是完成的画,我异常附加到这一次,它仍然是我的个人收藏的一部分。向下滚动,看看它。
首先看看我的工作区…有点拥挤的我知道,但它确实诀窍。我总是试着和工作与我的帆布面临自然的光,我有顶灯打开也得到一个真实的想法我的画看起来当它挂在墙上。
这里的大多数的材料我使用——水容器为我的画笔,一个老茶毛巾去擦刷,白色石膏主要画布,我自制的调色板,和一些非常有用的,这是真正的一次性调色板省时便利当谈到清理。
我试过几个不同的调色板和这一作品最好的为止。我只是用盖子从玻璃砂锅和我折叠的六张纸巾(Handi超吸收性很不错),运行它们在水中(挤出多余),把他们的轮廓菜。
然后我让我的一个一次性调色板(减少一半)和新闻,到纸毛巾。湿纸巾使调色板酷,这样你的油漆不会干出太快,最好的一点是,当你完成了你可以把一切但是菜直接扔进垃圾箱了,这是更容易擦洗掉漆,比我也使用一个蛋杯继续我的绘画媒介(右)独立于我的油漆。
这是刷我用于大部分的绘画。这是我最喜欢的刷,一个温莎&牛顿大小18“(明亮的形状,貂毛)。
到油漆。我用工作室丙烯酸树脂是专业艺术家在澳大利亚生产的丙烯画。他们有一个美丽的,厚,油状一致性和产生奇妙的充满活力的颜色。
现在到画布上。我使用了一个20“x30”画廊包装帆布(没有主食在侧),它已经被引导;但是另外我画另一个两层的石膏上它作为我宁愿画布吸收更便宜的替代石膏比我的丙烯酸树脂(学习如何应用石膏)。我勾勒出一个轮廓光直接放到画布上使用4 b铅笔。
然后我的草图和一个密封层固定剂。你仍然会发现你得到一点点的弄脏如果你画在铅笔,但是固定剂将减少,。
那么它的时候开始画!我搞混了我的底色有点丙烯酸介质使油漆更进一步——重要的事情在这个阶段是确保所有的白色画布纤维被油漆。实际的底漆不必是真的厚作为你要画在它之上无论如何。用这种方法我画天空,和上突出建筑和山。
在添加更多的色彩我波一个吹风机在底漆几分钟直到接触干燥。我这样做是因为如果丙烯酸涂料是半干当你开始油漆在他们你会得到各种各样的坚持和剥落的问题。
我建立这个基地的颜色通过添加更多的黄色,红色和橙色和混合在一起有一个很大的圆形海绵刷子。然后我开始用我添加云正常刷和一个打火机的黄色。
我添加到云,朱红色的阴影画完太阳。
这是一个特写镜头的云。
我的下一个步骤是创建基本的沙漠。
像天空我添加高光和阴影和混合在一起使用海绵刷子。同样,像天空,我使用一点介质与我的涂料,这样就不会干出太快,我工作快用海绵刷使颜色交融在一起。当所做的我带一个小刷子和马克的强调将出现。
因为丙烯酸树脂往往干很快我混淆了颜色我将使用的沙漠在我开始画它。刷沙漠山丘从最轻的颜色,清洗我的刷在抹布上,然后移动到下一个最亮的颜色,等等。
通过工作快你可以得到一个漂亮的渐变效果。
沙漠仍然看起来有点平坦,所以我继续添加高光和阴影,直到我为这感到高兴。
那么它的时候开始建设。我先放下我的基本颜色(建筑金属反射太阳和天空所以颜色会匹配),添加一些阴影和高光到一边。
我做同样的在轻侧和油漆在windows。我想让他们看起来像小珍珠所以我添加一点灰色和绿色,我的红色和黄色。
我仔细检查双方以确保他们匹配前面的绘画。我认为绘画在两侧增加了一个额外的元素,精致你的画布,它意味着你或你的客户可以绕过框架如果你喜欢。
最后…这是完成了!我签署件,附上挂线后的帆布,这是准备去在墙上。
原文如下：
This is the finished painting, I’m unusually attached to this one and it remains part of my personal collection. Scroll down to see how it was made.
First a quick look at my workspace… it’s a little crowded I know but it does the trick. I always try and work with my canvas facing natural light, and I have the overhead light switched on too to get a realistic idea of how my painting will look when it’s hung on a wall.
Here’s most of the materials I use – a water container for my brushes, an old tea towel to wipe the brushes, white gesso to prime the canvas, my home-made palette, and some very useful disposable palette’s which are real time-savers when it comes to cleaning up.
I’ve tried a few different palette’s and this one works the best by far. I’m just using the lid from a glass casserole dish and I’ve folded six sheets of paper-towel (Handi ultra-absorbent works well), run them under water (squeeze out any excess) and pushed them into the contours of the dish.
Then I get one of my disposable palette’s (cut in half) and press that onto the paper towel. The wet paper towel keeps the palette cool so that your paints won’t dry out too quickly, and the best bit is that when you’re finished you can just throw everything but the dish straight in the bin, which is much easier than scrubbing off paint. I also use an egg cup to keep my painting medium (right) separate from my paints.
This is the brush I used for most of the painting. It’s my favorite brush, a Windsor & Newton size 18 Galeria (bright shape, sable bristles).
Onto the paints. I use Atelier acrylics which are professional artists acrylics produced in Australia. They have a beautiful, thick, oil-like consistency and produce fantastic vibrant colors.
Now to the canvas. I’m using a 20″x30″ gallery-wrapped canvas (no staples on the side) and it’s already been primed; however for good measure I paint another two coats of gesso onto it as I’d rather the canvas absorb the cheaper-to-replace gesso than my acrylics (learn how to apply gesso). I sketch a light outline directly onto the canvas using a 4B pencil.
I then seal the sketch with a coat of fixative. You will still find you get a little bit of smudging if you’re painting over pencil, but the fixative will minimize that.
Then it’s time to start painting! I’ve mixed up my base color with a bit of acrylic medium to make the paint go further – the important thing to do at this stage is to make sure all the white canvas fibres are covered by the paint. The actual base coat doesn’t have to be really thick as you’re going to paint over the top of it anyway. Using this method I paint the sky, and the highlights on the building and hills.
Before adding more color I wave a hair dryer over the base coat for a few minutes until it’s touch-dry. I do this because if acrylics are half-dry when you start to paint over them you’ll get all sorts of sticking and flaking problems.
I build up the base colors by adding more yellow, red and orange and blending them together with a large round sponge brush. Then I start adding clouds using my normal brush and a lighter shade of yellow.
I add vermillion shadows to the clouds and finish painting the sun.
Here’s a close-up of the clouds.
My next step is to create the base for the desert.
Like the sky I add highlights and shadows and blend them together using the sponge brush. Also, like the sky, I’m using a bit of medium with my paint so that it doesn’t dry out too quickly, and I work fast with the sponge brush to make the colors blend into each other. When that’s done I take a little brush and mark out where the highlights will appear.
Since acrylics tend to dry quickly I mix up the colors I’ll be using for the desert before I start painting it. I paint the desert hills by starting with the lightest color, cleaning my brush on a rag, and then moving to the next lightest color, etc.
By working fast you can get a nice gradient effect.
The desert still looks a bit flat and unrefined so I continue to add highlights and shadows until I’m happy with it.
Then it’s time to start on the building. I begin by laying down my base colors (the building is metal reflecting the sun and sky so the colors will match), and adding a few shadows and highlights to one side.
I do the same on the lighter side and paint in the windows. I want them to look like little jewels so I add a bit of grey and green to my reds and yellows.
I double-check the sides to make sure they match up with the front of the painting. I think painting around the sides adds an extra element of refinement to your canvas, and it means you or your customer can bypass framing if you like.
And finally… it’s finished! I sign the piece, attach hanging wire to the back of the canvas, and it’s ready to go on a wall.
