所以很多时候我听到人们评论的事实,他们总能发现一个油画由于活力的颜色。这些评论,他们是在看我的画。当我告诉他们,这些都是画在丙烯酸,他们敬畏。如果没有活力的颜色,这是因为艺术家所做的那样。在我看来,只要他们没有被模糊在混合、丙烯酸漆出管具有相同的潜力惊人的色彩作为油画颜料。
这是一幅油画中有经验的画家,然而,如果你是一个初学者,没有更好的方法来学习比就跳!反射的粉红色和绿色将需要一个好一点的时间,因为你将不得不建立层逐渐。每一层非常薄的(釉),因为油漆颜色是混合了一点点水,让它流更加均匀。如果你宁愿使用流介质,也可接受。每一层釉必须干在下次继续。大部分的时间,你将工作超过一个区域的图片在一个时间,因为你将不得不让地区干之前,你穿上另一个釉。有耐心!这是值得花时间来得到这种技术正确。
步骤1
块在背景的色调中佩恩的灰色,深蓝色顶部三分之二的帆布和烧棕土混合着佩恩的灰色在底部三分之二。让这干;它不会花很长时间。一个
步骤2
勾勒出一幅粉笔到画布的背景。粉笔是非常宽容的。你能画和消除大量时间和只要你不要过湿表面,它不会伤害这幅画下面。
步骤3
颜料钛白在顶部花瓣及其反射在左边和右边油漆郁金香和反射的郁金香也与钛白色。然后漆一层永久性上升到这些白色区域。开始颜色在形式的底部反射片花瓣和左边(没有白色现在下面)。
步骤4
当你继续建立层油漆,看看形式的郁金香和体现的花瓣。每一片花瓣有亮点和阴影区域。在阴影中,融入只是一个小碟佩恩的灰色。然后层薄永久玫瑰漆保持光滑。保持笔触的方向去,行花瓣遵循自然。甚至连佩恩的灰色需要分层,因为它是部分透明,是永久的玫瑰。这个区域将被突出显示的必须与钛白underpainted再次。
步骤5
油漆的两端与钛白松散花瓣第一,然后一些镉黄夹杂着一丝绿色颜料。做同样的中心碗主要的郁金香,雄蕊将形成。保持玻璃的花瓣在永恒的玫瑰。你会看到随着流程的继续,钛白将穿透所有的釉彩,你将能够控制你的颜色与数量的层使用。虽然这样做,开始躺在一些妓女的绿色的区域将树叶。
步骤6
当你觉得你已经使用了颜色丰富你的愿望,它是时候呆滞的反射与佩恩的灰色。直到现在你画得与相同的细节的倒影像花和宽松的花瓣。呆滞整个地区低于实际的叶子。请记住,反射将不那么生动的实际花和花瓣。如果他们是,他们将命令太多关注的主要对象。在这层干燥后,融入另一个釉虽然并没有达到第一层,等等,直到反射逐渐变得暗如你所见将远离你的主题。现在你应该表现出一些深度在底部的绘画。
步骤7
油漆在一些水平行烧棕土混有少量的镉黄和钛白在花瓶的底部在那些失去花瓣和花朵。这些线将成为乐队的阳光在木头的表面,冲击前单片花瓣在左边,郁金香和水晶花瓶。
步骤8
画出形状的水晶花瓶用粉笔。它仅仅是一个大型的、瘦的一行X经历从上到下,一个水行,和一些弧线在下方的花瓶。
在这个时候不要恐慌…它不是很难漆玻璃作为你大多数人认为! ! !步骤9
使用胡克的绿色、暗绿色、烧棕土、黄土、镉黄、钛白给形状和形式的茎。不填写这个区域完全作为一个大型形状。将会有长期的颜色。记住,玻璃会扭曲但切晶体将扭曲更多。形状的必被剪除,似乎要从一无所有开始。所以漆在某些茎将遵循正常的想法被管(圆形的),否则让茎的颜色按照额度削减或塑造成玻璃。
第十步
画的轮廓形状的花瓶,花瓶里的粉笔在上面用衬套刷,很稀钛白色略带绿色颜料和一个虚线。使它很轻…你希望它只供参考,给一个想法的玻璃已经变化的形状。当你知道它是干燥的,擦掉粉笔。现在你有形状在你面前继续。
步骤11
用黄赭色与一丝镉橙弹出颜色的雄蕊。背景是深色与妓女的绿色和绿色颜料在向中心。确保你给一个圆形的雄蕊看起来通过强调与钛白和阴影有点佩恩的灰色稀释。阴影和高亮后完成,釉用稀释的黄土和镉橙混合在一起。
步骤12
在背景区域内部的花瓶(没有其他真正的形状)添加一些颜色周围的区域。这些将是深蓝色,黄色赭石,永久的玫瑰等。不要让任何真正的形状,只是一个提示的颜色在这里和那里,因为玻璃总是捡起周围的颜色。然后它看上去并不像这样一个“明确的”区域。不包括所有原始的背景颜色。继续建立茎的颜色,内部和外部的花瓶。,因为你正在与绿党,别忘了树叶的郁金香。这些颜色最终会发光的背景颜色,而是因为他们被涂掉的黑颜色,不会压倒了焦点在绘画。强调与暗绿色混合与镉黄和影子与妓女的绿色混合与镉红。保存纯钛白色最亮的光在玻璃上,左边。我把一个闪耀的一面,因为这里光打直走。虽然我用白色的郁金香花瓣和叶子上,我走过去用一个小一点的绿色颜料混合与钛白所以他们不会竞争,玻璃的亮度。
步骤14
如果你想直接看和密切关注的一块纸风车晶体或其他任何块切割玻璃,你会惊奇地发现,万花筒的颜色反射它。它还将拼接光成彩虹的颜色如果强烈光线照直接通过它。行,特别是,水晶会接和反映. .仔细看看这幅画。我有,毫无疑问,夸张的颜色,但我不想象他们。这将是不可能告诉你每一个笔触我确实在这里,然而,试图复制,让色彩,在茎,在鲜花和色调的背景遵循线条切割和形成的玻璃。很多这样的工作是做了一个衬套刷,会有小点的颜色,随机领域太。为直线,用衬套刷和钛白混合有一点点绿色,冲淡,那这将是一个非常光条纹的玻璃。
步骤15
在前台,涂抹一些色和黄色是花瓶的茎中形成了反思的木面。与佩恩的灰色和白色混合,用一个圆刷放入半矩形形式直属的花瓶。
祝贺你如果你做了这些画,你有很多的耐心。如果这是一个新的方法给你,你现在知道满意学习一些你将能够应用于很多你未来的绘画。原文如下：
“Reflections of Pink and Green” Acrylic, 16″x20″By Lorraine Vatcher
So many times I have heard people comment on the fact that they could always spot an oil painting because of the vibrancy of colours. These are comments as they are standing and looking at my paintings. When I tell them that these are painted in acrylics, they stand in awe. If there is no vibrancy in the colours, it is because the artist has done it that way. In my opinion, as long as they have not been muddied by over-mixing, the acrylic paint out of the tube has the same potential of striking colour as oil paint.
This is a painting for medium to experienced painters, however, if you are a beginner, there is no better way to learn than to just jump in! Reflections of Pink and Green will require a good bit of time because you will have to build up the layers gradually. Each layer is fairly thin(a glaze) because the paint colour is mixed with a small bit of water to make it flow more evenly.If you would rather use flow medium, that is acceptable also. Each layer of glaze must dry before the next goes on. Much of the time, you will be working more than one area of the picture at a time because you will have to let areas dry before you put on another glaze. Have patience! It is worth the time to get this technique right.
Step 1
Block in the background in shades of Payne’s Grey, Ultramarine Blue on the top two-thirds of the canvas and Burnt Umber mixed with Paynes’s Grey on the bottom two-thirds. Let this dry; it won’t take long. A
Step 2
Draw the outline of the picture with chalk onto the background of the canvas. Chalk is very forgiving. You can draw and erase loads of times and as long as you don’t over-wet the surface, it will not hurt the painting underneath.
Step 3
Paint Titanium White on the top petal and its reflection on the left side and paint the tulip on the right and its reflection of the tulip also with Titanium White.Then paint a layer of Permanent Rose onto these white areas. Start to colour in the form of the bottom petal and its reflection on the left( there is no white underneath right now).
Step 4
As you continue to build up layers of paint, look at the form of the tulip and the reflections of the flower petals. Each petal has a highlight and shadow areas. In the shadows, blend in just a dab of Payne’s Grey. Then layer thin Permanent Rose paint on it keeping it smooth. Keep the brush strokes going in the directions that the lines of the petals follow naturally. Even the Payne’s Grey requires layering because it is partially transparent, as is Permanent Rose. The areas which will be the highlighted will have to be underpainted with Titanium White again.
Step 5
Paint the ends of the loose petals with Titanium White first and then some Cadmium Yellow mixed with a hint of Sap Green. Do the same with the center bowl of the main tulip where the stamens will form. Keep glazing the petals in Permanent Rose. You will see as the process continues that the Titanium White will shine through all the glazes and you will be able to control your colour with the number of layers you use. While doing this, start laying in some Hooker’s Green on the area which will be the leaves.
Step 6
When you feel that the colours you have used have acquired the richness you wish, it is time to glaze over the reflections with Payne’s Grey. Up until now you have painted the reflections with the same detail as the flower and loose petals. Glaze over the entire area below the actual leaves. Remember that the reflections will not be nearly as vivid as the actual flower and petals. If they were, they would command too much attention from the main subjects. After that layer dries, blend in another glaze although not as high as the first layer, and so on until the reflection gradually becomes darker as your sight pulls away from your subjects. Now you should show some depth in the lower section of the painting.
Step 7
Paint in some horizontal lines of burnt umber mixed with a little Cadmium Yellow and Titanium White around the bottom of the vase and in between the lose petals and the flower. These lines will be the bands of sunshine on the surface of the wood and hitting the top single petal on the left, the tulip and the crystal vase.
Step 8
Draw in the shapes for the crystal vase with chalk. It is simply a large, skinny X with a line going through from top to bottom, a water line, and a few arcs on the lower part of the vase.
Don’t panic at this time…It is not as hard to paint glass as you most people think!!!
Step 9
Use Hooker’s Green, Sap Green, Burnt Umber, Yellow Ocher, Cadmium Yellow, and Titanium White to give shape and form to the stems. Do not fill in that area completely as one large shape. There will be long colours. Remember that glass will distort but cut crystal will distort more. Shapes will be cut off and seeming to start from nothing. So paint in some stems which will follow the normal ideas of being tubes(round in shape) and otherwise let the colours of stems follow the lines cut or molded into the glass.
Step 10
Draw the outline of the vase and all the shapes inside the vase over the top of the chalk with a liner brush and very diluted Titanium White with a hint of Sap Green and a dotted line. Make it very light…you want it only for reference and to give an idea where the glass has variations of shapes. When you know it is dry, rub off the chalk. Now you have the shapes in front of you to continue.
Step 11
Use Yellow Ocher with a hint of Cadmium Orange to bring up the colour of the stamens. The background will be darker with Hooker’s Green and Sap Green in toward the centre. Make certain you give the stamens a rounded look by highlighting with Titanium White and shading with a little Payne’s Grey diluted. After the shading and highlighting are done, glaze with diluted Yellow Ocher and Cadmium Orange mixed together.
Step 12
In the background area of the inside of the vase(where there are no other real shapes) add a few colours surrounding the area. These will be Ultramarine Blue, Yellow Ocher, Permanent Rose, etc.. Do not make any real shapes, just a hint of colour here and there because glass always picks up the surrounding colours. Then it does not look like such a “clear” area. Do not cover all the original background colour. Continue to build up the colours of the stems, both inside and outside the vase. As well, since you are working with the greens, don’t forget the leaves of the tulip. These colours will eventually shine out of the background colour but because they were painted over the dark colour, the will not overpower the focal points in the painting. Highlight with Sap Green mixed with Cadmium Yellow and shadow with Hooker’s Green mixed with Cadmium Red. Save the pure Titanium White for the brightest light on the glass, on the left hand side. I put a sparkle on the side because that is where the light hit straight on. Although I used white on the tulip petals and on the leaves, I went over them with a small bit of Sap Green mixed with Titanium White so they would not compete with the brightness of the glass.
Step 14
If you were to look directly and closely at a piece of Pinwheel crystal or any other piece of cut glass, you would be amazed at the kaleidoscope of colours that are reflecting off it. It will also splice the light into the colours of the rainbow if a strong light is shone directly through it. The lines, especially, of the crystal will pick up and reflect.. Look carefully at the painting. I have, no doubt, exaggerated the colours but I did not imagine them. It would be impossible to tell you every brush stroke I did here, however, try to duplicate by letting the colours that are in the stems, in the flowers and shades of the background follow the lines that are cut and formed in the glass. Much of this work is done with a liner brush, and there will be small dots of colours in random areas too. For the straight lines, use a liner brush and Titanium White mixed with just a hint of Sap Green, watered down so that it will be a very light streak on the glass.
Step 15
In foreground, smudge some of the greens and yellows which were in the stems of the vase to form the reflections on the wooden surface. With Payne’s Grey and White mixed, use a round brush to put in the semi-rectangular forms directly under the vase.
Congratulations if you did this painting; you do have lots of patience. If this is a new method for you, you will now know the satisfaction of learning something you will be able to apply to many of your future paintings.
