Photographic realism oil painting materials and techniques

The drawing procedure of photographic realism oil paintings is very strict with exquisite and smooth painting surface. Direct painting techniques are often used, but in the local part, indirect techniques for polishing processing are also applied. Of course, hiding strokes is not misunderstood as paying little attention to pen using and the effect of drawing pen and combination of shape and color are not contradictory. The quality of work produced depends heavily on the understanding of painters.

The substrate material used by photographic realism painting is usually the fine canvas with smooth powder foundation or oily foundation. Before painting, we will transfer painting material or prepared sketches to the canvas with grid amplification or use the photopositive or photonegative to the overhead projector to enlarge the painting. If the photos are taken as reference for drawing creation, then the details of the shooting should be paid close attention, and light arrangement, dynamic shape, each specific line of clothes structure and object texture are carefully arranged to make the photos provide enough reference for drawings. When drafting, the pencil should carefully draw an outline on the canvas, accurately and specifically. Then use turpentine with color or propylene color sketch manuscript to be fixed again.
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Production steps of photographic realism painting are based on the photos and color sketch from the local start and are partially described one by one. The focus on the local part contributes to more in-depth characterization. Each part should be depicted in detail and strived to basically be finished when depicting. When painting, pen and color should be uniform and smooth, the excess handwriting should be swept away immediately with soft sartorial harmonics and pen to make its surface smooth. The entire process of photographic oil paintings requires great patience and relies on rational perseverance to control instead of temporary passion and impulse. Because depiction is moving locally, therefore the overall effect could not be seen in the production process, making people who are used to the traditional paintings feel uncomfortable. But with the gradual tend to the end, the effect will appear step by step. When all the local parts have been painted, works are also basically near to completion. The eventual success has close relation to the painting procedure. Although photographic realism painti

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