Fine Art New Zealand Oil Paintings - Ten Rules for Painting traditional Artwork

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10 RULES FOR CLASSICAL ART

General Painting Techniques General Painting Tips
- Colour
- Colour II
- Design
- Developing A Painting
- Fat Over Lean
- Hue, Tone & Intensity
- Perspective 10 RULES FOR CLASSICAL ART
Over the years and through my study of Master's paintings (in books and in galleries) I have made note of a number of criteria that embrace what is so attractive in classical art. While I have called them 'rules' they do not fit all painting all the time but instead I use these to think about what I am to paint before placing brush to board.
1. Expression of Subject
The characters of your painting are players in a scene. Their facial expressions and body positions are intrinsic to the story you are telling.
2. Lighting
The lighting of your painting should predominate on the principle subjects focusing on important items and expressions.
3. Detail
The principle subjects should be clearly defined and well drafted while background and non-principle subjects less well lit and more roughly defined.
4. Indicate Movement
Rubens is the Master of creating movement. Use Rubens to see how gesture, drapery and landscape can create paintings with a dramatic sense of movement rather than a static image.
5. Limited Palette
Use a limited colour palette with a bias toward earthy colours. Refrain from overly bold intense factory colours. My classical palette is: Titanium White, Naples Yellow, Cadmium Yellow, Yellow Orche, Scarlet Lake, Cadmium Red, Venetian Red, Burnt Sienna, Raw Umber, Cerulean Blue, Prussian Blue. Note that I do not use Black, instead I mix Prussian Blue with Raw Umber.
6. Use of Green
Mix greens from blue and yellow rather than using tube manufactured greens. Mixing greens from blue and yellow helps limit your palette while maintaining a balance of hue. Factory produced greens are often overly rich in intensity. If you use green from the tube muddy it with browns.
7. Pure Blacks and Whites
Obstain from the use of pure white or pure black. Pure white should be used only as small highlights to reflected areas. Pure black appears dead, instead mix with Prussian Blue.
8. Underpainting
Build you initial sketch over a coloured ground. My preference is for a Venetian Red wash but some artists used drab greens, some yellows. Use sepia tones in shadow areas to build up the painting. Layer a little white into the principle areas of light. Use colour in the final layer once you are happy with the monochromatic image.
9. Fat over Lean
See the technique of Fat Over Lean in building up your Underpainting.
10. Artist's Discretion
Adjust perspectives and lighting away from real life to accentuate mood or movement. Perhaps the most well known example of this is the Mona Lisa where the horizon on the left is higher than that on the right.

Landscape Painting Techniques Painting Landscapes
- Aerial Perspective
- Composition
- Using Tone

Artist Painting Materials Painting Materials
- Bristle Brushes
- Oil Paints
- The Camera

Nude Painting Techniques Painting Nudes
- Complexity of Form
- Portrait Drawing
- Public Reaction

	General Painting Tips - Colour - Colour II - Design - Developing A Painting - Fat Over Lean - Hue, Tone & Intensity - Perspective	10 RULES FOR CLASSICAL ART Over the years and through my study of Master's paintings (in books and in galleries) I have made note of a number of criteria that embrace what is so attractive in classical art. While I have called them 'rules' they do not fit all painting all the time but instead I use these to think about what I am to paint before placing brush to board. 1. Expression of Subject The characters of your painting are players in a scene. Their facial expressions and body positions are intrinsic to the story you are telling. 2. Lighting The lighting of your painting should predominate on the principle subjects focusing on important items and expressions. 3. Detail The principle subjects should be clearly defined and well drafted while background and non-principle subjects less well lit and more roughly defined. 4. Indicate Movement Rubens is the Master of creating movement. Use Rubens to see how gesture, drapery and landscape can create paintings with a dramatic sense of movement rather than a static image. 5. Limited Palette Use a limited colour palette with a bias toward earthy colours. Refrain from overly bold intense factory colours. My classical palette is: Titanium White, Naples Yellow, Cadmium Yellow, Yellow Orche, Scarlet Lake, Cadmium Red, Venetian Red, Burnt Sienna, Raw Umber, Cerulean Blue, Prussian Blue. Note that I do not use Black, instead I mix Prussian Blue with Raw Umber. 6. Use of Green Mix greens from blue and yellow rather than using tube manufactured greens. Mixing greens from blue and yellow helps limit your palette while maintaining a balance of hue. Factory produced greens are often overly rich in intensity. If you use green from the tube muddy it with browns. 7. Pure Blacks and Whites Obstain from the use of pure white or pure black. Pure white should be used only as small highlights to reflected areas. Pure black appears dead, instead mix with Prussian Blue. 8. Underpainting Build you initial sketch over a coloured ground. My preference is for a Venetian Red wash but some artists used drab greens, some yellows. Use sepia tones in shadow areas to build up the painting. Layer a little white into the principle areas of light. Use colour in the final layer once you are happy with the monochromatic image. 9. Fat over Lean See the technique of Fat Over Lean in building up your Underpainting. 10. Artist's Discretion Adjust perspectives and lighting away from real life to accentuate mood or movement. Perhaps the most well known example of this is the Mona Lisa where the horizon on the left is higher than that on the right.
	Painting Landscapes - Aerial Perspective - Composition - Using Tone
	Painting Materials - Bristle Brushes - Oil Paints - The Camera
	Painting Nudes - Complexity of Form - Portrait Drawing - Public Reaction