Complete Guide to Realistic Oil Painting - Part 3: Prepping for Painting | Maurizio De Angelis | Skillshare

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Complete Guide to Realistic Oil Painting - Part 3: Prepping for Painting

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.



    • 2.

      Priming the surface


    • 3.

      Toning the surface


    • 4.

      Tracing the drawing


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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


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


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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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. Priming the surface: in this lesson, we're going to prime the surface off this MDF banner with a Jesser private festival. We want to clean up the NDF surface with a light sending sponge or sending paper. We just really want to scrap some imperfections off the surface. We can also do a bit of the margins as well, but not too much as we don't want to battle them out. Now we have a roller with the fines, punch, texture, and we have the just so primer A copies from Atlantis, which is a not shop here in London. This is a water based primer, and it can be used for acrylics and oil paint that would be of just on a plate and with a spoon. I spread it around that many whites in this video in particular, so some of it can be a little bit of exposed. Then I rode the roller, and I pick up some just so you have to make sure the entire allies covered in primer, and you might also want to remove some excess with the spoon. Then we apply the first coat, have family, keep the MDF in place, and then I pushed the roller against the surface. That's the 1st 1 So I just went up just the exposure off the camera so he gets a little bit more visible. Now you have two options. According to the label of your Jesser and the guidelines related, you might need just a couple of cowards or more for the Jets. Amusing here I'm applying six off them. They are all very thin layers of primer, and you can wait from account to the other. Or you can use a blow dryer. And this is what I normally do. And after these, I lived the MDF, resting for about 5 to 10 minutes. When it's dry, we can use the sponge again with a sequel, a movement. You don't want to press it too much. If we look closely, we would see some picks and valet's, and we want his move out the picks. You can then touch the surface and feel ways rough. Then we want to clean the surface with a cloth to remove the just so dust, and we number this first Kout with a pencil. Now it's the second coat. Same thing is before, but this time we go horizontally so we inverse direction off the rolling. - You might think this is a quite your page, s it by in fact, we can still see the number one. We place it the bottom corner and you can actually see through the Giessen area if he happens that you get some bits on the way. You just removed them blue dry again. You touched the surface to feel out rough. Is that you sending with circular movements cleaning a bit And that's the second coat done . Now I'm going to speed up this process because he's going to be the same for the next four counts. As I said before, there is a total off six coats. Right now we have six coats done again. Read instruction off your gesture and see how many coats they advise you might not need. Six. It all. I'm going to clean the surface with the wide pender brush. I just want to get rid of the dust. Now with the paper tape. Don't use the plastic tape. It is not good for these. You want to cover along the margins off the panel when you place the tape, Don't pull it too much as uniforms, and it's not then straight anymore. You also don't want to press it against the surface too much. Do that? Just a tiny be probably a bit more firm near the margins as he can happened in the glue can take away the superficial Jesse Layer. It's a likely back and happen, so you just don't want to press it too much. That's it. No, with the CATA, we're going to cut off the ends. Same thing for the top. Kind enough now the shorter side. Be very careful with the cutter. It's a dangerous to done and estimate this is Noah ninth. Sometimes the Blades now, so be very careful and on the other side. Now we want to treat these sides of the panel. We put the tape because without we would have also painted on the front. But we want a clean panel, so we do things properly. The site of the panel is no, it's moves the frontal side, but it's much more rough and irregular. So painting there it's a bit more challenging again. I'm going to speed up these a little bit, and I do the remaining three sides. You don't want to use the blood dry, and now, as the glue off the tail would respond to the hit, it would melt a little bit, and it would probably some trays off glue on the panel. We don't want that. You can wait, or you can remove the tape carefully. Make sure your hands are clean. Another advise about the tape. Don't leave it overnight or for a few days attached to the surface. The sooner you remove the tape, the better it is when you remove the tape, do it slowly. Don't tear it off, but do it quite slowly, and then you can use the blow dryer. Now you can use the sendings bunch or just a normal sending paper. This one in particular is very fine. You just passing over circular movements as usual, including the edges. The secret is to touch the surface and see if you feel any difference. Really, really gently. Don't want the surfaces. Move is a mirror, but at the same time, you don't want it to cause now the sides of the panel and lastly, some Dustin. What I normally do at this stage of the panel preparation is to take some water remove the excess and then you basically wash the surface again. A bit more water this time days too much water. We can use a cloth. I can use a blow dry. And now And this is done, our panel is ready. In the next lesson, we're going to turn the surface. 3. Toning the surface: right. This lesson is about toning the panel. What is stoning? Tony simply means that we killed a white background off the canvas or the panel. It's very common practice in painting as coloring. The background establishes the meat tone from the start. So when we paint, we can use both dark and light colors, and it's easy to perceive them to see the tones, especially when working with whites. You can decide to use any not to that colors for toning. I particularly like a dark grey blues background, but for these painting we can actually go form or classical brown like a natural burnt amber mixed with some deep oka to make it warmer right, I put down some natural burns. Amber. Not too much. Don't be too generous is there's always a good waste of colors. Then I put down some. Okay, you can see the discolor is much lighter and warmer. This is step in time. It is a solvent used to feed and mix oil pains. Yes, God, very, very strong as metal pine trees, but that on the market, low order absorbent. And if you pain in your home, I strongly advise you to buy something like these rather than the turpentine, which is really, really smelly. Alternatively, you can use white spirit, which is also called mineral Spirit or mineral turpentine, or petroleum spirit, and it gets really confusing, depending where you are in the world. So what spirit is also quite smelly, so once again advise you to go to your local art shop and buy a low order solvent for oil paint. Now, with a generous amount of finner, we're going to devalue the color like if it was a watercolor, very round, very washy. Then we mix the other color as well, and we get this sort off brown town. It looks likely darker in camera. However, we start painting with this color and we want to create an irregular surface. So we go a bit random. Every artist find their way to turn the cameras. Some people past the color with a cloth other like myself, they create this kind of water color consistent base. - I also want to pay in the four sides off the panel. - I got some additional fender and keep on painting and creating some shades, topping with a brush for some additional texture. This could be more than enough, really, that when the color is absorbed, the litter just want to keep on distressing the surface. With this cloth, I can remove the color in excess and again the stress, the surface and then art some very washy final touches. And this is the panel that has been toned in the next lesson, we're going to trace the drawling. 4. Tracing the drawing: in this lesson, we're going to trace the droving that we did before on the tone panel. I personally make the drawing when the background is completely dry. There are artists that they start drawing or painting on a wet background, but that is something I wouldn't recommend is you want to keep things as clean as possible . It's It's quite easy to get things messy, especially if you are at the beginning. As I wanted to keep the pencil drawing, I made a scan of it and then printed out. So this one here is not the original drawing about a copy, I placed the drawing on the panel, which is the same size, and I use a piece off tape to keep it in place. I normally use distressing paper. It's called Freese Trans Trays. I bought it in London. There's not the cheapest thing if I'm not wrong is about £2 per sheet, which is around maybe $3 but anywhere the standing pounds all over the place or not Sure, it's a what's free. Pure graphite tracing down paper, which makes a very long subtitle, becomes in different colors white, black, yellow And if I'm not wrong. Also in red. I don't use wide, as is a bit too sticky, to be honest. Also, the yellow paper is a bit sticky, but it's very useful if you have to trace on a dark background. So let's try both of them. You place the graphite paper between the drawing and the panel. You make sure that graphite abilities pointing down. Then I normally use a red pen for tracing as it gets a bit confusing. If you'd use a black pen. Why with the red pen is very noticeable. What you doing so we can try here and see if the pressure is good enough. But you can see that he has been transferred. There's no incredibly visible on camera bites there. Then I can try with the yellow paper and its day as well. In my opinion, the graph I works better, and I'm going to go with that. So I placed the graphite paper and I start tracing the drawing. Keep in mind that pressure has to be always the same to get the same effect. So before you do the entire drawing, it's good that you check from time to time the results So I carry on and I traced the seeds . You can speed up this part if you want. There's not really much need to talk over this process so you can skip to the end of the tracing process. Obviously, tracing is just on option. You could have done the drawing directly on your campus or panel. They are artists who don't even make a drawing or they make brown with the brush. Someone even use a charcoal, which is not really my way because it's to be too messy. I believe this is the tightest option in order to keep the surface of your support as clean as possible. Right? So this is done. If I removed the graphite shoot, it's not probably too visible camera, but it's there. We're now ready for Young, the painting, and this is what we're going to do in the next lesson.