丙烯酸肖像画教程 - 使用有限的调色板和一个四值画底色
一个快速肖像画演示显示一个相对不那么痛苦的方法使用一个有限的调色板肖像和四值画底色。
油漆完:
为参考我使用一个免费的图片从参考图像库的Wetcanvas:
我开始有一个详细的线路图,然后画一个4价值研究只使用黑色,深灰色、灰色、白色较轻。
画你自己的 4价值研究可以使用photoshop将您参考,黑色和白色,然后多色调分色印你参考下4值(见下文)。或者你可以大纲组织价值的地区直接在您的全彩色的参考,然后决定如果每个概述了集团,在价值、更密切相关的一个黑色,一个深灰色,浅灰色,或白色。你可以注意你的决定在你的参考然后油漆这些值相应的模式(见下文)。
这是参考图片减少到4值在photoshop中:
这里的颜色参考分为价值组可以转化为简单的灰色调在你的画底色:
我让4价值研究干。
使用有限的调色板的alrizarin深红色、黄色、深蓝色、白色cad,我混合通用整体粉红色肉语气和稀释油漆与水和轻有色整个脸,除了白色区域。关键是要漆透明地好像你是着色照片。你可以稀释你的丙烯酸涂料与介质或水。饱和度是自动控制的事实油漆稀释和色素dispursed sparsly和灰色的画底色显示透和影响颜色。我用黄色来混个浅色和彩绘两边的灯。
最后,我混合和添加小饱和区域的局部颜色,混合着三个初选。关键是克制。如果颜色太浓,就釉与通用肉染你已经混合。混合一个棕色和红色,黄色和黑色小加强阴影。添加温暖和凉爽的灰色的颜色,观察。我有色帽子、衬衫和裤子背带与深蓝色和一点天蓝色的。整个5×7肖像花了90分钟。灰色的画底色真的帮助联系起来。肉之后,首先你可以添加色彩真的不计后果的颜色,它仍然会显得可信。这是一个有趣的、统一和相对无痛技术相比,制作肖像的其他一些缺少系统性的方法。
原文如下：
Acrylic Portrait Painting Tutorial - Using A Limited Palette and A Four Value Underpainting
A quick portrait painting demo showing a relatively painless approach to portraits using a limited palette and a four value underpainting.
Finished Painting:
For the reference I used a free picture from the Reference Image Library of Wetcanvas:
I started with a detailed line drawing and then painted a 4 value study using only black, a dark grey, a lighter grey, and white.
To paint your own 4 value study you can either use photoshop to convert your reference to black and white and then posterize your reference down to 4 values (see below.) or you can outline groups of value areas directly on your full color reference and then decide if each outlined group, in terms of value, is more closely related to a black,a dark grey,a light grey, or a white. You can note your decision on your reference then paint those value patterns accordingly (see below.)
Here’s the reference photo reduced to 4 values in photoshop:
Here’s the color reference divided into value groups which you can translate into simple grey tones on your underpainting:
I let the 4 value study dry.
Using a limited palette of alrizarin crimson, cad yellow, ultramarine, white, I mixed a generic overall pinkish flesh tone and diluted the paint with water and lightly tinted the entire face, except for the white areas. The key is to paint transparently as if you are tinting a photo. You can dilute your acrylic paint with medium or water. Saturation is automatically controlled by the fact that the paint is diluted and the pigments are dispursed sparsly and the grey underpainting is showing thru and influencing the color. I used the yellow to mix a light color and painted the lights on the sides.
Finally, I mixed and added little saturated areas of local color, mixed with the three primaries. The key is restraint. If the color is too strong, just glaze it with the generic flesh tint you already mixed. Mix a brown with red, yellow, and a little black to strengthen the shadows. Add warm and cool greyed colors where observed. I tinted the hat, shirt, and suspenders with ultramarine and a little cerulean. The whole 5×7 portrait took about 90 minutes. The grey underpainting really helped hold it together. After that first flesh tint is added you can get really reckless with the color and it will still seem believable. This is a fun, consistant, and relatively painless technique for making portraits compared to some of the other less systematic approaches.
