1. Pigments are divided into two categories: minerals and chemical synthesis. The initial pigments were mostly mineral pigments, which were manually ground into fine particles before being mixed with nasal bleeding during painting. In modern times, it was produced in batches by factories, loaded into tin tubes, and the variety of pigments continued to increase. The performance of pigments is related to their chemical composition, and during color mixing, chemical reactions can cause adverse reactions between some pigments. Therefore, mastering the properties of pigments helps to fully utilize oil painting techniques and maintain the color of the work for a long time.

2、松節(jié)油，是一種揮發(fā)性醫(yī)用油。在油畫的調(diào)制中，起稀釋顏料的作用。一兩分鐘即可完全揮發(fā)，干后無光澤。將松節(jié)油和調(diào)色油按照一定比例混合使用，干得較快，色彩也比較亮。

2. Turpentine is a volatile medical oil. In the modulation of oil paintings, it plays a role in diluting pigments. It can evaporate completely in one or two minutes and become dull after drying. Mix turpentine and toner in a certain proportion to achieve faster drying and brighter colors.

3、畫筆，用彈性適中的動物毛制成，有尖鋒圓形、平鋒扁平形、短鋒扁平形及扇形等種類。

3. A paintbrush made of animal hair with moderate elasticity, including sharp circular, flat flat, short flat, and fan-shaped shapes.

4、畫刀，又稱調(diào)色刀，用富有彈性的薄鋼片制成，有尖狀、圓狀之分，用于在調(diào)色板上調(diào)勻顏料，不少畫家也以刀代筆，直接用刀作畫或部分地在畫布上形成顏料層面、肌理，增加表現(xiàn)力。

4. A painting knife, also known as a color mixing knife, is made of elastic thin steel sheets, which can be pointed or circular in shape. It is used to evenly mix pigments on a color palette. Many painters also use a knife instead of a pen to directly draw or partially form pigment layers and textures on the canvas, increasing expressiveness.

5、畫布，標準的畫布，是將亞麻布或帆布緊繃在木質(zhì)內(nèi)框上后，用膠或油與白粉摻和并涂刷在布的表面制作而成。一般做成不吸油又具有一定布紋效果的底子，或根據(jù)創(chuàng)作需要做成半吸油或完全吸油的底子。布紋的粗細根據(jù)畫幅的大小而定，也根據(jù)作畫效果的需要選擇。有的畫家使用涂過底色的畫布，容易形成統(tǒng)一的畫面色調(diào)，作畫時還可不經(jīng)意地露出底色。經(jīng)過涂底制作后，不吸油的木板或硬紙板也可以代替畫布。

5. Canvas, a standard canvas, is made by tightly pressing linen or canvas onto a wooden inner frame, mixing it with glue or oil and white powder, and applying it to the surface of the cloth. Generally, it is made into a non oil absorbing and textured base, or a semi oil absorbing or fully oil absorbing base according to creative needs. The thickness of the fabric pattern depends on the size of the painting and also depends on the needs of the painting effect. Some painters use canvas with a painted background color, which can easily form a unified color tone in the picture, and even inadvertently expose the background color when painting. After being coated and made, non oil absorbing wooden boards or cardboard can also replace canvas.

7、外框，完整的油畫作品包括外框，尤其是寫實性較強的油畫，外框形成觀者對作品視域的界限，使畫面顯得完整、集中，畫中的物象在觀者的感覺中朝縱深發(fā)展。畫框的厚薄、大小依作品內(nèi)容而定。古典油畫的外框多用木料、石膏制成，近現(xiàn)代油畫的外框較多用鋁合金等金屬材料制成。

7. Outer frame: A complete oil painting work includes outer frames, especially those with strong realism. The outer frame forms the boundary of the viewer's perspective on the work, making the picture appear complete and concentrated. The objects in the painting develop in depth in the viewer's perception. The thickness and size of the frame depend on the content of the work. The outer frames of classical oil paintings are mostly made of wood and gypsum, while the outer frames of modern oil paintings are mostly made of metal materials such as aluminum alloy.