这是两个小时从一开始。使用一个3/4”貂榛子。我湿整个支持和水洗的天空。虽然天空是干燥我俘获了草,我跟着大地区阻塞在里面,大枝树和道路背景。我看见树上有一个前台,中间地带包括主干和分支和里面的背景。
去准备明天我清洁了岗位配备两层白色。
第二天
一个伟大的一天。一种天梦想成真。今天早上我建立我的太阳能逆变器运行我的电脑。嘻嘻,快乐的人。在12点以前我在的位置设置。关闭所有天我不得不笑,明媚的阳光,起风了,下雨了。我的伞被设置得很低我两脚的空间看到我的观点。
我在今晚的云,4600英尺,刺骨…它很棒,国家电台在货车上的收音机,计算机在额外的电池。独自在世界之巅。我是一个隐士的心。谈到的心,我住在一个图像在我们的山。我做了一个计算机彩色书页面从这幅画。
蓝花楹的画的不错,不是没有,但100%的覆盖率不急。每一天更蓝鲜花盛开!
这个小5×8油墨交叉影线绘图与Pigma 01是所有我必须显示为第二天。
它是冷了所以我下降到我的最喜欢的地点位于山海拔4000英尺。它是如此的漂亮,我在这里呆了一天。我需要刹车后6金属氧化物半导体。在炎热的太阳拉海纳镇。
我把画在嗨方式标志用砂纸打磨,油漆区。我已经添加在为时过早。
绘画笔记
坐下来,点你的鼻子在中心的方向你的图片。设置您的画架,确信你的支持水平。移动你的眼睛当你看看不同领域的观点,而不是你的整个头部。最好是一个有一只眼睛只看。遵循一个同心环穿过(支持、面板、帆布)。这和视觉标记的左侧和右侧图像应该给你你最后的绘画图像宽度。
如果你的绘画更多然后一天外景,马克一切关于你的画架位置。
当追求精度不是速度一切必须留在相同的相对位置。
第三天
我改变了场上的绿色中间的地面坡度和固定所有的围栏上。
我已经放弃了试图赶上太阳所以我传播酷着釉的青色. .我认为这三点前完成100%。
我还没有收到主树的形状,但我将后马上休息。
我想说今天有30%更多的花。很快,花瓣吹在了嗨的方式,我要在这里早上六点去接那。后天我希望。
完成了一天的48,十到五,我以为我已经失去,车辙. .这是一个完美的一天,它只是碰巧是我61岁生日!
在这样一个伟大的一天,我离开了更高的水平,7000英尺的高度Hosmer的树林。现在是寒冷的。我想我会呆在这里一天给花另一个茂盛的机会。看到里面的创造者和另一个小画。
第四天
早晨六点半,在油画的位置。有花瓣在路上和更多的花在树上。它是完美的。不久它将热身。一个年轻的孩子在路上的雪橇就飞快地过去了,看起来他像是一个学校背包上。
不放假,要35 - 40英里/小时,孩子. .
我已经出左门柱,我的感觉是错误的,当我回到基本,看着整个绘画和认为这一个有一只眼睛和应用油漆一个有一只眼睛,我看到了我曾错过了节略。
这里以白色出局,扩大的树,把它更进前台。
这是10:57和太阳已经回去了。完美的时机,我得到了我所有的校正工作在绘画与4颜色通过使用相同的颜色,已经下来。现在的颜色都在这里,我可以前进。1:17,必须休息,太阳再次退出。它真的是一个美丽的一天。我不会让云替另一个几小时。
已经四点了,我觉得我一天的工作。没有我的阴天。这是非常好的,花虽然,明天应该是一个我可以在我所有的颜色,釉面我所有正确的形状。
日内瓦国际中学买了我的CD的颜色,喜欢它,当然我很高兴。剩下的时间我白天看马球实践,这个地区的毛伊岛是牛仔的国家。黑夜是花在5000英尺的高度。
白粉出修正,它需要两个外套为一个干净的开始。
第五天
抓住每个模式树的正确,看这棵树,把它漆成一个有一只眼睛。
只是放松自己,你可以做到。
用一只眼睛看这幅画,这幅图片是在彼此堆叠是关键,最重要的绘画因素。另
是涂料用两只眼睛打开在你心理上找到了你的标志一个有一只眼睛
这是一个伟大的日子,适量的阴天。我中风越来越小,所以我想我可以看到隧道尽头的光明。
有尽可能多的字符在一棵树上的脸,和更复杂的。
下午3点,我添加的小树枝,使更大的树枝看起来真实。# 3脚本衬管,我现在已经在地方的模式。我在找细节,使人物的这种类型的树。花瓣通常深色的绿色下面。这是因为他们是豆荚的花朵,每个豆荚中伸出绿色叶子。总是把影子投在太阳和即使在多云天气。绿色的叶子非常小轴上像一根羽毛。
我将试着模仿,在一个冲程。
这棵树是30%覆盖了现在,一路从当我开始。花瓣紫色在树荫下更蓝和红在阳光下。树叶会从一个紫色绿色分离互补到黄绿色反对紫色。这是伟大的自然的运作方式,方法。
这个颜色让我想起第一个透明黄色乔托的画着。砷、他的绿色将是一个铁的绿色。他不能使用铜的沉淀物会更好和更加透明,因为铅变成铜黑。如果他有埃及的锡白色它会变得容易些。我们已经走了很长的路自比至于毒药颜料和兼容的颜色有关,但是今天我们没有一个透明的黄色丙烯酸。那是老式的教堂奥斯特瓦尔德色彩图表在制造他们的颜色匹配。我们真的需要一个改革对于我们如何使用颜色的颜料。
这是第五天图像。
完成了。蓝花楹树在2000英尺。水平
所有的内容和图片在这幅画的也Jusko示范是版权,不得复制、转载、发表、再造工程,翻译,主持,或者以其他方式分发通过任何方式在没有明确的许可,并Jusko。
原文如下：
Jacaranda Trees – Acrylic Painting Demonstration
15×22, acrylic on panel -
May 20, 2002
This is two hours from the start. Using a 3/4″ sable filbert. I wet the whole support and washed in the sky. While the sky was drying I captured the grass, I went with the big areas blocking in the foliage, big branches background trees and the road. I see the tree as having a foreground, middle ground including the trunk and branches and inside background.
To get ready for tomorrow I cleaned up the posts with two coats of white.
Day 2
What a great day. A dreams come true kind of day. This morning I set up my solar power to run my computer with an inverter. Hee hee, happy camper. By 12:00 I was on location setting up. On and off all day I had to laugh, the sun was shining, the wind was blowing and it was raining. My umbrella was set so low I had a two foot space to see my view.
I’m up in the clouds tonight, 4,600 feet, Chillier … It’s great, country radio on the van’s radio, the computer on the extra battery. Alone at the top of the world. I’m a hermit at heart. Speaking about hearts, I’m staying beside an image in our mountain, The Busman’s Heart, w/c. I made a computer coloring book page from this painting.
The Jacaranda painting coming along well, not quite 100% coverage yet, but no hurry. Every day more blue flowers bloom!
This little 5×8 ink cross hatch drawing with a Pigma 01 is all I have to show for the next day.
It was to cold for me so I dropped down to my favorite spot on the mountain at the 4,000 feet elevation. It was so pretty I stayed here for the day. I need the brake after 6 mos. in the hot Lahaina sun.
I removed the painted in hi-way sign by sanding and repainting the area. I had added it in too early.
Painting Notes
Sit down and point your nose at the direction of the center of your picture. Set up your easel and be sure your support is level. Move your eyes when you look at different areas of the view, not your whole head. It’s best to look with one eye only. Follow one concentric ring across the (support, panel, canvas). This and visually marking the left and right sides of the image should give you your final painting image width.
If your painting for more then one day on location, mark everything about your easels position.
When going after accuracy not speed everything must stay in the same relative position.
Day 3
I changed the pitch of the green middle ground slope and fixed all the fence posts.
I’ve given up on trying to catch the sun so I’m spreading the cool around with a glaze of Cyan..I considered it 100% covered by 3:00.
I still haven’t got the shape of the main tree yet but I will right after this break.
I would say there are 30% more flowers today. Soon the petals will blow on the hi-way, I’ll have to be here at 6:00 in the morning to catch that. The day after tomorrow I hope.
4:48 finished for the day, ten to five, I thought I was out of that rut.. It was a perfect day, and it just happened to be my 61st birthday!
After such a great day I left for the higher levels, the 7,000 foot level of Hosmer’s Grove. Now were in the cold. I think I’ll stay here a day and give the flowers another bloomin’ chance. See the inside of the creator and another small painting.
Day 4
6:30, on the paintings location. There are petals on the road and more flowers on the tree. It’s perfect. Shortly it will warm up. A young kid on a road luge just whizzed by, it looked like he had a school backpack on.
No breaks and going 35-40 mph, kids..
I’ve taken out the left post, my perception was wrong, when I got back to basics and looked at the whole painting and viewed it with one eye and applied paint with one eye, I saw I had missed on the foreshortening.
Here it is with the white outs and the enlarging of the tree, pulling it more into foreground.
It’s 10:57 and the sun has gone for the day. Perfect timing, I got all my correction work done in the paintings with the 4:00 colors by using the same colors that were already down. Now the colors are here and I can go forward. 1:17, Got to take a break, the suns back out again. It really is a beautiful day. I won’t get cloud cover for another couple hours.
It’s 4:00, I think I’m done for the day. I never got the cloudy day. It was good for the flowers though, tomorrow should be the one where I can glaze in all my colors, I have all the shapes right.
The Geneva International Middle School bought my CD of the color course and likes it. I’m so happy. I spent the rest of the daylight hours watching polo practice, this area of Maui is cowboy country. The night was spent at the 5,000 foot level.
This is whiting out corrections, it will take two coats for a clean start.
Day 5
To catch each pattern of the tree correctly, look at the tree and paint it with one eye.
Just relax yourself, you can do it.
Using one eye to view the painting and the image, which are stacked over one another is key, the most important drawing factor.The other is to paint with two eyes open after you have mentally found your marks with one eye only
It’s been a great day, just the right amount of overcast. My strokes are getting smaller so I think I can see the light at the end of the tunnel.
There is as much character in a tree as on a face, and much more intricate.
3:00, I’m adding the little branches that make the larger branches look real. A #3 script liner now that I have the patterns in place. I’m looking for the details that make the character of this type of tree. The petals are usually darker green underneath. that’s because they are pods of flowers, each pod sticking out from the green leaves. that always casts a shadow in the sun and even in cloudy weather. the green leaves are very small on a shaft like a feather.
I’ll try to mimic that in a stroke.
The tree is 30% covered now, way up from when I started. The petals are bluer purple in the shade and redder in the sunlight. The leaves go from a purple-green split complementary to a yellow-green opposition to the purple. It’s Great the way nature works that way.
The colors remind me of the first transparent yellow Giotto’s painted with. Arsenic, his green would have been an iron green. He couldn’t use the copper sediment which would have been better and more transparent because lead turned copper black. If he had Egypt’s tin white it would have been easier. We have come a long way since than as far as poison pigments and compatible colors are concerned but today we don’t have a transparent yellow acrylic. It’s that old Church-Ostwald Color Chart where manufactures match their colors to. We really do need an overhaul on how we use color pigments.
Here is the day 5 image.
Finished. Jacaranda Tree at the 2,000 Ft. Level
All content and images in this painting demonstration are copyright of Don Jusko and may not be copied, reprinted, published, reengineered, translated, hosted, or otherwise distributed by any means without explicit permission of Don Jusko.
