Useful Tips

How to draw a picture


Oil painting is able to rejoice over its owners for a long time with bright and rich colors, if one condition is met: to look after it correctly. What is the care of the canvas, read below.

Consider the age of the canvas

A landscape or still life that is not even a year old is considered young. This means that the paint layer is not yet dry. This usually takes up to two years. To freeze without consequences, it is necessary to ensure uniform drying of the canvas. To do this, hang it in a warm, ventilated place.

Do not put the painting in direct sunlight in the hope that this will speed up the process. Such an initiative may result in exfoliation. The best option is to provide diffused sunlight, for example, using a light curtain. Alternatively, place it under an energy-saving lamp, which practically does not produce heat. Advice on the source of lighting is also relevant for old works.

Set up easy cleaning

When cleaning the apartment or house, do not forget to wipe the canvas with a damp flannel cloth. It is moist, not dampened with plenty of water! You can use a soap solution, but there should be no alkali in it. Otherwise, the colors will fade. Remove contaminants carefully and carefully. After you have washed the oil painting, remove the remaining moisture with a dry cloth.

Forget about cotton swabs and special kitchen rags. They leave fibers between layers, adding unnecessary trouble.

An important point: if cracks appeared on the surface, then it is forbidden to use water for cleaning. For cleaning use soft toothbrushes and only if you are sure that the paint will not begin to exfoliate. If it easily disappears, then you should contact a restoration workshop.

Make the canvas shine

A time-tested remedy will help to refresh the oil painting. This is linseed oil. It contains essential fats and trace elements that nourish and strengthen paints. An additional effect of this procedure is that the oil fills pores and cracks, preventing dust from clogging them. But it is important not to overdo it, otherwise the opposite effect is possible. A large amount of oil dries longer. During this time, dust particles will settle on the canvas and form a thin layer on it - cleaning will have to be repeated.

As a refreshing agent, ordinary onions are also used, more precisely, its slice. The smell disappears quickly enough, and the luster and bright play of shades are preserved.

Now you know how to care for oil paintings. Timely cleaning of dust, creating favorable conditions and refreshing procedures - all that is included in the list of care.

How to draw a painting

The frame is the connecting link between the interior and the painting, where the painting plays the dominant role.

The frame is made of baguette. Baguette - a wooden, metal or plastic profile designed to frame artwork. Wooden baguette is the most expensive. Plastic is the cheapest.

Baguettes are simple and curly profile. It is right to choose a baguette with an ornament and texture that complements or repeats the motive of the picture. If the picture is dominated by a line and simple forms, then a direct baguette of a simple profile is most suitable. If the picture has a lot of small details and curls, then the baguette will be appropriate, in this case the plot of the picture smoothly passes to the frame.

How to choose the color of the baguette frame

The color of the baguette is most often chosen half a tone darker or half a tone lighter than the main color of the picture. Thus, a light baguette is best suited to light paintings, and dark to dark. But exceptions are not rare. A contrast baguette can create an interesting accent.

It is important to combine the colors of the picture and the baguette.

  • The cool shade of the wooden frame - bleached oak, unpainted light wood, silver - fits the picture with the prevailing cold tones (blue, green, purple, gray).
  • A warm shade of the frame - walnut, mahogany, gold - will suit the picture in warm colors (red, orange, yellow, brown)
  • Shades of natural wood are suitable for almost all works.

Baguette Width

A wide, classic frame with gold and complex carvings is best suited to paintings written in the manner of academic painting and will take its place in the interior of the appropriate style. The fact is that, before the impressionists, paintings were always made out individually. The frame was cut out of wood, taking into account the tone, details and plot of the canvas. Pictures were written to order or selected, consistent with the style and decor of the interior. Therefore, the interiors of palaces and rich estates look unified and thoughtful. Now these works can be seen in museums and art galleries. The frame itself is a work of art and continues the picture, enhancing the effect:

In modern interiors, a rich carved frame will not find support in the decor and stylist. Most likely, few will decide to hang a Van Gogh reproduction in such a frame:

But you can choose a frame of a simpler profile. The main thing is that it suits the picture and the interior. The more details in the picture - the more intricate the profile can be applied.

You should be very careful about cotrasts. Often, 2 or more frames are used for framing. This allows you to achieve an interesting visual effect. But with great caution, it is worth treating the contrasting colors of the inner frames. It is important to remember that the picture should go into the frame without tripping over its accents. Not the frame, but the picture is the main thing.

For flat painting, a baguette that emphasizes the plane is suitable.

For small paintings, it can be a good decision to choose a wide baguette, it will visually enlarge the picture and emphasize its significance.

How to draw up a schedule

Graphics performed on paper. This engraving, lithography, etching, ink, ink, charcoal, sanguine, pastel, pencils. Calligraphy and watercolor also relate to graphics. Graphics (Greek: γραφικος) - written. This is an artistic image on paper using lines, strokes, spots, dots.

Graphic works require special design in order not to fade, not to crumble and not to tear. Graphic design most often includes:

Graphics frame

General recommendations are the same as for painting. With the difference that frames for any materials are suitable for graphics. Color may be more radical due to more conventional graphics.

  • For the design of graphic monochrome works, black and white frames are most often used.
  • For color graphics, black, white, natural wood, gold, color.

Passepartout is the margin between the frame and the image. Inner frame made of white or color thick cardboard. Passepartout improves the perception of the work, helps the viewer to focus on the image, create a neutral zone between the frame and the image. Felling can be oval, round or rectangular, the inner edge facing the image is often beveled.

How to choose the width of the mat

The visual perception of a person is arranged so that for the harmonious perception of the object vertically, its lower part should have a slightly greater visual weight. Therefore, the bottom of the passepartout should be slightly wider. An even-width passe-partout is more practical, it can be used both for vertical and horizontal arrangement, which allows saving during mass production. But if you order individual decoration in a framing workshop - you have more options. Sometimes it’s enough to slightly increase the lower field - and the perception of the image improves significantly.

The width of the passe-partout most often ranges from 1/3 to 1/2 of the narrow side of the image.

  • the left and right sides are the same,
  • the bottom is a little wider
  • the upper one is slightly narrower or equal to the lateral one.

For clarity, an example of an equal-width passe-partout and with a wide bottom:

How to choose the color of the mat

The color of the passe-partout for black and white graphics is better to choose white, black or gray.

  • The white color of the passe-partout creates an optical effect, in which the image is "squeezed out" of the plane, comes to the fore and even seems larger.
  • Black passe-partout, on the contrary, deepens the image, puts it out of the frame, it seems smaller.
  • Gray color is neutral, but not always suitable for the interior.

You can use this method of determining color: make the passe partout a little darker than the lightest part of the picture, or a little lighter than the darkest. This technique will not allow the image to merge with the frame.

For color graphics, you can use not only white-black-gray passe-partout, but also color ones. Pick calm, subdued colors to match the tone of any image element. Sometimes the option is to make a mat in the tone of the background image and add this “air” picture.

You can use multiple mat at the same time to achieve a certain effect. In this case, one frame overlays the other with a shift. The upper passe partout is often made lighter, the lower is darker, the “tunnel effect” gives the work depth.

On the Internet there are shops with a designer that allows you to try on the frame and mat, as well as approximately represent the cost of registration. Here you can try uploading a picture.

It happens that graphic work is drawn up with zero mat. In this case, it does not act as a design element, but gives the necessary distance between glass and paper. It is especially important to maintain this distance for pastel work, where there is a risk of image destruction when touched with glass. Zero passe-partout or a deep frame without a passe-partout sometimes allows you to achieve an interesting artistic effect.

  • Simple
  • Anti-glare
  • Museum

Simple glass is the most affordable option, but there is a problem: ordinary glass glare, reflecting what is happening around and light sources. The picture can not be viewed or photographed. In this case, it is important to consider the correct location of the picture relative to the window and lighting fixtures. But even better is to order anti-glare glass immediately.

Anti-glare glass - frosted. A ray of light falling on the glass does not reflect, but is scattered. The effect is achieved by treating one or two glass planes in such a way that the glass surface becomes slightly rough. It is believed that the light transmission of such glass is reduced. I didn’t notice, I really like this particular type of glass, all the graphic works in my house are decorated using anti-reflective glass. Recommend

But for gourmets, there is another kind that combines the advantages of simple with the advantages of anti-glare - museum glass. Museum glass blocks most of the ultraviolet radiation of daylight, which protects paper and paints from burnout and fading. Reflects less than 1% of the incident light, (typical 8%). Museum glass is called glareless. It is not cloudy, completely transparent, glare-free is achieved due to expensive processing. The raw materials are the highest quality glass with a low iron content. Such glass on the cut will be white, in contrast to the usual "green" glass. The incident light flux is not reflected from the glass, but passes through it. The downside of this glass is only one - the cost.

I wish you good luck with your artwork. This fascinating creative activity will make you torment, but in the end will bring a lot of positive emotions.

  1. The rules can and must be broken if you feel how to do it right in a particular case. Imagine the work in your interior and the decision will come by itself.
  2. If the picture fits well into your interior in color and plot - most likely you can easily decorate it. If the picture does not fit into the interior either way or that - it is better to purchase another picture.
  3. You can skip the picture at all. Modern painting is increasingly being created on gallery and museum stretchers. The thickness of such a stretcher is 3 - 5 cm and more. The image goes to the ends of the canvas and the picture takes on a volumetric finished look.

Article author: Svetlana Brovchenkova, 2016 When copying a link is required.

Tips for decorating paintings:

  • The frame and the picture should complement each other and should not compete with each other.
  • It is important to remember that the design always dominates the picture, and the frame is assigned only the role of a link between the picture and the interior.
  • Baguette should be combined with a picture in colors. Warm colors are painted in a baguette of warm colors, and cold tones - in a baguette of cold colors.
  • The color of the baguette should be half a tone darker or lighter from the prevailing (primary) color of the picture, or match the non-primary color of the picture.
  • If the picture is dominated by simple lines, then the frame should be quite simple.
  • It is very beautiful when the image in the picture smoothly transitions to the frame.
  • It is very beautiful when the ornament or texture of the baguette complements or repeats the motif depicted in the picture.
  • It is important not to forget about the style of the painting - the avant-garde painting is not framed in a wide classical baguette with stucco molding, and the picture painted in the Dutch school of painting is not framed in a narrow, color, glossy, modern frame.
  • Consider the depth of the baguette - if you do not want to see the stretcher on which the picture is stretched, then you need to choose a baguette with a depth of 1.5 cm or more.
  • Do not be afraid to experiment, use a composite frame of two or more different profiles of baguette.
    All baguette profiles in the composite frame must be of different widths!
  • Small paintings are usually framed in a wide baguette so that the total area of ​​the baguette is larger than the area of ​​the picture itself.
  • If the picture has a curve subframe, then ask the baguette workshop to drag the picture onto the new modular subframe.

Graphics Design Tips:

  • To preserve the picture in pastel, place it in a frame as soon as possible.
  • Be sure to use a mat, it creates the necessary layer of air, which protects the painting from contact with glass, provides conservation of the painting, while maintaining a microclimate and improving the safety of the work.
  • Passepartout improves the perception of graphics, helps the viewer to focus on the picture.
  • First, a mat is selected for the graphic picture, and then a baguette.
  • Diptych, triptych, quadriptych, polyptych can be placed on one sheet of passepartout and inserted into one frame.
  • Use only anti-glare or glare-free glass, it will protect the picture from ultraviolet and infrared radiation.
    Regular glass - light transmission of about 91%, UV reflection of about 8%. Anti-reflective glass, frosted glass - light transmission of about 80%, UV reflection of about 30%. Museum glass, glare-free glass, depending on the manufacturer - light transmission up to 99%, UV reflection up to 99%.

Tips for choosing a passepartout:

  • Passepartout should not contain chemical impurities, it should be chemically neutral.
  • It is important to remember that only the role of the link between the painting and the frame is assigned to the mat.
  • The color of the passe-partout should be half a tone darker or lighter than the main color of the picture, or match the non-main color of the picture.
    Most often, choose a passe-partout color a little darker than the lightest tone of the picture.
  • The frame should not be the same color as the mat.
  • Anti-reflective glass (frosted glass) makes the color of the mat half darker.
  • For a picture showing the movement, it is better to make a wide mat, especially if the perspective of the picture goes beyond the frame.
  • European rules for choosing the width of the mats:
    The bottom edge of the passe-partout should be wider than the sides and the top.
    If the picture is vertical, then the upper edge should be wider than the sides, and if it is horizontal, then the sides should be wider than the top.
    For a square picture, the sides and top of the passe-partout should be the same, and the bottom wider.
  • The same width for all sides of the mat is more practical - you can always replace a picture without thinking about its vertical or horizontal format.
  • Most often, make a passe-partout 6-7cm wide.
  • The width of the mat must not be the same as the width of the frame.
  • It is very beautiful when a slip is put on the edge of the passepartout - this is a very narrow strip of baguette.
  • You can use a passe-partout of different widths and different colors.
  • If in a baguette workshop there is a Valiani machine for cutting a figured mats, then you can cut the original mats with an author's design.

A figured passe-partout made in the workshop of the Entourage (Chelyabinsk, 79 Lenin Ave.) on the Valiani machine.
Vysotsky's portrait and flowers in a vase are completely carved from a passe-partout on the Valiani machine tool.
The Valiani machine allows you to cut out various types of mat: simple, multi-window, composite from cardboard of different colors and shades, deep from a particularly thick cardboard, make V-shaped decorative grooves, and also apply decorative lines to the surface of the mat.
You can create a design of any complexity and cut it to the mat.

It is very beautiful when a slip is worn on the edge of a passe-partout.
Photo from a baguette workshop Entourage.
Diptych, triptych, quadriptych, polyptych can be placed on one sheet of passepartout and inserted into one frame.
Photo from a baguette workshop Entourage.

Consider our theory in practice:

The size of the picture is 90x60cm.

На этой картине преобладает теплый тон, поэтому к ней подойдет багет теплых оттенков: золото, бронза, дерево (вишня, орех), так же подойдет рама, с нарисованными на ней цветами.
Картина написана в классическом стиле, поэтому предпочтительнее классический багет с лепниной шириной от 7см.

Размер картины 30х40см.

Small paintings are usually framed in a wide baguette so that the total area of ​​the baguette is larger than the area of ​​the picture

The size of the picture is 50x60cm.

This picture is dominated by a cold tone, and besides, it is painted in a graphic style, with a slight addition of burgundy red.
A baguette will suit her: silver, chrome, natural wood, burgundy red and slightly worse black.
The picture is painted in a modern style, so a classic baguette with stucco molding will not work for it.
Baguette width from 3 cm.

The size of the painting is 60x50cm.

A baguette of completely different shades will suit this picture: gold, warm silver, natural wood, yellow, green, blue, red, terracotta, etc.
Baguette width from 2 cm.
Since the picture is written in an abstract style, it is possible to combine a baguette of one profile, but of a different color.