Complete Guide to Realistic Oil Painting - Part 1: Starting Point | Maurizio De Angelis | Skillshare
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Complete Guide to Realistic Oil Painting - Part 1: Starting Point

teacher avatar Maurizio De Angelis, Scientific Illustrator and 3D Modeller

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Presentation

      1:30

    • 2.

      Oil painting creation flowchart

      5:09

    • 3.

      Materials needed for this course

      2:30

    • 4.

      How to clean brushes after painting

      3:09

    • 5.

      Collecting references

      4:28

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About This Class

Complete Guide to Realistic Oil Painting

In this course, split into 10 parts, you will learn the very basic foundations of painting in oil.

Focusing on a very classical technique, you will be able to understand the secrets behind realistic painting, and then you will able to paint anything you want using this method.

You will become confident in the full process of creating a painting, from preparing the support to the finer details.

I have chosen a magnolia branch as the subject for our painting, taking inspiration from some beautiful botanical prints from the past.

By the end of the course you will have a clear understanding of the technique I used, be able to produce a realistic oil painting, and to take that next step on your career path as a painter.

Resources available to download:

  • Magnolia branch pencil drawing

COURSE STRUCTURE

Part 1: Starting Point

  • Oil Painting Creation Flowchart
  • Materials
  • How to clean brushes after painting
  • Collecting References

Part 2: Making a Drawing

  • Making the sketch
  • Making the drawing

Part 3: Prepping for Painting

  • Priming the surface
  • Toning the surface
  • Tracing the Drawing

Part 4: Making an Underpainting

  • Making the Underpainting

Part 5: Before Painting a Grisaille

  • Difference between opaque and transparent colours
  • Shading Exercise

Part 6: Painting a Grisaille

  • Grisaille - Branch
  • Grisaille - Leaves
  • Grisaille - Blossoms and Seeds
  • Grisaille - Flowers
  • Painting the Background

Part 7: Refining a Grisaille

  • Defining the Grisaille
  • Passing a Retouching Varnish
  • Recap and Conclusion

Part 8: Glazing **** CURRENTLY IN PRODUCTION ***

Part 9: Adding Final Details *** CURRENTLY IN PRODUCTION ***

Part 10: Finalising the Painting *** CURRENTLY IN PRODUCTION ***

Meet Your Teacher

Teacher Profile Image

Maurizio De Angelis

Scientific Illustrator and 3D Modeller

Teacher

Maurizio De Angelis was born in Rome and grew up surrounded by some of Europe's most celebrated art and architecture.

It is little wonder that he went on to study Fine Art, specialising in traditional painting, at the Accademia delle Belle Arti in Rome and in Florence.

Living in London (UK) since 2004, he works as a 3D modeller and scientific illustrator, creating digital contents for the media and publishing industries.

His work has appeared in films, TV commercials, books and journals for a wide range of clients.

Alongside his career as an illustrator, Maurizio continues to paint, taking private commissions for portraits using oil paint on wooden panels.

Wellcome Image Awards 2015

Sky Portrait Artist of the Y... See full profile

Level: All Levels

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Transcripts

1. Presentation: painting realistically in or it can be very challenging. It's like our Camille baking. You need to know how to proceed step by step. If you want to get a second resort and if you follow my painting method, you would be able to create realistic paintings by learning a simple technique that will stay with you for the rest of your life. My name is Marie today and it is and a monotonous working in London. I'm originally from Italy. I was born in Rome, where I started find out painting, imploring, receiving a very traditional Italian art ification. I've been painting in order for more than 25 years now, and I always concentrated on releasing porches, still life paintings. I created this course to teach you the very basic foundation off realistic oil painting. There are many methods and many techniques out there, but in this course we're going to focus on a very classical technique. You will be able to use it to pay anything you want, as you will learn a proper painting methods. If you take a look at some of my paintings and one there are, I did them is using this method So if you want to know the secret behind this realistic paintings thesis the course for you, I chose in a magnolia branch as the subject for our painting, taking inspiration from some beautiful botanical prints from the past. By the end of the course, you will have a clear understanding or technique used. Be able to create a realistic oil painting and to take the next day on your career path. It's a painter, so let's get going. 2. Oil painting creation flowchart: are realistic. Painting involves a great control over his creation. If we want to achieve, for example, a certain effect, we need to know how to do it. It's very important to understand how to proceed, what we have to do for each step, the materials that we need, and then this lesson. I'll show you the options we have if we want to create an old painting. In fact, there are many different ways to make an oil painting according to your preference, your taste, what you like, even where you come from, your going to make a specific choice. So let's have a look at the options we have. Please know that we're going to start with the subject already shows. And so in this graph, we're going to skip these progression process and sketching over eight years. First of all, we need to decide if we want to paint on canvas or panel. You can start from a ready made can vessel panel wake him by an untreated campus of panel in using Jesser primer. It's entirely up to you personally. I always prepared the partners by myself. Whatever option you choose, the next step is stone in turning is a procedure where we tone, so we color the white campus with brown paint. This is a very good way to be able to judge value in color as the meat tones are established from the very beginning. After toning, you make the drawing again. There are many ways to make a drawing. Generally speaking, they're free. The Freehand drawing, which is, as the name say's a form where the artist makes a drawing, depending totally upon the eye hand coordination. So you see you elaborate, and then you draw. Drawing is always challenging, and it's definitely need a lot of practice. But once you educate your eyes in your hand, it's a quite rewarding technique. Then we have the great method. This method is used when you want to reproduce something at the same size or difference count. So, for example, if you have a fighter or print and you want to use this method, you would make agreed over the reference and then make the same greed onto your paper and start drawing within the squares. So you're going to draw what's going on inside those little squares, which make things a lot easier. Then we have tracing, you can trace an existing image like a fighter, where you can trace your own drawing. Tracing means that you're going to transfer an image onto your cambers or paper. This technique is normally used you who want to keep the surface of your campus or panel as clean as possible. And for me, this is a must. I can knock hope with a messy panel, right? So we have a drawing down, and now it's time for an under painting. Another painting is a kind of God line normally painted with the same color used for toning . Sketching out an under painting helps understand what the shadows and dark areas off the compositions are, and it gives an indication of volumes and shapes. Once the under painting is done, we have again three main options. We can make out please I or grease L Grease on in Italian, which then under painting but this time painted in shades of grey. So using black and white oh paid colors. Otherwise, we can use or pay colors, but using this time the full range of colors we have rather than just black and white. Or we can paint Allah Prima, also known as wet on wet, in which lay is a wet paint, are applied on top of other lays or wet paint. Normally, Alabama paintings are finished with the one painting session, as it's a quite fast executing method. Personally, I'm not found on this technique now. If you went for a grease I or your pay colors, you can move on to the glazing process. Glazing is a technique that consists of applying transparent layers of colors over and opaque painted surface. It is useful adding or changing the colors off the composition and for adding details after several sessions of blazing, you would eventually are the final touches, which is about fixing things here and there, adjusting tones and adding final details. This final step is very important, and when I'm about to finish a painting, I normally sit in front of the easel and I make a written list off the details that I want to fix. Then the very last step is protecting your painting from the environment and leveled the towns to look all the same using a final varnish. And this is it. If you opted for Allah, prefer painting, you'd skip the glazing face and go straight to the final varnish. In this course, we prepare our panel, but you can buy already made cameras and skip the lesson about prime ing. Then we turned the panel. I show you how to make a freehand drawing. There's going to be traced on the panel. Then I get you through the under painting steps and I'll show you how to make a craze are in shades of gray. We'll have callous to our painting, and I'll teach you how to master the glazing technique. There we are final details and understand how to use and apply a final varnish In the next chapter, we're going to see which materials we need for this cause. 3. Materials needed for this course: in this chapter, we're going to talk about the materials that you need for painting with oil. Oil painting is a much more complicated matter. Competitor acrylics, and I'm not comparing the techniques. I'm just talking about the Matthews that you eventually need. We can generally say you need the following materials for painting in oil. You would need a support, which can be a campus or panel, and in my case is an MDF panel idea. The uneasily what table? Easily so you can put the campus on it. Then all paint those out off two kinds transparent and opaque, and we'll explore the difference between them later on. Then you need annoyed medium and another offender, which are two different things. You need several brushes, and the more you have the better disease. A pallet where you can mix colors, some jaws, cloth and a good lamp, possibly with the white light. And this is it. This is what you need. If you want to start painting what's in these course, I'm going to show you how to make your own panel Preparing the surface with the Jesse primer, you can obviously start from a ready made campus or panel. But if you want to make your own, you would need to follow the materials, a wood panel or bad canvas. In my case, I've got a 0.6 millimeters MDF panel. Adjust. So primer, which is a critic based. Our roller. A plastic plate or a roller tray, a spoon, a blow dryer. Or you can just wait an ascending sponge or sending paper as we go through the sketching process, as well as making the actual drawing. You would also need for dough steps some a four paper a pencil, which can be HB or to be on a racer in the sharpener. A mechanical pencil. But that's optional. An optional again. Some markers like Pantone's or similar, and Iran or Blue Pen. Then, if you want to follow a painting exercise, we're going to use a triangle also known as set square and some tapes. You don't need to have all of this stuff, and you don't need to buy them. However, we need the essential things that I mentioned at the beginning of the video. Before we start painting, I want to show you how to clean and take care of your brushes, which is the subject off next lesson 4. How to clean brushes after painting: are very important practice for every artist. Painting with oil is to clean. The brush is at the end of every painting session. This has to become part of your painting routine, with no exception in my opinion. So your brushes, we last longer and your point of brushes warned Blues Day tips. So you have, like, in this case, some brushes loaded with paint. The first thing you want to do is to wipe them down on a cloth to remove much of the excess paint. When you do that, you kind of have to rule to rotate the brushes I'm doing here so the pain will come off more easily. When this is done, you get some white spirit and basically with same rolling movement with the same kind off rotational movement, you again clean the brushes. The white spirit will break down the old paint particles completely. Then you give it a bit of a rings. You want to remove the excess white spirit on the cloth, and this is done again. You do exactly the same for every remaining brushes. After that, you want to give them a rings with some warm water festival. If you worried about the toxicity of the pain. You can wear some gloves, then you want to work on about. So with the same rotating movement, they can actually see that the pains bleeding out Because even if you don't see it this plenty off pain deep into the bristle, then you wash the brush and do it again until the site is clear. You do the same for any dirty brushes. The last step is to give them a good greens and to kind of mold the tips of the brushes in today. Original shapes as best as you can, and that's done. This is the way you clean brushes. You can then breast brushes to dry standing on the back of the handle. So with tips pointing up, never rest them on their heads. Right in the next lesson, we're going to collect some reference and study the subject of our painting 5. Collecting references: But animal illustration has always been a great interest of mine, and I'm very happy to be able to make a course about this beautiful subject. If we browse antique books searching for botanic topics, we realize that the amount of money was this huge. There's so much about it. In fact, this sophisticated form of art was an essential counterpart for naturalistic books, most of the time correlating scientific studies. Botanical illustrations was also a form of art per se. There are unpicked books which contained just collection of artworks without any scientific information included, books there were only focused on the art. An extremely important aspect off botanical illustration is that the artworks must be scientifically accurate. If we take a plant as an example, the illustration as to show the different parts and his feature so the observer can easily identify the stam. The leaves are blossom. Maybe that more than one bless someone close and one open than the fruits, the flowers, the piece toe. So scientifically accurate part presented in an artistic way so we can see that all of these components former quite delegate very balanced, very pleasant to the eyes composition as platonic a distraction has been around for centuries. The style and the technique used vary enormously. We have the very old, generally speaking medieval illustrations like this ones we can see those are prince coming from engravings. They are quite stylized, as actually most of the art from that period. If you look at the sculptures and paintings but they still maintain a nice balance between the parts, then we have again Prince. The Styx here is more realistic in some off the images. You can also see the representation off the smaller elements, like in this case, there's a note branch, and then you see the fruit, the pistol and the other bits otherwise thes, very elegant, with also depiction of butterflies flying around. Then we have prince again that this beautiful you distractions. As you can see, there's a bit of interpretations in terms of shapes. This is slightly stylized by exceptional rendered. I mean, literally. There are so many techniques and start used throughout history, like pencil drawings like this one's there, which are very accurate line drawings like does this beautiful sort Off Inc outworks and those here be more lose. And lastly, we have the colored illustrations against same things before they're many stars, Many techniques used. We have this very gentle illustration. These ones are more fooling color. These are mix of colors and ink. Probably. There were these quite soft colors, new much contrast there and then, finally, some water color, which is a technique that dominated botanical illustrations for a long time. Now talking about magnolia trees and flowers, this is a set of all Prince I found about this beautiful plant there, more than 100 magnolia species in nature, and I presume that each of them must have a characteristic feature or something that differentiate them. Magnolia is a flavoring plant that grows in Northern and Central America in Asia and Amalia's depending on the species, the plant of white, pink or yellow flowers and obviously the shape of the leaves and seeds change accordingly. What we have. The Ace di Bagnoli acumen. ETA, which has this long pointed, tapered live from which the name of community tha acumen it has more flowers, normally white, yellowish in color, magnolia, cam belly or Campbell's, typically growing between China and the poor. And in the Malia's, they grew up to 30 means of store and in fact, the huge trees. They have these very large, beautiful flowers that go from white to dark pink. And then we have the Magnolia grandiflora or Fattah, which is probably the most common magnolia we all know. They have very large white flowers and the leaves out of a specific tint off dark green. So we're going to work with this reference here. In the next lesson, we're going to make some sketches and started become position.