Traditional Freehand Paintings Materials and Techniques
Freehand style is based on Chinese calligraphy and painting freehand water characteristics to the exquisite brushwork and easy painting style in vain. Although this is not very exact, it somehow expresses the characteristics in techniques of this kind of works. The traditional Chinese style oil painting is formed and developed in the classical realistic style and on the basis of the production process, which gets rid of the stereotype and complex production process, and focuses on direct techniques with more use of pigment coated with thick and thin. The overall rhythm sense of objects is given more emphasis in the description of forms and particularly exquisite brush flavor but not rigidly adhere to the details of the real. Freehand painting is more active in the color reproduction with components and performance factors and has a direct expression to the feelings of the painter.
During the Renaissance, some works of painters such as Titian are strictly out of the realism and in local show the tendency of freehand brushwork. In the later Lubensi, Velazquez and Goya’s works, there are more usage of freehand techniques with skilled techniques directly to show shape, color, light, space and texture of objects. The earliest true freehand style from classical realistic oil painting turned out in 18th century. Romantic painter Delacroix has improved the direct painting not only in shape and color, but also in the painting techniques, and left very successful works, which exerts an important influence on the impressionistic style of French Impressionism. This effect continues even to expressionism style of paintings. In modern times, the influential traditional freehand style painters are Sargent of the United States, Sweden’s Choln and contemporary British artist Freud. Russian tour painting Party represented by Russian artists Repin and Serov have shown the most extensive and far-reaching influence for Chinese oil painting. Chinese oil painters who are more or less inherit the freehand style of Russian oil paintings and make such technique and style become the standard style, and main techniques direct technique adopted by freehand style paintings. This is also the main training methods for the domestic colleges in teaching students sketch painting.
Compared to classical realism paintings, traditional freehand style paintings with direct techniques tend to emphasize more on the brush strokes rhythm. Works are usually dominated by an opaque pigment and thick paint to create a thick layer with the brush and painting knife, strong thick color effect and vivid sharpener texture, which more fully reflects the painting materials. You can combine them with indirect techniques in the production method and make the alternate use. Because direct techniques do not have to wait for the colors to become dry and are restricted by many production processes, so that the time for completion is greatly shortened. Then the painters can more directly express their feelings in shape and color. But because the freehand style paintings are used to complete the direct techniques one time, so the shape, color, texture and plurality problems should be solved at the same time. Therefore, to some extent, it is more difficult than transparent techniques or multi-layer painting used in the classical style of paintings. So it requires painters to make full preparations in the creation of artwork and know how to arrange shape and color. In the drawing of artwork is to bold and decisive, but not exhaustive.
There are differences between freehand style paintings of different painters. It is situated between realistic and freehand. There are bold with more expression factors which are similar to traditional Chinese paintings, but are generally based on real objects in shape and laying more emphasis on changes in color contrast. The written fruit paves the way for the subsequent color layer. After spreading, if the painting is not continued, then the painting knife will be used to scrape off the thick color for timely dry. Painting knife or razor blade can also be used in the repeated modification to scrape the unsatisfactory part.
After the completion of background layer foundation, medium paint such as Damar can be used to paint in depth. Thorough mold should try to draw completely, fully and locally to finally draw the light and the dark. But to explore the depth is not necessarily meaning covering all the bottom colors. Instead, many places need to reveal the overlapping coverage between background color and override color to produce rich colors, otherwise it is easy to fall into rigid state and lose enjoyable style. In the creation of freehand paintings mainly directed by thick coating techniques, pigment do need to be diluted and color is just a little harmonic which should not be mixed repeatedly. The coordination effect of different colors on canvas is stronger than color mixing. In addition to pen and a knife, hand and other means can also be used to draw different changes. For instance, heavy medium pigment is used in painting thick stacking coating.
Many freehand paintings are painted in wet with transitional color with bright and dark pigment or pigment and brush pressure contour line in the overlapping coverage, vivid changes and elastic formation. In some places you can use dry brushwork, and focus on grazing and stacking technique after the bottom color becoming dry. But it can not paint when the bottom paints are half wet or dry. Otherwise, it will leave defects of producing oil. Except for such situation, use of polish light oil in the middle of two colors is to prevent oil and to restore the original colors and strengthen the color interlayer of combining fastness. After the repeated in-depth tablets of the whole painting, each local part will inevitably have some inconsistency in shape and color. At the same time, because of the more time to focus on the body, it is hard to avoid imbalance to make the colors become dark. Therefore there will be a comprehensive adjustment in the end to make the color relations become louder and weaken too trivial details. While some local use of translucent color thin coating and transparent oil can also be used to weaken or strengthen the effect of stained cover.
Source by Jerry Lily