一步一步的风景油画示范
阶段1
我觉得艺术家头脑中要有一个目标,这幅画你即将开始,要告诉观众。什么吸引了我这个场景就是我想漆,是早上背光氛围,深度和规模宏伟的瀑布对这座山的。如果你回到现场的照片你会注意到所有的建筑和汽车在街上。我觉得所有这些额外的信息将是一个冲突,我想说在这幅画,所以我将省略这些元素从绘画。我有各种各样的开始我的绘画。这开始非常类似于水彩;它有一个非常透明的洗与油画颜料和溶剂油被稀释。我只是块在基本形状在各自颜色的家庭。这类似于图或素描作文在画布上,这里你只是应用领域在群众。
阶段2
第二步,我开始设置之间的关系,不同的山层和天空。我开始开发最远的山区和类型的光和价值比较接近山脉的阴影。这是非常重要的,因为我知道它不会花很长时间和太阳将会填补这一场景更多的光然后我所寻找的。还有一个和谐整个场景,这将是重要的发展这和谐的画。
阶段3
这一步我扩大更多的微妙的转换在最远的山,发展一些雪字段,躺在一个地方流开始的架式。我也开发一些微妙的地区的中产山如光泄漏进入这个区域。前台区域是得到一些关注和我开始开发最近的山在右边。
阶段4
这个阶段开始显示场景的变化。几个云开始开发和在一个点云阴影最接近的山。这使得背光的影响了现场的气氛,甚至更加吸引人。我很快的价值转变在山的右边成分将整个事情的影子。有更多发展的天空和第二个山,显示一个失物招领的蜿蜒的溪流和瀑布。我也有意识地降低横向磁场在山脉。这给了现场甚至更多的垂直感觉。
阶段5
这个阶段显示了一些微妙的发展中最近的山,树区域和岩墙形成树林上空。建议的形成和不同的飞机内树各种山回到现场也进一步发展。
油漆完
“,英格拉姆的黄金瀑布碲化16“x 20“油/亚麻
最后的阶段包括寻址和确保和谐,我说早已经发达。前台区域已经得到工作。我给一个小更多的关注更紧密的元素,树木,道路和建议其他的树叶。关键字,我已经使用在这些描述性阶段是建议。每一幅作品,都需要一个重点,直接查看器。如果你有太多的焦点(区域相同数量的细节),成为这些元素之间的竞争。艺术家需要发展焦点,然后设计和建议的其他元素在现场领导视图通过绘画周围。
原文如下：
Step by Step Landscape Oil Painting Demonstration
Stage 1
I feel the artist has to have a goal in mind as to what this painting you are about to start, is going to say to the viewer. What attracted me to this scene is what I want to paint and that is the back-lit morning atmosphere, the depth and the scale of the waterfalls against the grandeur of this mountain. If you go back to the photo of the scene you will notice all the buildings and automobiles on the street. I felt all this additional information would be a conflict to what I wanted to say in this painting, so I will omit these elements from the painting. I have a variety of starts to my paintings. This start is very similar to a watercolor; it has a very transparent wash with the oil paint being thinned with mineral spirits. I just block in the basic shapes in their respective color families. This is similar to drawing or sketching the composition on the canvas, here you are just applying the areas in masses.
Stage 2
This second step, I start to set-up the relationship between the different mountain layers and the sky. I start to develop the farthest mountain area and the type of light and value compared with the closer mountains that are in shadow. This was very important because I knew that it would not take long and the sun would fill this scene with more light then what I was looking for. There is also a harmony to the whole scene, it will be important to develop this harmony in the painting.
Stage 3
This step I expand more of the subtle transitions in the farthest mountain, developing some of the snow fields that lay on a shelf-like area where the stream starts. I also develop some of the subtle areas of the middle mountain as the light spills into this area. The foreground area is given some attention and I start to develop the closest mountain on the right side.
Stage 4
This stage starts to show a change in the scene. A couple of clouds started to develop and at one point the clouds shaded the closest mountain. This made the effect of the backlit atmosphere of the scene even that much more appealing. I quickly made the value shift in the mountain on the right side of the composition placing the whole thing in shadow. There is more development of the sky and the second mountain, showing a lost and found of the meandering stream and falls. I have also consciously lowered the horizontal field below the mountains. This gave the scene even that much more of a vertical feel.
Stage 5
This stage shows some of the subtle developing of the closest mountain, the tree areas and the rock wall formation above the trees. Suggestion of tree formations and different planes within the various mountains going back into the scene are also further developed.
Finished Painting
“Telluride’s Gold, Ingram Falls” 16” x 20” oil/linen
The final stage includes addressing and making sure that the harmony that I spoke of earlier has been developed. The foreground area has to be worked on. I give a little more attention to the closer elements; the trees, the road and the suggestion of other foliage. The key word that I have used in these descriptive stages is suggestion. Every painting needs a focal point to direct the viewer. If you have too many focal points (areas with the same amount of detail) there becomes a competition between these elements. The artist needs to develop the focal point and then with design and the suggestion of other elements in the scene lead the view around through the painting.
