步骤1
草图后转移到画布上, 填写背景为紫色洗。
这幅画我用紫色。
在应用了洗你的画布,等待它干好摸在继续之前…当然,除非你麓再保险心情实验。
现在让它干的 碰在继续之前。
步骤2
记得我们麓再保险绘画与层在这些第一次演示。所以,除非你故意想要“破解看”, 务必使用介质混合物中所描述的一样郁金香演示。
如果这是您第一次访问,我建议你复制介质混合物,这样你就麓t必须来回。
在这一步,我开始与花。由于这是第一层的花,我使用相应的介质混合物。
花: 混合 Carmin +几乎没有一点普鲁士蓝+大量的白色来得到一个非常亮薰衣草颜色。这 应用到 暗 地区的花。
对于较轻的地区,使用白色+仅仅一撮薰衣草混合物。
如果你再来看看这个 郁金香演示 和 罂粟演示你会注意到我 只有漆最黑暗和最轻的地区。它看起来像画的数字。我离开一个很小的空间 音调之间的两个颜色。
然后轻轻地,轻轻地融入两个。这给中间的语气。
叶子: 获得 蓝色叶子使用一个混合的钴蓝色+白色+一撮普鲁士蓝。
如果你还没有这些颜色的麓在你的调色板 实验与你所拥有的。
绿色、混合 铬绿+钴蓝色+白色
使用相同的技术为花卉。填写树叶。
背景: 请注意,我开始 油漆从画布的中心工作和我的出路。 这种方式,如果 我不小心把我的手放在画布,我赢得了麓t涂片油漆得到处都是。 不断检查你的手臂和手可以肯定你根本麓t有漆。
的背景,使用不同的音调的镉红深+淡黄色。
现在填写背景。
重要的是要记住,你必须使用不同的介质混合物对于每个层。例如,在这个阶段已经有2层的背景,而花和叶子只有一个。一定要记录你的层。把它们写下来,如果需要。
现在让它干好摸在继续之前。
步骤3
进一步定义阴影区域的花朵,混合光黄+白+仅仅一撮镉红深。
这一次,对于较轻的地区,使用纯白色。
记得添加合适的介质混合物对于每个层。
现在应用油漆的部分你想要最轻,然后做同样的黑暗区域。
接下来,温柔婉约地融入两种颜色的边缘得到midlle基调。
记住,(如果搞砸了或者根本不像是麓)自底层涂料已经干燥,你可以去除油漆加一点松节油在纸巾。然而,不要搓硬或你可能损害前层。
叶子:使用深色和浅色调相同颜色的混合物与前面的层但是这次添加淡黄色的颜色混合,您将使用的更亮的区域。
使用相同的技术与花,定义光然后黑暗领域的树叶。
现在让它干好摸。
步骤4
花: 添加一个薄釉的绿色区域的阴影是最深的。为此, 使用纯 亚麻籽oil 作为介质。记住,层次越多越油你需要。
叶子: 使用相同的颜色与前面的层(但在更深和更轻的音调)添加一个釉,灯光及深色。
给一个的纵深感,使叶子在前台稍轻于其余的。这使得叶自告奋勇,其余退去。
不好的一面是,亚麻籽油的需要更长的时间来干和有一个趋势随着时间 泛黄。但对于这幅画。一点点的泛黄的白色的会做得很好。
确定它非常摸上去干之前添加在花的雄蕊。
步骤5
在你油漆在雄蕊,轻轻的在你的画轮廓他们直接用木炭棒。唐麓t按硬, 尽量不要 的新闻。
很轻的地方,你想雄蕊草图是。如果你不喜欢的样子,洗掉木炭用纸巾蘸肥皂很稀薄。轻轻地擦干用干净的纸巾和再试一次。
一旦你麓re对结果满意, 使用一个釉相同的绿色颜色你已经使用所有 一起和一个非常薄的刷,油漆的雄蕊。
恭喜你!你麓再保险完成!
我希望你喜欢它。 上帝保佑! !
原文如下：
STEP 1
After transferring the sketch onto the canvas, fill in the background with a purple wash.
For this painting I used violet.
After applying the wash to your canvas, wait for it to dry well to the touch before going any further…unless, of course, you´re in the mood to experiment.
NOW LET IT DRY WELL TO THE TOUCH BEFORE GOING ANY FURTHER.
STEP 2
Remember we´re painting with layers in these first demos. So, unless you purposely want the “cracked look”, be sure to use the medium mixtures as described in theTULIP DEMO.
If this is your first visit, I suggest you copy the medium mixtures so that you don´t have to be going back and forth.
For this step, I start with the flower. Since this is the first coat for the flower, I used the corresponding medium mixture.
Flower: Mix Carmin + barely a touch of Prussian Blue + lots of White to get a very light lavender color. Apply this to the darker areas of the flower.
For the lighter areas, use White + barely a pinch of the lavender mixture.
If you look again at the TULIP DEMO and the POPPY DEMO you will notice that I only paint the darkest and lightest areas. It looks like painting by numbers. I leave a very small space between the two tones of color.
Then very softly and gently blend-in the two. This gives the middle tone.
Leaves: To obtain the Blue for the leaves use a mixture of Cobalt Blue + White + a pinch of Prussian Blue.
If you don´t have these colors in your palette experiment with what you do have.
For Green, mix Chrome Green + Cobalt Blue + White
Using the same technique as the flower. fill in the leaves.
Background: Notice, that I start to paint from the center of the canvas and work my way out. This way, if I accidentally lay my hand on the canvas, I won´t smear the paint all over the place. Constantly check your arm and hands to be sure you don´t have paint on them.
For the background, use different tones of Cadmium Red Deep + Light Yellow.
Now fill in the background.
It is important to remember that you have to use different medium mixtures for each layer. For example, at this stage the background already has 2 layers, whereas the flower and the leaves only have one. Be sure to keep track of your layers. Write them down, if need be.
NOW LET IT DRY WELL TO THE TOUCH BEFORE GOING ANY FURTHER.
STEP 3
To further define the shadow areas in the flower, mix Light Yellow + White + barely a pinch of Cadmium Red Deep.
This time, for the lighter areas, use pure white.
Remember to add the right medium mixture for each layer.
Now apply the paint to the parts that you want to be the lightest and then do the same for the darker areas.
Next, gently and softly blend in the edges of the two colors to obtain the midlle tone.
Remember that (if you mess up or don´t like something) since the underlying paint is already dry, you can remove the fresh paint with a dab of turpentine on a paper towel. However, do not rub hard or you could damage the previous layer.
Leaves: Use darker and lighter tones of the same color mixtures as in the previous layer but this time add Light Yellow to the color mixture that you will use for the lighter areas.
Using the same technique as with the the flower, define the light and then the dark areas of the leaves.
NOW LET IT DRY WELL TO THE TOUCH.
Step 4
Flower: Add a thin glaze of Green to the areas where the shadows are the deepest. For this, use pure linseed oil as a medium. Remember, the more layers the more oil you need.
Leaves: Using the same colors as the previous layer (but in deeper and lighter tones) add a glaze to the lights and darks.
To give a feeling of depth, make the leaf in the foreground slightly lighter than the rest. This makes the leaf come forward, while the rest recede.
The down-side is that linseed oil takes longer to dry and has a tendency for yellowing with time. But for this painting. a little bit of yellowing in the white will do just fine.
BE CERTAIN THAT IT IS VERY DRY TO THE TOUCH BEFORE ADDING IN THE FLOWER STAMENS.
STEP 5
Before you paint-in the stamens, lightly outline them directly on your painting with a charcoal stick. Don´t press hard, try not to press at all.
Very lightly sketch where you want the stamens to be. If you don’t like the way it looks, wash off the charcoal with a paper towel dipped in very diluted dish-soap. Gently dry with a clean paper towel and try again.
Once you´re satisfied with the results, use a a glaze of the same Green color you have been using all along and with a very thin brush, paint the stamens.
CONGRATULATIONS! YOU´RE DONE!
I hope you enjoyed it. God Bless!!
Beatriz Socorro
