这一步一步演示的目的就是要显示实际的步骤在这个委员会的肖像。这是相同的过程我使用几乎所有佣金我油漆。
步骤1。客户的照片和照片的选择。
在之前讨论服装拍照,坦纳把他的燕尾服以及更多的休闲服装。之前就开始,我请他告诉我他最喜欢,至少对他的脸,这样我可以构成他的方式来表达他的愿望。他问我去避免强调他的耳朵,他承诺将是一个很好的客户,并给了我一个非常松散的控制。
我用尼康5700消费级数码相机,和一个单一的人造光(日光纠正灯泡),白色板反射补光,TIF设置,和三脚架。
我们选择一个肢体语言和面部表情从同一个系列的照片,我们都将从我们的立场,而光方向保持不变。这两个变量保持不变,我可以很容易地结合图像无缝。
步骤2。将图在画布上
我已经决定画的画像在垂直唐纳,30 x 24格式,和有一些挑战他的确切大小和位置,而不仅仅是因为他是一个很高大的人。我创建了一个作曲的缩略图使用分级功能在Adobe Photoshop(但你可以简单地使用铅笔和纸,因为我做了几年前我甚至有一个计算机),以免切断膝盖在我们离开,也不是他的手,没有留下太多的空的空间别的地方。
我发现在我的缩略图的中心,和马克相应的中心我的画布上用小+。我想让马克在望,直到图相当好陈述,因此负空间不要离开我。我用一个小刷子和生赭变薄一点Maroger介质,并将垂直测量标志,在丹尼尔·格林方法。我在足够的素描图,以确认它是正确放置,并提供一个蓝图,我要在画布上。Depsite我最好的努力在Adobe Photoshop,这帆布是轻声的,标志是在生赭。
这是一个新的传统艺术小组,克赖森L600的麻衣,安装在Gatorboard。
步骤3 - 5。地方是强、饱和色的脸。
一种方法教我由比尔•惠特克的位置,未混合的饱和色彩强烈的景点真的帮助设定一个充满活力的颜色,容易层允许你冲淡浓度后层。在这些图片中,你可以看到强烈的未混合的拼凑。看起来像一个皮肤科医生的梦想案例!
调色板是一个适应的惠特克/格林调色板:
片状白色
钛白
永久玫瑰
镉猩红色+生黄土
黄色赭石
透明地球红
残留物(谢谢佩吉Baumgaertner)
沥青
生赭
象牙黑+生黄土
镉黄+象牙黑(混合绿色)
茜素永久+ Thalo绿色(混合黑)
深蓝色
步骤6。纯色的地方指出来表示值和色调的背景。
这是最重要的早期的绘画,因为每个冲程你地方是判断其相邻的颜色。在这种情况下,我有一个背景颜色,是一个灰色的下来(不饱和)中值绿色,这是更重要的,因为绿色的地面将使所有的红军甚至出现红,我想保持相对的温度控制。能够正确判断价值和颜色是最好的,当你正在与颜色放在彼此相邻。(好吧,至少很简单,我)
离开了白色的背景,直到面临结束,然后试图把它涂成,会使我不得不重新油漆颜色的脸。再一次。叹息。
第七步:继续精炼形象
在这个不寻常的情况下,我能够得到一分之一两个小时从生活工作。泰勒和我参加了一个黑色领结拍卖作为大型汽车拍卖每年一月举行在斯科茨代尔。
当我安排这个,我想不起来什么角度我用于把原始照片。为了能够继续从一个生活模式,画家和模型需要在同一眼水平在源照片。我很幸运,可以放置我的三脚架和相机在一个舒适的站的高度,但那是纯粹的运气。在将来,我不会离开这机会。
这里是演示设置,画家在行动,三种取景收藏家的车,那天晚上被拍卖。舞池是一个巨大的棋盘。我只提到这个,因为它是一个这么酷的事件。
3/3/07注意:已经有一些疑惑这个演示,我想澄清一下:事实上,我能得到几小时绘画从生活并不意味着这是肖像从生活。它不是。整个画花了我大约50个小时左右,和我使用的方法是基于摄影图像,就像我和我的佣金。
步骤8。开车的肖像。
在这里你可以看到跟踪标志从我的SUV。和这是一个很大的汽车。感谢上帝,这幅画是当时脸朝下。
作为我的亲爱的老师比尔·惠特克说,“我不是故意的。“我必须说明这一蒂姆·贾尔斯。
步骤8。完成这幅画。
我尝试了anunderpainting介质、混合到右边的背景颜色的混合物,以及套装颜色。我真的很高兴这介质:涂料层干燥非常非常快,它有一个均匀喷砂面。它的叶子一点牙齿,这是伟大的作为附加层被添加,但作品如果最后清漆应用正确的在其上。它对我来说很不错最后一层油漆,因为我不是一个釉画家。
一个如果画的问题,一直是我的一个问题是这幅画的大黑暗通道,这往往会陷进去,难以使我来对付他们。油漆的燕尾服,我描绘底层黑人第一-混合使用象牙黑+混合黑由thalo绿色和茜素。指示打火机的区域使用的原始Grumbacher织物我棕土直接从管、混合与底层色介质。
我让黑暗的第一层完全干之前生赭层。在某些领域我画生赭在干燥的黑色,在某些地区,我使用Maroger湿下黑地区第一。我现在已经被使用underpainitng介质在每一个背景或其他其他地区哪里有大片相似的颜色。
当我觉得我可以不再做任何改善的肖像,我拿给坦纳,他是完全激动。只有在客户批准我申请最后的清漆。
坦纳将举办一个派对今年春天发布以后,我会让你知道它会。
原文如下：
By Chris Saper
Forum demo, Portrait of Tanner; Oil on Claessen’s L600 linen mounted on Gatorboard www.newtraditionsartpanels.com ); 30” x 24”.
This step-by-step demo is designed to show the actual steps involved in this commission portrait. It’s the same process I use for virtually every commission I paint.
Step 1. Client photos and photo selection.
Having discussed clothing prior to the photo session, Tanner brought his tuxedo as well as a more casual outfit. Before even beginning, I asked him to tell me what he likes best, and least about his face, so that I can pose him in a way that will convey what he wishes. He asks me to avoid emphasizing his ears, He promises to be a wonderful client, and gives me a pretty loose rein.
I used a Nikon 5700 Coolpix, and a single artificial light (daylight corrected bulb), with a white board reflecting fill light, a TIF setting, and tripod.
We choose a body language and facial expression from within the same series of photographs, where neither of us moves from our position, and the light direction remains constant. By keeping those two variables constant, I can readily marry up images seamlessly.
Step 2. Placing the figure on the canvas
I have decided to paint Tanner’s portrait in a vertical, 30 x 24 format, and have some challenges as to his exact size and placement, not the least of which is because he is a very tall man. I create a compositional thumbnail using the sizing function on Adobe Photoshop ( but you could simply use a pencil and paper, as I did for years before I even had a computer) to so as not to cut off the knee on our left, nor his hands, without leaving too much empty space anywhere else.
I find the center on my thumbnail, and mark the corresponding center of my canvas with a small +. I want to keep that mark in sight until the figure is fairly well-stated, so that the negative spaces don’t get away from me. I use a small brush and raw umber thinned with a little Maroger medium, and place vertical measurement marks, as in the Daniel Greene method. I sketch in just enough of the figure to verify that it is placed correctly, and to provide a blueprint for where I am going on the canvas. Depsite my best efforts in Adobe Photoshop, this canvas is untoned, and the marks are in raw umber.
This is a New Traditions Art Panel, Claessen’s L600 linen, mounted on Gatorboard.
Step 3-5. Place marks of strong, saturated color in the face.
A method taught me by Bill Whitaker, the placement of strong, unblended saturated color in spots really helps set a vibrant layer of color, which readily allows you to desaturate chroma in later layers. In these images, you can see the strong unblended patchwork. Looks like a dermatologist’s dream case!
The palette is an adaptation of the Whitaker/ Greene palettes:
Flake white
Titanium white
Permanent Rose
Cadmium Scarlet+Raw Sienna
Yellow Ochre
Transparent Earth Red
Caput Mortuum ( thanks Peggy Baumgaertner)
Asphaltum
Raw Umber
Ivory Black+Raw Sienna
Cadmium Yellow+Ivory Black (a mixed green)
Alizarin Permanent+Thalo Green (a mixed black)
Ultramarine Blue
Step 6. Place solid color notes to indicate the value and hue of the background.
It’s important to do this early on in the painting, because each stroke you place is judged by its adjacent color. In this case, where I have a background color that is a grayed-down (desaturated) mid-value green, it’s even more important because the green ground will make all of the reds appear even redder, and I want to keep the relative temperatures under control. The ability to properly judge value and color is best when you are working with colors placed adjacent to one another. (Well, at least it’s easier for me)
Leaving the white background until the face is finished, and then trying to paint it in, will cause me to have to repaint the colors in the face. Again. Sigh.
Step 7: Continue refining image
In this unusual case, I was able to get a in a couple of hours working from life. Tanner and I attended a black-tie auction as part of the large auto auction held each January in Scottsdale.
When I arranged this, I couldn’t recall what vantage point I used in taking the original photographs. In order to be able to continue from a live model, the painter and model need to be at the same eye level as in the source photograph. I was lucky to have placed my tripod and camera at a comfortable standing height, but that was sheer serendipity. In the future I won’t leave this to chance.
Here is the demo set-up, painter in action photo-op, and one of three collectors’ cars that were auctioned off that evening. The dance floor was a big checkerboard. I only mention this because it was such a cool event.
3/3/07 Note: there has been some confusion about this demo and I wish to clarify: the fact that I was able to get couple of hours painting from life does not mean that this is portrait from life. It is not. The overall painting took me about 50 hours or so, and the approach I used was based upon photographic images, just as I do with my commissions.
Step 8. Drive over the portrait.
Here you can see the track marks from my SUV. And it’s a big car.Thank heavens the painting was face-down at the time.
As my dear teacher Bill Whitaker would say, “I didn’t mean to.” I’ll have to show this one to Tim Giles.
Step 8. Finalize the painting.
I experimented with an underpainting medium, mixed right into the mixture of background color, as well as the suit color. I was really delighted with this medium: the paint layer dries very, very quickly, and it has a uniform matte finish. It leaves a bit of tooth, which is great as additional layer are added, but works well if the final varnish is applied right on top of it. It works fine for me a final layer of paint, as I am not a glaze painter.
One if the paintings problems that has always been a problem for me is the painting of large dark passages, which tend to sink in, and make it difficult for me to deal with them. To paint the tuxedo, I painted the underlying black first – using a mixture of ivory black+ a mixed black made from thalo green and alizarin. To indicate the lighter areas of the fabric I used Grumbacher’s raw umber straight from the tube, mixed with the underpainting medium.
I let the dark first layer dry completely before the raw umber layer. In some areas I painted the raw umber on the dry black, and in some areas I used Maroger to wet down the black areas first. I have now been using the underpainitng medium in every background or other other area where there is a large expanse of similar color.
When I felt I could no longer do anything to improve the portrait, I showed it to Tanner, who was completely thrilled. Only after client approval do I apply the final varnish.
Tanner will be hosting an unveiling party later this spring, and I’ll let you know it goes.
