush again, thin or colour effect will be harsh and dreary. For strong tone on the background layer, the sketch effect damage, and become the unfavorable factors have to be followed by processing, ameliorate or remedy. Because want to try to protect it, often in special timid when processing. If again on the bottom of the strong tone color, that is to say, the thick and thick, the result won't be better. As a result, the color of the background layer should try to avoid too strong, and should put all attention to the drawings and the improvement of the model.
Shadow to keep some warm some, on the other hand, custom oil painting cold light to keep some and gentle. To start, no harmful effect is weaker. Work as a whole, should handle fairly flat, should not have a strong stereo feeling; At the same time, because the risk of oil paints have later become black, generally speaking, should be lighter than envisaged final painting effect.
Don't try to cover the background layer as a layer, and never make this expectation. Separate highlights and thick dark part, and all the details belong to cover, if prematurely draw them into, can only be hampered the overburden layer.
The right background layer must be "thin" in nature (oil), only in this way, in the above drawing to be successful. Background layer must be rich in pigment, which is rich in opaque pigment, binder containing less accordingly at the same time, in this way, dry will have matte effect. On the smooth color is difficult to paint. There is no doubt that adding a small amount of color mixing liquid turpentine can make pigment, containing less fat, but also reduces the paint covering power. Background layer must be thoroughly dry, otherwise the cover will be damaged, the final draw. Due to the actual situation hope that background layer, dry quickly, so often join drier. However, as previously mentioned, repeatedly drier can only a small amount of use, its content should be 2% of color mixing liquid. I always found the tubes of white pigment made with about 1/8 of that in the dry powder koehler, white, more effective and less dangerous. In the palette with a palette knife is easy to do. In this way, the base layer contains pigment will be more, because this kind of paint can completely cover, more suitable for painting again and again. In the portrait, this method is especially good.
In Tanzania vera's paint for the base layer is easy to conform to the requirements of the background layer characteristics of less oily. It makes the sketch to sketch, which can quickly draw. It can dry quickly and strong, can almost immediately in the above drawing. Although temple opera background layer of accord with the requirement of good background layer, but also must adhere to this principle, in this namely keep color weaker, pale. Otherwise, after polishing temple vera's color can appear "outside" the picture, and make the cover layer has the effect of the dirty oil paints. Tan vera's paint used for painting the background layer can give colour brightness.
Vera's paint, especially less oily vera's paint, has quickly harden, and will not be the binder of oil paints and toning fluid dissolved by the advantages. Therefore, there is no successful cover is easy to remove, and will not affect the impression of vera's paint layer. In the ancient masters of painting, cold gray often observed vera's paint, the color is very light but very thick, still remained the same, and the resin on it transparent color and painting color has disappeared.
, of course, only eggs or casein temple vera's paint only applies to the background layer, and gum Arabic pigment can never use.
If use watercolor paints as the base layer of oil painting, can only be in a very shallow tonal on a white background. Directly coated with shallow color, almost no change when polishing; The brunet attune of color is very thick necessary glazing, become do not coordinate with images, produce a kind of glass effect, is not conducive to cover, and do not agree with oil paints. Once the watercolor painting coated with glue, used as a fine work of the background layer.
Contains a lot of fat by oil paints pictures of the base layer, then paint oil or light oil resin, may be the worst of a background layer. All colors in this kind of "soy sauce" base on the fixation of performance is very poor, very easy to produce cracks, and later will become dark, especially in the paint didn't dry on the background layer.
On the background layer should not be pure white spots of oil paints, because experience has shown that madder transparent color and umber paint adhesion force is very poor.
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