- August 6th, 2004
- No Comments »
Oil colour, with its standard, lends well with the glazing techniques with a smooth polished finish. Though, there are a huge variety of texture effects that can be attained in oil painting using customary techniques like impasto, or just through trialing, this article will glance through some admired oil painting effects, and how they are able to be used in achieving texture.Impasto Technique: Prepare yourself with heaps of oil colour previous to embarking on an impasto oil painting voyage. Impasto technique is the process of applying huge quantities of paint with a brush or palette knife, generally with a very gestural brilliance. The effect is a three-dimensional facet to the surface. Frequently, definite mediums created for impasto painting are used to boost the thick texture of the paint at the same time slightly reducing the quantity of paint that would otherwise have been applied directly from the hose. Such mediums, like oleopasto, are also cooperative in aiding in the aeration process as they grip their shape as the paint dries.Occasionally impasto can be used in customary painting if done lightly in only certain pinnacle areas, similar to glowing highlights. Most efficient application – Colour assorted with oleopasto medium; no drying oils or solvents; palette knife or big brush Scumble Technique: The procedure followed in Scumble oil paint is suggestive of an art project you may have done in elementary school. It involves painting a moderately thick application of colour, and then removing the paint with a permeable textured object like a rag, sponge or dry brush. Using the word a little more loosely, Scumbling can also refer to the method in which paint is unclear or blend on the surface with a rag. In Scumbling, the more innovative the texture used, the more attractive a texture it will generate. Experimentation lovers will love this painting technique.Most effectual application – Colour directly from the tube; no drying oils or solvents Ala Prima Technique:Painting ala prima in general refers to the development of painting in one sitting. The application of colour is rapid, and normally full of expression. The texture is formed in a spontaneous way through the manipulation of a thicker layer of paint. Ala prima practice does not engage with layers or glazing. As such, the regulation of “flexible over inflexible” or “Fat over Lean” does not essentially apply. Yet, dull areas and cracking can still take place, so it is very important that when painting ala prima that too many solvents or mediums are not used. As an alternative, paintings in an ala prima technique are generally painted with colour straight from the hose or with a negligible use of drying oil or solvents.