国外画家教程：油澳大利亚景观演示

　　啊!我们又在这儿了…这一次,一步一步示范对澳大利亚景观展示美丽的桉树(或胶)的树木,这将是最受欢迎的科目为艺术家在澳大利亚。我很抱歉,但是我不能找到原始图片我参考了目前,(如果他们打开我要插入他们之后),但这是完成的工作,然后我们将看看在实现它的过程之后。大气是一个清晨的薄雾在旧公路Gosford从霍克斯堡河。这是接近仲夏和树皮被剥离。

　　对于更详细的解释这个颜色组合实现,请阅读文章颜色混合.

　　在上面的组合,您可以看到一个酷毕业你去温暖从左到右,然后为每个样本的油漆是用白色向下逐渐减少你进入音调和最后的光之语音调。

　　我的第一个念头在发展中这幅画是计划一个eyepath为查看者的照片。它是如此容易导致眼睛立即边,再也不回来…和一个聪明的布局可以帮助防止这个。这是所有的安排而渐黑的打火机。这eyepath草图只是一个微小的规划一个废纸缩略图。

　　主题是“黑暗积极”。这意味着大多数的绘画是光在语气和一个较小的数额在调子上黑暗,所以观众的眼睛会被吸引到这个黑暗。eyepath计划后我现在做另一个小小的上方不屑一顾,映射出我的深色(或阴影)地区将。

　　哪个是小画区(暗色调或浅色调)在观众的眼睛会被吸引,所以你可以,作为一个艺术家,导致他们在一个小导游的工作。它需要一段思想最初,但大多数风景是黑暗的积极,使它变得本能的安排积极的地区在一个令人愉快的方式而不是让它们发射的边缘成分在眼睛有探索工作。它也有助于确定一个主要区域作为一个焦点(通常,最强的光线遇到最强的黑暗)。焦点是什么吸引你到主题在第一个地方,它是你想要传达给观众的画之后。

　　好的,是足够的规划!我渴望开始在画布上!首先一个最小的素描显示的布局树。为此,我使用了一个小丙烯酸涂料稀释水。

　　接下来,很快洗在那些黑暗的地区仍然计划与稀释丙烯酸涂料,可以肯定的是他们对于要,否则我可能会走弯路,哪有那么容易!注意,深色可能形式只是部分”命名的对象”(在这种情况下,树)和包括种姓的阴影。

　　时间现在混合大量的多汁的油漆,选择两个互补色——Redish-orange和蓝绿色混合在逐渐从一边到另一边,然后减少与白色,如上所示。互补的颜色范围是充分证明了在混合后的颜色。

　　我不喜欢混合的颜色沿途——对我感觉就像在所有的钢琴键那里准备玩,也可以拥有一个漂亮的颜色范围制定可供选择。我也喜欢我的混合多范围从只是原色…这让我感觉自己像个魔术师!

　　在这种情况下我用油画颜料,但相同的方法可以适用于丙烯酸树脂。(如果你使用丙烯酸这样但是,你需要保持乾燥之前,你可以使用它们如混合在一个有盖子的容器和喷雾轻浅的水,把盖子盖上只要你不使用油漆)。

　　现在我油漆很快,自信和能源。这是常识,我工作的事在一个景观转向我,这样每个阶段朝着你是重叠的。否则你会发现自己不得不削减在树叶和少量的天空。一些艺术家不介意这不过,所以它是完全取决于你。

　　在这种情况下,我放下苍白的天空”顺利异色颜色与刷(我计划很多纹理之后,对光滑纹理是可爱的)——那么遥远的山(再次解决刷),下一个遥远的树叶(开始使用刀结构现在),然后是树干和树叶终于和地面纹理。我用油画刀添加纹理。这需要练习处理但我爱它,是我不能太剔和获得影响我永远不可能实现用一把刷子。最伟大的纹理是在前台和最大的对比在基地…最大的树,这是计划在那个小纸片的开始!是的!

　　

原文如下：

Ah! Here we are again…this time with a step by step demonstration for an Australian landscape featuring beautiful eucalypt (or gum) trees, which would have to be one of the most popular subjects for artists in Australia. I’m sorry but I can’t locate the original photographs I took for reference at the moment, (If they turn up I’ll insert them later) but here is the finished work and then we will look at the process followed in achieving it. The atmosphere was an early morning misty one on the old highway to Gosford from the Hawkesbury River. It was approaching mid-summer and the bark was shedding.

For a more detailed explanation of achieving this colour mix, please read the Post on Colour Mixing.
In the above mix, you can see a graduation from cool to warm as you go from left to right – then as each swatch of paint is gradually reduced with white downwards you come into the medium tones and finally the light tones.
My first thought in developing this painting was to plan an eyepath for the viewer of the picture. It is so easy to lead the eye right off the edge, never to return … and a clever layout can help prevent this. It is all in the arrangement of the lighter and darker tones. This eyepath sketch is just a tiny planning thumbnail one on scrap paper.

The subject is “Dark positive”. This means that most of the painting is light in tone and a smaller amount is tonally dark, so the viewer’s eye will be drawn to the darks. Following the eyepath plan above I now do another tiny thumbnail sketch, to map out where my darks (or shadowed) areas will be.
Whichever is the smaller in painting area (dark or light) is where the viewer’s eye will be drawn – so you can, as an artist, lead them on a little guided tour of your work. It takes a bit of thought initially, but most landscapes are dark positive so it becomes instinctive to arrange the positive areas in a pleasing manner and not have them shoot off the edges of the composition before the eye has explored the work. It is also helpful to decide on a main area as a focal point (usually where the strongest light meets the strongest dark). The focal point is what attracted you to the subject in the first place and it is this you want to convey to the viewer of the painting later.

OK that is enough planning! I am keen to start on the canvas! First a minimal sketch to indicate the layout of the trees. For this I used a little acrylic paint thinned with water.

Next, quickly wash in those planned dark areas still with thinned acrylic paint, to be sure about where they are going to be – otherwise I might get side-tracked, which is so easy! Notice that the darks may form only part of the ‘named objects’ (in this case, the trees) and include caste shadows.

Time now to mix plenty of juicy paint, choosing two complementary colours – Redish-orange and blue-green mixed across gradually from one to the other and then reduced with white, as shown above. Complementary colour ranges are fully demonstrated in the Colour Mixing Post.
I dislike mixing colours along the way – for me it feels like having all the piano keys there ready to play to have a nice colour range laid out to choose from. I also like to mix as much of my range from just primary colours … it makes me feel like a MAGICIAN!
In this case I am using Oil Paints, but the same method can apply to acrylics. (If you use acrylics this way however, you need to keep them from drying out before you can use them e.g. mix in a shallow lidded container and spray lightly with water from time to time, putting the lid on whenever you are not using the paint.)
Now I paint quickly, confidently and with energy. It is common sense to me to work from the furthest thing away towards me in a landscape so that each stage working towards you is overlapping. Otherwise you may find yourself having to cut in around foliage with bits of sky. Some artists don’t mind this however, so it’s really up to you.
In this case, I laid down the pale non-blue ’sky’ colour smoothly with a brush (I am planning lots of texture later and texture against smooth is lovely) – then the distant hills (again smoothed out with a brush), next the distant foliage (starting to use knife texture now), then the tree trunks and finally the foliage and ground textures. I used a painting knife for added texture. This takes practise to handle but I love it as I can’t get too fussy and obtain effects I could never achieve with a brush. The greatest texture is in the foreground and the greatest contrast … around the base of the largest tree, where it was planned on that little scrap of paper in the beginning! Yea!