步骤1
这是另一个在我现在认为我的“佛罗里达”时期。在一个美丽的阳光明媚的冬日下午镇的海滨,在佛罗里达狭长地带,我花了很多的照片作为强烈清晰的阳光魔法了几乎所有工作我看见。我的“吊床”绘画来自这个下午。这些古董铜锅刚刚被放出来展示和发挥的光,黑暗和阴影就吸引了我的幻想。几分钟后,老板已经凌乱了这个摊位展示与无关的对象,但我喜欢这个设置的僵硬的简单。图像尺寸11“×14”在拱门300磅冷压纸,使用温莎&牛顿艺术家质量颜色。
步骤2
我画的好玩,我最喜欢水彩画是那些细节,所以我总是做一个仔细画第一,尝试保持铅笔图像清晰到最后洗。他发现困难在绘画初学者圆柱形物体晚上要考虑把纸的一面看下来,这取决于你是左或右撇子,有铅笔流在最舒适的位置。被颠倒也帮助你想象如果你的比例是正确的。
步骤3
这是我完成的图纸。在这个阶段我总是静静地坐着和油漆这在我脑海中。我写下来,我想我应该采取的步骤。当穿上液体掩蔽。这颜色来粉刷第一。什么颜色的我应该混合最佳代表我看到的东西。这些笔记我能记住我本该做的如果我远离它好几天了。我退休了,所以我不着急。没有“夜猫子”对我来说。
步骤4
这里我使用液体掩蔽放在那些有趣点的阳光看穿了底部的铜盘。我使用过的很苍白的深蓝色洗沿着阳光照射的钢圈的大罐、碗和水壶。
步骤5
接下来,我使用一个苍白的画下洗的深褐色,带着些许的布朗心中所想,暗红。这将覆盖大部分的课程,但我想我们很多光洗达到我想要的。
步骤 6
现在我工作了我基本的铜色。我使用一个混合的深褐色,布朗茜草、和暗红。在这里我提升了一些柔和的强调与干刷。
步骤7
我已经完成了我的铜水壶现在。我已经使用了几许镉黄深暗的阴影由布朗茜草和安特卫普蓝色。
步骤8
现在我已经完成了我的铜罐、碗结合使用,所有的颜色我使用至今。我并不是试图复制我的参考照片完全一样的亮点是烧坏了一点,我想实现我所想的这些铜对象应该看起来像。我已经删除了液体掩蔽所以我的阳光照射的洞和我介绍脱颖而出更绿色强调老化铜结构。我知道我可能会回去在稍后的阶段,但光与影的平衡似乎适合现在。
步骤9
我已经完成了内阴影的大型铜碗和保护处理区和外边缘的小碗准备外观。我不喜欢影子的边缘上小碗,它满足外阴影区域,所以我将删除,之后。
第十步
我是对的影子。虽然它实际上是在原始的参考照片只是看起来不正确所以这里,它将被删除。我将在在绘画的处理。在这张照片的处理在深色的阴影消失,但持有打印到一个强光灯我可以看到所有的细节。我将努力使今天成为与众不同。我可能会变黑,内阴影更加一旦我拿到背景和纹理和阴影在木制的基地
步骤11
在我粗暴的木纹我移液掩蔽保护边缘的锅,放在主要的影子,混合使用蓝色和棕色茜草安特卫普。在我原来的摄影参考这个时代有点曝光和泥泞,所以我使用一个阴影技术如图所示,一个影子在一个影子。在极端的边缘中物体的影子经常存在一个深色的阴影。即使它不是我发现它经常增加了现实主义。我画在仔细失去优势立即。
步骤12
现在我小好完成了锅和站。我知道我将回去修改映射后我在后台铺路石上,但这将为现在。
步骤13
我怀疑我想要如何主导背景锁的铺路石,所以我粗暴的先看看一切都。我总能加深他们如果需要。
步骤14
接下来我将在边缘,使他们更立体,仍然记住它是容易染黑后如果需要。
步骤15
现在我意识到我的背景的铺路石太微弱,所以我给他们另一个外套和增强了边缘有点像激烈的影子已经洗东西有点。
步骤16
这是我的最终结果,尽管我花了一些时间摆弄那些铺路石通过添加色彩在阴影区域和强调边缘。我就生活在这几天,看看你们提出建议。我不满意这个方式处理使尴尬的三角罐与小碗和背景站和铁环绕。我可以用一些颜色,使处理坚持超过碗——我们将会看到。我决定不添加背景的影子在参考照片我觉得太占主导地位。我希望这是对你的演示使用。
原文如下：
Step 1
This is another in what I now think of as my “Florida” period. On a beautiful sunny winter afternoon in the town of Seaside, in the Florida panhandle, I took dozens of photographs as the strong clear sunlight worked its magic on almost everything I saw. My “Hammock” painting came from this afternoon. These antique copper pots had just been put out on display and the play of light, dark and shade just caught my fancy. A few minutes later and the stall owner had cluttered up this display with unrelated objects, but I liked the stark simplicity of this set-up. Image size 11″ x 14″ on Arches 300 lb. cold pressed paper, using Winsor & Newton Artist quality colours.
Step 2
I paint for fun and the watercolours I enjoy most are those with detail, so I always do a careful drawing first and try to keep the pencil image clear until the last wash. Beginners who find difficulty in drawing cylindrical objects night want to consider turning their paper up-side down and, depending on whether you are left or right-handed, have the pencil flow in the most comfortable position. Being upside down also helps you visualize if your proportions are correct.
Step 3
Here is my completed drawing. At this stage I always sit quietly and paint this in my mind. I write down the steps I think I should take. When to put on liquid masking. Which colours to paint first. What colours I should mix to best represent what I’m looking at. With these written notes I can remember what I was supposed to do if I’m away from it for several days. I’m retired, so I’m in no hurry. No “all-nighters” for me.
Step 4
Here I’ve used liquid masking to put in those interesting dots of sunlight seen through the bottom copper pan. The I’ve used a very pale wash of Ultramarine Blue along the sunlit rims of the big pot, the bowl and the jug.
Step 5
Next I used a pale under-painting wash of Burnt Sienna with a touch of Brown Madder and Alizarin Crimson. Most of this will be covered up of course, but I like to us many light washes to achieve what I want.
Step 6
Now I’m working up my basic copper colour. I used a mixture of Burnt Sienna, Brown Madder, and Alizarin Crimson. Here I’m lifting out some muted highlights with a dry brush.
Step 7
Here I’ve completed my copper jug for now. I’ve used touches of Cadmium Yellow deep and dark shadows made from Brown Madder and Antwerp blue.
Step 8
Now I’ve completed my copper jug and bowl using a combination of all the colours I’ve used up to now. I’m not trying to copy my reference photograph exactly as the highlights were burned out a bit, and I want to achieve what I think these copper object should look like. I’ve removed the liquid masking so my sunlit holes stand out and I’ve introduced more green to emphasize the aging copper texture. I know I will probably go back in at a later stage, but the balance of light and shade seems right for now.
Step 9
I’ve completed the inner shadows of the large copper bowl and protected the handle area and the outer rim of the smaller bowl ready for the exterior. I don’t like the shadow on the rim of the smaller bowl where it meets the outer shadow area, so I will remove that later.
Step 10
I was right about that shadow. Even though it’s actually on the original reference photograph it just doesn’t look right so here it is removed. I’ve put in the under-painting for the handle. In the photograph the handle disappears amid the darker shadows, but holding the print up to a strong light I can see all the details. I’ll try to make this stand out more. I may darken that inner shadow even more once I’ve got the background in and the texture and shadows on the wooden base
Step 11
After I roughed in the wood grain I removed the liquid masking protecting the edges of the pots and put in the main shadow, using a mixture of Antwerp Blue and Brown Madder. In my original photographic reference this era was a bit over-exposed and muddy, so I used a shadow technique as shown – a shadow within a shadow. At the extreme edge of an object in shadow there is often a darker shadow. Even if it isn’t there I find it often adds to the realism. I paint in carefully and lose the edge immediately.
Step 12
Now I’ve petty well completed the pots and stand. I know I’ll go back and make modifications after I’ve mapped in the background paving stones, but this will do for now.
Step 13
I was doubtful about how dominant I wanted the background inter-lock paving stones to be, so I roughed them in first just to see how everything went. I could always darken them if needed.
Step 14
Next I put inthe edges to make them more three-dimensional, still keeping in mind it was easier to darken them later if needed.
Step 15
Now I realized my background paving stones were too faint, so I gave them another coat and strengthened the edges a bit as the intense shadow had washed things out a bit.
Step 16
Here is my final result, although I spent some time tinkering with those paving stones by adding colour in the shadow areas and emphasizing the edges. I’ll live with this for a few days and see if any of you come up with suggestions. I’m not happy with the way the jug handle makes an awkward triangle with the smaller bowl and the background stand and iron surround. I may lift some colour and make the handle stick out more beyond the bowl – we’ll see. I decided not to add the background shadow in the reference photograph as I felt it was too dominant. I hope this demo was of use to you.
