如何画的手在丙烯画吗
介绍
我的名字是莱斯利·皮斯,欢迎来到我的示范在手中!我希望这个演示很有用并且更重要的是,是清楚的!做最好的我可以,我conceed我不是一个作家。我将努力使这尽量简单,但手很复杂,特别是当他们在油漆;占主导地位的主题。但肯定不是不可能的,在手中这个演示,你将看到如何我尝试画它们。
记住
有几件事要记住,在绘画的手:手的主题片吗?是手的重要作为主要的主题绘画吗?手的方式描绘也很重要。如果他们要轻轻放在腿上的一个孩子,然后双手可能不会需要尽可能多的细节。如果这是一个绘画的手捧着什么东西重要,或者手本身是这幅画的主题,那么细节应该变得更加明显。
解剖学是另一件事情是非常重要的要记住。皮肤下面发生了什么决定会发生什么皮肤上。不需要记住所有的韧带、肌肉和骨骼的名字,但重要的是要知道他们确实存在下面的形式和体积的手。它有助于你理解为什么一个皱纹或阴影发生“有”与“有”。
下面的图片是来自“灰色的解剖学”,一个优秀的书列出整个身体,包括手。措辞是小的图片我已经发布,但你有主意的显示。
草图
在解剖了一只手,你必须素描!这是一个很好的练习方法的手和你总是用一个模型!在等公共汽车吗?把你的手!某人的约会迟到,另一个很好的时间来构成你的内置模型!你知道当你有自由的时刻!用一些画和画落,你从不无聊和住在条件!
承诺的时间!
在你走之前任何进一步的,它承诺时间…这是非常重要的在实践中保持。素描的书是一个伟大的杂志,不仅保持状态,但它也是一个不错的参考书为未来的想法!所以,请许诺保持一本书和素描经常!同时,锻炼大脑…看东西,并把它与一个连续线,没有看你的论文!现在,这是一个速度和也是一个学习的好方法,你所看到的“信任”。最终,你会惊讶地发现准确就可以了!
颜色
是时候解决这个主题的调色板(颜色)。在这里我打破你的心。有没有这样的事,作为一个肤色配方!有很多因素需要考虑,照明,反射色,肤色等等。一个很好的例子就是带一个白色的陶瓷或陶瓷杯(盘、碗、无论手)和走在房间里,拿着它到不同的对象。你会看到颜色反射到白色的表面。
所以,如果你读这篇文章(或扫描到我的调色板),试着在你的画的颜色和它不工作,它可能是因为在我的调色板的颜色不同于你使用的颜色。你必须找到这样的颜色,实际上是在这个问题上,你是绘画获得“准确”肤色。
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开始
现在,随着提供的信息,它的时间去选择一个主题!有许多伟大的主题在参考图书馆可供选择。所以,请(!)穿过参考图书馆,素描,画,划痕或涂掉!对我的形象,我选择了从收集的手我最近上传的照片我的女儿,的手。
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在图纸的
我非常第一层,我应用大量的石膏层。我的绘画风格往往是相当薄;因此,帆布质地,通过展示一个有点太多。一旦石膏完全干燥,我开始素描。在这种情况下,因为时间限制,我没有快乐的石膏层。你真的能看到咬的画布,在过去的照片…
我选择了一个8×10英寸帆布董事会和决定油漆的手,“肖像风格”(垂直的),而不是“景观”(水平),因为图像是如此强大——的温柔抚摸姐姐的手。因为有这样的重量之间的爱那些温柔的手指,我想要很多的空间上面。
还有,最好不要切成分在“半”,因此将手低于中点使绘画的组成强劲。还好是左手流入手在右边,流是停在张开的手。同样有趣的是重量的亮度给右手;地方这幅画的主题是集中的。
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PUTTIN”涂料
完成后的草图,轻轻“突进”一块橡皮在画布上消除重铅笔线条和失去石墨。不要工作在素描太多。石墨的铅笔做在第一层泥泞,如果你不小心。
每个人都是一幅画,是不同的。一些负载上的油漆和所有在画布上,第一层。其他油漆从顶部或底部的画布上,朝着对面的结束,完成图像作为他们前进。一些工作在一个区域,区域的绘画直到完成之后才开始,而其他画家的工作在薄层在画布上。我的风格落在后者;我油漆在非常薄层在画布上。作为一个部分干燥后,另一个是解决。
另一个分离的艺术风格是实际的调色板。每个人都有不同的颜色,他们感到舒适。我的调色板是非常有限的,通常不会改变。虽然我的画看起来好像只是一些颜色被使用,八个或九个颜色是我平时调色板。保持面板相对小的是深思熟虑的几个原因。
- 当我第一次开始绘画,绘画已经够难的了没有混乱的事情有许多颜色可供选择。
- 我最喜欢的艺术运动是Rococco和巴洛克时期(年代)。大师成功地创建深度和美丽明亮的主题,同时又保持了颜色简单。
- 最后,一个有限的调色板帮助绘画联系和流好,统一的绘画。
虽然我的演示可以尝试使用任何形式的媒体中,我将使用丙烯酸(Liquitex)和我的调色板包括:
钛白
深褐色
生黄土
镉黄灯
镉红灯
镉红介质
深蓝色
妓女绿色
黄色氧化
我的刷子通常范围从新的和准备好老,真的衣衫褴褛。电刷是通常很便宜的、工艺风格,输入收款机时刷让我很受用。我很少扔掉,因为他们造就伟大的刷子刷洗的真正油漆或用于软脆弱的像中风。当然,对于一个干净,清爽的线,我将使用一个全新的或者相当新的刷。
记住,不是所有人都是一样的。旧的和粗糙的刷子可能不会为你工作。所以,实验一直是一个很好的建议。
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第一层在画布上
我想立即创建极端黑暗和灯光之间的对比。在某些情况下,它可能是小的狗的鼻子尖。在这种情况下,它的整个背景。我开始画作为一个单色显示黑暗的领域和深度使其更容易看到手的形式。
把画底色下来帮我看看在画布上的形象,可以更好的改正。
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下一层,添加颜色
在这一层,我开始真的变暗背景和部分的手指。我的混合的颜色是深蓝色,深褐色和一个小一点的镉红黑(颜色的手拉到背景)。一些光区域的背景是故意的,有些是由于应用油漆而层下还是湿的。这个地区主要是在左边的画和右下方的地区,我试图保持背景光。
当你用一个湿层在一层,还没有完全干,会把下面的层或擦掉画布。这是要记住的一些东西当绘画在层与丙烯酸树脂。虽然它往往是一个问题只有第一次几层;后续层往往没有显示取消那么严重。
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创造深度,我试图避免“概述”手通过使用阴影和反射的光来定义的手。尽管这幅画似乎有疤的此时,这不是担心。随着更多层次的颜色被添加,事情就会顺利了。
颠倒
在图像向右转,你会看到图像颠倒。这是经过深思熟虑的…这是在这一点上,我最不满意我的工作和查看它在这个角度帮助我停止看这幅画和图像作为我“看见”它和更多的图像实际上是。在一小段时间的绘画,我惊讶于更好的东西看右边!
在接下来的几个照片,你会看到我已经开始添加光肉基调。为此,我使用镉红灯,白色和一个触摸的镉黄介质。我用大刷子当这样做因为我不是关于自己的小细节,然而。
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减轻和变黑
同时仍然工作在整个绘画的表面,我已经减轻了地区和黑暗的其他人继续定义手的质量。如果你看看自己的双手,你会看到,曲线和线条所定义的阴影和高光。在图片下面,你可以看到细微的调整。经过许多小时,那些微妙的“调整”最终积累到完成作品。
在接下来的图像,经过几个小时的调整,我快到了。的顶部左边的手仍然看起来粗糙。同时,整个绘画缺乏柔软需要完成“情感”的联系。这通常发生在最后一层或两个,那就是当我终于满意我的工作。
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“姐姐的联系”
这是最后的形象!我已经任命这幅画作,“姐姐的联系”,在我的女儿和他们的美好的友谊。很快它将会更加特殊,周围美丽的金框,手工制作的由我丈夫深情。
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页尾 如下：
How to Paint Hands in Acrylics
INTRODUCTION
My name is Leslie Pease and welcome to my demonstration on hands! I hope this demonstration is helpful and more importantly, is clear! Doing the best I can, I conceed I am not a writer. I am going to try to make this as brief as possible, but hands are complex to paint; especially when they are the dominant subject. BUT certainly hands are not impossible and in this demonstration, you will see how I attempt to paint them.
KEEP IN MIND
There are a few things to keep in mind, before painting hands: Are the hands the subject of the piece? Are the hands as important as the primary subject of the painting? The way the hands are portrayed is important. If they are to be gently placed on the lap of a child, then the hands probably won’t need as much detail. If it’s a painting of hands holding something significant, or the hands themselves are the subject of the painting, then the detail should be more distinct.
Anatomy is another thing that is extremely important to remember. What happens under the skin is what determines what happens on top of the skin. There’s no need to remember all the ligaments, muscles and bones by name, but it’s important to realize they do exist underneath and are the form and volume of the hand. It helps you understand why a wrinkle or a shadows happens “there” as opposed to “there”.
The images shown below are from “Gray’s Anatomy”, an excellent book that lists the entire body, including the hand. The wording is small in the images I’ve posted, but you have the idea of what is being shown.
SKETCHING
After looking at the anatomy of a hand, you must sketch! it’s a good way to practice hands and you are always with a model! Waiting for the bus? Draw your hand! Someone’s late for an appointment, another good time to pose your built-in model! You know when you’ve got the free moment! With something to draw and a drawing surfacce, you are never bored and staying in condition!
PROMISE TIME!
Before you go any further, it’s promise time… It’s very important to keep in practice. Sketch books are a great journal and a way to not only keep in condition, but it’s also a good reference book for future ideas! So, please promise to keep a book and sketch often! Also, exercise the brain… look at something and draw it, with one continuous line AND without looking at your paper! Now, that’s a brain-twister and also a good way to learn to “trust” what you see. Eventually, you will be surprised at how accurate it can be!
THE COLORS
It’s time to address the subject of palette (colors). Here’s where I break your heart. There’s no such thing as a skin tone recipe! There are so many factors to consider – lighting, reflected color, skin tone, etc. A good example would be to take a white ceramic or porcelain cup (dish, bowl, whatever’s on hand) and walk around the room, holding it up to different objects. You will see colors reflected onto the white surface.
So, if you read this article (or scan to my palette) and try the colors on your painting and it doesn’t work, it’s probably because the colors in my palette are different from the colors you are using. You have to find the colors that are actually on the subject which you are painting to obtain “accurate” skin tones.
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GETTING STARTED
Now, with the information provided, it’s time to pick a subject! There are MANY great subjects in the reference library from which to choose. So, please (!) go through the reference library, and sketch, draw, scratch or paint away! For my image, I have selected from the collection of hands I recently uploaded; a photo of my daughter’s hands.
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THE UNDER-DRAWING
For my very first layer, I apply lots of layers of gesso. My painting style tends to be quite thin; therefore, the canvas texture shows through a bit too much. Once the gesso is completely dry, I start the sketch. In this case because of time restrictions, I didn’t appy the layers of gesso. You can really see the bite of the canvas, in the last photos…
I’ve selected an 8×10 inch canvas board and decided to paint the hands, “portrait style” (vertical), instead of “landscape” (horizontal), because the image is so powerful – the gentle touch of sister’s hands. Because there is such weight of love between those gentle fingers, I wanted a lot of space above them.
Also, it’s better not to cut the composition in “half”, so placing the hands below the halfway point keeps the painting’s composition strong. Also nice is the way the left hand flows into the hand on the right, where the flow is stopped by the open hand. Equally as fun is the weight the brightness gives to the right hand; the area where the subject of the painting is centralized.
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PUTTIN’ ON THE PAINT
After the sketch is completed, gently “pounce” an eraser over the canvas to eliminate heavy pencil lines and lose graphite. Don’t work on the sketch too much. The graphite from the pencil does muddy in the first layers, if you aren’t careful.
Everyone goes about a painting, differently. Some load the paint on and all over the canvas, first layer out. Others paint from the top or bottom of the canvas, working towards the opposite end, completing the image as they go along. Some work on an area of the painting until that area is completed before moving on, while other painters work in thin layers all over the canvas. My style falls in the latter group; I paint in very thinned layers all over the canvas. As one section dries, another is addressed.
Another separation of artistic style is the actual palette. Everyone has different colors with which they feel comfortable. My palette is very limited and usually never changes. Although my paintings look as though just a few colors have been used, eight or nine colors are my usual palette. Keeping the palette relatively small is deliberate for several reasons.
When I first started painting, PAINTING was hard enough without confusing things with many colors to choose from.
My favorite art movement is the Rococco and Baroque period(s). The masters successfully created depth and beautifully illuminated subjects while still keeping the colors simple.
Lastly, a limited palette helps the painting relate and flow well, unifying the painting.
Although my demonstration can be attempted with any medium, I will be using acrylic (Liquitex) and my palette consists of:
Titanium White
Burnt Sienna
Raw Sienna
Cadmium Yellow Light
Cadmium Red Light
Cadmium Red Medium
Ultramarine Blue
Hookers Green
Yellow Oxide
My brushes usually range from new and in good shape to old and really ragged. The brushes are usually very inexpensive ones; the craft style, multi-pack brushes works well for me. I rarely throw them away, as they make great brushes to really scrub on the paint or to use for soft wispy like strokes. Of course, for a clean, crisp line, I will use a brand new or fairly new brush.
Remember, not all people are the same. The old and rough brushes may not work for you. So, experimenting is always a good suggestion.
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FIRST LAYER ON CANVAS
I like to immediately create the extreme contrasts between the dark and lights. In some cases, it might be as small as the tip of a dog’s nose. In this case, it’s the entire background. I started the painting as a monochromatic showing darkest areas and depth making it easier to see the form of the hand.
Putting the underpainting down helps me to see the image on the canvas better and corrections can be made.
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THE NEXT LAYER – ADDING COLOR
In this layer, I have begun to really darken the background and parts of the fingers. My mixture of colors are Ultramarine Blue and Burnt Sienna with a small bit of Cadmium Red Dark (pulling the color of the hands into the background). Some of the light areas in the background are intentional and some are a result of applying the paint while the layer beneath was still wet. The areas mostly around the left side of the painting and the bottom right are the areas where I tried to keep the background light.
When you apply a wet layer on a layer that hasn’t completely dried, the layer beneath tends to lift or rub off the canvas. This is something to keep in mind when painting in layers with acrylics. Although it tends to be a problem only with the first couple of layers; subsequent layers tend to not show the lifting as badly.
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To create depth, I tried to avoid “outlining” the hands by using the shadows and the reflected light to define the hands. Although the painting appears to be blotchy at this point, that’s not a worry. As more layers of color are added, things will smooth out.
UPSIDE DOWN
In the image to your right, you will see the image upside down. That is deliberate… It’s at this point, I am most UNHAPPY with my work and viewing it at this angle helps me to stop seeing the painting and image as I “see” it and more the way the image actually is. After a little time of painting, I am surprised at how much better things look right side up!
In the next few photos, you will see where I’ve started to add the light flesh tone. For this, I used Cadmium Red Light, White and a touch of Cadmium Yellow Medium. I use large brushes when doing this because I am not concerning myself with the small details, yet.
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LIGHTEN AND DARKEN
While still working over the surface of the entire painting, I have lightened areas and darkened others continuing to define the mass of the hands. If you look at your own hands, you will see that the curves and lines are defined by the shadows and highlights. In the images below, you can see the subtle adjustments. After many hours, those subtle “adjustments” eventually accumulate into a finished piece.
In the next image, after a few hours of adjusting, I am almost there. The top side of the hand on the left still looks rough. Also, the entire painting lacks the softness needed to finish the “emotion” of the touch. That usually happens in the last layer or two and that is when I am finally happy with my work.
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“A SISTER’S TOUCH”
And here is the final image! I have named this painting, “A Sister’s Touch”, after my daughters and their wonderful friendship. Soon it will be made even more special, surrounded by a beautiful gold frame, lovingly handmade by my husband.
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