纯灰色画画底色示范——“军士”
有许多方法和技巧,我用来画一画。这里是一个简短的课程在一个旧主技术方法我有时使用称为纯灰色画(或底层色)。
这是一个完成的画底色(但不是油漆完)我的狗,”约翰•辛格•萨金特,又名军士。”
我选择这个主题作为演示,因为它显示了如何处理一个完整的范围的值从黑(实验室)白色(他的毛毯)。“暗”不是很黑暗和“灯”不是很轻的画底色。
因为警官拒绝坐几个小时,我用我的照相机和一个单一的光源来捕捉他在一个典型的姿势。
我先画在画布上的狗的。我增加了球使作文更有趣。
我把图的狗,把它分成光线和阴影。我用很厚的颜料在我underpaintings——没有帆布将显示通过。
仍然使用厚的漆,我开始将光线和阴影区域满足。表单是由光与影如何满足——从非常快速、大幅缓慢和轻柔。
在一个底层色,当我定义黑白第一,所有其他的价值观很容易进入的地方。
当底层色是完全干燥的我将开始釉在透明色和构建光厚不透明的涂料。这是我的工作,是什么让“老主人看。“我不要使用这种技术在画风景画。
这是我的实际底层色调色板颜料相比,颜色白色。他们是各种混合物的生赭加钛白色。
正如你所看到的我只用5值。深色阴影并不那么黑暗和亮点并不轻。
极端的值出现在顶部层颜色。的画底色层常常让我想起一个老乌贼照片。
原文如下：
Grisaille Underpainting Demonstration – “Sarge”
There are many methods and techniques that I use to paint a painting. Here is a quickie lesson in an Old Master technique method I sometimes use called Grisaille (or underpainting).
This is a completed underpainting (but not a finished painting) of my pooch, “John Singer Sargent, aka Sarge.”
I chose this subject as a demo because it shows how to handle a full range of value from black (the lab) to white (his blanket). The “darks” are not very dark and the “lights” are not very light in an underpainting.
Because Sarge refuses to sit for hours and hours, I used my camera and a single source of light to capture him in a typical pose.
I begin by drawing the dog on a toned canvas. I added the ball to make the composition more interesting.
I took the figure of the dog and divided it into light and shadow. I use very thick paint in my underpaintings – no canvas will show through.
Still using thick paint, I begin to blend the areas where light and shadow meet. The form is determined by how light and shadow meet – from very quickly and sharply to slowly and softly.
In an underpainting, when I define black and white first, all the other values easily fall into place.
When the underpainting is completely dry I will begin to glaze in transparent color and build light with thick opaque paint. This is what gives my work that “Old Master Look.” I do not use this technique in painting a landscape.
This is a palette of my actual underpainting paint compared to the color white. They are various mixtures of raw umber plus titanium white.
As you can see I only used 5 values. The deep shadows are not that dark and the highlights are not that light.
The extremes of value come in the top layers of color. The underpainting layer often reminds me of an old sepia photograph.
