Creation Of Painting Research Articles

The Struggle Never Ends (The Reflection on the History of Struggle between Socio-Political Groups in the Creation of Painting)

This artistic research aims for the creation of contemporary painting. State of art issues of art creation consists of paintings, socio-political, social functions, and visual symbols. The creation goals are to create painting from the ideas of creation and aesthetics visual form, departing from socio-political history condition in the struggle among mass organizations and politic organizations in Indonesia. By utilizing practice-based research method, the researcher is united with the object being worked in an in and through appreciation, must also refer to published creation method, thus that it is not subjective and the explanation is detailed. David Campbell’s creation method is used as the reference, i.e., Preparation, concentration, incubation, illumination, and verification-production. The study results and art design are contemporary painting “Pertarungan tak Kunjung Usai” (The Struggle Never Ends). It portrays the reflection of ideology struggle and socio-political outlook of figures or among community groups. Subject matter shows two figures group who facing and opposing each other with allegory or symbol attributes, such as weaponries, normative books, bulls, and garudas. The setting is on a ruins or ship deck wreckage. The painting is shown in decorative-expressive style, within contemporary aesthetic artistic images. Penelitian artistik ini bertujuan untuk penciptaan karya seni lukis kontemporer. State of art permasalahan penciptaan karya meliputi seni lukis, sosial-politik, fungsi sosial, dan simbol visual. Tujuan penciptaannya menciptakan lukisan dari ide penciptaan dan bentuk visual yang estetik, dari fenomena kondisi sejarah sosial politik dalam pertarungan ormas dan orpol yang ada di Indonesia. Metodenya practice based research, peneliti menyatu dengan objek yang dikerjakan dalam penghayatan secara timbal balik (in and through), juga harus merujuk metode penciptaan terpublikasi, sehingga tidak subjektif dan pemaparannya rinci. Metode penciptaan David Campbell digunakan sebagai rujukan, yaitu preparation, concentration, incubation, illumination, verification-production. Hasil penelitian dan perancangan karya ini adalah karya seni lukis kontemporer "Pertarungan Tak Kunjung Usai". Menggambarkan refleksi pertarungan ideologi dan pandangan sosial politik dari figur-figur atau antarkelompok masyarakat. Subject matter menampilkan dua kelompok figur-figur yang berhadapan dan saling bertentangan dengan masing-masing atribut alegori atau simbolnya, seperti senjata, kitab normatif, banteng, dan garuda. Setingnya ada dalam reruntuhan bangunan atau potongan geladak kapal. Lukisan ini ditampilkan dalam gaya dekoratif ekspresif, dalam citra artistik estetika kontemporer.

On the contemporary transformation of Inner Mongolia Grassland fine brushwork figure painting creation

The expression of contemporary fine brushwork figure painting on grassland theme mainly forms the mainstream with the realistic style of amorous feelings and spiritual expression. In addition, image modeling contributes to the diversification of creation methods. Now, in the face of the new era, painters should stand in the context of modern society and use the spirit of The Times to examine the grassland culture, through the image of the national customs and deeply explore the connotation of national culture, to show the current situation of national spirit and modern civilization caused by the collision of national living state and social psychology changes. Continue to walk the grassland theme meticulous figure painting creation of contemporary exploration and transformation of the road.

Sanghyang Dedari Dance as a Painting Creation Idea

Balinese dance is a variety of dances originating from the island of Bali. Balinese dance does not always depend on the storyline. The main goal of Balinese dancers is to dance each stage of movement and sequence with full expression. Sang Hyang Dedari dance is a Balinese dance that is used as a religious tool. Balinese people still believe that when girls aged 9-12 years dance this dance, they will be possessed by the holy spirit of an angel. Usually, the Sang Hyang Dedari Dance is played or danced before the rice harvest around April to resist disease outbreaks, and this dance has been designated as an endangered cultural heritage. By taking the theme of Sanghyang Dedari Dance, it is hoped that it can represent ideas in the creation of painting. The writer's interest in this dance is because this dance is very sacred and unique because starting from the headdress and the clothes used are very simple, and the flowers used are also colorful and easy to get and so that the younger generation in particular to know and preserve Balinese culture, that in some areas still do this tradition. At the visualization stage, the author emphasizes the decorative flow. In addition, it also uses the method of creation, namely Exploration, Improvisation, Formation, and Final Completion. And through these stages, 6 works were created entitled: 1) "Sanghyang Dedari Dance", 2) "Ngukup", 3) "Dancer Possessed by Sanghyang Dedari", 4) "Sanghyang Dedari Dancer", 5) "Aci Bethara Sri", 6 )"Rolling". In the end, a work was created which was appointed to the title "Sanghyang Dedari Dance as an Idea for Painting Creation". The author hopes that the Balinese people are more familiar with the Sanghyang Dedari Dance.

Аналіз технологічних особливостей початкового і ремонтного фарбування виробів авіаційної техніки

The subject matter of this article is the technological features analysis of the initial and repair of aircraft products painting. The goal is to analyze and systematize the trends in the global aircraft industry in the pneumatic painting technology field and the removal of old paintworks from the outer aircraft product surfaces. The tasks include analysis of directions for improving the pneumatic painting technology; analysis of laser removal technological features of old paintwork. The following results were obtained. The analysis of publications showed significant advantages of the electrostatic pneumatic painting system with limitations for composite materials. Relevant is the development of new paintwork materials with a reduced content of volatile organic compounds and an increased hiding power, as well as fundamentally new water-based paintwork systems. One of the modern means of technological equipment for pneumatic painting is an overhead crane-telescopic platform. The global trend is the creation of painting and service centres and robotization of paintwork. The laser removal technology of old paintwork is an effective innovative alternative to the methods of abrasive or chemical-mechanical cleaning from the outer aircraft product surfaces, which are currently used. The laser cleaning technology should provide the possibility of manual or automatic old paintwork removal from the double curvature surfaces, fastening elements, as well as the joints of the sheathing sheets without thermal damage to the anode film on the aluminium alloys’ sheathing. Laser stands and mobile laser platforms have high productivity and low labor intensity, multiple reductions in the disposing cost of the decomposition of old paintwork products, compliance with labor protection and environmental requirements compared to existing technologies. Conclusions. The scientific novelty of the materials presented in the article is shown by the analysis and systematization of the technological features of the aircraft products initial and repair painting; rationality substantiation for creating the painting and service centre for the Ukraine aviation industry; determination the directions of scientific and applied research on the laser removal technology of old multilayer paintwork.

Pelinggih Merajan Alit Building As Inspiration For The Creation Of Painting

Merajan Alit is a place of worship in every Balinese Hindu family house. Visual beauty and its close relationship with self-identity and family make the creator interested in visualizing it into painting works. The foundation used was the Alma M. Hawkins method, Exploration, Improvisation, and Forming. Each of these methods contains methods and stages of creation that are applied by MBKM partners. From these methods and successes, six works were produced, entitled; 1) “Kemulan”, 2) “Taksu”, 3) “Aku Ingin Pulang”, 4) “Punggel”, 5) “Mencari Kedalam Diri”, 6) “Happy Family”. In these six works, the creators combine the transfer of technology, skills and knowledge obtained from campuses and partners, so as to create works that are expected to become the characteristics of the creators. With this work, it can be said, Merajan Alit can be a personal trigger because it is very closely related to personal and family identity. The feelings that arise can be very unique and varied so it is very suitable to be visualized as a work of painting. In addition, the use of traditional painting tools is also important because of the ancestral heritage so that it does not become extinct.

Women's Body Movement As A Source Of Inspiration For The Creation Of Painting Art

This independent study TA thesis raised the theme of women's body movements as a source of inspiration for the creation of painting, starting from an idea about the illustration of women's body movements which always have its own meaning in each of its beautiful forms. From this, it gives rise to the urge to present a visualization of female body movements by combining certain techniques and references to achieve the desired goals and meanings. The problem faced is how to visually process women's body movements to represent ideas so that the embodiment of the work looks attractive. The purpose and benefits are to provide a new reflection and elevate the existence of women's body movements which are full of use in various lessons for everyone. To answer what is the purpose of this work, the method of creation uses exploration, improvisation, and formation. By arranging elements of art, and going through the exploration, improvisation, and formation stages, as well as combining them with ideas and ideas, 6 works were created entitled: 1) "lonely", 2) "Doesn't care", 3) "Ballet dancers", 4) Fire dance”, 5) “tired”, 6) “Lie down” In the embodiment of the work, the author will use some technical references from other artists. By combining impressionist techniques and expressionist techniques using tile paint, acrylic in the visualization of beautiful works of art, and combined with the response of a brush that resembles cloth as in the catalog of painter Ida Bagus Indra to represent a movement, it is expected to produce quality works and become author's identity.

Baris Cina Dance as a Reference for the Creation of Paintings

This Independent Project Report presents Chinese Baris Dance as a Reference for Painting Creation, departing from an interest in the visuals of Chinese Baris dance which is very unique and different from Baris dance in general. This sparked the impetus to present Chinese Baris dance visuals by combining certain references and techniques to achieve the desired meaning and purpose. The problem faced is how to visually process Baris Cina to represent the ideas and meanings that you want to realize to make it look attractive. The benefits and objectives of this report are to promote the existence of the Chinese Baris dance, and to increase the writer's understanding of the Chinese Baris dance. To answer the objectives of this work, the methods used are reflection or basic research, execution or forming, improvisation, and completion. With elements of art, and through the stages of reflection or basic research, execution or forming, improvisation, and completion, and combined with ideas and ideas to create 6 works entitled: 1) "Synergy", 2) "Bound" , 3) "authority", 4) "dexterity", 5) "taste", 6) "difference, blending, and balance". In the creation of the work, the author uses several techniques and references from several artists. By combining the object of smoke and the technique of using bamboo brushes and the tendency of romanticism, it is hoped that new works can be produced and can become the identity of the author. In the end, it can be concluded that the art of dance, especially the Chinese Baris dance, is very interesting to be promoted and gives a lot of inspiration that can be developed and will become a meaningful work. With the creation of this work, it is hoped that it can convey meaning or messages based on the aesthetic experience experienced by the author.

The influence of Japanese Ukiyo-e on Western painting art in the 19th Century

Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.

Application of Digital Painting Technology in the Creation of an Oil Painting Containing Graphene

Art and science and technology are two different ways people understand and reflect the objective world. The mutual penetration of science, technology, and art has promoted the development of art and the innovation of forms. Technology has become the carrier of social and cultural exchanges and spiritual world exchanges for artists, providing new ideas for modern art. In recent years, with the active development of various new media technologies, new media technologies represented by image technology and digital technology have gradually developed and are closely integrated with various fields. With the development and progress of image and digital technology, digital painting technology has had a great impact on the field of artistic creation. Of course, oil painting creation in the field of art has also encountered unprecedented challenges. This article introduces various functional methods in digital painting technology, and also introduces the preparation method of graphene graphite for printing. And through experiments, graphite with good performance was prepared, which showed that when ethylene glycol was used as a solvent and the mass fraction of graphene was 37.5%, the performance of the ink was relatively best. Finally, this paper designs a digital painting system and compares it with ordinary digital painting systems. It is concluded that the average satisfaction of painters in the designed system is 1.5 points higher than that of ordinary ones. These data show that the application of digital painting technology in the creation of graphene oil paintings has better applications than ordinary digital painting systems.

楚亭 朴齊家의 虛心養性的 繪畵觀

Park Jega was a scholar and thinker active in the late 18th century of the Joseon Dynasty. Although he never presented a precise painting theory, he said that he has been a painting enthusiast since childhood and continued to enjoy painting even after he grew up. Thus, in this paper, I analyzed his view of the painting by investigating his preface, postscript, and inscribed poem of painting.
 I briefly summarized Park Jega's view of painting to empty the mind and cultivate nature as follows. First, I analyzed the aspect that he emphasized the form of spirit as an image beyond the image from the stance of focusing on the rhythm of spirit. As a result, Park Jega actively affirmed the value of calligraphy and painting by applying the theory that the boundary of poetry is mutually compatible with that of painting to the creation of calligraphy and painting. He embodied the natural painting will that exudes the spiritual taste of literati painting. Also, he realized the world of describing the thinking while faithfully possessing the formative beauty of resembling the form. Thus, he was faithful to the rhythm of spirit that expresses the image beyond the image. Second, I examined the fact that he created the vitality of the natural taste of nature in terms of the natural spirit. As a result, the emptiness to empty the mind is a premise that can achieve aesthetic communion with external objects and was also related to Park Jega’s open thinking. Since people already have preconceived notions, they should empty their minds before painting. Park Jega called that prejudice Gakmak(角膜). He said people must first remove the Gakmak that blocks them from recognizing beauty as beauty. In short, Park Jega insisted on discarding stereotypes and closely observing objects because people can create a good painting only in an unintentional state to obtain the form of the spirit.
 We cannot fully comprehend Park Jega's view of painting through the above discussion. It is necessary to have a broad understanding of his worldview and an integrated discussion of his poetry, calligraphy, and painting to understand his view of painting more in-depth.

Application of Chemical Technology of Water-Based Acrylic Dipping Paint in Art Painting Creation

In order to better sort out the superiority of water-based acrylic in painting art, explore and understand the uniqueness of water-based acrylic painting materials and apply this to art creation. The author proposes a chemical process based on water-based acrylic dipping paint, by discussing the coating and film properties of water-soluble acrylic dip paint, combined with the practical application of a casting tank; summarizing the countermeasures to solve the disadvantages of common paint films; and proving that the paint has a good comprehensive performance by comparing with other dipping paints. Experimental results show that based on the chemical process of water-based acrylic dipping paint, it has waterproof, high gloss, gloss retention, color retention, high weather resistance, and good corrosion resistance in the process of art painting; the physical parameters are better than other dipping paints, such as gloss can reach 70∼80%. Conclusion. In art painting, water-based acrylic dip paint is a kind of comprehensive performance paint with waterproof, high gloss, gloss retention, and color retention.

Promoting students' artwork appreciation: An experiential learning‐based virtual reality approach

AbstractIn artwork appreciation activities, visiting physical exhibitions in art museums is often limited by time, distance and cost. Thus, conventional teaching is mostly conducted through textbooks, presentation slides or videos. However, by presenting artwork appreciation through a lecture, it is difficult for students to feel the beauty of artworks, and they can hardly develop accurate appreciation knowledge and critical thinking. To tackle this problem, this study proposed an experiential learning‐based spherical video‐based virtual reality (EL‐SVVR) learning approach based on the experiential learning theory to guide students to browse world‐famous artworks and experience the features of artwork creation. This study developed an EL‐SVVR learning system and adopted a quasi‐experimental design to determine whether the EL‐SVVR learning approach improved students' performance in artwork appreciation in comparison with the conventional teaching approach. A total of 45 university students from two classes who participated in an elective art course were recruited in the study. One class was assigned to be the experimental group and adopted the EL‐SVVR learning approach, while the other class was assigned to be the control group and adopted the conventional technology‐supported learning (CTL) approach. The results showed that in comparison with the CTL approach, the EL‐SVVR learning approach enhanced students' learning achievement, learning motivation, self‐efficacy, critical thinking and performance in digital painting creation during artwork appreciation.Practitioner notesWhat is already known about this topic Spherical video‐based virtual reality (SVVR) situates students in a simulated environment that enables them to have deep experience regarding the learning contexts. SVVR has great potential in promoting students' learning performance by providing them situational contexts. What this paper adds An SVVR‐based experiential learning approach is proposed to facilitate students' artwork creation. In addition to promoting students' learning outcomes, the EL‐SVVR learning approach could better facilitate students' learning achievement, learning motivation, critical thinking, self‐efficacy, and performance in painting creation. Implications for practice and/or policy SVVR is a potential technology for implementing experiential learning activities; in particular, in improving students' creative thinking for artwork creation. It is potentially worth trying to apply the SVVR technology to other courses related to artwork creation to promote learners' learning performances and perceptions. It is worth promoting the SVVR approach in school settings since it is a low‐tech and low‐cost solution with potentially positive impacts on students' learning outcomes.

(Retracted) Virtual reality painting dexterous hand gesture control algorithm and simulation

With the expansion of the application field of robots and the complexity of the work environment and tasks, ordinary robots and various simple end-holding devices that cooperate with them are far from being able to meet the requirements of various dexterity and fine operation tasks. Immersion means that the process of painting is virtual immersion; the expression requirement for painting must be immersive. This research mainly discusses the posture control algorithm and simulation of dexterous hand in virtual reality painting. The research combines the related theoretical basis of the dexterous hand posture control algorithm with VR painting, and explores the immersive experience characteristics brought by VR immersive painting. This research will focus on the three aspects of the action state pattern recognition based on the surface electromyogram (EMG) signal, the algorithm of the dexterous hand virtual control system, and the simulation of the bionic dexterous hand EMG control system. The collection and processing of the surface EMG signal of the forearm were completed. The experiment verified the effectiveness and accuracy of the surface EMG signal feature extraction, feature dimensionality reduction, and classification algorithm, and realized the pattern recognition of eight action states. Using musculoskeletal simulation software and a finite state machine control model, an intelligent bionic dexterous hand virtual control system was established, which realized offline gesture recognition and performance evaluation of the virtual control system. In the environment of large time delay, many painting experiments were carried out, the tasks were successfully completed, and the average completion time was about 4 min. At this stage, most of the finger structures of dexterous hands are in series, and the accumulated error is large, which greatly affects the accuracy of dexterous hands. VR painting is an innovative form of painting with potential space in the future. The results of this research and exploration can reflect the potential possibilities of future painting creation forms.

Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting

By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a lack of aesthetic merit. Lack of creative integrity and originality; little aesthetic effect; lack of a modern viewpoint or historical significance. It is clear that there is a “tendency to profit,” and commercialization results in repetition and homogenization. A few representative lacquer paintings and artworks have been examined by the author.By emphasizing the incorporation of styles from other forms of painting and increasing the lacquer painting’s creative expressive language, the author offers answers.The development of lacquer paintings with realistic subjects in the context of the new period is suggested as well as workable solutions.

ViviPaint: Creating Dynamic Painting with a Thermochromic Toolkit

New materials and technologies facilitate the design of thermochromic dynamic paintings. However, creating a thermochromic painting requires knowledge of electrical engineering and computer science, which is a barrier for artists and enthusiasts with non-technology backgrounds. Existing toolkits only support limited design space and fail to provide usable solutions for independent creation and for meeting the needs of the artists. We present ViviPaint, a toolkit that assists artists and enthusiasts in creating thermochromic paintings easily and conveniently. We summarized the pain points and challenges by observing a professional artist’s entire thermochromic painting creation process. We then designed ViviPaint consisting of a design tool and a set of hardware components. The design tool provides a GUI animation choreography interface, hardware assembly guidance, and assistance in assembly process. The hardware components comprise an augmented picture frame with a detachable structure and 24 temperature-changing units using Peltier elements. The results of our evaluation study (N = 8) indicate that our toolkit is easy to use and effectively assists users in creating thermochromic paintings.

The Texture and Color Matching of Oil Painting Materials Based on Multimedia Visual Communication

The obvious tendency of modern artists to change the concept of painting is to pay more and more attention to personal feelings and spiritual expression. In modern oil paintings, there are more and more oil paintings that convey emotions and the emotional expression methods of the colors of the works are becoming more and more abundant. This article aims to study the application of multimedia visual communication in the texture and color matching of oil painting creation materials and to put forward the viewpoint of applying more multimedia visual communication to oil painting creation. This article first gives a detailed introduction to oil painting creation materials and their texture, oil painting color matching, and so on. In addition, experiments were conducted on the application of multimedia visual communication in the texture and color matching of oil painting creation materials. The experimental results show that the texture and color matching of oil painting creation materials based on multimedia visual communication are more popular with the public, and oil painters are also satisfied with this method. And, the expressiveness of oil painting texture has been improved by 10%. This shows that the texture and color matching scheme of the oil painting material in this study is effective.

An Improved Oil Painting Formation Using Advanced Image Processing

The fast advancement of computer science and information technology has resulted in a significant revolution in the commercial painting sector. The professional painting industry has experienced a dramatic breakthrough with the rapid expansion of computer science and technology. With the rapid development and comprehensive popularization of computer technology, more and more people use computer image processing technology in oil painting created as a new way of creation. Some artists use a variety of ways to study the way of oil painting creation and use image processing technology to stimulate the creator’s imagination and improve the efficiency of drawing sketches in optimizing creative ideas, drawing, and processing original works. However, the value of art comes from creation. Oil painting creation based on computer image processing is a new type of artistic production that still requires the integration of different artists’ ideas and creative concepts. The image processing technology is a tool and a way for artists to make art while also realizing the convergence of science, technology, and art. This paper uses computer image processing technology to study oil painting creation. First, it briefly discusses computer image processing technology, focusing on picture preprocessing and image graying, and then uses this technique in formation of oil painting. Second, it establishes the oil painting mathematical, direction field, and color conversion models completing the oil painting image creation by using this model. Finally, the advantages of this technology are analyzed from the two aspects of oil painting creation, painting technique, and brush direction. The results show that 75% of artists are very satisfied with the digital painting technique, and 65% of artists are very satisfied with the painting brush direction, which shows that the application effect of computer image processing technology in oil painting creation is remarkable.

Analysis of Emotional Color Representation in Oil Painting Based on Deep Learning Model Evaluation

When an artist creates an oil painting, it is rich in emotion. Color is the main way to express emotion in oil painting. As far as the art field is concerned, color is an objective phenomenon that people can really feel its unique richness and brilliance, and different people will have different emotions when facing the same picture. Color itself is not emotional, but people have different psychological feelings by looking at different colors. This is the power of color. In the same way, color is also a carrier for painters to convey emotions in oil paintings. The study of emotional color expression in oil painting is more helpful for people to understand the emotion conveyed by oil painting. Color has an important role and an irreplaceable position in oil painting creation. In the creation of oil painting, color expression is combined with emotional expression. The creator conveys his experience and feelings in the form of color. In this paper, we look at the relationship between color and emotion, the emotional expression of color, and the expression of emotion in painting. The creators of oil paintings convey their feelings and experiences in the form of color, which plays a unique and important role in portraying the image of their works, expressing emotions, and creating an atmosphere, and we analyze and reveal how to use paint to express emotions in oil painting.

The Music Image in the Image — On the Visual Representation of the Music Image in the Painting Exhibition of Qiu Xiaofei

Qiu Xiaofei, an artist, is one of the most popular artists among the post-70 generation of Chinese contemporary painting. You can see from his painting creation, the subject matter of painting works and the working way of creation all start from the artistic concept similar to image text. When artists explain their paintings, the capriciousness of painting creation and the lyricism presented in the works are inseparable from the artist's infatuation with music. In this paper, from the perspective of imagology, through the analysis of the artist Qiu Xiaofei's painting creation of music images in the exhibition, it can be seen that his image text is closely related to music when transformed into visual images, and the concept of "empathy" behind the transformation of the painting form of the artist is elaborated.

The Practical Application of Oil Painting in the Treatment of Mental Illness.

With the rapid development of economy, politics, science, and technology and the improvement of living material level, people pay more attention to personal physical and mental development. The incidence of mental illness is on the rise. Psychological education curriculum learning and psychological counselling are based on communication; there are still many limitations. The art media enables patients to reveal their subconscious and potential emotional needs, so that interveners have the opportunity to explore these issues and build a bridge of communication with patients. In this paper, oil painting therapy of nonverbal communication is proposed as a way of psychological therapy. The patients in the psychological department of a hospital are served by six stages of therapy, each stage of treatment has different arrangements, and continuous service and treatment are adopted. Based on the art analysis principle of oil painting creation, the therapeutic experience obtained from oil painting creation and the experience gained from oil painting were divided into groups to compare the therapeutic effect and explore the role of oil painting art therapy. The results showed that the scores of the treatment group were significantly lower than those of the control group at 4 weeks and 6 weeks after the art therapy of oil painting creation, showing a significant downward trend overall. Oil painting art therapy may alleviate anxiety, providing data support for the application of oil painting art therapy in patients with depressive episodes.