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Calculated Shard: 64 (from laksa148)

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curl -X POST \
  'http://laksa064.int.ahrefs:8124/' \
  -H 'Content-Type: text/plain' \
  -H 'X-ClickHouse-Database: crawler3' \
  -H 'Authorization: Basic YXBpOg==' \
  -d 'SELECT getAhrefsURLFromUnparsed(src_unparsed) AS found_url, ifNull(toUnixTimestamp(download_stamp), 0) AS crawl_time, ifNull(toUnixTimestamp(props_url_first_seen), 0) AS first_indexed_time, download_http_code AS http_code, src_unparsed AS src_unparsed, src_root_hash AS src_root_hash, history_drop_reason AS history_drop_reason, meta_title AS meta_title, meta_descriptions AS meta_descriptions, attrs_boilerpipe_text AS attrs_boilerpipe_text, attrs_markdown AS attrs_markdown, attrs_readable_markdown AS attrs_readable_markdown, meta_canonical AS meta_canonical FROM crawler3.page_info_local FINAL PREWHERE (src_root_hash, src_unparsed) IN ((getAhrefsRootHashFromUnparsed(getAhrefsUnparsedNoserviceFromURL(\'https://en.canson.com/expert-advice/6-steps-learn-how-do-oil-painting\')), getAhrefsUnparsedNoserviceFromURL(\'https://en.canson.com/expert-advice/6-steps-learn-how-do-oil-painting\'))) FORMAT JSONEachRow'

Response:

{"found_url":"https:\/\/en.canson.com\/expert-advice\/6-steps-learn-how-do-oil-painting","crawl_time":1775636782,"first_indexed_time":1652364175,"http_code":200,"src_unparsed":"com,canson!en,\/expert-advice\/6-steps-learn-how-do-oil-painting s443","src_root_hash":"17358520430419625064","history_drop_reason":null,"meta_title":"6 steps to learn how to do oil painting | Canson®","meta_descriptions":["Discover: 6 steps to learn how to do oil painting from our theme: Basic Knowledge - Oil painting. Find Canson® tips and tutorials to improve your Oil painting skills."],"attrs_boilerpipe_text":"1. Choosing a subject\nAre you just getting started? Develop your hand on simple subjects, such as still lifes. You can tackle more complex themes, such as portraits and landscapes, later on.\nUse a photograph so you can work without having to watch the clock and, if you don't know how to draw, for tracing your model onto the medium.\n2. Composition of painting\nFind a leading thread tying the various aspects of a scene (lines, shapes, colors, light) into a consistent whole. Use your intuition, it's your best ally!\nUnusual angles will add to the interest of the painting. Observe your subject, focusing on a detail or taking in the whole scene.To do so, use a window cut out of cardboard or form a frame with your hands. If you are working from a photo, use strips of paper to reframe it.\nTry out your ideas on paper: do as many studies as you need, switching around the framing and interplay of shadow and light.\n3. Preliminary drawing\nThis is more a \"framing guide\" than an exhaustive drawing. This is not a required step, but can prove quite useful when you're ready to start painting.\nSketch your subject on the medium with charcoal (don’t forget to spray on a fixative)  to keep your paint clean; or very lightly with a pencil, so it doesn't show through the paint; or with oils or acrylics, in a very neutral, diluted color.\nAre you feeling unsure of your pencil stroke? If you are working from a photo, draw the major lines of the model using the grid technique or tracing paper.\nUse sweeping lines to record the basic elements: don't try to faithfully replicate the scene down to the smallest details or you'll overload your painting unnecessarily.\nTrick of the trade\nObserve the subject with your eyes half closed, so all you see are spots of color and blurry masses. This helps you overlook superfluous details and simplify the forms composing it.\n4. Preliminary layer\nFor paint to adhere well and dry without cracking, you need to thinly apply a background.\nWhite or colored? a white background brightens shades, and is ideal for richly colored subjects. a colored background provides an underlying tone to unify the painting: choose the color on the basis of the final tone you want the painting to have (hot, cold, light, dark…).\nUse well-diluted paint and wait for it to dry before moving on to the next steps.\nYou can also use acrylic paint, which dries faster.\nTrick of the trade\nTo check whether the background is dry, lightly run your index finger over several spots: if it doesn't pick up any paint – even if the surface seems sticky – you can add the next layer.\n5. Applying layers of paint\nColoring a painting is done by superimposing layers. Start by adding areas of shadow and light, fill in large areas with color, then work patiently, laying on more and more intense layers of color.\nYou need to follow the \ngolden rule of oil painting: painting \"thick on thin\"\n \n. Each succeeding layer should be slightly \"thicker,\" that is, contain more oil, than the previous one. To achieve this, highly dilute the first layers, with the following ones less and less diluted. Otherwise, you run the risk of having your painting flake over time.\nSecond \nbasic rule: wait for the coat of paint to be thoroughly dry\n before applying the next one.\nThere is another, faster technique, for use by experienced painters: “alla prima” painting. This technique is used outdoors or to capture the spontaneity of a scene; it allows you to finish your painting in a single session, because each layer of color is applied over the previous one while still fresh.\n6. Final layers and touching up\nThis is where a painter’s real work is done. This involves light strokes instead of slapping on the paint. This is called \"making the canvas sing\"! It's the final harmonizing of tones.\nUse undiluted paint, straight out of the tube.\nStand back frequently from your piece to evaluate it. Be your first viewer!\nDon’t hurry! Fine-tune your piece gradually, add lights, work on the shadows, and refine the details. At this stage, any major change in color involves changing all the shades in the painting. Know when to stop… Now sign your work!","attrs_markdown":"Welcome to All in One Accessibility screen reader. To start the All in One Accessibility screen reader, press 'Ctrl + \/'. 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[Home](https:\/\/en.canson.com\/)\n2. [Expert advice](https:\/\/en.canson.com\/expert-advice)\n3. 6 steps to learn how to do oil painting\n\n# 6 steps to learn how to do oil painting\n[Oil painting](https:\/\/en.canson.com\/expert-advice\/oil)   [Basic Knowledge](https:\/\/en.canson.com\/expert-advice?field_tag_article_target_id%5B53%5D=53)\n\nRate this tutorial\n\nTransparency, luminosity, material effects, meticulous detail work… With oils, your options are endless … Six key steps to guide you in creating an oil painting.\n\n## 1\\. Choosing a subject\n- Are you just getting started? Develop your hand on simple subjects, such as still lifes. You can tackle more complex themes, such as portraits and landscapes, later on.\n- Use a photograph so you can work without having to watch the clock and, if you don't know how to draw, for tracing your model onto the medium.\n\n## 2\\. Composition of painting\n- Find a leading thread tying the various aspects of a scene (lines, shapes, colors, light) into a consistent whole. Use your intuition, it's your best ally\\!\n- Unusual angles will add to the interest of the painting. Observe your subject, focusing on a detail or taking in the whole scene.To do so, use a window cut out of cardboard or form a frame with your hands. If you are working from a photo, use strips of paper to reframe it.\n- Try out your ideas on paper: do as many studies as you need, switching around the framing and interplay of shadow and light.\n\n![](https:\/\/en.canson.com\/sites\/default\/files\/medias-images\/New-huile-001-B.jpg)\n\n## 3\\. Preliminary drawing\nThis is more a \"framing guide\" than an exhaustive drawing. This is not a required step, but can prove quite useful when you're ready to start painting.\n\n- Sketch your subject on the medium with charcoal (don’t forget to spray on a fixative) to keep your paint clean; or very lightly with a pencil, so it doesn't show through the paint; or with oils or acrylics, in a very neutral, diluted color.\n- Are you feeling unsure of your pencil stroke? If you are working from a photo, draw the major lines of the model using the grid technique or tracing paper.\n- Use sweeping lines to record the basic elements: don't try to faithfully replicate the scene down to the smallest details or you'll overload your painting unnecessarily.\n\n## Trick of the trade\nObserve the subject with your eyes half closed, so all you see are spots of color and blurry masses. This helps you overlook superfluous details and simplify the forms composing it.\n\n## 4\\. Preliminary layer\nFor paint to adhere well and dry without cracking, you need to thinly apply a background.\n\n- White or colored? a white background brightens shades, and is ideal for richly colored subjects. a colored background provides an underlying tone to unify the painting: choose the color on the basis of the final tone you want the painting to have (hot, cold, light, dark…).\n- Use well-diluted paint and wait for it to dry before moving on to the next steps.\n\nYou can also use acrylic paint, which dries faster.\n\n## Trick of the trade\nTo check whether the background is dry, lightly run your index finger over several spots: if it doesn't pick up any paint – even if the surface seems sticky – you can add the next layer.\n\n![](https:\/\/en.canson.com\/sites\/default\/files\/medias-images\/huile-001-C.jpg)\n\n## 5\\. Applying layers of paint\nColoring a painting is done by superimposing layers. Start by adding areas of shadow and light, fill in large areas with color, then work patiently, laying on more and more intense layers of color.\n\n- You need to follow the [**golden rule of oil painting: painting \"thick on thin\"**](https:\/\/en.canson.com\/oil-painting-preparing-colors) . Each succeeding layer should be slightly \"thicker,\" that is, contain more oil, than the previous one. To achieve this, highly dilute the first layers, with the following ones less and less diluted. Otherwise, you run the risk of having your painting flake over time.\n- Second **basic rule: wait for the coat of paint to be thoroughly dry** before applying the next one.\n\nThere is another, faster technique, for use by experienced painters: “alla prima” painting. This technique is used outdoors or to capture the spontaneity of a scene; it allows you to finish your painting in a single session, because each layer of color is applied over the previous one while still fresh.\n\n![](https:\/\/en.canson.com\/sites\/default\/files\/medias-images\/huile-001-D.jpg)\n\n## 6\\. Final layers and touching up\nThis is where a painter’s real work is done. This involves light strokes instead of slapping on the paint. This is called \"making the canvas sing\"! It's the final harmonizing of tones.\n\n- Use undiluted paint, straight out of the tube.\n- Stand back frequently from your piece to evaluate it. Be your first viewer\\!\n- Don’t hurry! Fine-tune your piece gradually, add lights, work on the shadows, and refine the details. At this stage, any major change in color involves changing all the shades in the painting. Know when to stop… Now sign your work\\!\n\nRecommended product:\n\n[Figueras®](https:\/\/en.canson.com\/figuerasr)\n\nSee also :\n\n[Oil painting Basic concepts for painting with oils](https:\/\/en.canson.com\/expert-advice\/basic-concepts-painting-oils)\n\n[Oil painting Oil painting: preparing colors](https:\/\/en.canson.com\/expert-advice\/oil-painting-preparing-colors)\n\n### Explore more tutorials on this technique\nOil painting\n\n[Learn how to paint a parasol pine at sunset](https:\/\/en.canson.com\/expert-advice\/learn-how-paint-parasol-pine-sunset)\n\nOil painting\n\n[Making Watercolor Paint, Oil Paint, and Gouache](https:\/\/en.canson.com\/expert-advice\/making-watercolor-paint-oil-paint-and-gouache)\n\nOil painting\n\n[Paint and Draw Outdoors](https:\/\/en.canson.com\/expert-advice\/paint-and-draw-outdoors)\n\nOil painting\n\n[Drawing: Secrets of perspective](https:\/\/en.canson.com\/expert-advice\/drawing-secrets-perspective)\n\nOil painting\n\n[Color Basics](https:\/\/en.canson.com\/expert-advice\/color-basics)\n\nOil painting\n\n[Oil portrait for A. Karin \/ Part 2](https:\/\/en.canson.com\/expert-advice\/oil-portrait-karin-part-2)\n\nOil painting\n\n[Oil portrait for A. Karin \/ Part 1](https:\/\/en.canson.com\/expert-advice\/oil-portrait-karin-part-1)\n\nOil painting\n\n[A street in the Mediterranean - oil painting](https:\/\/en.canson.com\/expert-advice\/street-mediterranean-oil-painting)\n\nOil painting\n\n[Oil: Doing collages](https:\/\/en.canson.com\/expert-advice\/oil-doing-collages)\n\nOil painting\n\n[Oil: Touching up](https:\/\/en.canson.com\/expert-advice\/oil-touching)\n\nOil painting\n\n[Oil: Working with different textures](https:\/\/en.canson.com\/expert-advice\/oil-working-different-textures)\n\nOil painting\n\n[Oil: Sgraffito or how to carve oil paints](https:\/\/en.canson.com\/expert-advice\/oil-sgraffito-or-how-carve-oil-paints)\n\nOil painting\n\n[Oil: Painting with a pad](https:\/\/en.canson.com\/expert-advice\/oil-painting-pad)\n\nOil painting\n\n[Oil: Finger painting](https:\/\/en.canson.com\/expert-advice\/oil-finger-painting)\n\nOil painting\n\n[Oil: Preparing a support](https:\/\/en.canson.com\/expert-advice\/oil-preparing-support)\n\nOil painting\n\n[Oil: Glaze painting](https:\/\/en.canson.com\/expert-advice\/oil-glaze-painting)\n\nOil painting\n\n[Oil: Creating impastos](https:\/\/en.canson.com\/expert-advice\/oil-creating-impastos)\n\nOil painting\n\n[Oil: Palette knife seascape](https:\/\/en.canson.com\/expert-advice\/oil-palette-knife-seascape)\n\nOil painting\n\n[Oil: Still life, coffee mug](https:\/\/en.canson.com\/expert-advice\/oil-still-life-coffee-mug)\n\nOil painting\n\n[Oil: Cleaning and maintaining your materials](https:\/\/en.canson.com\/expert-advice\/oil-cleaning-and-maintaining-your-materials)\n\nOil painting\n\n[Oils: Manufacturing secret](https:\/\/en.canson.com\/expert-advice\/oils-manufacturing-secret)\n\nOil painting\n\n[Choosing oil painting accessories](https:\/\/en.canson.com\/expert-advice\/choosing-oil-painting-accessories)\n\nOil painting\n\n[Preparing your material for painting with oils](https:\/\/en.canson.com\/expert-advice\/preparing-your-material-painting-oils)\n\nOil painting\n\n[Selecting knives and paintbrushes for painting with oils](https:\/\/en.canson.com\/expert-advice\/selecting-knives-and-paintbrushes-painting-oils)\n\nOil painting\n\n[Oil: Selecting your material: media, thinners and varnishes](https:\/\/en.canson.com\/expert-advice\/oil-selecting-your-material-media-thinners-and-varnishes)\n\nOil painting\n\n[Choosing colours for oil painting](https:\/\/en.canson.com\/expert-advice\/choosing-colours-oil-painting)\n\nOil painting\n\n[Selecting a support for painting with oils](https:\/\/en.canson.com\/expert-advice\/selecting-support-painting-oils)\n\nOil painting\n\n[Oil painting: preparing colors](https:\/\/en.canson.com\/expert-advice\/oil-painting-preparing-colors)\n\nOil painting\n\n[Basic concepts for painting with oils](https:\/\/en.canson.com\/expert-advice\/basic-concepts-painting-oils)\n\n![](https:\/\/en.canson.com\/themes\/custom\/canson\/assets\/logo-canson-blanc.png)\n\nDiscover us\n\n- [Our news](https:\/\/en.canson.com\/news)\n- [About us](https:\/\/en.canson.com\/about-us)\n- [Newsletter](https:\/\/en.canson.com\/newsletter)\n\nNeed help ?\n\n- [Which paper should I choose ?](https:\/\/en.canson.com\/which-paper-should-i-choose)\n- [Contact us](https:\/\/en.canson.com\/contact)\n\nFollow us\n\n- [facebook](https:\/\/www.facebook.com\/canson \"facebook\")\n- [instagram](https:\/\/www.instagram.com\/cansonpaper \"instagram\")\n- [youtube](https:\/\/www.youtube.com\/c\/Canson-paper \"youtube\")\n\nFooter Bottom\n\n- [Legal notices and Privacy](https:\/\/en.canson.com\/legal-notices-and-privacy)\n\n# Newsletter\nBy subscribing you will receive the Canson newsletter 6 times a year. This newsletter will contain information about products both new and old, we offer tutorials and we will also tell you our news (promotions, events, social media etc.). Please enter your contact information to complete your subscription.","attrs_readable_markdown":"## 1\\. Choosing a subject\n- Are you just getting started? Develop your hand on simple subjects, such as still lifes. You can tackle more complex themes, such as portraits and landscapes, later on.\n- Use a photograph so you can work without having to watch the clock and, if you don't know how to draw, for tracing your model onto the medium.\n\n## 2\\. Composition of painting\n- Find a leading thread tying the various aspects of a scene (lines, shapes, colors, light) into a consistent whole. Use your intuition, it's your best ally\\!\n- Unusual angles will add to the interest of the painting. Observe your subject, focusing on a detail or taking in the whole scene.To do so, use a window cut out of cardboard or form a frame with your hands. If you are working from a photo, use strips of paper to reframe it.\n- Try out your ideas on paper: do as many studies as you need, switching around the framing and interplay of shadow and light.\n\n![](https:\/\/en.canson.com\/sites\/default\/files\/medias-images\/New-huile-001-B.jpg)\n\n## 3\\. Preliminary drawing\nThis is more a \"framing guide\" than an exhaustive drawing. This is not a required step, but can prove quite useful when you're ready to start painting.\n\n- Sketch your subject on the medium with charcoal (don’t forget to spray on a fixative) to keep your paint clean; or very lightly with a pencil, so it doesn't show through the paint; or with oils or acrylics, in a very neutral, diluted color.\n- Are you feeling unsure of your pencil stroke? If you are working from a photo, draw the major lines of the model using the grid technique or tracing paper.\n- Use sweeping lines to record the basic elements: don't try to faithfully replicate the scene down to the smallest details or you'll overload your painting unnecessarily.\n\n## Trick of the trade\nObserve the subject with your eyes half closed, so all you see are spots of color and blurry masses. This helps you overlook superfluous details and simplify the forms composing it.\n\n## 4\\. Preliminary layer\nFor paint to adhere well and dry without cracking, you need to thinly apply a background.\n\n- White or colored? a white background brightens shades, and is ideal for richly colored subjects. a colored background provides an underlying tone to unify the painting: choose the color on the basis of the final tone you want the painting to have (hot, cold, light, dark…).\n- Use well-diluted paint and wait for it to dry before moving on to the next steps.\n\nYou can also use acrylic paint, which dries faster.\n\n## Trick of the trade\nTo check whether the background is dry, lightly run your index finger over several spots: if it doesn't pick up any paint – even if the surface seems sticky – you can add the next layer.\n\n![](https:\/\/en.canson.com\/sites\/default\/files\/medias-images\/huile-001-C.jpg)\n\n## 5\\. Applying layers of paint\nColoring a painting is done by superimposing layers. Start by adding areas of shadow and light, fill in large areas with color, then work patiently, laying on more and more intense layers of color.\n\n- You need to follow the [**golden rule of oil painting: painting \"thick on thin\"**](https:\/\/en.canson.com\/oil-painting-preparing-colors) . Each succeeding layer should be slightly \"thicker,\" that is, contain more oil, than the previous one. To achieve this, highly dilute the first layers, with the following ones less and less diluted. Otherwise, you run the risk of having your painting flake over time.\n- Second **basic rule: wait for the coat of paint to be thoroughly dry** before applying the next one.\n\nThere is another, faster technique, for use by experienced painters: “alla prima” painting. This technique is used outdoors or to capture the spontaneity of a scene; it allows you to finish your painting in a single session, because each layer of color is applied over the previous one while still fresh.\n\n![](https:\/\/en.canson.com\/sites\/default\/files\/medias-images\/huile-001-D.jpg)\n\n## 6\\. Final layers and touching up\nThis is where a painter’s real work is done. This involves light strokes instead of slapping on the paint. This is called \"making the canvas sing\"! It's the final harmonizing of tones.\n\n- Use undiluted paint, straight out of the tube.\n- Stand back frequently from your piece to evaluate it. Be your first viewer\\!\n- Don’t hurry! Fine-tune your piece gradually, add lights, work on the shadows, and refine the details. At this stage, any major change in color involves changing all the shades in the painting. Know when to stop… Now sign your work\\!","meta_canonical":null}

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Boilerpipe Text	1. Choosing a subject Are you just getting started? Develop your hand on simple subjects, such as still lifes. You can tackle more complex themes, such as portraits and landscapes, later on. Use a photograph so you can work without having to watch the clock and, if you don't know how to draw, for tracing your model onto the medium. 2. Composition of painting Find a leading thread tying the various aspects of a scene (lines, shapes, colors, light) into a consistent whole. Use your intuition, it's your best ally! Unusual angles will add to the interest of the painting. Observe your subject, focusing on a detail or taking in the whole scene.To do so, use a window cut out of cardboard or form a frame with your hands. If you are working from a photo, use strips of paper to reframe it. Try out your ideas on paper: do as many studies as you need, switching around the framing and interplay of shadow and light. 3. Preliminary drawing This is more a "framing guide" than an exhaustive drawing. This is not a required step, but can prove quite useful when you're ready to start painting. Sketch your subject on the medium with charcoal (don’t forget to spray on a fixative) to keep your paint clean; or very lightly with a pencil, so it doesn't show through the paint; or with oils or acrylics, in a very neutral, diluted color. Are you feeling unsure of your pencil stroke? If you are working from a photo, draw the major lines of the model using the grid technique or tracing paper. Use sweeping lines to record the basic elements: don't try to faithfully replicate the scene down to the smallest details or you'll overload your painting unnecessarily. Trick of the trade Observe the subject with your eyes half closed, so all you see are spots of color and blurry masses. This helps you overlook superfluous details and simplify the forms composing it. 4. Preliminary layer For paint to adhere well and dry without cracking, you need to thinly apply a background. White or colored? a white background brightens shades, and is ideal for richly colored subjects. a colored background provides an underlying tone to unify the painting: choose the color on the basis of the final tone you want the painting to have (hot, cold, light, dark…). Use well-diluted paint and wait for it to dry before moving on to the next steps. You can also use acrylic paint, which dries faster. Trick of the trade To check whether the background is dry, lightly run your index finger over several spots: if it doesn't pick up any paint – even if the surface seems sticky – you can add the next layer. 5. Applying layers of paint Coloring a painting is done by superimposing layers. Start by adding areas of shadow and light, fill in large areas with color, then work patiently, laying on more and more intense layers of color. You need to follow the golden rule of oil painting: painting "thick on thin" . Each succeeding layer should be slightly "thicker," that is, contain more oil, than the previous one. To achieve this, highly dilute the first layers, with the following ones less and less diluted. Otherwise, you run the risk of having your painting flake over time. Second basic rule: wait for the coat of paint to be thoroughly dry before applying the next one. There is another, faster technique, for use by experienced painters: “alla prima” painting. This technique is used outdoors or to capture the spontaneity of a scene; it allows you to finish your painting in a single session, because each layer of color is applied over the previous one while still fresh. 6. Final layers and touching up This is where a painter’s real work is done. This involves light strokes instead of slapping on the paint. This is called "making the canvas sing"! It's the final harmonizing of tones. Use undiluted paint, straight out of the tube. Stand back frequently from your piece to evaluate it. Be your first viewer! Don’t hurry! Fine-tune your piece gradually, add lights, work on the shadows, and refine the details. At this stage, any major change in color involves changing all the shades in the painting. Know when to stop… Now sign your work!
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[Home](https://en.canson.com/) 2. [Expert advice](https://en.canson.com/expert-advice) 3. 6 steps to learn how to do oil painting # 6 steps to learn how to do oil painting [Oil painting](https://en.canson.com/expert-advice/oil) [Basic Knowledge](https://en.canson.com/expert-advice?field_tag_article_target_id%5B53%5D=53) Rate this tutorial Transparency, luminosity, material effects, meticulous detail work… With oils, your options are endless … Six key steps to guide you in creating an oil painting. ## 1\. Choosing a subject - Are you just getting started? Develop your hand on simple subjects, such as still lifes. You can tackle more complex themes, such as portraits and landscapes, later on. - Use a photograph so you can work without having to watch the clock and, if you don't know how to draw, for tracing your model onto the medium. ## 2\. Composition of painting - Find a leading thread tying the various aspects of a scene (lines, shapes, colors, light) into a consistent whole. Use your intuition, it's your best ally\! - Unusual angles will add to the interest of the painting. Observe your subject, focusing on a detail or taking in the whole scene.To do so, use a window cut out of cardboard or form a frame with your hands. If you are working from a photo, use strips of paper to reframe it. - Try out your ideas on paper: do as many studies as you need, switching around the framing and interplay of shadow and light. ![](https://en.canson.com/sites/default/files/medias-images/New-huile-001-B.jpg) ## 3\. Preliminary drawing This is more a "framing guide" than an exhaustive drawing. This is not a required step, but can prove quite useful when you're ready to start painting. - Sketch your subject on the medium with charcoal (don’t forget to spray on a fixative) to keep your paint clean; or very lightly with a pencil, so it doesn't show through the paint; or with oils or acrylics, in a very neutral, diluted color. - Are you feeling unsure of your pencil stroke? If you are working from a photo, draw the major lines of the model using the grid technique or tracing paper. - Use sweeping lines to record the basic elements: don't try to faithfully replicate the scene down to the smallest details or you'll overload your painting unnecessarily. ## Trick of the trade Observe the subject with your eyes half closed, so all you see are spots of color and blurry masses. This helps you overlook superfluous details and simplify the forms composing it. ## 4\. Preliminary layer For paint to adhere well and dry without cracking, you need to thinly apply a background. - White or colored? a white background brightens shades, and is ideal for richly colored subjects. a colored background provides an underlying tone to unify the painting: choose the color on the basis of the final tone you want the painting to have (hot, cold, light, dark…). - Use well-diluted paint and wait for it to dry before moving on to the next steps. You can also use acrylic paint, which dries faster. ## Trick of the trade To check whether the background is dry, lightly run your index finger over several spots: if it doesn't pick up any paint – even if the surface seems sticky – you can add the next layer. ![](https://en.canson.com/sites/default/files/medias-images/huile-001-C.jpg) ## 5\. Applying layers of paint Coloring a painting is done by superimposing layers. Start by adding areas of shadow and light, fill in large areas with color, then work patiently, laying on more and more intense layers of color. - You need to follow the [golden rule of oil painting: painting "thick on thin"](https://en.canson.com/oil-painting-preparing-colors) . Each succeeding layer should be slightly "thicker," that is, contain more oil, than the previous one. To achieve this, highly dilute the first layers, with the following ones less and less diluted. Otherwise, you run the risk of having your painting flake over time. - Second basic rule: wait for the coat of paint to be thoroughly dry before applying the next one. There is another, faster technique, for use by experienced painters: “alla prima” painting. This technique is used outdoors or to capture the spontaneity of a scene; it allows you to finish your painting in a single session, because each layer of color is applied over the previous one while still fresh. ![](https://en.canson.com/sites/default/files/medias-images/huile-001-D.jpg) ## 6\. Final layers and touching up This is where a painter’s real work is done. This involves light strokes instead of slapping on the paint. This is called "making the canvas sing"! It's the final harmonizing of tones. - Use undiluted paint, straight out of the tube. - Stand back frequently from your piece to evaluate it. Be your first viewer\! - Don’t hurry! Fine-tune your piece gradually, add lights, work on the shadows, and refine the details. At this stage, any major change in color involves changing all the shades in the painting. Know when to stop… Now sign your work\! Recommended product: [Figueras®](https://en.canson.com/figuerasr) See also : [Oil painting Basic concepts for painting with oils](https://en.canson.com/expert-advice/basic-concepts-painting-oils) [Oil painting Oil painting: preparing colors](https://en.canson.com/expert-advice/oil-painting-preparing-colors) ### Explore more tutorials on this technique Oil painting [Learn how to paint a parasol pine at sunset](https://en.canson.com/expert-advice/learn-how-paint-parasol-pine-sunset) Oil painting [Making Watercolor Paint, Oil Paint, and Gouache](https://en.canson.com/expert-advice/making-watercolor-paint-oil-paint-and-gouache) Oil painting [Paint and Draw Outdoors](https://en.canson.com/expert-advice/paint-and-draw-outdoors) Oil painting [Drawing: Secrets of perspective](https://en.canson.com/expert-advice/drawing-secrets-perspective) Oil painting [Color Basics](https://en.canson.com/expert-advice/color-basics) Oil painting [Oil portrait for A. Karin / Part 2](https://en.canson.com/expert-advice/oil-portrait-karin-part-2) Oil painting [Oil portrait for A. 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Readable Markdown	## 1\. Choosing a subject - Are you just getting started? Develop your hand on simple subjects, such as still lifes. You can tackle more complex themes, such as portraits and landscapes, later on. - Use a photograph so you can work without having to watch the clock and, if you don't know how to draw, for tracing your model onto the medium. ## 2\. Composition of painting - Find a leading thread tying the various aspects of a scene (lines, shapes, colors, light) into a consistent whole. Use your intuition, it's your best ally\! - Unusual angles will add to the interest of the painting. Observe your subject, focusing on a detail or taking in the whole scene.To do so, use a window cut out of cardboard or form a frame with your hands. If you are working from a photo, use strips of paper to reframe it. - Try out your ideas on paper: do as many studies as you need, switching around the framing and interplay of shadow and light. ![](https://en.canson.com/sites/default/files/medias-images/New-huile-001-B.jpg) ## 3\. Preliminary drawing This is more a "framing guide" than an exhaustive drawing. This is not a required step, but can prove quite useful when you're ready to start painting. - Sketch your subject on the medium with charcoal (don’t forget to spray on a fixative) to keep your paint clean; or very lightly with a pencil, so it doesn't show through the paint; or with oils or acrylics, in a very neutral, diluted color. - Are you feeling unsure of your pencil stroke? If you are working from a photo, draw the major lines of the model using the grid technique or tracing paper. - Use sweeping lines to record the basic elements: don't try to faithfully replicate the scene down to the smallest details or you'll overload your painting unnecessarily. ## Trick of the trade Observe the subject with your eyes half closed, so all you see are spots of color and blurry masses. This helps you overlook superfluous details and simplify the forms composing it. ## 4\. Preliminary layer For paint to adhere well and dry without cracking, you need to thinly apply a background. - White or colored? a white background brightens shades, and is ideal for richly colored subjects. a colored background provides an underlying tone to unify the painting: choose the color on the basis of the final tone you want the painting to have (hot, cold, light, dark…). - Use well-diluted paint and wait for it to dry before moving on to the next steps. You can also use acrylic paint, which dries faster. ## Trick of the trade To check whether the background is dry, lightly run your index finger over several spots: if it doesn't pick up any paint – even if the surface seems sticky – you can add the next layer. ![](https://en.canson.com/sites/default/files/medias-images/huile-001-C.jpg) ## 5\. Applying layers of paint Coloring a painting is done by superimposing layers. Start by adding areas of shadow and light, fill in large areas with color, then work patiently, laying on more and more intense layers of color. - You need to follow the [golden rule of oil painting: painting "thick on thin"](https://en.canson.com/oil-painting-preparing-colors) . Each succeeding layer should be slightly "thicker," that is, contain more oil, than the previous one. To achieve this, highly dilute the first layers, with the following ones less and less diluted. Otherwise, you run the risk of having your painting flake over time. - Second basic rule: wait for the coat of paint to be thoroughly dry before applying the next one. There is another, faster technique, for use by experienced painters: “alla prima” painting. This technique is used outdoors or to capture the spontaneity of a scene; it allows you to finish your painting in a single session, because each layer of color is applied over the previous one while still fresh. ![](https://en.canson.com/sites/default/files/medias-images/huile-001-D.jpg) ## 6\. Final layers and touching up This is where a painter’s real work is done. This involves light strokes instead of slapping on the paint. This is called "making the canvas sing"! It's the final harmonizing of tones. - Use undiluted paint, straight out of the tube. - Stand back frequently from your piece to evaluate it. Be your first viewer\! - Don’t hurry! Fine-tune your piece gradually, add lights, work on the shadows, and refine the details. At this stage, any major change in color involves changing all the shades in the painting. Know when to stop… Now sign your work\!
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