Traditional,freehand,paintings entertainment Traditional freehand paintings materials and techniques

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Freehand style isbased on Chinese calligraphy and painting freehand water characteristics to theexquisite brushwork and easy painting style in vain. Although this is not veryexact, it somehow expresses the characteristics in techniques of this kind ofworks. The traditional Chinese style oil painting is formed and developed inthe classical realistic style and on the basis of the production process, whichgets rid of the stereotype and complex production process, and focuses ondirect techniques with more use of pigment coated with thick and thin. Theoverall rhythm sense of objects is give more emphasis in the description offorms and particularly exquisite brush flavor but not rigidly adhere to thedetails of the real. Freehand painting is more active in the color reproductionwith components and performance factors and has a direct expression to thefeelings of the painter. During theRenaissance, some works of painters such as Titian are strictly out of therealism and in local show the tendency of freehand brushwork. In the laterLubensi, Velazquez and Gaya’sworks, there are more usage of freehand techniques with skilled techniquesdirectly to show shape, color, light, space and texture of objects. Theearliest true freehand style from classical realistic oil painting turned outin 18th century. Romantic painter Delacroix has improved the directpainting not only in shape and color, but also in the painting techniques, andleft very successful works, which exerts an important influence on the impressionisticstyle of French Impressionism. This effect continues even to expressionismstyle of paintings. In modern times, the influential traditional freehand stylepainters are Sargent of the United States,Sweden'sCholn and contemporary British artist Freud. Russian tour painting Partyrepresented by Russian artists Repin and Serov have shown the most extensiveand far-reaching influence for Chinese oil painting. Chinese oil painters whoare more or less inherit the freehand style of Russian oil paintings and makesuch technique and style become the standard style, and main technique—directtechnique adopted by freehand style paintings. This is also the main trainingmethods for the domestic colleges in teaching students sketch painting. Compared toclassical realism paintings, traditional freehand style paintings with directtechniques tend to emphasize more on the brush strokes rhythm. Works areusually dominated by an opaque pigment and thick paint to create a thick layerwith the brush and painting knife, strong thick color effect and vividsharpener texture, which more fully reflects the painting materials. You cancombine them with indirect techniques in the production method and make thealternate use. Because direct techniques do not have to wait for the colors tobecome dry and are restricted by many production processes, so that the timefor completion is greatly shortened. Then the painters can more directlyexpress their feelings in shape and color. But because the freehand stylepaintings are used to complete the direct techniques one time, so the shape,color, texture and plurality problems should be solved at the same time.Therefore, to some extent, it is more difficult than transparent techniques ormulti-layer painting used in the classical style of paintings. So it requirespainters to make full preparations in the creation of artwork and know how toarrange shape and color. In the drawing of artwork is to bold and decisive, butnot exhaustive.  There aredifferences between freehand style paintings of different painters. It issituated between realistic and freehand. There are bold with more expressionfactors which are similar to traditional Chinese paintings, but are generally basedon real objects in shape and laying more emphasis on changes in color contrast.The written fruit paves the way for the subsequent color layer. Afterspreading, if the painting is not continued, then the painting knife will beused to scrape off the thick color for timely dry. Painting knife or razorblade can also be used in the repeated modification to scrape theunsatisfactory part. After thecompletion of background layer foundation, medium paint such as Damar can beused to paint in depth. Thorough mold should try to draw completely, fully andlocally to finally draw the light and the dark. But to explore the depth is notnecessarily meaning covering all the bottom colors. Instead, many places needto reveal the overlapping coverage between background color and override colorto produce rich colors, otherwise it is easy to fall into rigid state and loseenjoyable style. In the creation of freehand paintings mainly directed by thickcoating techniques, pigment do need to be diluted and color is just a littleharmonic which should not be mixed repeatedly. The coordination effect of differentcolors on canvas is stronger than color mixing. In addition to pen and a knife,hand and other means can also be used to draw different changes. For instance,heavy medium pigment is used in painting thick stacking coating.  Many freehand paintings arepainted in wet with transitional color with bright and dark pigment or pigmentand brush pressure contour line in the overlapping coverage, vivid changes andelastic formation. In some places you can use dry brushwork, and focus ongrazing and stacking technique after the bottom color becoming dry. But it cannot paint when the bottom paints are half wet or dry. Otherwise, it will leave defectsof producing oil. Except for such situation, use of polish light oil in themiddle of two colors is to prevent oil and to restore the original colors andstrengthen the color interlayer of combining fastness. After the repeatedin-depth tablets of the whole painting, each local part will inevitably havesome inconsistency in shape and color. At the same time, because of the more timeto focus on the body, it is hard to avoid imbalance to make the colors becomedark. Therefore there will be a comprehensive adjustment in the end to make thecolor relations become louder and weaken too trivial details. While some localuse of translucent color thin coating and transparent oil can also be used toweaken or strengthen the effect of stained cover