Traditional Freehand Paintings Materials

Freehand style is based on freehand painting with Chinese calligraphy and water features, and has not succeeded in beautiful brush lines and easy paint style. It’s not very accurate, but it somehow expresses the technical characteristics of this kind of work. Traditional style Chinese oil paints are shaped and developed in a classic realistic style. It focuses on direct technology that eliminates stereotypical and complex manufacturing processes and uses more pigments coated with thick and thin ones. .. The general sense of rhythm of an object focuses on shape description, especially good brush taste, but it does not strictly adhere to genuine details. Freehand painting becomes more active with color rendering using components and performance factors, directly expressing the feel of the painter. During the Renaissance, some of the works by painters such as Titian were strictly outside of realism and showed a tendency for freehand brushwork locally. Subsequent works by Lubensi, Velázquez, and Goyas use more freehand techniques, using skilled techniques, more directly to show the shape, color, light, space, and texture of objects. The first true freehand style of classic realistic oil paintings guided in the 18th century. The Romantic painter Delacroix directly improved the painting, leaving behind not only shapes and colors, but also painting techniques and highly successful works that had a significant influence on the style of the French Impressionists. Visit:-

This effect continues with the expressionist style of painting. In modern times, influential traditional freehand painters are Sargent of the United States, Colin of Sweden, and Freud, a contemporary British artist. The Russian Touring Painting Party, represented by Russian artists Lepin and Serov, has shown the most widespread and widespread influence of Chinese oil paintings. Chinese oil painters who more or less inherit the freehand style of Russian oil painting and make such techniques and styles the standard style, and most importantly, the direct technique of using style painting from freehand. It is also the most important training method for national universities to teach students sketching.
Compared to classical realism paintings, traditional freehand style paintings using direct techniques emphasize the rhythm of brushstrokes more. The work is usually dominated by opaque pigments and thick paint, creating a thick layer with a brush and spatula, creating a strong thick color effect and a vibrant grinding texture that more perfectly reflects the paint material. You can combine it with indirect techniques of production methods and use alternatives. Direct technology does not have to wait for the color to dry and is limited by many manufacturing processes, significantly reducing completion time. Therefore, the painter can express his feelings more directly with shapes and colors. However, since freehand style painting is used to complete the technique once, it is necessary to solve the problems of shape, color, texture and variety at the same time. Therefore, it is somewhat more difficult than the transparent techniques and multi-layer paintings used in classical style painting. Therefore, the painter needs to be well prepared to create a work of art and know how to organize the shapes and colors. On the sign, the artwork is too bold and decisive, but not exhausted.
There are differences between freehand style paintings by different painters. It’s somewhere between the realistic and the freehand. Similar to traditional Chinese painting, but generally based on the actual object of shape, there is a bold print with more expressive elements that emphasizes color change. The written fruit paves the way for the next color coat. If painting does not continue after spreading, use a paint knife to scrape off the coarse color and allow it to dry in time. You can also use a paint knife or razor to repeat the inadequate part.
After the bottom of the primer is complete, you can apply a deep coat using a medium-sized paint such as Damar. The perfect form must attempt to draw completely, completely, and locally in order to finally draw light and darkness. However, examining the depth does not necessarily mean that all background colors need to be covered. Instead, in many places you need to reveal overlapping coverage between the background color and the main colors in order to produce bright colors. If you don’t, you’re prone to solid state and you can lose your nice style. When drawing freehand paintings that focus primarily on thick coating techniques, the pigments should be diluted and the colors should be slightly harmonized so that they do not need to be mixed repeatedly. The various color adjustment effects on the canvas are more powerful than mixing. In addition to pens and knives, hands and other means can

Leave a comment

Your email address will not be published. Required fields are marked *