提到画家古斯塔夫•克里姆特和人民更容易觉得绘画金箔如亲吻或希望二世,而不是画的森林和树木。但克里姆特也是一个画家的风景。我最喜欢的是他的喜怒无常的画作的森林或组的树木,像这样:
克里姆特的森林画正方形画布上完成(建议1)的“安静”,与树干大幅削减了画布顶端(让你的想象力来分配最终的高度)。经过仔细观察,你会发现他后期的森林中的树木画更独特和个人比他早期绘画。克里姆特的激情是“事情背后的本质仅仅是外表”,用非常精细的色调层次捕获。克里姆特也是用取景器或双筒望远镜选择paint.3景观的一部分
这幅画在这个逐步演示灵感来源于森林克里姆特的绘画和自然保护区的松林靠近我住的地方。虽然这个引用的照片显示,这是由黑色的树干和明亮的森林地面覆盖着死去的松针,这只是一个起点,最后画了更多的秋天的森林。第一步是素描的成分……
我的出发点是用铅笔素描绘画的构图到画布上,标志着地平线,主要的树干。然后用丙烯酸油漆我封锁在一个背景颜色,天蓝色的天空和澳大利亚的黄绿色。
后者是一个新的颜色我想尝试,从Derivan马蒂斯,澳大利亚涂料公司。看着它,这是一个相当环保比我设想的绘画,所以我然后画在它的薄釉镉黄,然后更不透明釉镉橙(主要树干的地区除外)。
第一树干上是大型的从我画的构图。然后我逐渐添加越来越多的,退一步定期评估看起来。
从画组成的一个主要变化是两个大的树干在左边的这幅画在前面。(稍后我将其中一个拿出来,见第5步。)
使用的颜色树干生赭,普鲁士蓝,喹吖酮鲜橙。在过去的照片,你可以看到,我在开始使用后者颜色在森林的地面上。
这些照片展示了我建立颜色在森林的地面上使用各种颜色,画简而言之行。通过在一个一致的方向,工作线方向和高度的感觉给森林地面,好像树上稍微山。
使用的颜色包括一个小的天蓝色背景的天空,green-gold,生赭,喹吖酮鲜橙。
感觉太强烈而明亮的颜色,所以我添加了不少的树干,然后应用生赭的釉在整个绘画沉闷下来(图1)。在评估,我决定了,所以暂时添加了一些镉橙色和黄色绿色(图2)。
然后我决定停止对冲,就去,所以得到了绘画与喹吖酮鲜橙(照片3和4)。我知道我将画树干,所以并不过分小心,不要油漆的橙色。(除此之外,有一个背景画对象周围出现的最简单方法之一,毁了一幅画!)
这也是我改变了成分的阶段。我缩短了树在左上角因为连续三个树干觉得错了,太占主导地位。(这也意味着我有三个树干的底部边缘画,履行规则”,奇数构成比。
很难判断一幅画上停止工作时,决定你只是微不足道的,没有任何改善。这张照片显示了Klimt-style树画看起来就像当我停止工作。判断后一周左右,我认为它可以进一步开发,使树干更多的个人和在狭窄的人。
不过,我不打算做任何这个特殊的绘画。而不是我要去油漆另一个版本,使用相同的画布大小和颜色,在我从这幅画在未来。但首先是时候去森林里与我的素描本,时间观察和吸收。然后就回架上。
原文如下：
Mention the painter Gustav Klimt and people are more likely to think of paintings with gold leaf such as The Kiss or Hope II, rather than paintings of forests and trees. But Klimt was also a painter of landscapes. My favorites are his moody paintings of forests or groups of trees, such as these:
Klimt's forest paintings are done on a square canvas (which suggested a "sense of quiet"1), with the tree trunks sharply cut off by the top of the canvas (leaving your imagination to allocate a final height to them). On closer inspection, you'll see that the trees in his later forest paintings are more distinctive or individual than in his earlier paintings. Klimt's passion was the "essence of things behind their mere physical appearance"2, captured with very fine tonal gradations. Klimt is also known to have used a viewfinder or binoculars to select a part of a landscape to paint.3
The painting in this step-by-step demo was inspired by Klimt's forest paintings and a pine forest in a nature reserve near to where I live. Although as this reference photo shows, it's dominated by dark tree trunks and a bright forest floor covered in dead pine needles, it was just a starting point, and the final painting ended up far more of an autumnal forest. The first step was to sketch in the composition...
Tree Painting Step by Step Demo - - Tree Painting in the Style of Klimt
My starting point was to sketch the painting's composition in pencil onto the canvas, marking the horizon line and where the main tree trunks would be. Then I blocked in a background color with acrylic paints -- cerulean blue for the sky and Australian yellow green.
The latter was a new color I wanted to try, from Derivan Matisse, an Australian paint company. Looking at it though, it was a quite a bit greener than what I envisaged for the painting, so I then painted over it with a thin glaze of cadmium yellow, then a more opaque glaze of cadmium orange (except for the areas of the main tree trunks).
Tree Painting Step by Step Demo - - Tree Painting in the Style of Klimt
The first tree trunks to be painted in were the large ones from my sketched composition. Then I gradually added more and more, stepping back regularly to assess how it looked.
One major change from the sketched composition was the addition of two large tree trunks in the left-hand side of the painting at the front. (Later on I took one of these out again; see Step 5.)
The colors used for the tree trunks were raw umber, Prussian blue, and quinacridone burnt orange. In the last photo, you can see where I've started using the latter color on the forest floor too.
Tree Painting Step by Step Demo - - Tree Painting in the Style of Klimt
These photos show how I built up color on the forest floor using various colors, painted in short lines. By working in a consistent direction, the lines give a feeling of direction and height to the forest floor, as if the trees go up a slight hill.
The colors used include a little of the cerulean blue used for the background of the sky, the green-gold, raw umber, and quinacridone burnt orange.
Tree Painting Step by Step Demo - - Tree Painting in the Style of Klimt
The colors felt too intense and bright, so I added quite a few more tree trunks, then applied a glaze of raw umber across the whole painting to dull it down (Photo 1). On assessment, I decided I'd overdone it, so tentatively added some cadmium orange and yellow green (Photo 2).
Then I decided to stop hedging around and just go for it, so got painting with the quinacridone burnt orange (Photos 3 and 4). I knew I would repaint the tree trunks somewhat, so wasn't overly careful not to paint over them with the orange. (Besides, having a background that appears painted around objects is one of the easiest ways to ruin a painting!)
This is also the stage where I changed the composition. I shortened the tree in the left-hand corner because the three tree trunks in a row felt wrong, too dominant. (It also meant that I had three tree trunks going off the bottom edge of the painting, fulfilling the composition 'rule' that odd numbers are better than even.
Tree Painting Step by Step Demo - - Tree Painting in the Style of Klimt
It can be hard to judge when to stop working on a painting, to decide that you're simply fiddling and not improving anything. The photo shows what the Klimt-style tree painting looked like when I stopped working on it. Judging it after a week or so, I think it could be developed further still, making the tree trunks more individual and the ones at the back narrower.
However, I'm not going to do anything to this particular painting. Instead I'm going to paint another version, using the same size canvas and colors, building on what I learned from this painting in the next. But first it's time for another trip to the forest with my sketchbook, time for observing and absorbing. Then it'll be back to the easel.
