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MORE DRAWING TUTORIALS: How to draw a roseHow to draw a dragon How to draw a horse NEW: How to draw a wolf NEW: How to draw a betta fish How to draw animals from pears How to draw an owl How to draw a cat How to draw animals from alphabets How to draw a frog How to draw a parrot How to draw a bird How to draw a butterfly How to draw a sheep How to draw a pig How to draw a swan How to draw a penguin How to draw a peacock How to draw a lion How to draw a rabbit How to draw a cow How to draw a dachshund How to draw a seahorse How to draw a tiger How to draw a kitten How to draw a monkey How to draw a unicorn How to draw a phoenix How to draw a deer How to draw a squirrel How to draw a crocodile How to draw a dinosaur How to draw a whale How to draw a duck How to draw a giraffe How to draw a snail How to draw a koala How to draw an angelfish How to draw an elephant How to draw a griffin How to draw a walrus How to draw a cocker spaniel How to draw a poodle How to draw a donkey How to draw a chicken How to draw a rooster How to draw a porcupine How to draw a kangaroo How to draw a bear How to draw a mouse How to draw an octopus How to draw a turkey How to draw a goat How to draw a camel How to draw a hippo How to draw a possum How to draw a rhino How to draw a centaur Did you choose "Other"? I'd love to know what your other is. Email me to let me know. 
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Learn to Draw > Beginning an Oil paintingThe painting should be done standing, and the surface should be almost upright. This gives the painter the greatest freedom of movement and accustoms him from the start to step back to check the effect of the picture from the distance of a few paces. An easel is therefore required. Advice on choosing an easel is given in the section on The Studio and Its Equipment. After these initial preparations, you can begin. First comes the drawing in on the panel. Unfortunately, it is still considered "professional" to draw in with charcoal, although the black from the charcoal immediately takes away the purity of the colors put on over it. Pencil is equally unsuitable. It is best to draw with a fine brush and very thin color. If you are still uncertain, use a pastel or red chalk, according to which color best suits what will follow. On a foundation of terre verte green, for example, it is best to draw in with terre verte pastel; of course, a harder pastel would be more convenient and more delicate, but unfortunately it exists only in red, black, and white. The rule is to draw lightly for the blocking in and to rub out with a rag as many of the wrong lines as possible, blowing away any chalk which lies too thickly. Do not on any account attempt detailed drawing at this stage! The drawing in is only intended to divide up the painting surface and settle the composition, and this in not too-definite a manner; after all, you are painting now, and in painting the color is as much a determining factor as the form. In any case, all details will be covered over with paint again. If you were embarking on a Jargish painting, a sketch of the composition in color would be part of the preparation. Now take the paints. The first selection which you squeeze, but not too lavishly, onto the palette should not be all the brightest colors. The darker colors should predominate at first; they will give a rather neutral colored mat, and broad indication of the picture. Even if you have to paint large areas, say, in cadmium yellow, you should underlay them first with a "rub-in" in medium ochre. 
Parts of this underpainting will, perhaps, be able to remain at the end as halfshadow, particularly if it has been applied as it should, not aggressively and thickly but lightly, with thinned, almost transparent paint. "Blunting," "granulating," or "dimming" are the rather outmoded painter's expressions. Instead of thin, transparent painting the laying-in can be done in separate touches, or scrubbed onto the panel with a rather dry brush and unthinned paint. This is a matter both of personal taste, of your now developing personal touch or way of painting, and of practice. In this first stage of painting you begin to model the forms, for you are, as Rembrandt kept saying to enlighten others and remind himself, "a painter, not a colorist." "Coloring" you do only once: when you tint the ground. In the first mat stage of painting you put in the shadows and other dark areas and lighten with colors mixed with white where form or color require it. Next: Oil painting techniques |
 If you're worried about not having enough artistic "talent", try some free cartooning lessons. You'll be drawing and laughing in no time flat.  Free printable coloring pages for kids.  50 tricks and that anyone can do. Puzzles and brain-teasers, too. |
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