What is the method of classical transparent painting?

(1) the first draft of sketch. Transparent painting mainly depends on clear and successful monochromatic background sketches. At this stage, you can use any sketch medium charcoal strips, colored chalk, etc., to clearly determine a frame sketch that can be filled with background color. After that, spray a layer of hairspray or varnish.
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(2) pure gray painting. Generally use the gray of white and black to paint, or ochre or brown to reconcile with white. The basic requirement is a contrasting layer of light and shade, expressed in bright tones as much as possible, because each subsequent painting will darken the picture a little bit. According to the principle of fat cover and thin, oil is used as little as possible at this stage. Ancient painters used lead white as much as possible, because lead white was thinner in oil paintings, while black oil paintings contained more oil, so they should use less. In the performance of a portrait with a strong contrast between light and dark levels, it does not mean that the darker the better, on the basis of maintaining the brightness, the darker tone can be in the middle gray. When painting gray paintings, you should always have a fan-shaped pen or oil painting roller, constantly use it to flatten the paint, and generally draw slightly thicker strokes only where you really need it. After the gray painting is finished, let it dry for at least two days and then apply a layer of polish, which is conducive to the subsequent color layer polishing.
(3) coloring. At the beginning of the color layer to be summarized, a large area coated with a simple diluted glazing color is the first step in the coloring process. Wait for the color on one layer to dry before you can cover the next layer of color at an interval of about one to two days. Of course, you can use the method of wet painting, but it is not easy to control the color, so many artists who use transparent painting method paint several pictures at the same time.
(4) thin coating. After transparent coloring, in order to increase the body feeling and texture of the object image, the highlights and details are often emphasized by thin coating, using a large amount of white and a large amount of toning oil on the dry glazing color, and adding more toning oil is to abide by the principle of fat cover and thin. Note: do not use turpentine at this stage. Turpentine is only used in the gray painting stage.
In transparent painting, glazing coloring and thin coating can be carried out alternately. Sometimes you can do it twice, or maybe more than forty times. After the work is finished, it needs to dry for a few months, and then apply varnish again.
Some people say that as many artists who use transparent painting will have as many techniques, it can be seen that transparent painting is not limited to the above-mentioned methods. Painters can explore their own techniques and styles according to their own needs. Here is another classical transparent painting method:
First start the draft with charcoal, then use a long hook pen to dip the black paint or ink mixed with latex to accurately tick out the outline, and then use a large brush to dip in the all-in-one oil (Dama varnish: linseed oil: turpentine = 1:1:3) to bring out a thin ochre tone, apply it all over the picture with a loose brush, and then gently wipe off the excess oil with a rag. The second step: dip a large pen in the emulsion (methylcellulose emulsion or casein emulsion, see the production of Tampera emulsion for details), adjust titanium dioxide to draw the light part of the object, sweep gently with a pen while the white is not dry, and transition to the dark part. create a flying white effect to show a mid-tone, at this time the light and dark contrast of the picture should be summarized and strong. Step 1: after the white is dried, it is then dyed with all-in-one oil tone powder glaze, that is, the so-called glazing. If there is no toner, you can use Koryo paper to absorb the oil and reuse it. The whitening of the second step and the glaze dyeing of the second step are carried out repeatedly until the perfect combination of shape and color.
Because this technique uses latex to whiten, it dries quickly and can conjunctiva in a short time after glaze dyeing, so it can work continuously. It should be noted that compared with the initial glaze dyeing, we should not use too much oil. In addition, the canvas base should be oil-absorbing, the first painting is dry and shiny gradually.
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