“死亡不能征服“水彩画的迦太基监狱
一步一步的水彩画示范了罗兰•李
1844年当摩门教先知斯密约瑟被囚禁,被一群暴徒在迦太基监狱在伊利诺斯州,许多人认为这是结束的年轻的耶稣基督后期圣徒教会”。但他们证明是错的,是忠实的成员举行真正的他们的信仰和愿意牺牲他们的家园和更多追随耶稣基督的教导,他恢复了福音。今天的后期圣徒教会教堂已有近1400万名会员遍布整个世界,所有谁相信约瑟夫·史密斯是一个上帝的先知。迦太基的监狱已经恢复到它原来的外观的后期圣徒教会教会维护一个游客中心那里,连同一个纪念碑组成的结构的正确的宗教自由。
一步一步的绘画示范了罗兰•李
1。我的绘画总是首先草图和价值的研究。如果我让他们正确的开始,我80%确定这幅画会成功。这是我的描图纸尺寸的草图,我开始充实我的思想。这是一个相当简单的描绘的迦太基因为它已经恢复日航,然而我搬树有点向右允许一个更好的视图的结构和窗户。我还添加了一个更乡村看起来与杂草和草而不是修剪草坪,并创建了一个土路进入绘画。我希望这让观众自己来决定这是一幅画的现在,还是一幅画从过去。
2。使用透明的水彩颜料,我开始阻塞在灯光及深色迅速进入一些深色的感光屋顶。这帮助我得到一个感觉对的值的范围我将使用在余下的绘画。显然我是画在白色装饰的窗户,这些地区将出现反对黑暗的光完成工作。
3。一个特写镜头显示我的釉料是相当宽松的在这一点上。例如在石头上工作,我使用一个vareity的颜色、纹理和价值观但是我不太关注的边缘。我想要一些显得柔软,和其他硬。
4。注意添加阴影开始给尺寸和形状的物体。当我画树干和树枝的树在前台,我小心地保护区域的光树叶落在前面的树干。这是通过使用技术的负面绘画。
5。在这一点上我向下移动到前台区域和躺在一些大的大胆的颜色洗,让颜料混合在纸上。作为前景变黑在价值,它迫使我们眼睛的光区后面的建筑,创造一种框架效应。
固定在我的绘图桌是我值素描和照片作参考。这是相当典型的我的工作方式。
6。现在我完整的树叶在树上,确保我使用各种颜色和值添加兴趣。当我画,我把一些光分支向我们走来增加深度。
这幅画是接近完成,但我仍然需要加深前景阴影和完成一些,门、窗和其他细节的建筑。
7。最大刀!这幅画是完整的。我很满意这个结果。你怎么想的?
“死亡不能征服“绘画的迦太基监狱
16 * 21“透明水彩画了罗兰•李
收藏:格兰特和乔伊斯·李
可打印的·这幅画
8。格兰特在迦太基李和我监狱在2009年5月。一个热心的家庭历史迷,他委托我画三幅画的先驱一样有趣的场景和曾像我一样研究和参观绘画位置。
原文如下：
In 1844 when Mormon Prophet Joseph Smith was imprisoned and murdered by a mob at the Carthage Jail in Illinois, many assumed that would be the end of the young Church of Jesus Christ of Latter-day Saints. But they were proven wrong as the faithful members held true to their beliefs and were willing to sacrifice their homes and more to follow the teachings of Jesus Christ and His restored Gospel. Today the LDS Church has nearly 14 million members spread throughout the entire world, all who believe that Joseph Smith was a Prophet of God. The Carthage Jail has been restored to it's original appearance by the LDS Church which maintains a visitor's center there, along with a monument to the consitutional right of Freedom of Religion.
STEP BY STEP PAINTING DEMONSTRATION BY ROLAND LEE
1. My paintings always begin with sketches and value studies. If I get them right at the outset, I am about 80% sure the painting will be successful. This is my tracing paper full-size sketch where I begin to flesh out my ideas. This is a fairly straightforward depiction of the Carthage Jal as it has been restored, however I moved the tree a little to the right to allow a better view of the structure and the windows. I also added a more rustic look with weeds and grasses instead of a trim lawn, and created a dirt road entering the painting. I'm hoping this allows the viewers to decide for themselves whether this is a painting of now, or a painting from the past.
2. Working with transparent watercolor pigments, I start blocking in the lights and darks moving quickly into some darker darks in the roofs. Again this helps me get a feel for the range of values I will use in the remainder of the painting. Obviously I am painting around the white trim on the windows and those areas that will appear light against dark in the finished work.
3. A closeup shows that my glazes are fairly loose at this point. For example on the stone work, I'm using a vareity of colors, textures, and values but I'm not too concerned about the edges. I want some to appear soft, and others hard.
4. Notice how the addition of cast shadows starts to give dimension and form to the objects. As I paint the trunk and branches of the tree in the foreground, I am careful to preserve areas of light where the foliage falls in front of the trunk. This is done using the technique of negative painting.
5.At this point I move down into the foreground area and lay in some big bold washes of color, letting pigments mingle on the paper. As the foreground darkens in value, it forces our eye to the light area on the building behind it, creating a sort of framing effect.
Pinned to my drawing table are my value sketch and photo references. This is fairly typical of the way I work.
6. Now I complete the foliage on the tree, making sure I use a variety of colors and values to add interest. As I paint, I leave some of the light branches coming toward us to add depth.
The painting is close to being finished, but I still need to darken the foreground shadows and finish up some of the doors, windows, and other details on the buildings.
7. Tah Dah! The painting is complete. I'm pleased with the result. What do you think?
"Death Cannot Conquer" Painting of the Carthage Jail
16" x 21" Transparent Watercolor Painting by Roland Lee
Collection: Grant and Joyce Lee
Giclee prints are available of this painting
Click for purchase Information
8. Grant Lee and I at the Carthage Jail in May 2009. An avid family history buff, he commissioned me to paint three paintings of pioneer scenes and had as much fun as I did researching and visiting the painting locations.
