How to paint a Flamingo — Oil on canvas – Step by step tutorial.

Today I am going to do an oil painting, I am more of a sucking guy than a painter, but I just wanted to explore other media as well. I am not at all technical experts in oil painting, and I don’t often paint that often. So I am not going to educate you how to do petroleum paint in a regular practice, but I will merely tell you what all things I did to coat this one. For the paint, i used a stretched canvas of length 12 x10 inches Pebeo Studio oil colors and the solvent I used was linseed petroleum. I am starting off with covering a stratum of burnt umber over the white canvas. Here I am not at all caring about the smoothness. This coating helps to attain the values readily and covering on a white canvas is too boring for me. But there is nothing erroneous in painting directly on the white canvas. It all depends on what you prefer. After admitting the veneer to dehydrate for an hour, I made an outline of the flamingo with a graphite pencil. For the first stratum of burnt umber, i mingled burnt umber with 1 part of linseed petroleum and 4 specific areas of distilled turpentine for fast drying.

We won’t use that is something that refined oil for the actual paint, though. So the first stratum will touch bone-dry within an hour. So I accomplished the basic sketch here. I didn’t draw detailed description or values into it. But you are able to even outline little items and costs initially. In my pigment palate I have a significant portion of the white coat, then cadmium cherry-red and orange. I mingled the cherry-red with white to get the pink pigment. Some provinces were a bit orange colored, and some provinces were even brownish. I used supplemented dark umber in those residences. Right now I am exerting all these hues to the canvas. At the current stage, I am obstructing in all the areas with “the world’s largest” prominent pigment there.

I don’t worry about the composition and item at this stratum at all. Instead, i am concentrating on coming to the values chasten. So at this stage “you’ve had” painted all the shadows and spotlights with relevant hues. If you can’t rule what pigment is the most prominent on each area, merely do a blur filter in Photoshop, and it will bring out “the world’s largest” famous pigment scaping all the items which are a distraction at the present stage. I am not mingling the coat with too much solvent here, too much solvent attain the layer translucent, and the underpainting may demonstrate fling. I will mix the coat with linseed petroleum and a few drops of distilled turpentine for the residual of the paint. If you add more turpentine, the skin will dehydrate fastest and most you may not be able to influence them later.

Like I said earlier the goals and objectives of this first stratum is to establish a price paint. So after covering this layer, you should achieve the necessary and it determines of the flamingo and the shadows. You are able to coat over and over again until you are fill. That is the big advantage of oil painting over other media. You get an infinite amount of is necessary to experimentation with all the hues and values. So you don’t have to worry at all. If you prepared a mistake, merely coat over again to correct it. To smoothen out and coalesce the hues I laid down on canvas I just worked a large, clean graze without any solvents. Now I am covering the second most significant stratum which is why I will add some details and attain the hues little more vibrant by contributing more hues. I left the beak and background without covering because they are very dark.

Covering them at the present stage may smudge the pigment and break the lighter provinces. As you can see, i am exploiting a smaller graze to depict the details such as the featherings. Feathers are pure white where the flame is making the maximum and some featherings are sheer pinkish ruby-red. One thinks you should remember when covering featherings is the direction of the featherings. You are able to depict the featherings according to the direction as considered to be in the remark picture.

Covering them in all direction will make it less reasonable. I am going over the first stratum once again to attain it more vibrant and to redefine the values. Thus helping to achieve the paint smoother and more colorful. And by the second stratum, the underpainting of burnt umber will disappear entirely. I mingled chocolate-brown pigment with pink to depict the shadows between the featherings. And I used that pigment to refer over some other provinces as well. This will help to increase the differ of the paint. Now I am melding the hues together with a clean brush.

You may liberate the severity of some hues while doing this but you can add shades again afterward. Melding with a moping graze helps to avoid all the sharp-worded peripheries and establishes a smooth finish. I am contributing another stratum which is why I will use the oil colors as such without any solvents. This will intensify the hues and allows researchers to depict pure grays. Since this is a soaked on soaking paint, when contributing white it will get mixed with underlying tones and the resulting pigment will not be white. So I will use the white coat as such, and I will apply it with very light hand.

so I can get bright white spotlights. I used will grab the white coat without solvent and coat over those featherings again to get really defined featherings. This is something that helps to create a misconception of glowing featherings. This practice I will depict single cherry-red featherings extremely by grabbing the cherry-red coat. Notice that I always follow the direction of featherings as considered to be in the remark word-painting. I am exploiting a small round graze to do all those strokes.

To attain that red a bit more interesting I mingled it with orange. This establishes a much more vibrant answer. You should not worry about the rough rims we can always make it smooth by merely exploiting a clean graze. The technique I just coat this one is the conventional stratum by stratum procedure. But You can also paint something by carefully doing all the details in the first stratum itself by are present in a small area at a time. But this may take a lot of time. But you are able to achieve far more realistic ensues. Most of the hyperrealistic painters use this technique. But for this paint, i used the conventional stratum by stratum procedure. You can see that I am going over the shadows again with darker emblazon. As the color progresses, we may have to darken the shadows again and again to get the excellent value.

I am now going over the paint with a stratum of white to include beautiful feathers. I am exploiting a small graze to do that, and after covering, I will coalesce it lightly with a clean graze. The direction of the featherings should be maintained. Now I am covering the dark shadows between the featherings with a mix of chocolate-brown and pitch-black. After completing it, i am exploiting a clean graze to coalesce, and after that, I will depict over and over until I am satisfied with the values. Now it’s almost complete I used will represent the darkest provinces. That include the mouth and the background. For the pitch-black pigment, i use a mix of pitch-black, dark green and dark blue to get a deeper pitch-black. after mingling the hues, i will carefully relate it with a small flat graze. for the edges, i will use an even smaller brush.

Extreme care has to be taken not to smudge it over lighter provinces. For the background, i will use the first stratum of sap green and then a stratum of pitch-black and some more bright dark greens, and I will coalesce them together with the clean graze. For the edges, i will carefully use a small graze. We can use a baked flat synthetic graze to blur the edges and coalesce them together. So the paint is terminated. And it will get cooked to impress by around 3 to 4 eras. Till then you will have to keep the color in a dust free province. After about 6 months the paint will get entirely baked and then we can apply lacquer over it. So thank you so much for watching. Don’t forget to subscribe for more videos like this, and you can follow me on all the social media related to the description below.

FROM: BGM — Enchanted Journey by Kevin MacLeod is licensed under a Creative Commons Attribution license (…)

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