{"id":20729,"date":"2014-06-20T09:30:57","date_gmt":"2014-06-20T08:30:57","guid":{"rendered":"http:\/\/www.jacksonsart.com\/blog\/?p=20729"},"modified":"2014-06-20T09:38:30","modified_gmt":"2014-06-20T08:38:30","slug":"spanish-windmill-oil-painting-tutorial","status":"publish","type":"post","link":"https:\/\/www.jacksonsart.com\/blog\/2014\/06\/20\/spanish-windmill-oil-painting-tutorial\/","title":{"rendered":"Spanish Windmill oil painting tutorial"},"content":{"rendered":"
Spanish Windmill
\nby Dirk Schmitt, Cologne, Germany <\/h5>\n

Step-by-step oil painting tutorial.<\/p>\n

Materials<\/h6>\n

\u2022 Painting ground<\/a>: painting board or canvas<\/p>\n

\u2022 Various bristle brushes<\/a>, lint-free cloths<\/p>\n

\u2022 Schmincke Mussini Oil Colours <\/a> in Titanium Opaque White (10103), Indian Yellow (10223), Madder Root Hue (10343), Ultramarine Blue Light (10491), Sap Green (10526), Natural Burnt Sienna (10661), Natural Burnt Umber (10666) and Attish Light Ochre (10656)<\/p>\n

\u2022 Mussini Oil Medium 1 (for thinning)<\/a><\/p>\n

\u2022 Brush cleaner or solvent<\/a><\/p>\n

\u2022 Palette or similar<\/a><\/p>\n

\"Mussini<\/a> <\/p>\n

Step 1<\/h6>\n

Thin some Natural Burnt Sienna using MUSSINI\u00ae medium 1 until you have obtained a solution that is almost like water. Apply this evenly to the canvas using horizontal and vertical brush strokes. After allowing it to dry for about 10 minutes wipe the paint up using a lint-free cloth so that a light reddish brown colour remains. This layer of paint is called underpainting. It is different from priming using coloured ground because it is applied using a translucent shade onto a white background. The white shining through lends brilliance to the paint which is later added on top of it (the light reflects from deep within the picture), the translucent shade adds a uniformity of tone to the colours used (light reflecting from the surface). Draw the mill with a bristle brush using thinned Natural Burnt Sienna.<\/p>\n

\"Mussini<\/a><\/p>\n

Step 2<\/h6>\n

Paint the effects caused by the mill\u2019s own shadow with a mixture made up of Natural Burnt Sienna, Ultramarine Blue Light and some Titanium Opaque White. Paint the wooden beam on the right in a similar manner. Thin a small amount of Sap Green and paint the grass within the shaded section of the building. Mix the same shade of green with a little Indian Yellow and paint the grass on which the sun is shining using short vertical strokes. Make sure that at each stage the paint is applied very thinly.<\/p>\n

For the grasses\u2019 shadows choose a mixture of sap green and a little Natural Burnt Sienna. There should however be a preponderance of the green paint.<\/p>\n

Paint the mountains a light violet which you make by mixing Ultramarine Blue Light, Madder Root Hue and Titanium Opaque White.<\/p>\n

\"Mussini<\/a> <\/p>\n

Step 3<\/h6>\n

Paint the sky a light blue made from Ultramarine Blue Light and Titanium Opaque White. Begin below at the horizon and keep adding to this mixture a little more ultramarine as you work your way upwards into the sky. Again you should make sure that the colour is not applied too thickly. Add a little MUSSINI\u00ae medium 1 to the mixture, but there should be less added than with the underpainting. Heed the rule \u201cfat on lean\u201d!<\/p>\n

The colours being painted on top should always be thicker than those that lie beneath. This prevents the drying from being uneven and the formation of cracks in the individual layers.<\/p>\n

The part of the windmill, which is lying in the sunlight, is painted using a mixture made from Attish Light Ochre and Titanium Opaque White. Using a clean dry bristle brush apply paint to the side of the mill wall which is in shadow. Most of the lane can also be painted using this same colour.<\/p>\n

While the paint is still wet apply pure Titanium Opaque White to the lightest part of the dome. Use the Titanium Opaque White for the edges of the roof sections, the window sills, the highlights on the sails and for the parts of the lane that are glistening. Emphasise some of the bright grasses with a mixture of Titanium Opaque White, Attish Light Ochre and Indian Yellow.<\/p>\n

Paint the brighter shadows of the turf along the lane with a mixture of Ultramarine Blue Light, Natural burnt Sienna and Titanium Opaque White. Use this colour also for the door and window jambs.<\/p>\n

\"Mussini<\/a><\/p>\n

Step 4<\/h6>\n

For all dark areas e.\u2005g. the recesses for the doors and windows, the shadows cast by the mill and the large beam mix together Ultramarine Blue Light and Natural Burnt Umber to produce a warm black.<\/p>\n

Finally paint the lines between the segments that make up the sails with Natural Burnt Umber using a fine hair brush.<\/p>\n

\n
Information on MUSSINI finest artists\u2019 resin-oil colours<\/h5>\n

\u2022 The artists\u2019 natural resin-oil-colours which are unique throughout the world <\/p>\n

\u2022 Based on old masters\u2019 formulations <\/p>\n

\u2022 101 colours + 7 gold shades offering the ultimate in brilliance and purity \u2013 including 64 single-pigment colours <\/p>\n

\u2022 42 shades are exquisite translucent colours <\/p>\n

\u2022 Balanced drying process <\/p>\n

\u2022 Tension-free and durable colour-layers <\/p>\n

\u2022 Premium artists\u2019 pigments in the highest concentrations <\/p>\n

\u2022 Maximum possible light-fastness <\/p>\n

\n

\"Mussini<\/a><\/p>\n

MUSSINI\u00ae \u2013 unique throughout the world! <\/h5>\n

MUSSINI\u00ae are unique artists\u2019 colours produced by means of a particularly sophisticated manufacturing process to meet the very highest requirements. They contain only the best traditional artists\u2019 pigments as well as several outstanding newly developed artists\u2019 pigments, each in the highest possible concentrations and in pure form. <\/p>\n

These outstanding formulations result in artists\u2019 colours of the utmost brilliance and purity, which also mix more readily than premixed colour tones based on a limited selection of pigments. <\/p>\n

Schmincke employs more than 250 different artists\u2019 pigments, almost 100 of which are contained in the MUSSINI\u00ae range. <\/p>\n

Thanks to the particularly extensive range of glaze pig\u00adments, their fine processing and the specially adapted for\u00admulations, MUSSINI\u00ae provides for fine glaze colouring with outstanding brilliance, luminosity and light depth. <\/p>\n

Old Masters Oil Painting<\/h5>\n

The uniqueness of these finest professional artists\u2019 colours stems in particular from the adoption of the old masters\u2019 practice of combining selected artists\u2019 oil with natural resin. On the basis of many years of scienti\u00adfic experience in the field of artists\u2019 colours, Schmincke continues to use a broad and diverse scope of artists\u2019 oils, which it combines with the most suitable natural dammar resin. The amount of dammar resin solution which is ad\u00added depends on the oil requirements of the pigment con\u00adcerned. <\/p>\n

The use of different variants of linseed oil purified by means of highly sophisticated processes also predomi\u00adnates in the MUSSINI\u00ae artists\u2019 resin-oil-colours. However, other artists\u2019 oils, such as safflower oil and sunflower oil, also possess properties beneficial to colouring applications which \u2013 when optimised with the requisite expertise \u2013 further enhance the formulations. <\/p>\n

So-called auxiliary agents and additives are also used, though in minimal and individually dosed amounts. These provide for the consistency and fineness which is required for colouring applications and ensure a harmonious drying process for the oil colours. Pigment and a linseed oil are simply not sufficient to make a good artists\u2019 oil colour. <\/p>\n

Schmincke\u2019s research efforts are always aimed at elici\u00adting the full brilliant potential of the artists\u2019 pigments in all their individual variations while at the same time maintaining a harmonious overall range. This offers the ar\u00adtist absolute freedom to combine and mix the artists\u2019 co\u00adlours of his choice. <\/p>\n

What distinguishes the unique MUSSINI\u00ae natural resin-oil colours from the best and finest \u201cpure\u201d (resin-free) artists\u2019 colours, such as or other comparable fine artists\u2019 oil colours? <\/em> <\/p>\n

As a result of the largely self-compensating chemical and physical drying process, MUSSINI\u00ae dries more evenly from inside, too. The increase in volume resulting from the chemical drying process which begins on the surface via oxygen uptake is largely compensated by the solvent content in the dammar solution which evaporates from in\u00adside. The microscopic evaporation pores enable oxy\u00adgen to penetrate more effectively into the inner layers, thus providing for more even drying of the surface and inner layers. <\/p>\n

This, in turn, reduces the danger of wrinkling and surface tension during the drying process. The dammar fractions which are finely incorporated in the solutions are enclosed by the drying artists\u2019 oils and enhance the brilliance of the colour layers. Works by old masters which have been preserved in far better condition than many works by more recent Impres\u00adsionist and Expressionist masters attest to the durability of such resin-oil artists\u2019 colours.<\/p>\n

\n

Click on the underlined link to go to the current offer on Schmincke Mussini Oil Colours <\/strong><\/a>\u00a0on the Jackson\u2019s Art Supplies website.
\nPostage on orders shipped standard to mainland UK addresses is free for orders of \u00a339 or more.<\/p>\n","protected":false},"excerpt":{"rendered":"

Spanish Windmill by Dirk Schmitt, Cologne, Germany Step-by-step oil painting tutorial. Materials \u2022 Painting ground: painting board or canvas \u2022 […]<\/p>\n","protected":false},"author":2,"featured_media":20740,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[475],"tags":[22,108,463,113,157],"class_list":["post-20729","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-oil-painting-art-technique","tag-art","tag-oil","tag-oil-painting","tag-painting","tag-workshop"],"acf":[],"yoast_head":"\nSpanish Windmill oil painting tutorial - Jackson's Art Blog<\/title>\n<meta name=\"description\" content=\"Windmill oil painting tutorial. Thin some Natural Burnt Sienna using MUSSINI\u00ae medium 1 until you have obtained a solution that is almost like water.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.jacksonsart.com\/blog\/2014\/06\/20\/spanish-windmill-oil-painting-tutorial\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Spanish Windmill oil painting tutorial\" \/>\n<meta property=\"og:description\" content=\"Windmill oil painting tutorial. 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