给一些认为的调色板和能够显著的影响
每次你决定油漆,一个主要的决定将是如何使用颜色。这不是只要使用一个深蓝色的天空或使一个红一块紫一块,那些是选择性的选择在一个更大的舞台。我说的是你的价值观,轻盈和黑暗的颜色,要集中在较轻的值,中间,或广泛,或者你要用很亮的颜色,灰色的强烈色彩,或一个鲜明的光和黑暗的调色板。这种颜色的决定是非常重要的,一个是忽略了在绘画的画家只是复制完美的照片。在这个世界上一个重大的决定是改变颜色的垃圾桶从蓝色到深蓝色,哇,这样的创意。
在这节课我将画同样的美妙的阳光照射的新英格兰的建筑,每次处理颜色和价值观不同。我认为你会看到改变的颜色调色板和对比的价值真的能让一个巨大的差异在情绪和感觉你的绘画。
在第一幅画我使用了一个非常狭窄的取值范围和专注于早春亮绿和黄色。影子在建筑是一个非常光值混合从钴蓝色,钴紫和少许的原始黄土。因为它是一个白色的建筑我想影子看起来白,我真的试着去感受温暖的光,将可见的反弹与这么多的太阳在这样一个晴朗的日子。我重读的感觉随着温暖的阳光在windows。绿色的树木和前景喜忧参半,相同的颜色,耐晒黄、新藤黄、钴蓝和一些生黄土在树干的细节。我刮掉树小小刀。前台等级是一个温暖的混合耐晒黄、新藤黄、钴蓝和橄榄绿色混合在右侧的字段。我到处湿生黄土和深褐色到田野有一圆形刷当颜色还是湿的。
记得保持价值的绘画光,用鲜明的色彩,真正注意明度和颜色的阴影这个颜色不是紫色或平无生命的灰色。
对于第二幅画我选择了一个更中立的颜色调色板,深褐色,群青,黄赭、钴紫。值范围的这幅画是阴暗得多和更集中在中间范围。我将使用很少的白色虽然偶尔会有突出整幅画。我决定添加一些水到绘画,从一开始我知道我想要一个真正的黑暗边缘在吃水线和烦躁,我确保我应用涂料与我的一边刷找一个活跃的边缘。
有更多的绘画在前台,我已经把更多的兴趣在下边的绘画。我认为它会很无聊,如果它是一个梯度场像在第一幅画。
建筑是一个混合的深蓝色,深褐色和一些生黄土热身部分的墙壁。我画一个窗口周围给效应能够看到窗外。我与一个光纹理的屋顶混合物类似颜色的墙壁上,我使用的一侧圆刷涂油漆,然后溅满了一些颜色在它给一些细节。那里的树满足建筑物的黑暗面之间我失去一些边缘建筑和树木和削减约一些强调给这幅画深度。我还将在一些随机的形状的底部墙的构建又面临这给那个地区一些强大的深度。工作在灰色的颜色并不容易,首先如果你不记得你的颜色不同的混合物会无聊的,如果你擦漆太多,你会变得非常平坦和无趣的通道的颜色。记得你的专业级形状和改变你的细节,笔法和色彩。一个灰色的颜色调色板可以产生一个无聊的画如果你不投入足够的精力到微妙的变化。它需要一个非常周到的方法但可以导致很好的画。看看安德鲁惠氏。
在第三版,我试图得到一个非常强烈的感觉,光形成鲜明。使用一个值的范围从最亮的光,黑暗的黑暗和非常丰富的颜色有很多活跃的笔法和刮,我产生了一个更强大的绘画。光跳掉的纸。影子在这所房子是一个触摸黑暗但依旧是透明的,我让它使用相同的混合物我使用在第一个版本中,钴蓝色、钴和少许的紫、黄赭。我偶尔会使用一些镉猩红色,灰色的混合物,它添加了一个漂亮的温暖。运行后,形成的阴影投房子我出现在黄赭顶部的影子,让它流血下洗。我想我也有点太离谱了,但是比没有更好一些。左边的房子里,我已经照亮了门廊,阴影和把更多的温暖色彩。这给了一个更好的感觉,反射的光。注意件白色纸我已经离开树的底部线这两个添加的兴趣和一定的深度。
地上画着非常丰富的中间值的颜色,非常多的色素和灯水。太多的水和颜色将会稀释和弱。我犯了一个大的变化在整个前台的颜色非常丰富的原始黄土与左边一点绿色颜料,在中间我把混合物倒入一个主导地位的绿色颜料,然后回到一个更富铁黄土/绿色颜料混合在最右边。这幅画的底部是一个混合的字段的颜色加上深蓝色,深褐色,这是应用很少的水和非常好斗的笔法。我刮掉杂草和岩石与刮板和一把刀。一个点要记住的是,当我把这些混合我不是在刷在调色板创建一个一维无聊的混合,而是我只是混合他们有点和试图保持每个颜色作为一个独特的部分的组合。尽量不要在你的颜色,你将混合有更活力和半透明的洗涤。
最后版本的房子是光填充而颜色是很温暖,夏天的。树木在背景建模更感觉比以前的版本和值范围很广。在后面的绘画的绘画是由细节的数量在前台。这是非常必要的,如果你想要背景原地不动,没有站出来。绘画的核心是在前台以其分散片的光和活跃的笔法。油漆使用了16号的一侧圆刷,我使用一个银黑色天鹅绒刷他们是伟大的和相当便宜。我真的把刷子沿着和多样的色彩和角度高达是有意义的。太多的改变方向和前景会非常混乱。我摊几感光刮小杂草。房子上的影子是相同的混合但我确实像之前缩短了阴影。树线房子后面是始于新藤黄和我说酷黑蔬菜上的黄色的得到一个强大的建模形式。富人的暖调子的树是一个混合的新藤黄、生黄土,可能镉猩红色。
树木被漆成在一个持续的过程,没有时间来干燥。继续使用更少的水随着过程的继续,不断改变颜色和绘画。我刮了树木和一把刀子,并添加了一些黑暗的细节与6号脚本从银黑天鹅绒衬垫也行。
我希望你喜欢这个课如何改变颜色和价值观真的可以添加到您的重复主题解读。如果你喜欢一个主题比得到一些里程从它和真的放手的一种方法是最好的态度。
原文如下：
Give Some thought to the Color Palette and the Effect Can be Remarkable
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Every time you decide to paint, a major decision is going to be how to use color. This is not as simple as use a dark blue for the sky or make a red piece a purple piece; those are selective choices inside a bigger arena. What I am talking about is are your values, the lightness and darkness of your colors, going to be concentrated in the lighter values, the middle, or a broad range, or are you going to use very bright intense colors, grayed colors, or a stark light and dark palette. This color decision is very important and one that is overlooked in the paintings of the painter who is just reproducing the perfect photo. In this world a big decision is to change the color of the trashcan from blue to dark blue, wow not that’s creative.
In this lesson I will be painting the same wonderful sunlit New England building, each time handling the color and values differently. I think you will see how the changing of the color palette and the contrast of value can really make a huge difference in the mood and feeling of your painting.
In the first painting I have used a very narrow value range and focused on early spring light greens and yellows. The shadow on the building is a very light value mixed from Cobalt Blue, Cobalt Violet and a hint of Raw Sienna. Since it is a white building I want the shadow to look white and I really tried to get a feeling of the warm bounce light that would be visible with this much sun on such a clear day. I accented the feeling of sun with the warmth in the windows. The green on the trees and in the foregrounds were mixed with the same colors, Hansa Yellow, New Gamboge, Cobalt Blue and some Raw Sienna in the details of the tree trunks. I scraped out the Trees with a small penknife. The foreground gradation is a warm mix of Hansa Yellow, New Gamboge, and Cobalt Blue with Olive Green mixed in to the field on the right. I splattered wet Raw Sienna and Burnt Sienna into the field with a round brush when the colors were still wet.
Remember to keep the values of the painting light, to use vibrant colors, to really pay attention to the lightness and the color of the shadow this color is not purple or a flat lifeless grey.
For the second painting I have chosen a more neutral color palette, Burnt Sienna, Ultramarine Blue, Raw Sienna, Cobalt Violet. The value range of the painting is much darker and is more focused in the middle ranges. I will be using very little white although there will be the occasional highlights around the painting. I decide to add some water to the painting and from the very start I know I want to have a real dark agitated edge at the waterline and I make sure that I apply the paint with the side of my brush to get a nice active edge.
There is much more brushwork in the foreground and I have put a lot more interest in the lower portion of the painting. I think it would be really boring if it were a graded field like in the first painting.
The building is a mix of Ultramarine Blue, Burnt Sienna with some Raw Sienna to warm up some of the walls. I painted around the one window to give the effect of being able to see through the window. I textured the roof with a light mixture similar to the color on the walls, I use the side of a round brush to apply the paint and then splattered some color on it to give some details. Where the trees meet the dark side of the building I lose some edge between the building and the trees and cut around some little highlights to give the painting depth. I also cut around some random shapes at the bottom of the facing wall of the build again this gives that area some strong depth. Working in grayed colors is not easy; first if you don’t remember to vary your colors the mixtures will be boring, and if you rub the paint too much you will get very flat and uninteresting passages of color. Remember to grade your major shapes and to vary your details, brushwork and colors. A grayed color palette can produce a boring painting if you don’t put enough effort into subtle changes. It requires a very thoughtful approach but can result in very nice paintings. Just look at Andrew Wyeth.
In the third version, I am trying to get a very strong stark feeling of light. Using a value range from lightest light to darkest dark and very rich colors with lots of active brushwork and scraping, I have produced a much more powerful painting. The light jumps off of the paper. The shadow on the house is a touch darker but is still transparent and I made it using the same mixture I used in the first version, Cobalt Blue, Cobalt Violet, and a hint of Raw Sienna. I occasionally will use some Cadmium Scarlet to gray the mixture and it adds a nice warmth. After running the cast and form shadows on the house I dropped in some Raw Sienna at the top of the shadow and let it bleed down into the wash. I think I went a little too far but better some than none. On the left side of the house, with the porch, I have lightened the shadows and put more warm colors in. This gives a much better feeling of bounced light. Note the pieces of white paper I have left at the bottom of the tree line this both adds interest and a sense of depth.
The foreground is painted with very rich middle valued colors, which are heavy on pigment and light on water. Too much water and the colors will be too diluted and weak. I made a big change in color across the foreground from very rich Raw Sienna on the left with a touch of Sap Green, and in the middle I moved the mixture to a dominance of Sap Green and then back to a more Raw Sienna/Sap Green mixture on the far right. The bottom of the painting is a mixture of the field colors plus Ultramarine Blue, and Burnt Sienna and this is applied with very little water and very aggressive brushwork. I scraped out the weeds and rocks with a scraper and a knife. A point to remember is that when I put together these mixes I am not over brushing them on the palette creating a one dimensional boring mix, but rather I am just mixing them a little and trying to preserve each color as a distinctive part of the mix. Try not to over mix your colors and you will have more vibrant and translucent washes.
The last version of the house is light filled but the colors are very warm and summery. The trees in the background have a more modeled feeling than in the previous versions and the value range is very wide. The brushwork in the back of the painting is supported by the amount of detail in the foreground. This is necessary if you want the background to stay in place and not come forward. The heart of the painting is in the foreground with its scattered pieces of light and active brushwork. The paint was applied with the side of a number 16 round brush, I use a Silver Black Velvet brush they are great and fairly inexpensive. I really moved the brush along and varied the color and angle as much as it made sense. Too many direction changes and the foreground will get very confusing. I splattered a few darks in and scraped the smaller weeds. The shadows on the house are the same mixes as before but I did shorten the shadows. The tree line behind the house was started with New Gamboge and I added cool dark greens on top of the yellow the get a strong-modeled form. The rich warm tones in the trees are a mixture of New Gamboge, Raw Sienna, and probably Cadmium Scarlet.
The trees were painted in one continuous process, no time out for drying. Just keep using less water as the process goes on and keep changing the color and brushwork. I scraped the trees out with a knife and added some dark details with a number 6 Script Liner also from Silver Black Velvet line.
I hope you enjoyed this lesson on how changing the color and values can really add to your interpretation of a repeated subject. If you like a theme than get some mileage out of it and really let go of the one approach is best attitude.
