The oil painting technique is not only more complex than most other painting techniques, it is also more expensive in terms of materials. Using texture and different techniques application allows you to realize the most diverse fantasies of the artist. This is why oil paintings have their own special charm, and many artists and even those who paint only for themselves want to learn this technique.
Let's take a closer look at the basic things that will be useful to us in order to learn the art of working with oil.
So, how to learn to paint in oils? What do you need for this?
- Oil paints;
- Fixative;
- Palette;
- Glue;
- Flat brushes (preferably made of natural wool);
- Easel (canvas, canvas on a stretcher);
- Palette knife;
- Eraser and simple pencil for outlines;
- Tracing paper, carbon paper and other little things.
1. Buy everything you need for oil painting
After purchasing paints, the second most important thing is canvas, although oil technology It is also quite applicable on hardboard, plywood or metal; sometimes coarse burlap is also used. But let's return to canvases, as the most common medium for oil paintings. They come in two types - cotton and linen. The first ones are much cheaper. Linen canvases, in turn, are divided into large- and fine-grained. Coarse-grained ones are best suited for textured paintings (for example, landscapes or those requiring deep depiction of texture), fine-grained for more detailed techniques. There are canvases stretched on cardboard (up to 0.5 x 0.7 m in size), they are cheaper, canvases on stretchers are more expensive, but they come in much larger sizes.
Don’t forget also about tracing paper and carbon paper, we will need them in order to transfer the image from the sketch to the canvas itself.
2. Preparing the canvas or any other surface for painting
First of all, we make several sketches and a final pencil sketch. Before you paint with oil on canvas, you need to prepare it. To do this, we glue it and carefully prime it, so the paint will adhere well, and the active substances contained in it will not destroy the fibers of the canvas. When everything is dry, you can transfer our sketch to the canvas using tracing paper. For some multi-layer techniques, the sketch can also be covered with a thin layer of primer.
3. Choose a drawing technique and decide on a concept
This material was intended primarily to answer the question “how to paint with oil on canvas for beginners,” so to start it is best to use the basic technique – alla prima. The essence of it is to paint in one step (layer), there can be several approaches, but you need to finish it before the paint dries (about 3 days, depending on the thickness of the strokes). Colors obtained by direct mixing are lighter and more natural.
The multi-layer technique is more complex, but it allows you to use the full potential of oil paints - to create deep and voluminous textures. The first, thinnest layer is called “underpainting”; it is done with highly diluted paints. This sample layer is a kind of test that helps the artist determine further tonality, the possibilities of using light and shadow, etc.
Subsequent layers begin to draw details, convey the subtleties of composition, color and texture. In some of last layers linseed oil is added to the composition to add richness to the colors (it also prevents the colors from “burning out”). When the paint is completely dry, the painting is coated with a fixative varnish. This usually happens after 6-12 months.
4. A little technical details that will have to be taken into account
Concluding this short article, which can be called “How to paint with oil paints? A step-by-step guide for beginners,” we will touch on several non-obvious aspects of working with images that relate specifically to “oil technology.”
- In addition to a pencil, a sketch on a primed canvas can also be made with charcoal or diluted paint;
- Objects of toroidal or spherical shapes are drawn with twisted and crescent-shaped movements with a brush, and conical ones with triangular movements;
- In order to get a smooth gradient color transition, it is better to use very flat brushes. Paints can be mixed both on the palette and directly at the transition point with the proper skill. Brush movements should be cross and close to reciprocating. It is better to work from a darker area to a lighter one with a clean brush so that the color is distributed more organically. When completing strokes, you should use a parallel technique.
Layers used for shading should be laid over a dry coat of paint. To obtain a light shading layer, the paint is diluted with a special solvent, and it is applied from a horizontal position with a core brush. To adjust the color of the design when glazing, apply strokes in the same vector as on the layer being processed.
Here is a short and rather general answer to the question: “how to paint with oil paints on canvas.” In order to understand each of the techniques in more detail, you will have to spend more than one day reading and months of practice, but for now, try the simplest methods and draw. May inspiration always be with you!
How to learn to paint with oil paints? Many aspiring artists strive to find the answer to this question. There is an opinion that canvases created using this technique are easy to execute, and the method of work itself is suitable for those who have just begun to get acquainted with painting. However, this attitude towards the paintings and the process itself distinguishes amateurs. Professionals know how difficult it is to create an oil painting.
Experienced masters have been studying the art of painting with oil paints for many years. Difficulties await beginners at every step: the process may seem too complicated to them, and numerous corrections will make those who are accustomed to quickly and easily achieving results nervous. But the opportunities that this wonderful technique opens up are worth the long learning curve. You will be able to create beautiful and delicate sketches, sketches in pastel colors or expressive and painting. The play of colors and the play of glare will make your work a real masterpiece.
Many fans try to paint in oils visual arts, however, not everyone can master the method, which requires painstaking work and takes a lot of time young artist. But if you decide to start classes, be patient and be prepared for annoying mistakes. Remember: all the great masters went through the path of corrections and improvements, but none of them left their craft because of the difficulties that arose.
What should you do first? Buy paints. Choosing them is not an easy task for a beginner.
- It is believed that it is best to purchase a set of tubes;
- Don't be afraid that you won't have enough colors: take only those shades that you need to work on the painting;
- White and yellow paints run out very quickly: buy them in large tubes;
- Take 2-3 samples: this way you will provide yourself with the necessary supply of material for drawing.
Which products to choose
Many artists believe that premium quality paints work best on canvas for professionals. They are much more expensive than other samples presented in specialized stores, and are distinguished by bright colors and good consistency.
Getting started: what paints you need to purchase:
- whitewash;
- yellow;
- blue;
- natural umber;
- golden ocher;
- red dark or light cadmium;
- green;
- ultramarine;
- Neapolitan or Indian yellow
Brushes are essential tools for painting. How not to get confused in the existing variety of materials?
- many choose artificial samples: such products are durable and cope well with the effects of cleaning solvents and paint texture;
- Natural hair brushes are not suitable for oil painting and should be used for other techniques.
You also need to buy varnishes and a special oil, which makes the paint more liquid and makes applying it to the canvas comfortable and easy. The base for the work should not absorb much moisture. Most often, products from the following materials are chosen for this painting technique:
- cotton;
- burlap (great for drawing sketches);
- polyester.
Inspect the canvas carefully before purchasing it. Do not take a relief sample if threads stick out from it, or knots and bumps appear on the surface.
The materials have been purchased and you can safely get to work. How to start painting correctly with oil paints on paper and canvas? Should you mix different tones and use custom bases? Recommendations from professionals will help you believe in yourself and get closer to mastery famous artists. Don't forget about daily training, and your paintings will become a unique work of art.
The first stage in the work of any painter: setting up the composition and drawing the contours of the depicted objects. Charcoal is best for applying the first touches to the canvas. The lines drawn by it can be easily erased with a rag. However, the sketch must be fixed: outlined with a pencil or graphite, covered with paint mixed with turpentine.
Write, don't paint. Do not choose the simple route of covering the canvas with one tone. Learn to mix paints and create subtle highlights. Remember about paired shades, the combination of which creates a new color.
- red + yellow = orange;
- red + blue = purple;
- blue + yellow = green;
- magenta + blue = dark and rich shade.
Don't be afraid to mix all the colors to see what the result will be. Aim for earthy and muted tones: these are the colors you'll need to create landscapes. Make shades lighter using white.
Draw by placing color spots on the canvas and working through them, comparing colors. Start with light areas. Establish relationships between muted and bright shades. Study the changing colors in nature. Without constant observation of the world around you, you will not notice subtle transitions and constant changes in the gamut that will need to be transferred to the picture.
Work "raw". When correcting mistakes, cover the area of the canvas with a new layer of paint. If cracks appear on the canvas, and the color fades and fades, cover the damaged areas with oil, remembering to remove the excess with sheet paper.
How to paint on hardboard with oil paints
Many artists choose non-standard bases for painting. One of the original materials is hardboard. It is a mixture of wood fibers and glue. Canvas made from such a hard board is especially heavy and durable.
Oil paints ideal for painting on a similar basis. Before you start work, prepare the hardboard
- sand it with sandpaper to make it smooth;
- coat the surface with oil varnish;
- put several layers of water-based paint on the corrugated side;
- dry the canvas and prime it with white.
How to paint with acrylic and oil paints at the same time
One of the common painting techniques is the use of acrylic and oil paints, which are applied to the canvas in a certain sequence.
Oil is applied over acrylic. This base easily replaces the primer and protects the drawing well from damage. To create an expressive relief, you can add sand or small sawdust to the paint.
Oil painting. Basics. Bill Martin's lessons for beginners.
There are things you should know before you start painting in oils.
All paints are a mixture of dry pigment and liquid. In oil paints, the coloring pigment is mixed with linseed oil. Flaxseed oil is an oil that dries out through the process of oxidation with air. It absorbs oxygen from the air and crystallizes the paint pigment on a permanent basis. Once the oil dries, it cannot be removed.
Oil paints are thick. They are produced in tubes. The paints are squeezed onto the palette and mixed using a palette knife to obtain new shades. Then they are applied to a vertically positioned canvas with hard elastic brushes.
Oil paints dry very slowly. Typically you need to wait three days before adding the next layer. This long time drying is both an advantage and a disadvantage. The big advantage is that you will have time to comprehend what you have drawn. This is very useful when you make gradient transitions from one color to another. Or, if you are unhappy with how it turns out while the paint is still wet, you can scrape it off with a rag, palette knife or rubber scraper and repaint.
The disadvantage is that if you put two wet paints next to each other different colors, they may mix together inaccurately. The palette, brushes and damp canvas must be handled very carefully so as not to smear yourself, clothes, food and furniture.
You can work with paint for up to 12 hours at a time, then you must leave the work to dry for three days, after which you can continue working. When the paints have dried, you can apply new colors on top. There can be many layers to a work. Each subsequent layer must be the same in thickness or thicker than the previous one, otherwise cracks will occur.
After the work is completely dry (from three to six months), you need to apply a protective layer of Damara varnish.
DRAWING.
A complex design is quickly lost when applying oil paints, so it is better to label the design simple figures and contour lines. The drawing can be done directly on the canvas, or it can be prepared in advance and transferred to the canvas.
When applying a drawing directly to the canvas, it is better to use diluted paint. Since it's already paint, you won't have to seal it from subsequent layers.
You can also use coal. The charcoal fill will need to be isolated from subsequent layers with fixative. Soft charcoal is easier to fix with fixative than compressed charcoal.
The drawing can also be applied with a pencil to the canvas. Then also secure with fixative. The sharp tip of a pencil can make cracks in the primer layer, so you can additionally apply another transparent layer of primer. If you have applied another coat of primer, no fixer is required.
In the photo: a can of fixer, in the box there is carbon paper.
It is better to prepare a drawing for translation using carbon paper on thin tracing paper, then it will be easier to translate. Attach the drawing to the canvas. Translate it using carbon paper. Trace your drawing with carbon paper underneath. Use a ballpoint pen of a contrasting color to see which areas you have already translated and control the thickness of the lines. The applied pattern must also be secured with a fixer or a thin glaze layer of transparent primer.
TRANSITION ONE COLOR TO ANOTHER
Let's consider a graduated transition from one color to another. Oil paints, because they take time to dry, allow you to move them around the canvas while they are still wet. This is why it is much easier to create smooth gradations of color with oils than with other paints. This can be done with any brushes. But flat brushes are best, and round brushes are worst. The same principles apply for small and large stretch marks. 
The paints are mixed on the palette and applied to their intended places on the canvas. The brush is then moved back and forth in a cross pattern between the two gradations of color until a satisfactory result is obtained. Then parallel strokes are carried out to finalize the area. Work with a clean brush from dark to medium, and then again with a clean brush from light to medium. 
(A) In this example, the brush strokes are ALWAYS perpendicular to the highlight. Moving the brush in a circle, we try to make strokes perpendicular to the highlight, respectively, we get the shape of the strokes of a twisted brush.
(B) Depending on the location of the main colors of the stretch, an idea of the plane in which the surface is located is created. Notice how the shades are arranged to represent a flat surface (left) and a curved surface (right).
WE CREATE FORMS
All shapes are created from five basic shapes. These shapes are: ball, cone, cylinder, cube and torus (donut, bagel). Parts of these forms form any objects that we see. Imagine half a cylinder on a cube and you get the shape of an American mailbox. Half a ball and a cone will give you the shape of a teardrop, a Christmas tree is a cone, an oak tree is a hemisphere (half a ball), and a cylindrical mug usually has a handle in the shape of half a torus (donut). 
Chiaroscuro creates form. Each of these forms has clearly defined locations of light and shadow. The sphere is characterized by a sickle and ovals. The cones have a triangular illuminated part and the rest is in shadow. Cubes and flat surfaces contain stretch marks (a gradient transition of light into shadow).
The cylinders are made of strips. Thor - made of crescents and stripes.
Concave versions of these forms have the same chiaroscuro, but without reflections.
If you learn to draw these five shapes, you can draw anything.
The ball (sphere) is defined by crescents and ovals. Balls are painted with crescent-shaped and twisted brush strokes. 
Cones are made up of triangles of light and shadow. Cones are painted with triangular brush strokes. 
The cylinders consist of stripes of light and shadow. Cylinders are painted with parallel brush strokes.
Cubes and any flat surfaces follow the same rules. Graduated transition from light to shadow. If the depicted surface is parallel to the canvas, then it is depicted in one even tone. A cube is a combination of intersecting planes. Each side of the cube contains a chiaroscuro stretch. The cube is drawn with parallel brush strokes.
The Thor contains aspects of two other figures. It has stripes of light and shadow, like a cylinder, in the center, and crescents, like a sphere, at the edges. Thor is written using twisted strokes and crescent strokes. 
Here you see that to convey the shape of an object you need to use light and shadow, not contour lines. Light can be confusing, so first try to see the shape of the object, and then how exactly the light falls on that shape.
COLOR MATCHING
The rainbow gives us examples of the pure colors that surround us in the world. The colors of the rainbow in order: red-violet, red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue-violet, violet. When these colors are arranged in a circle, we get a “color wheel.” Color circle - necessary thing when matching colors. 
The circle is positioned so that yellow, the brightest light color, was at the top, and the purple, darkest one was at the bottom. From top to bottom, from the right, there are yellow-orange, orange, red-orange, red and red-violet. These colors are called warm.
From top to bottom, on the left side, there are yellow-green, green, blue-green, blue and blue-violet. These colors are called cool.
Additional colors. 
Any TWO colors located opposite each other in color wheel are called COMPLEMENTARY colors. Red and green are complementary colors to each other because they are located opposite each other on the color wheel. Yellow and purple are also complementary to each other. Yellow-green and red-violet are complementary colors. Complementary colors placed side by side on the canvas enhance each other. Complementary colors neutralize each other when mixed on the palette. On this plate, complementary colors are at opposite ends of the scale opposite each other. If we move toward the middle on this scale, we end up with a neutral gray color, the least saturated of all. 
All colors have shades. The pure spectral colors in this picture are indicated by letters.
So how do we select colors keeping all of the above in mind?
We just need to answer these three questions.
1. What color will make the color we need, where is this color located on the color wheel? (meaning spectral color).
2. How intense is it? (the more additional color we add to the color, the less saturated the color we need becomes).
3. Hue (how dark or light it will be).
Here's how it all works. 
The paints are arranged by color on the palette. 
We select a color like a brown leaf.
The spectral color will be red-violet. White is added to match the shade. Yellow-green, complementary to red-violet, is added to reduce its saturation. 
Select the color of the green leaf.
Spectral green. Cadmium green is our base color. It contains a bit of yellow, so we tone it down with red-violet (quinacridone pink). Yellow-green and red-violet are complementary colors to each other.
We add white to clarify the shade. 
Select the color of the silver electrical tape.
Spectral color blue. We add white to clarify the tonal saturation. Orange, complementary to blue, is added and we get gray. 
Selecting the color of a three-dimensional object. A piece of soap. 
First we select the middle. Spectral color – yellow-orange. We add a very small amount of additional blue-violet to reduce the intensity of the color. And a little bit of white. 
To get light areas of our soap, we add white to the resulting color in the middle. To get the color of the shadow, add more blue-violet to the color of the middle. 
So, the colors of the soap have been selected. Usually, to get the color of a shadow on an object, you need to add an additional color to the main color of the object. For darker shadows, use the base color of the subject, but with less white. In some cases, adding additional color doesn't darken the color enough, so that's when we add a little black.
SHADOWS
Shadows create light. Shadows are divided into three categories. The first is the shadowed part of the object, known simply as the SHADOW. The second is a falling shadow from an object, which is formed when the object obscures the light from the illumination source. The third category is the shadow of neighboring objects. 
The shadow portion of an object is a darker, less saturated version of its base color.
Direct light produces dark shadows. Diffused light produces less intense, blurry shadows.
Reflected light in the shadow (reflex). 
Light falling on an object from its surroundings is called reflected light or reflex. The color of the objects that surround our subject significantly affects the reflected light. See the green reflected light in the left ball? Notice the reflected red in the middle ball. The color of the environment is an integral part of all shadows. 
The light and shadow saturation of surrounding objects also affects the reflected light. The first ball just hangs in the air. The second ball also reflects the white surface. The third ball reflects the black surface. The light and shadow saturation of surrounding objects is also an integral part of shadows.
Falling shadows.
A cast shadow is always characterized by being darkest and most focused at the source of the shadow (the subject). Falling shadows are painted in a darker, less intense color than the color of the surface on which they fall. 
The color of a falling shadow always contains a complementary color to the color of the illumination and a complementary color to the color of the surface on which the shadow lies.
See a blue tint in the shadow of an object that is illuminated by orange light? And an orange tint in the shadow of an object lit in blue. In the shadow of an object illuminated by red light there is a shade of green. And notice the red-violet hue of the shadow cast by an object illuminated with yellow-green light.
Drop shadows are associated with shape and texture. 
Falling shadows describe the surroundings of an object. On the left, the wall is defined by the falling shadow of the glass. The shadow on the right indicates the presence of a mound. 
The edges of a shadow define the texture of the surface on which the shadow falls.
Grass on the left and dirt with rocks on the right.
Falling shadows in direct and diffuse light. 
Direct light (left) usually comes from a single light source - for example, the sun or a spotlight. It produces high contrast and rich, dark cast shadows.
Diffuse light is usually obtained from several light sources. It produces low contrast and unclear cast shadows. 
Objects with virtually no cast shadow are ALWAYS in diffuse light, where they appear flatter and less textured.
Shadows from neighboring objects. 
These are the dark shadows we see in places where objects touch each other. Dark line around closed door, a dark line under a mug of coffee, a dark line between tightly clenched fingers - this is the shadow from neighboring objects.
It is relatively independent of the direction of illumination. These shadows in the shadows are usually the darkest parts of the drawing. 
A narrow dark stripe under the cylinder on the left tells us that the objects are separated. The cylinder on the right is connected to its base.
CONTRAST
Using light and shadows together.
Contrast is the ratio of the lightest and darkest parts of an object or its surroundings.
Tone scale.
On the left is high contrast, on the right is low contrast.
When objects have high contrast, they appear closer to us. When contrast is lower, objects appear further away from us. Those rocks in the distance seem further away from us, their contrast is lower than the contrast of the rock closest to us. 
The gradual saturation of objects with contrast makes them visually closer to us. 
By the contrast of the falling shadow and its surroundings, you can determine the distance.
Low contrast 
Objects in diffuse light have the lowest contrast. 
Objects without a falling shadow are always in diffuse light. If an object has a tonal gradation from medium to dark, it should have a cast shadow. 
If an object has a tonal transition from medium to light, then it will appear as if in a haze or fog.
CONTRAST IS CREATED BY THE TYPE OF LIGHT. High contrast corresponds to bright lighting. Low contrast corresponds to diffuse lighting, distant distances, and haze.
TEXTURE
Texture helps define what exactly you are seeing.
The texture is best seen when light fades into shadow. On smooth objects, glare is a distorted reflection of the light source itself. The sharper the focus of this reflection, the smoother the surface of the object. Glass bottle has a smoother surface than aluminum, which in turn is smoother than candle wax. We know how these objects focus the glare on themselves.
On objects without bright highlights, texture is clearly visible and is determined by the transition from light to shadow.
These ten objects are arranged in order of their texture.
Notice where your eye immediately looks to appreciate the texture of an object.
We look at the transition of light to shadow to determine how textured an object is.
Texture in diffused light.
On the left is direct light, on the right is diffused light.
Objects in direct light appear more textured than objects in diffuse light.
The log and towel appear softer and smoother in indirect lighting. Objects appear less textured in diffuse light because the transition from light to shadow takes longer.
GLAZING/LAYER LAYERS
Glazing layers are applied on top of the dried paint.
Transparent layers of oil paint are called glazing layers. Translucent are layers of glaze. To obtain glaze, the paint is diluted in a ratio of 1/3 Damara varnish, 1/3 turpentine and 1/3 linseed oil. Glaze is a thin transparent layer of paint, which is placed on another dried layer to obtain a shade of the third color. For example, if you put diluted quinacridone pink (a clear color) onto blue, you will get purple. If you glaze the exact same color, you will enhance it. Falling shadows on complex textures are often covered with glaze. Glazing darkens the color slightly. (See the “Paints” lesson about transparency and matte).
This is glazing.
For example, the shell of a beetle needs to be greened.
The glazing liquid is mixed on a palette with cyan green (transparent color) until the required degree of transparency is achieved.
Then the mixture is applied with a kolinsky brush to the drawing in horizontal position. Leave to dry overnight. When using glazing, you can change the color of the design without changing the direction of the paint strokes on the base layer.
Glaze is created by using a diluted matte color over the dried color of another paint. The glaze layer does not change color and is a translucent layer.
The paint is also mixed on the palette with the glazing mixture and applied to the horizontal surface with a core brush.
Greetings, dear readers!
In this article we will talk about the basics of working with oil paints. Of course it is the most popular technology in the world. The Greatest Masters paintings have been studied, improved and created with oil paints for centuries.
By the way, do you know when the first oil paints appeared? Most likely you thought about the 14-15th century and... you were wrong. Many people think so. But just recently, scientists did... Open this news too!
Detailing the painting with a thin liner
It is quite logical if you want to start your creativity with oil paints. And if you have never done this before, but really want to start, you should first find out what a beginning artist should have on hand and how to start painting with oil paints.
How to create your own artist kit?
- We buy the necessary paints
My main advice to aspiring artists: buy quality paints immediately, don't try to save money! Cheap paints won't do much good, but they'll cause a lot of headaches. When you constantly practice, you will be able to evaluate the quality of your work, which will directly depend on the quality of the paints.
Absolutely no need to buy big set, since there are always colors left that are never used. To start painting with oil paints, just use a few separate tubes. To develop a skill, a novice artist is recommended to have the following palette:
In general, the paint palette consists of 3 main (primary), from which all other colors (secondary and tertiary) are obtained by mixing. And when you learn to mix them, you will understand how and from what it is obtained. Everything around us consists only of red, blue and yellow... Amazing, isn't it?
- Choosing brushes
Second important advice for newbie artists: Be careful when buying brushes! Inspect them to ensure that the connection (clamp) between the pile and the handle is as tight as possible. Believe me, it’s not very pleasant when the lint comes out of the brush and you have to constantly remove it from the damp canvas!
From experience I will say that good brushes will last you many years, if they are of high quality and you handled them correctly.
For beginners painting with oil paints, I recommend starting with flat and semicircular flat brushes. It is enough to purchase 3-5 sizes.
High-quality brushes often become favorites
Over time, you can add retouching, fan and line brushes to the collection. In another article-tip you can find out in more detail what brushes come in size, shape and
- Selecting thinners and solvents
To dilute (liquefy) oil paint to the desired consistency, you need special liquid substances: mainly turpentine or refined linseed oil. Also, many artists use "Tees"- auxiliary means for diluting paint. On the market of foreign manufacturers there are various mediums, which I also use.
Important things for every artist
Not recommended for dilution use solvents in pure form(white spirit, turpentine) because they break the structure of oil paint and “steal” its shine. But you will still need solvent to clean brushes and other tools, as well as paint-stained hands.
- Buying a palette
It is impossible to imagine an artist working on a painting without a palette in his hands! This useful thing performs several functions: paints are placed on it, paints are mixed on it, oil cans (special containers) with oil paint thinners are attached to it.
Therefore, in order to paint with oil paints correctly and create many shades, I recommend acquiring a suitable palette. Wooden or plastic, large or small, square or round... The choice is yours.
- Preparing the canvas
As a basis for oil painting, canvas is most often used.Fortunately, contemporary artist can buy ready-made primed canvas on a stretcher.
Almost every art store has canvases for sale. different sizes and from different materials: natural (linen, cotton) and synthetics. I advise natural materials, they are more dense and do not sag much over time.
If you want to prepare the canvas yourself, then to do this you need to prepare a stretcher and stretch the fabric very tightly over it. Then you need to prime the fabric to create a canvas. Canvas sagging is common, so After priming, you need to retighten the canvas a little tighter. Read more about how to make a canvas with your own hands
We prepare the canvas ourselves
Note: the best base for canvas is linen. It can be fine-grained, medium-grained and coarse-grained. The stroke on the surface depends on the grain of the canvas. About choosing a canvas
- We purchase an easel
Of course, you can learn to paint with oil paints without an easel by attaching the canvas to any surface. But still, an easel is much more convenient: it is installed at the desired angle at eye level and gives best review paintings.
With an easel it is convenient not only to write, but also to find flaws in the work, and correct them immediately. An easel is a reliable stand for your future painting! They come in different heights and convenience, as well as tabletop mini easels for small canvas sizes.
- We stock up on auxiliary accessories
Have you already thought about where your brushes will go? Where will you wash them? How will you wipe paint off your hands and other utensils? Be sure to stock up on jars in which you will wash your brushes, paper napkins, old newspapers and a few cotton rags.
These important little things should always be at your fingertips, so that you can work calmly and focus your attention on the picture and not on the materials. All this will be indispensable for you in your work to clean your brush or palette knife, or, for example, to remove excess paint from the canvas and wipe your dirty hands.
- Other Important Materials and Accessories
An indispensable tool for working with oil - palette knife! With its help, it is convenient to remove excess paint from the canvas and transfer it to the palette. It also leaves amazingly voluminous strokes! In principle, one palette knife is enough.
But if you decide to learn how to paint well with oil paints and devote a lot of time to this activity, it is better to purchase several of these tools different forms and sizes.
Sketchbook – a special box for transporting paints and painting supplies. You will really need it if you decide to go out and paint in oils in nature or plein air, as it is also called (from the French Plain air - outdoors, on fresh air)
Oilers- small containers with a clip with which they are attached to the palette. There are two types: simple and double. 
Another important element is protective varnish. The finished painting is usually varnished 6-8 months after completion of the work. The varnish protects the painting from ultraviolet radiation, moisture and darkening.... Well, there are a number of other reasons why you should varnish a painting. In addition, varnish makes the colors richer and brighter, adding intensity to the paint layer. How to varnish a painting
Howstart painting correctly with oil paints when the artist's kit is assembled?
So, you have collected everything you need and secured the primed canvas. What to do next? Start writing!
I know that Many novice artists have a fear of a white canvas, something can go wrong and everything will be ruined. Don't be afraid, because the main thing is to just start! Here's how to stop being afraid and start painting.
You can start with a simple plot that comes to mind... For example, a mosaic pattern with selected bright colors, which consists of different figures, shapes and symbols. Well, like the ancient Egyptians, remember? Or you can take a finished image and try to copy it onto canvas...
Start drawing - feel the power of color!
Exist . The most common of them are - multilayer painting and Alla Prima. Most of the most famous paintings are painted in them, although there are many other techniques.
We will talk about them in general and the rules of writing in more detail in another article, but now you need to start to just get a feel for the paints, brush and canvas.
By the way, did you know that creative people have Read, maybe you are a creator by nature, you just didn’t know it!
Here are some more tips:
- Set up a drawing corner in your apartment. There must be enough light to work during the day without additional lighting. It is in the place of the best natural light that we place the easel. If there is not enough natural light, use additional lighting to provide good light on the easel.
- Try to apply oil paints evenly, achieve uniformity on the canvas. If you really want to apply a second coat, take your time; Sometimes you need to give time for the first layer to dry.
- Mix colors! Experiment with shades. Remember that white makes any color lighter, and black makes any color darker, with their help it is easy to achieve the desired shade of shadows and highlights. But don’t get too carried away with black and white, since titanium white, for example, makes some colors cloudy, and black is generally rarely used in classical painting. Although each manufacturer has several black shades on sale. An alternative to black can be dark indigo... it is softer and more delicate in appearance.
“Painting is the most accessible and convenient of the arts” - Johann Goethe, German poet, philosopher and thinker
These little tricks are enough to get you started painting with oil paints. If you like the Art Process and want to delve deeper into it, for more modern level, I will be happy to share my experience with youAdditional Video Tips:
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Have you long dreamed of trying to paint with oil paints, but don’t know what you need for this? We have collected 28 tips to help beginners understand this matter. We wish you inspiration!
1. The main set of oil paints consists of the following colors: alizarin crimson, cadmium yellow, yellow ocher, titanium white, cadmium red, ultramarine blue, Martian black. From these shades it is possible to create any other color.
2. Buy white with a reserve. When mixing paints it will be used up very quickly.
3. For an enjoyable painting experience, invest in quality oil paints and tools.
4. For your first painting experience, it’s enough to buy a couple of brushes different types. For example, you can purchase round, flat and bristle brushes in different sizes.
5. You can use old rags and jars to clean your brushes.
6. It is not necessary to buy a palette for paint; it is enough to use a board or cardboard.
7. When painting with oil paints there is a rule: thick to thin. For the first layer, buy a solvent. Apply a thick layer over it.
8. Draw in a place well lit with natural light. Otherwise, the colors may then differ from what they appeared to be in a specific light.
9. The easel is adjusted according to your height and position so that you can sit without discomfort or difficulty.
10. Oil paints are difficult to remove from fabric. Therefore, wear things that you don’t mind.
11. To begin, place a sketch in pencil or charcoal on the canvas. Build a composition.
12. To make the drawing more realistic, determine where the light source will be. This way you can easily depict darkened and illuminated areas, shadows, penumbra, and highlights.
13. Light color is obtained by adding white, shadow - by adding black.
14. To prevent the paint from being so thick, mix it with turpentine or linseed oil. Add them to the paint little by little to get exactly the consistency you need.
15. Take your time to apply the second coat. Let the paint dry. Usually this is 3 days.
16. Learn to mix paints. Add layers of paint so that adjacent paints flat brush could be mixed. The stroke should go in the direction of mixing.
17. To make the glaze, you will need 1/3 linseed oil, turpentine and oil varnish. Mix them together and you'll get a clear color that can be mixed with other paints to create a glaze.
18. To create the effect of a more transparent figure, you can use a brush with natural bristles. Apply dots onto the canvas with a brush at a 90 degree angle.
19. Use a palette knife to create a thick layer of paint. Smear the paint onto the canvas with a knife. This the best remedy for conveying movement and drawing landscapes.
20. Paints dry for about 3 days. Take this time to critically evaluate the drawing. You can correct the picture or completely erase the details.
22. Clean your brushes with turpentine and an old rag. Scrub the paint until the water running off the brush becomes clear. If the paint dries on the brush, the tool is unlikely to save anything.
23. Paintings take 3 or more months to dry. Until then, leave your creation in a well-ventilated place where the painting will not be disturbed.
24. After your painting has dried, it should be varnished. You will protect your picture and colors from fading.
25. Try not to use the color “Black Ivory” for background coatings, because it takes a very long time to dry.
26. Linseed oil is not used for light paints. Otherwise they will turn yellow.
27. To remove oil paint from your hands, use another oil (baby oil or olive oil). Wipe off the paint with a rag and don’t wash your hands until you’ve completely scrubbed it off.
28. Apply paints to the intended areas, and then use a brush to mix them until you get a gradation that suits you.