老松树谷教堂是最古老的连续使用会议的后期圣徒教会教堂的房屋。它的设计是由Ebeneezer布莱斯,一个前船舶建造建造它,就好像它是一个颠倒的船。它座落在小先锋镇松树山谷约20英里的北部犹他州的圣·乔治。
一步一步的绘画示范了罗兰•李
1。我爱这个小教堂在华彬犹他州和我已经画了好几次。这是它如何出现一些年前。有许多大的常青树,种植和成长在两个东西方的教堂阻塞这一观点今天。
你可以看到光束指南我造一个4 h铅笔。我很小心的画,因为我通常是与结构主体。我开始跟天空区域,而它的干燥我躺在影子一侧的建筑让温暖和凉爽的颜料混合在一起来创建一个活泼的灰色。
2。我躺在远处的丘陵松散,开始建立绿色修剪在窗户上的影子侧。现在我有我的整个范围的值从光线黑暗,这将引导我,我完成其余的绘画。
3。我现在前进和发展巨大的老树在前景和杨木的一些灌木在地上。你可以看到,我使用负画离开一些树枝挂前进前方其他叶子。
4。现在的问题只是来回工作从距离地面到前台我中间开始把这幅画成为关注焦点保留我的黑暗的黑暗,直到最后。
很多人认为油漆栅栏在消极的将是一个巨大的琐事,但它不是。这将是一个艰难的工作,试图掩盖它或使用不透明的白人。我通常避开掩蔽流体或其他方法塞尔偏离传统透明技术只是因为我认为它看起来不自然的。我承认有些时候可能会更有效的使用它,但是它并不适合我。
原文如下：
The old Pine Valley Chapel is one of the oldest continuously-used meeting houses in the LDS Church. It was designed by Ebeneezer Bryce, a former ship-builder who built it as if it were an upside-down ship. It is located in the little pioneer town of Pine Valley about 20 miles north of St. George, Utah.
STEP BY STEP PAINTING DEMONSTRATION BY ROLAND LEE
1. I love this little chapel in Pine Valley Utah and I have painted it several times. This is how it appeared some years ago. There are a number of big evergreens that were planted and have grown up on both east and west sides of the Chapel blocking this view today.
You can see the light pencil guidelines which I made with a 4H pencil. I was pretty careful with the drawing, as I usually am with architectural subjects. I begin with the sky area and while it's drying I lay in the shadow side of the building letting warm and cool pigments mingle together to create a lively gray.
2. I loosely lay in the distant foothills and start to establish the green trim around the windows on the shadow side. Now I've got my whole range of values from light to dark, which will guide me as I complete the rest of the painting.
3. I now move forward and develop the big old Cottonwood tree in the foreground and a few of the shrubs on the ground. You can see that I am using negative painting to leave a few of the tree branches which hang forward in front of the other foliage.
4. Now it's just a matter of working back and forth from distance to middle ground to foreground as I start to bring the painting into focus reserving my darkest darks until last.
A lot of people assume painting the picket fence in the negative would be a huge chore, but it is not. It would have been a tougher job to try to mask it out or use opaque whites. I usually shun masking fluid or other methods thay stray from the traditional transparent techniques only because I think it looks contrived. I will admit there are times when it might be more effective to use it, but it's not for me.
