<![CDATA[Andre Grobler - Oil Painting lessons - TIPS]]>Sun, 07 Feb 2016 07:17:09 -0800Weebly<![CDATA[What oil paints should I use?]]>Wed, 14 Sep 2011 04:04:52 GMThttp://www.andregrobler.co.za/tips/what-oil-paints-should-i-use As an artist I am often asked what oils to buy and as explained in my previous posts, I always recommend young enthusiasts to learn to create colours the traditional way by using and mixing the five transparent primaries. I therefore will always recommend to have the following paints as a minimum in your studio.

Winsor & Newton stock the highest quality oils and I have used them as long as I can remember. 

1) Cadmium Yellow Pale (Winsor & Newton)
2) Cadmium Red Lite (Winsor & Newton)
3) Alizarin Crimson (Winsor & Newton)
4) French Ultramarine Blue (Winsor & Newton)
5) Viridian Green (Winsor & Newton)

And Lastly for tone and colour mixing;

1) Titanium White (Winsor & Newton 200ml)
<![CDATA[The Prismatic Colour wheel]]>Mon, 12 Sep 2011 08:45:36 GMThttp://www.andregrobler.co.za/tips/the-prismatic-colour-wheel
From my earlier posts you will know by now that if we mix two primary colours you will create a new secondary colour as per the previous Chromatic colour wheel.

The Prismatic wheel on the other hand is more advanced and has five primaries - all of which are transparent. The prismatic colours are; Cadmium Yellow Pale, Cadmium Red Light, Alizarin Crimson, French Ultramarine Blue and Viridian Green.
Therefore if we mix the 5 primaries as above we will create 8 new secondary colours which means 13 colours, plus white for tone. These colours are all the colours you need as an artist.

Use only these transparent colours plus Titanium white in your studio for painting the correct way. With practice you paintings will glow with substance! There is no easy way out for example buying all the pretty colours in the art supply shop that will only confuse you and give you only chalky & muddy looking painting.

The principles of controlling the intensity still apply exactly the same as with the three primary Chromatic wheel. Look at the Prismatic wheel as three groups of primaries namely yellows (called Ochre's), Blues (artist grays) and Reds (Sienna's).

Exercise: Lets make the other artist colours from the 5 primaries.
1) Raw umber = Cad. Red + Viridian Green (test with white to see better)
2) Raw Sienna = Yellow + (Alizarin Crimson & Blue)
3) Etc... 

Do a small painting using a painting knife with only 5 primary colours and white and mix on your canvas as you go along using only these colours. Once you painting looks good then you have "seen the light" and will understand better about my statement on those pretty tubes in art supply shops. Good luck!
<![CDATA[Intensity of Colour explained]]>Sat, 10 Sep 2011 05:02:19 GMThttp://www.andregrobler.co.za/tips/intensity-of-colour-explained
The intensity of colour refers to the purity of a colour, the brighter a colour the higher is its intensity. This has nothing to do with the lighter c colour is which only states the tone of a colour. Look at your dark colours like Prussian Blue which is high intense and Payne's Grey which is low intense - both colours are still blue. Light colours like Cadmium Yellow is high intense and Raw Sienna Low intense, but both are yellows. Try to understand this and remember all colours are either a yellow a blue or a red.   

The three primary colours are Red, yellow and blue. When mixing any two primary colours you will create a secondary colour namely Orange, green and mauve. Every primary colour has an opposite that is a secondary colour, which is its complimentary.
Rule #1: To reduce the intensity of any colour ADD the opposite colour.
Rule #2: To increase the intensity add one up towards yellow plus white.

These rules are the most important to understand when it comes to mixing colours. Let us have a look at examples of what is said above. Take Red for example if we add its opposite colour Green you will see the intensity (brightness, purity, etc.) of Red reduces. Green can only be added to the point where Red becomes Neutral grey, beyond this point the identity of the colour changes to Green. 
And on the other hand to increase the intensity of Red, add one colour up towards yellow which is Orange. Then to increase the intensity Orange, add one colour up which is Yellow. 
Therefore to increase the intensity of your colours add one colour up towards yellow from either side of spectrum, remember to add white for lighter tone. 
<![CDATA[The Tonal Value of colour]]>Fri, 09 Sep 2011 03:17:32 GMThttp://www.andregrobler.co.za/tips/the-tonal-value-of-colour
When we want to express the lightness or darkness of a colour we refer to its tonal value and not the brightness thereof. Colours are totally dependant on tone, but tone has nothing to do with colour. All colours have a tonal value, but tone has no colour. In other words any colour can have the same tone. 

If we look at the following example you will notice that the dresses of the girls on the donkeys are opposite colours with the same tonal value.  
All objects in a painting should have three Tones namely; Highlight, mid tone and shadow in order to affect 3 dimensions.

Any good painting must have all the tones from very light to very dark tones. If not, the painting will appear flat with no light source or dimension. Note the impact in my painting where the full range of Tone is used. 
<![CDATA[The theory of Colour (Light)]]>Thu, 08 Sep 2011 04:40:56 GMThttp://www.andregrobler.co.za/tips/the-theory-of-colour-light There are two distinctly different aspects of Colour - Colour Lights and Colour Pigments (How to copy Nature's Light Colour with paint pigments). What is colour and how does it work? How can i learn to control it when painting a picture? The following information is only to "Put you in the Picture" so to speak. 

Oil Painting is based on the Subtractive system opposite to the Additive system used for colour mixing in Television sets. The light we can see is called "white light" and is made of a perfect mix of spectrum colours. When you pass this light through a prism, the light breaks up into a spectrum of colours, like in a rainbow. When you pass all the spectrum of colours back through a prism again - it reverts back to white light.  
Lastly, when light hits an object, the object reflects its own colour to you and absorbs the remaining colours of the spectrum. If an object colour is red, it will then absorb Blue and Yellow (which is green - complimentary). White and Black are not colours - White reflects and black absorbs all light!
If we now take this spectrum of colours and bend both ends down towards each other, we now have a Colour wheel, which forms the basis of all teachings in colour mixing. This is called the Chromatic wheel, with three primary colours namely; Yellow, Red and Blue. When any two primary colours are mixed you get a secondary colour. When any secondary colours are mixed you have a tertiary colour.

<![CDATA[Oil Painting Starter Pack]]>Tue, 06 Sep 2011 10:51:06 GMThttp://www.andregrobler.co.za/tips/oil-painting-starter-pack As a professional artist I always teach my scholars to reduce their oil painting equipment to the bare minimum at first, to avoid confusion and wasting unnecessary money? So what is the bare minimum? Firstly we would obviously need a surface to paint on, a surface to mix your colours on, something to mix them with, plus something to clean things up. So the only things left to reduce is our paint colours and brushes. 

The following list of equipment is the least I could be happy with.

  • An adjustable easel
  • Stretched Canvas or canvas glued on Masonite hardboard
  • Osram L58W Lumilux Daylight fluorescent tubes (lighting)
  • Turpentine (cleaning brushes)
  • Bucket & sieve (cleaning brushes)
  • Palette (mixing colours)
  • Palette knife
  • Sable flat brushes 1/2 inches wide, 
  • Bristle flat brushes 1 inches wide, 
  • Bristle flat brush 2 inches wide 
  • Bristle brush 3 inches wide.

The following are minimum list of oils required;

  • Titanium White (large tube used extensively for tone)

Transparent Colours: (Small tubes)
  • Cadmium yellow pale
  • Cadmium Red Light or Vermilion
  • Alizarin Crimson
  • French Ultramarine Blue
  • Viridian Green or Thalo Green
<![CDATA[Oil Painting Tips]]>Thu, 01 Sep 2011 12:09:14 GMThttp://www.andregrobler.co.za/tips/oil-painting-tips Tip #1: When mixing colours on your palette, only two colours may be mixed together at a time. Be careful over mixing destroys the pigment, do not grind your paint to mud.

My Studio Rules

Tip #2: Only two things can be done to a colour in oil painting, i.e Dulling or Brightening, in other words increasing or decreasing its intensity. Add opposite colours on Colour Wheel to DULL for shadows or add one colour up on colour wheel to yellow for HIGHLIGHT.

Tip #3: Paint the pure clean colour first, then add the shadow by blending in. Highlights and Shadows must be in ALL objects or subjects of a painting. Use the FULL range of TONE, that is from dark to light must be in all paintings.
Tip #4: Do not place prominent subjects close to sides of a canvas. Try to blur images on all edges in order to create drawn perspective. Hard and soft edges must be in ALL Paintings and always Soft around edges.

Tip #5: Keep no more than FIVE COLOURS and Pure White in your studio (At least to start with). For pure, vibrant looking colours I use the following transparent colours; Cadmium yellow, Cadmium Red, Ultra Marine Blue, Alizarin Crimson and Pithalo or Viridian Green.  You get many different makes but the important thing is not to add any “pretty” colours to the five as you will spoil it!!

Tip #6: Always try to introduce texture in your paintings (I generally make use of a painting knife). Paintings without TEXTURE are flat, like colouring in or paint by numbers. Do not go OVER brushstrokes once your painting is done!

Tip #7: OIL and TURPS destroy the quality of paint itself. Avoid adding these and NEVER thin your paint.

Tip #8: White is NOT a colour - too much white will make your painting appear Chalky. The worst you can do is to add black to any painting, I say it time and time again to my students, but I see the books say you must add black with a colour to make it darker, my goodness! It destroys it!!!

Tip #9: Use BIG brushes, at least a 50mm (2 inch) brush and a BIG painting knife as it will remove the temptation of fiddling. Clean brushes with turpentine - NOT soap water. Store with an application of vaseline.
Tip #10: When mixing colours, use a BIG palette to keep the colours apart. A white palette background shows tint mixes better. Place a mirror in the back of your studio to see your painting at double the distance.

Tip #11: Keeping your hands clean and free of paint after painting is important, and having soap under your nails will help when cleaning your hands after painting.