“狼”——一个丙烯画展示了杆劳伦斯
种植在
我特别喜欢的角度,这狼的头和明亮的背光。当种植在头上,我留下足够的负空间围绕它来接近狼没有围太紧。
第一步
首先我把整体底色的头部,用天蓝色,白色,和少量的烧棕土,紫罗兰,深蓝色。为背景,我创建几个值使用许多不同的组合烧棕土,天蓝色,深蓝色,白色,紫罗兰有时添加黄色赭石和镉黄灯。我把这些混合湿在湿,融合我油漆。
第二步
现在我转移的主要线路分支的背景从我的素描绘画,开始与背景混合步骤一。我申请的洗更轻、深值来软化边缘,慢慢建立叶形式。然后我用一个深值区左侧的狼,我申请两个光明和黑暗的区域值高于和右边的狼的头。在左下的角落,我开始添加一些较轻的价值“洞”(负空间)的背景。
第三步
现在我洗在背景光混合使用白色,黄色赭石和橙。我建立最轻的地区使用白色夹杂着黄色赭石、镉黄灯,和天蓝色。然后我将面部和皮草细节从我的素描,绘画他们稍微更深的价值比基本颜色;我也建立了鼻子和眼睛感光,应用几个洗。和我添加细节,一个值的皮毛颜色和底部之间暗值。
步骤四
当绘画最轻的地区,我使用薄洗,慢慢地建立我的漆成厚层。然后我躺在一个黑暗的值创建深度,表明更深领域的皮毛和黑色斑纹。当绘画毛皮,找头发的掉落以及颜色模式。毛皮,长短不一,颜色,它往往丛的领域(如厚或在不断压缩运动。花时间去真正了解团簇重叠,影子彼此,和编织在一起,。这将帮助你油漆更实际皮毛。
步骤五
而现在的时间为颜色洗(参见下面的样品),这将增强狼,开始改变整体外观的颜色在一些地区的基地。我使用了大量的水,把这些混合像微妙的水彩洗。当干燥,这些颜色会看起来比他们深当应用,所以你必须使用一些克制当画他们。这狼主要是浅灰色的白色,所以我不想加太多对身体颜色。
 |  |  |
| 迷+白色 +镉黄灯 | 烧棕土+ 天蓝色+深蓝色+白+紫+涂黄色赭石 | 更多的烧棕土+ 更多的钴蓝+更多的深蓝色+白+紫+轻拍的 赭石 |
 |  |  |
| 烧棕土+ 深蓝色+天蓝色+紫+民建联的浅黄色 | 烧棕土+天蓝色+深蓝色+白色+ 紫 | 更多的烧棕土+ 天蓝色+更多的深蓝色+白+紫 |
第六步
我建立的眼睛和黄色赭石和添加镉黄灯洗在狼温暖的亮点。然后我画下深值,添加钴蓝,我想要一个更灰和添加更多的烧棕土,我想要更多的强度和温暖。
第七步
现在我已经完成了深色的价值观。接下来我应用黄色赭石洗到头部和胸部,有时添加烧棕土和天蓝色。的眼睛,这需要微妙的洗涤,使它们看起来更真实,我也添加一点点的白色和镉黄灯。
第八步
更多的对比,我强调了眼睛、鼻子、耳朵和一个混合的天蓝色,深蓝色和紫色,烧棕土,。我开始洗高于眼睛和耳朵之间,继续在底部左边的耳朵。接下来我用厚漆来构造暗区域。我继续添加深色的值在整个狼的头,应用水洗小变化和几层油漆覆盖真的黑暗区域。然后我把我的黑暗的价值烧赭,深蓝色,紫罗兰和应用它过去洗。
第九步,最后的一步
与钴蓝、黄色赭石、紫、白混,我冲起来的细节提示眼睛周围的毛,在脸颊和枪口,在胸部。接下来我用白色略带紫罗兰粉刷背光的边缘,开始洗,然后切换到厚层油漆。我拖我的嘴边,圆刷到背景来创建更好的挑染头发。接下来我添加最后的细节开始,白色与黄色的洗有色在左耳。我也画一些黑暗和轻毛皮在脸颊和咽喉区强调对比。我申请一个蓝色紫色色调的鼻子;然后我中风在好,精致的胡须。
原文如下：
“Wolf” – An Acrylic Painting Demonstration by Rod Lawrence
Cropping In
I especially liked the angle of this wolf’s head and the bright backlighting. When cropping in on the head, I left enough negative space around it to close in on the wolf without confining it too tightly.
Step One
First I mix the overall base color for the head using cerulean blue, white, and smaller amounts of burnt umber, violet, and ultramarine blue. For the background, I create several values using many different combinations of burnt umber, cerulean blue, ultramarine blue, white and violet–sometimes adding yellow ochre and cadmium yellow light. I apply these mixes wet-on wet, blending as I paint.
Step Two
Now I transfer the main lines of the background branches from my sketch to the painting, beginning with the background mixes from step one. I apply washes of both lighter and darker values to soften the edges and slowly build up the foliage forms. Then I use a darker value on the area just to the left of the wolf, and I apply both light and dark values to the areas above and to the right of the wolf’s head. In the lower-left corner, I start to add some lighter value “holes” (the negative spaces) to the background.
Step Three
Now I wash in the background lights using a mixture of white, yellow ochre, and orange. I build the lightest areas using white mixed with yellow ochre, cadmium yellow light, and cerulean blue. Then I transfer the facial and fur details from my sketch, painting them with a slightly darker value than the base color; I also build up the eye and nose darks, applying several washes. And I add fur details with a value in between the base color and the darker values.
Step Four
When painting the lightest areas, I use thin washes and slowly build my paint into thicker layers. Then I lay on a darker value to create depth, indicating deeper areas of fur and dark markings. When painting fur, look for clumps of hair as well as color patterns. Fur varies in length and color, and it tends to clump in areas where it is thicker or where it is constantly compressed by movement. Take the time to really see how the clumps overlap, shadow each other, and weave in and out. This will help you paint fur more realistically.
Step Five
Now it’s time for color washes (see the samples below), which will enhance the wolf and begin changing the overall look of the base color in some areas. I use a lot of water, treating these mixes like subtle watercolor washes. When dry, these colors will look darker than they do when applied, so you must use some restraint when painting them. This wolf is primarily a grayish-white, so I do not want to add too much color to the body.
Buff + white
+cadmium yellow light Burnt umber +
cerulean blue + ultramarine blue + white + violet + dab of yellow ochre More burnt umber +
more cerulean blue + more ultramarine blue + white + violet + dab of
ochre
Burnt umber +
ultramarine blue + cerulean blue + violet + dab of buff Burnt umber + cerulean blue + ultramarine blue + white +
violet More burnt umber +
cerulean blue + more ultramarine blue + white + violet
Step Six
I establish the eyes with yellow ochre and add a cadmium yellow light wash around the wolf to warm the highlights. Then I paint the next darker value, adding cerulean blue where I want a more grayish-blue and adding more burnt umber where I want more intensity and warmth.
Step Seven
Now I’ve finished with the darker values. Next I apply yellow ochre washes to the head and chest, sometimes adding burnt umber and cerulean blue. For the eyes, which need subtle washes to make them look more realistic, I also add a tiny bit of white and cadmium yellow light.
Step Eight
For more contrast, I emphasize the eyes, nose, and ears with a mix of cerulean blue, ultramarine blue, burnt umber, and violet. I start the wash above the eyes and between the ears, continuing over the base of the ear on the left. Next I use thicker paint to construct the darker areas. I continue adding the darker value throughout the wolf’s head, applying washes for small changes and several coats of paint to cover really dark areas. Then I mix my darkest value–burnt umber, ultramarine blue, and violet–and apply it over the last wash.
Step Nine – Final Step
With a cerulean blue, yellow ochre, violet, and white mix, I punch up the detail of the fur tips around the eyes, in the cheek and muzzle, and on the chest. Next I use white with a hint of violet to paint the backlit edges, starting with washes and then switching to thick layers of paint. I drag the tip of my round brush into the background to create the finer hair highlights. Next I add the final details, beginning with washes of white tinted with yellow around the left ear. I also paint some darker and lighter fur in the cheek and throat area to emphasize contrast. I apply a bluish-purple tint on the nose; then I stroke in the fine, delicate whiskers.
