Everyone talks about breaking the rules in oil painting.?

No one every talks about what the rules are. What is the list of rules to do a proper painting?Everyone talks about breaking the rules in oil painting.?
Use a properly prepared ';ground'; - gessoed board, canvas, or best of all linen. Work ';lean to fat'; - that is, thin paint to thicker. If thinning with turpentine, use ';pure';, not mineral. You can slow drying by adding oil, but use only a little. Don't paint by sections - work over the whole surface, building up block shapes, tonal value etc, and vary texture, brush direction, etc, as you proceed. Keep the painting ';open';, not fussy. That engages the viewer in the process of seeing. Learn from Mayer's handbook and others what pigments are incompatible in mixes (most modern paints are compatible, but a few are not). Learn to distinguish ';warm'; colours and mixes from ';cool'; - e.g. warm ultramarine blue, cool Pthalo blue - and the effect of ';warms'; mixed together vs warmpluscool, etc. Try to keep mixes down to, say, three pigments and white, avoiding ';mud';. Watch how warm vs cool enhance each other, just as complementaries can enhance (or ';grey'; a colour when mixed). Adjacent and nearby colours therefor affect each other, and you must follow these effects throughout the painting - which is why you must work on the whole, and not merely ';bits';. Work from the broadest block shapes, and your first impression, towards the final marks, not from details first. That way the structure won't be obscured. A painting should speak from its ';inside'; to the surface, not from the surface first. Masters can certainly break rules to great effect, in every art - but you cannot break them intelligently and to best effect, unless you have learned them through practice first.Everyone talks about breaking the rules in oil painting.?
every rule got exception . in paintings rule is not necessary but skill ,people liking and our satisfaction theses are the thing is important.
1: Always lay your oil paints out on your palette in the same order so that, with time, you'll be able to pick up a bit of a colour instinctively.





2: The proportion of oil (medium) should be increased for each subsequent layer in an oil painting 鈥?known as painting 'fat over lean' 鈥?because the lower layers absorb oil from the layers on top of them. If the upper layers dry faster than the lower ones, they can crack.





3: Avoid using Ivory Black for an underpainting or sketching as it dries much slower than other oil paints.





4: Pigments containing lead, cobalt, and manganese accelerate drying. They can be mixed with other colours to speed up drying and are ideal for under layers. (Student-quality paints usually contain cheaper alternatives to these pigments, generally labelled hues.)





5: Use linseed oil for an underpainting or in the bottom layers of any oil painting done wet-on-dry as it dries the most thoroughly of all the oils used as mediums.





6: Avoid using linseed oil as a medium in whites and blues as it has a marked tendency to yellow, which is most notable with light colours. Poppy oil is recommended for light colours as it has the least tendency to yellow (although it does dry slower).





7: Don't dry your oil paintings in the dark. This may cause a thin film of oil to rise to the surface, yellowing it. (This can be removed by exposure to bright daylight.)





8: If, as the paint on your palette dries it forms a lot of wrinkles, too much oil (medium) has been added.





9: If you're not sure whether a bottle of mineral or white spirits is suitable for oil painting, put a tiny quantity on a piece of paper and let it evaporate. If it evaporates without leaving any residue, stain, or smell, it should be fine.





10: If you want to clean away a layer of oil paint or oil varnish, use alcohol, which is a powerful solvent.





Hope this helps.
As far as I'm concerned, there are no rules in oil painting except for the ones that ought not be broken (like the ones listed in the two posts above) and are simply technical. Everything else is only a principal, guideline, norm, or opinion.





For example: ';If you don't pain thin to thick, your painting might crack'; is a rule. However, no one says exactly how thin or how thick, because that is up to the artist. Some painters quickly build up the thickness (like Van Gogh) while others keep the paint relatively thin all the way through.





If you ever read or hear someone tell you ';This is how you paint with x-medium,'; take what they say with a grain of salt. Take the technical details to heart, and then mentally change everything else to ';This is _one of many ways_ to paint with x-medium.';