Complete Guide to Realistic Oil Painting - Part 4: Making an Underpainting

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. Making the Underpainting: in this lesson. We're going to make an under painting after the panel or the canvas has been toned and the drawing traced. We want to make an under painting that would help us perceive Oprah visualized the shaded areas off the painting. In fact, we're going to define only the dark areas, the areas that are in the shade for this process. We want to use the same color that we use for toning the canvas. So the natural burns amber, which is this one Here. You can use any other brown color if you want. Or if you made a dark grey blues background, you can use a great color. So I put be off paints on the plate or on the palate. Not too much really than in the jar. I've got some turpentine, but as we seemed before, you can use some white spirit or low order Sorber and which I recommend. Then I got acquire large collection of brushes that I normally divided by size and considering the scale of my drawing, I'm going to use size, which I believe is the correct one. So I think some turpentine and I value this oil color for this process. You don't want a fiqh count of paint. Why the opposite? Really? You want the very Washington watercolorist layer off color. So you want to make the pain? Finner. Now we have the sketch under right here. There is a guideline for lighting how we start placing this color on the right hand side of our subject, and also where we think there would be shadows. So we want to pain along this little branch, adding some imperfections, like some knots or picture. It's not a flat shade of color, but you can see you want to implement some noise, which gives a realistic big toe, are painting the branch of the seeds and this lift, which will be quite in the dark, especially this side. So these approaches to define the shape. First, using this color and then paying the shadows have by doing so, we have a very clear idea. It gets quite straightforward that we can proceed with confidence. - Now I'm going to define the shapes of the shells. First, I want to define the branch and the surrounding leaves one of my tea vehicle approaches not to focus on one spot on Lee and get it completed. A more work on one spot, then move and then come back again. Thes helped me have a cleaner picture off the composition. Sometimes you can get a bit too obsessed with some deters, so you scared to move along and possibly come back later. So that's why you see me jumping from one element to another. For this reason, now I want to define this leaf. The bottom part would be in the shade, while the top part would be catching some lines. - I can in fact, color these areas well. It's a stem, adding some turpentine as he tends to evaporate and then do the seeds seeds of a circular shape. So for each individual shell, we want to shade the right hand side of them. But also we have to consider that depart as a whole as a circular shape itself, so the right hand side, often type port will be darker if that makes sense. Making an under painting is absolutely fine and accepted. It doesn't mean someone is a beginner, and they have been great afters in the past. You made under paintings before making the masterpiece is one of the greatest artist, I believed Leonardo da Vinci has used this technique for his studies. There are paintings that Leonardo never actually finish, though even started. But there's some exceptional under painting like the Sun, Geronimo held it about here museum in Rome. Or, to be more precise in the Vatican City, which is a different thing, or the other Grecian Off the Magi and you Fitzy Gallery in Florence. In both cases, you can see that the background stoned and with the use of one color, which could well be a natural bend amber similar tint Luna to sketch out the compositions. Talking about the Margie. If you take a look at the Virgin Mary and the Margie nearly in the foreground, you can see they are depicted with a light on the painting. While the surrounding crowd are painted with a stronger color, I still consider being an under painting. As for reference only, there's a beautiful preparatory pence's catch off this composition, which is this one that shows the ability of lunardi toe understand perspective, which doesn't come as a surprise. Now I move on and do the petals. I want to define the outline first. Actually, this is still a leaf. Carry on with the petals. This be starker as it's the bottom part. - I think some shade here that's a leaf again would be part in the shade as it is under leave, so a shadow will be projected onto it. - Now this Patil is apart, flipping a little bit, as in our drawing that sketch and get some veins and shadows so you can see that even if the level of description is not very high, it's still enough for understanding the dynamic off lights and shadows. This is because our brain doesn't need a lot of information to make an assumption toe understand the meaning of a picture. - Now I'm defining the upper branch and the blossom and the dark areas saying thing for the leaf, which will have a cast, a shadow from the blossom. - Now the other side of the blossom. We have these two parts covering what you would be a flower one day, so the outside this figure and the inside is quite delegate. - Another thing about painting is to imagine the consistency, the nature and the texture off what we paint. For example, the surface of a branch would be more rough compared toa a petal. So these changes in characteristic can be translated into the way we paint. - Now the other blossom saying things for the other elements. We do an outline first and then out some details. Now there is a leaf that we want you out. Lastly, the pistol it's quite important to keep things clean and tidy is quite easy to mess around . It's important we define this area as best this weekend, so we want to outline each stamen and each carpal. And for these we definitely need a s'more brush with a pointed tip, not the car pills that we keep a good five years on what we're doing. And now they sold down. We can at some didn't see in there, and this is it. The under painting is done. We can read the image easily. We understand what the shadows are, consequently, where the lights will be, and that's the goal, often under painting. In the next lesson, we're going to do a quick found and very useful painting exercise now with tissue, a technique that would be used less on for the grease. I