REEVES Painting

7/29/2019 REEVES Painting

1/28

InstructionsNotice dutilisation

AnleitungsheftLibro de instrucciones

Libretto distruzioni

instructiefolder

S I N C E 1 7 6 6


2/28

The Reeves Oil Colour Studio Set is theideal first step for the beginner to

discover the delights of the worldsmost versatile painting medium. Thetubes have been carefully selected to

form a palette from which all the mostfrequently used colours can be mixed.It is very important that the beginnershould become experienced at colour

mixing from a basic palette, and not beconfused by the huge number of

colours that can be available.Every artist has an individual style, butthere are certain rules of painting thatthe beginner should follow in order toachieve worthwhile results. If you are

new to painting the following tips maybe useful.

THE NATURE OF OIL COLOUR

Unlike watercolour, oil colour can be used

opaquely -- in other words, a light colouris capable of covering over a darker

colour, if applied thickly enough.

This means that oil colour is more

forgiving than watercolour, because the

artist can rectify mistakes and change

areas of a picture that are not successful.

Some artists apply the colour so thickly

that pictures have a three dimensional

quality, and often a palette knife is used,rather than a brush. Oil colour can also

be used thinly, by mixing it with a

medium, and it is possible to create thin,

translucent glazes, as a watercolourist

would. Unlike watercolour however, oil

colour can remain wet for a considerable

time, depending on the properties of

individual colours and how thickly they

were applied. This enables the artist to

blend and rework areas of the picture atleisure. This versatility has ensured that

oil colour has become the most widely

used medium in the history of art.

PREPARATION

Oil colour is very concentrated, and can

damage clothing and furniture. Wear old

clothes and roll up your sleeves. Have a

couple of old rags ready, and a bottle ofwhite spirit to remove stains and to clean

brushes.

Try to work in natural light as artificial

light can affect your perception of colours.

An easel is advisable for oil painting so

that you can apply the colour without

catching your arms on the wet art board.

Failing this, prop the board up on a table

against the wall, or similar, at a height

that is convenient for your posture.

A bamboo stick with a padded cloth end,

known as a "mahl" stick, is useful as a

support to steady your painting arm. Hold

it in your other hand and prop it against a

dry area or edge of the canvas or board.

A mahl stick is necessary because often

you will not be able to rest your wrist on

any areas that are still wet, as you would

with a watercolour painting attached to adrawing board. These can be purchased

from an art shop, or you can make one

yourself quite easily.

1


3/28

COLOUR MIXING

Before you begin painting it is best to

practise a few basic exercises. Firstly,

squeeze out a small quantity of the colours

you wish to use onto the palette. Pour a

small amount of the oil painting medium into

an old saucer, or similar, and use abrushload to thin the colour when required.

The colour often remains useable for several

days.

Use a scrap piece of card, and try a few

brush-strokes with each brush, to see how

very differently they perform. The square-

ended one is for blocking in larger areas,

whereas the bullet-ended one is better

suited to small areas of detail.

Knowing how to mix colours and how much

paint to use can only come with experience

and experimentation. Red, Yellow, and Blue

are called the Primary Colours. This means

they cannot be mixed from other colours.

Your set of colours can be mixed to form a

comprehensive range, but remember that

sometimes it may be necessary to mix 3 or

even 4 colours to achieve a result.

As a very basic guide remember that;

red + green = brown

red + yellow = orange

red + blue = purple

blue + yellow = green

blue + green = turquoise

Once you have achieved the correct colour,

you must then achieve the correct tone (or

shade) i.e. the strength of the colour.

Remember that black is not the only way of

darkening a colour. It can make colours look

dirty. Try experimenting with browns and

blues. They darken colours in very different

ways to black. Conversely, try lightening

colours with yellow or white, or a

combination of the two. It is advisable to

make notes to remind you how to achievevarious colour mixes.

Finally there are no shortcuts to

learning about colour mixing.

2

It is inevitable that you will make

mistakes, but some of them may be

happy ones!

COMPOSITION

Choosing subject matter is a very

personal thing. If you are inexperienced,

avoid complex compositions, you will

become frustrated and abandon the

picture! It is better to tackle a simple

scene and do it well.

Before committing yourself to paper,

consider the scene from different angles

and distances until you settle on the best

viewpoint. Work out which section of the

scene you are going to paint and then

lightly, with a soft pencil sketch out thebasic lines of the composition. Do not

concern yourself with too much detail at

this stage. Correct any mistakes with a

soft putty eraser to avoid tearing the

paper surface, and never use an eraser

on wet paper.


4/28

1

Simple tonal sketch of the

composition in diluted yellowochre and brown. Allow to dry. The

artist has made a feature of the

dramatic sky by keeping the horizon

line low in the composition. The farm

building provides a useful focal point.

2The sky area is blocked in withthicker paint applied with thesquare ended brush. A basic mix of

blue & white is used for the sky and

yellow and white for the clouds. The

darker areas of sky are created by

mixing the blue with a touch of

crimson to make purple, and applied

on top of the existing blue sky, once it

has dried. Areas of white are also

added into the clouds to create

highlights. Remember gouache dries

quickly. Here the artist has applied

the paint in an impressionist way,

adding layer on layer with no attempt

to blend colours together whilst wet.

The basic underpaint of the path and

grass areas is blocked in with mid

green and cream.

3

The background trees are created

by adding blue with the green mix,

giving the impression of distance. The

basic underpaint of the farm buildings

and large tree is added. (Its

advisable to allow the sky to dry

before adding tree detail).

4More layers of tone have beenadded and the picture is now atfull strength. The medium allows both

dark and light areas of detail to bepainted on top of the undercoat, as

shown clearly in the foreground

grassy area. As a general rule,

undercoat layers should be thin, with

the consistency of the paint

increasing for the top layers. Areas of

detail have now been added to the

farmhouse and the large tree. The

paint has been scraped on sparselyto create the broken texture of the

trees leaves. Finishing touches are

added with a small brush. The picture

is impressionist in style, so no

attempt has been made to paint

individual leaves or blades of grass

etc.

PAINTING

Whether you are painting a still-life, a figure or a landscape the same rules apply. The

pictures opposite show how a painting is built up in stages.

FINISHING TOUCHES

Oil paintings are traditionally framed without glass and window mounts, though there is no

reason to prevent you using these methods. When the picture is dry to the touch, you can

apply a thin coat of retouching varnish (available from artist supply shops). This will

restore the intensity of the colour. Proper picture varnish should not be applied for six

months

CARE OF EQUIPMENT

Never stand brushes upside down in cleaning jars. This ruins the bristles. Always

thoroughly clean brushes in soap and water at the end of the day and restore their shapebefore putting them away. Do not contaminate the purity of your paints by dipping brushes

into them, or by using the wrong tops. Always use the palette for mixing. Make sure the

tops are firmly screwed onto the tubes to avoid drying out.

3


5/28

1

2

3

4

4


6/28

10

+ =

+ =

+ =

+ =

+ =


7/28

S I N C E 1 7 6 6

Oasis Art and Craft Products, Kidderminster, DY11 7JN, England.

Made under licence for Reeves in China. Reeves and the Greyhound device are trademarks of

ColArt Fine Art & Graphics Limited, England.


8/28




instructiefolder

S I N C E 1 7 6 6


9/28

The Reeves Watercolour StudioSet is the ideal first step for the

beginner to discover the delightsof the world's best loved painting

medium. The set of 8 tubes hasbeen carefully selected to form apalette from which all the mostfrequently used colours can be

mixed.

It is very important that thebeginner should become

experienced at colour mixingfrom a basic palette, and not be

confused by the huge number ofcolours that can be available.

Every artist has an individualstyle, but there are certain rules of

painting which the beginnershould follow in order to achieve

worthwhile results. If you are newto painting the following tips may

be useful.

THE NATURE OF WATERCOLOUR

Watercolour paint is translucent and is

used thinly, allowing the white of the

paper to show through. Because the

colour is not opaque, it is not capable of

covering up mistakes, and a light colour

can't be painted over a dark colour.

The colour is lightened by adding water,

so to achieve, for example, pink, you

must dilute red until the correct shade of

pink is created. A traditional

watercolourist would seldom use white

paint, except for small areas of detail, as

it makes colours look impure and chalky.

Because mistakes are often difficult to

rectify, the watercolour artist must plan

the picture carefully and work in amethodical way. It is usual to begin with

the lightest areas and work through to the

darkest in a logical sequence.

PREPARATION

The watercolour paper supplied is

mounted onto board, so it doesn't need

to be stretched. Unmounted papers are

often soaked, taped to a drawing board

and allowed to dry to prevent them from

buckling when painted on.

The work surface should be as flat as

possible to prevent the paint from

running. It is a good idea to have a plastic

or disposable table cloth, a jar of clean

water and a kitchen roll for wipingbrushes. If you are indoors, make sure

you have enough have enough natural

light to the front or side of you.

1


10/28

COMPOSITION



avoid complex compositions. you will







view point. Work out which section of the


lightly, with a soft pencil sketch out the

basic lines of the composition. Do not


this stage. Correct any mistakes with asoft putty eraser to avoid tearing the


on wet paper.

COLOUR MIXING

Before you begin a painting it is best to

practise a few basic exercises. Firstly try

painting a flat wash. To best achieve a

flat wash of colour, make sure you have

mixed enough paint in the palette to cover

the area. Apply smoothly and quickly with

a large well-loaded brush. Test the colour

strength on a scrap of paper first.

Colour mixing can only come with

experience and experimentation. Red,

Yellow and Blue are called the primary

colours. This means they cannot be mixed

from other colours. Your set of 8 colours

can be mixed together to create a

comprehensive range, but remember thatsometimes it may be necessary to mix 3

or even 4 colours to achieve a result.


red + green = brown


red + blue = purple



Once you have achieved the correct

colour, you must then achieve the correct

tone [ or shade ] i.e. The strength of the

colour. Remember, more paint -less water

for a strong colour. More water - less

paint for a pale colour. When darkening a

colour you may need to add other coloursto it. Black is not the only darkening

colour. It can often make colours look


blues. They darken colours in very

different ways to black. It is advisable to

make notes to remind you how you

achieved various colour mixes.

2


11/28

1

Simple sketch of the

composition. The artist hasmade a feature of the dramatic sky

by keeping the horizon line low in

the composition. The farm building

provides a useful focal point.

2The palest areas of the pictureare washed in with a large, well-loaded brush. The sky can be

dabbed with crunched-up tissue tocreate realistic cloud effects. Allow

areas to dry before butting up to

other areas or the paint will bleed.

Surplus paint can be removed with

the corner of a piece of tissue or a

dry paint brush. Work smoothly and

quickly with as large a brush as

possible.

3The next darkest tones areapplied when the first layersare dry. [sometimes an artist will

lay a wash on top of a damp wash

to allow the colours to run. This is

especially good for skies and

water]. If you need to soften or

blend an edge, run a clean, slightlydamp brush along the edge of the

wash while it's still damp. Here the

artist has overlaid different blues

and pale yellow in the sky to add

interest.

4More layers of tone have beenadded and the picture is now atfull strength. Small areas of detail

in the farm-house contrast against

the openness of the fields and sky.

The trees to the right of the farm

are created by dabbing the brush

almost dry. The paint is scraped on

sparsely to create a broken texture,

rather than using a wash. This is

called Dry Brush Technique.Finishing touches are added with a

small brush. No attempt is made to

paint individual blades of grass,

etc. Traditional watercolour needs

to be painted in an impressionist

style to retain its freshness.

PAINTING

Whether you are painting a still-life , a figure or a landscape the same rules apply. The

pictures opposite show how a traditional watercolour is built up in stages.

FINISHING TOUCHESWatercolours are traditionally framed under glass, with a bevel -cut card mount , unlike oil

paintings. The mount stops the glass touching the picture and causing damage. Most

professional artists allow a small margin on their paper rather than painting to the edge.

This is useful for testing colours prior to painting, and also helps the framer to site the

mount. Mount cutters and mitre saws can be purchased from artist suppliers if you wish

to make your own frames.

CARE OF EQUIPMENT

Never stand brushes upright in water- jars. This ruins the bristles. Always thoroughly clean

brushes in soap and water at the end of the day and restore their shape before puttingthem away. Do not contaminate the purity of your paints by dipping brushes into them, or

by using the wrong tops. Always use the palette for mixing. Make sure the tops are firmly

screwed onto the tubes to avoid drying out.

3


12/28

1

2

3

4

4


13/28

10

+ =

+ =

+ =

+ =

+ =


14/28

S I N C E 1 7 6 6





15/28




instructiefolder

S I N C E 1 7 6 6


16/28

The Reeves Acrylic Studio Set isthe ideal first step for the

beginner to discover the delightsof this exciting medium, which

has revolutionised the world ofart. The tubes have been carefullyselected to form a palette fromwhich all the most frequently

used colours can be mixed.




Every artist has an individualstyle, but there are certain rules ofpainting that the beginner should

follow in order to achieveworthwhile results. If you are newto painting the following tips may

be useful.

THE NATURE OF ACRYLIC COLOUR

Acrylic colour was created to imitate the

qualities of oil colour, but eliminate theproblems of lengthy drying times and the

need for specialist mediums and brush

cleaners. It is a water-based medium

which can be used as an oil colour

substitute or, by diluting the colour thinly

it is possible to create translucent glazes

in the manner of watercolour. Unlike

watercolour, however, acrylic dries quickly

to a tough finish that is no longer water-

soluble, so great care must be taken thatbrushes are cleaned promptly.

Acrylic colour can be used opaquely in

other words, a light colour is capable of

covering over a darker colour, which is

useful for rectifying mistakes. Like oil

colour, it can be applied very thickly to

create textured paintings, and it is this

versatility and practicality that has been

so attractive to many modern artists,such as David Hockney, who now often

uses acrylic colour in preference to oil

colour.

PREPARATION

Acrylic colour is hard to remove when dry,so wear old clothing and use a disposable

tablecloth. You will also need an old rag

or a kitchen roll, and a large jar of water

for cleaning brushes.

If you are indoors, make sure you have

enough natural light to the front or side of

you.

Acrylic colour dries quite quickly, so only

squeeze out small quantities of colour ata time. Unlike watercolour, the colour

cannot be re-activated once it has

become hard.

1


17/28

COMPOSITION










viewpoint. Work out which section of the





this stage. Correct any mistakes with asoft putty eraser to avoid tearing the


on wet paper.

COLOUR MIXING

Knowing how to mix colours and how

much paint to use can only come with

experience and experimentation. Red,

Yellow, and Blue are called the Primary

Colours. This means they cannot be

mixed from other colours. Your set ofcolours can be mixed to form a

comprehensive range, but remember that

sometimes it may be necessary to mix 3

or even 4 colours to achieve a result.


red + green = brown


red + blue = purple



Once you have achieved the correct

colour, you must then achieve the correct

tone (or shade) i.e. the strength of the

colour. Remember that black is not the

only way of darkening a colour. It canmake colours look dirty. Try experimenting

with browns and blues. They darken

colours in very different ways to black.

Conversely, try lightening colours with

yellow or white, or a combination of the

two. It is advisable to make notes to

remind you how to achieve various colour

mixes.

Experiment on a piece of scrap board by

trying to accurately mix the colours of

objects around you. Always mix the

colours thoroughly. Try both supplied

brushes. They will make very different

types of mark on the board.

Add water to the mix to thin the colour.

Remember that Acrylic is capable of being

used thinly like watercolour or opaquely

like oil colour.

Finally there are no shortcuts to learningabout colour mixing. It is inevitable that

you will make mistakes, but some of

them may be happy ones!

2


18/28

1





line low in the composition. The

farm building provides a useful focal

point.

2

The sky area is blocked in with

thicker paint applied with thesquare ended brush. A basic mix of





crimson to make purple, and

applied while the other areas of sky

are still wet. Areas of white are also

blended into the clouds to createhighlights. The basic underpaint of

the path and grass areas is blocked

in with mid green and cream.

3The background trees arecreated by adding blue with thegreen mix, giving the impression of

distance. The basic underpaint of

the farm buildings and large tree is

added. (Its advisable to allow the

sky to dry before adding tree

detail).

4More layers of tone have beenadded and the picture is now atfull strength. The medium allows

both dark and light areas of detail

to be painted on top of the

undercoat, as shown clearly in the

foreground grassy area. As a

general rule, undercoat layers

should be thin, with the consistency

of the paint increasing for the top

layers. Areas of detail have now

been added to the farmhouse and

the large tree. The paint has been

scraped on sparsely to create thebroken texture of the trees leaves.

Finishing touches are added with a

small brush. The picture is

impressionist in style, so no



etc.

PAINTING



FINISHING TOUCHES

Acrylic paintings can be framed under glass like watercolours, or without glass in the style

of oil paintings, depending on your personal preference. If you choose glass, it is advisable

to also use a card window-mount, which will prevent the glass pressing against the picture

and causing damage.

CARE OF EQUIPMENT

Acrylic colour must never be allowed to dry on a brush, as water becomes ineffective once

the colour has dried. Never stand brushes upright in water jars. This ruins the bristles.

Always thoroughly clean brushes in soap and water at the end of the day and restore theirshape before putting them away. Do not contaminate the purity of your paints by dipping

brushes into them, or by using the wrong tops. Always use the palette for mixing. Make

sure the tops are firmly screwed onto the tubes to avoid drying out.

3


19/28

1

2

3

4

4


20/28

+ =

+ = + =

+ =

+ =


21/28

S I N C E 1 7 6 6





22/28




instructiefolder

S I N C E 1 7 6 6


23/28

The Reeves Gouache Studio Set isthe ideal first step for the

beginner to discover the delightsof this popular and versatile

painting medium. The tubes havebeen carefully selected to form apalette from which all the mostfrequently used colours can be

mixed.




Every artist has an individualstyle, but there are certain rules ofpainting that the beginner should

follow in order to achieveworthwhile results. If you are newto painting the following tips may

be useful.

THE NATURE OF GOUACHE COLOUR

Gouache is a water soluble paint which is

favoured by designers because of its

ability to create beautifully even areas of

bright colour without streaking.

It is not to be confused with watercolour,

though both are water-based media.

Watercolour should be used thinly and

transparently, but Gouache should be

applied in opaque washes, very much in

the style of oil colour. Like oil colour, it is

capable of covering over other colours,

which is useful for correcting mistakes orlightening areas.

Gouache is a very practical medium

brushes are easily cleaned with water,

which is also used to thin the colour.

The technique of painting is broadly

similar to that of oil and acylic colour, but

it does not stay wet enough to blend

colours in a painting. Instead, areas are

often butted together using a techniquesimilar to that of paint by numbers.

Gouache is also not suitable for applying

very thickly to create texture.

PREPARATION

The board supplied is ready to be painted

on. It should be kept as flat as possibleto prevent the colour from running. It is a

good idea to have a plastic or disposable

table cloth, a jar of clean water and a

kitchen roll for wiping brushes.

If you are indoors, make sure you have

enough natural light to the front or side of

you.

Gouache dries quite quickly, so only

squeeze out small quantities of colour ata time. Unlike watercolour, the colour

cannot be re-activated once it has

become hard.

1


24/28

capable of being used thinly like

watercolour or opaquely like oil colour.

Finally there are no shortcuts to learning

about colour mixing. It is inevitable that

you will make mistakes, but some of them

may be happy ones!

COMPOSITIONChoosing subject matter is a very








and distances until you settle on the bestviewpoint. Work out which section of the





this stage. Correct any mistakes with a

soft putty eraser to avoid tearing the


on wet paper.

COLOUR MIXINGBefore you begin painting it is best to

practise a few basic exercises. Firstly try

painting a flat wash. To best achieve a flat

wash of colour, make sure you have mixed

enough colour on the palette to cover the

area. The consistency of the colour shouldnot be thick, but not watery either.

Apply smoothly and quickly with a large, well

loaded brush. Test the colour strength on a

scrap of paper first.

Knowing how to mix colours and how much

paint to use can only come with experience

and experimentation. Red, Yellow, and Blue

are called the Primary Colours. This means

they cannot be mixed from other colours.

Your set of colours can be mixed to form acomprehensive range, but remember that

sometimes it may be necessary to mix 3 or

even 4 colours to achieve a result.


red + green = brown


red + blue = purple



Once you have achieved the correct colour,

you must then achieve the correct tone (or

shade) i.e. the strength of the colour.

Remember that black is not the only way of

darkening a colour. It can make colours look


blues. They darken colours in very different

ways to black. Conversely, try lightening

colours with yellow or white, or a

combination of the two. It is advisable to

make notes to remind you how to achieve

various colour mixes.

Experiment on a piece of scrap board by

trying to accurately mix the colours of

objects around you. Always mix the colours

thoroughly. Try both supplied brushes. They

will make very different types of mark on theboard.

Add water to the mix to thin the colour.

Remember that Gouache is

2


25/28

1





line low in the composition. The farm

building provides a useful focal point.

2The sky area is blocked in withthicker paint applied with thesquare ended brush. A basic mix of





crimson to make purple, and applied

on top of the existing blue sky, once it

has dried. Areas of white are also

added into the clouds to create

highlights. Remember gouache dries

quickly. Here the artist has applied

the paint in an impressionist way,

adding layer on layer with no attempt

to blend colours together whilst wet.

The basic underpaint of the path and

grass areas is blocked in with mid

green and cream.

3

The background trees are created

by adding blue with the green mix,

giving the impression of distance. The

basic underpaint of the farm buildings

and large tree is added. (Its

advisable to allow the sky to dry

before adding tree detail).

4More layers of tone have beenadded and the picture is now atfull strength. The medium allows both

dark and light areas of detail to bepainted on top of the undercoat, as

shown clearly in the foreground

grassy area. As a general rule,

undercoat layers should be thin, with

the consistency of the paint

increasing for the top layers. Areas of

detail have now been added to the

farmhouse and the large tree. The

paint has been scraped on sparselyto create the broken texture of the

trees leaves. Finishing touches are

added with a small brush. The picture

is impressionist in style, so no



etc.

PAINTING



FINISHING TOUCHESGouache paintings are traditionally framed under glass, with a bevel-cut card mount, unlike

oil paintings. The mount stops the glass touching the picture and causing damage. Most

professional artists allow a small margin on their paper rather than painting to the edge.

This is useful for testing colours prior to painting, and also helps the framer to site the

mount. Mount cutters and mitre saws can be purchased from artist suppliers if you wish

to make your own frames.

CARE OF EQUIPMENT

Never stand brushes upright in water jars. This ruins the bristles. Always thoroughly clean

brushes in soap and water at the end of the day and restore their shape before puttingthem away. Do not contaminate the purity of your paints by dipping brushes into them, or

by using the wrong tops. Always use the palette for mixing. Make sure the tops are firmly

screwed onto the tubes to avoid drying out.

3


26/28

1

2

3

4

4


27/28

10

+ =

+ =

+ =

+ =

+ =


28/28

S I N C E 1 7 6 6


f R C R G f

Documents

REEVES Painting