油画示范-步骤1
有时我制定一个想象中的画面,然后去寻找合适的参考,将给这幅画的真实性。其他时间我去寻找良好的绘画题材。示范画,”塔拉纳基的记忆”,是这样的一个旅行的结果。
低光仍然是完美的一个冬天的下午。一个空灵的太塔拉纳基主持了土地,雄伟的,空洞的,脱离了中间的距离由低云雾。我知道我的问题是要找到一个合适的前景。所以,在天色渐暗时,我开车赶紧下来一个国家路,停止每当我看见溪流或树,可能是有趣的。
在这些条件下,一个相机是唯一的方法来抓住详细的参考。我找到了一个合理的岩石散落河,爬上一些粗糙的地面,旁边,是吸引了一个岩石露头,我向右。我跑一点,又发现自己在一个废弃的采石场盯着网站。辉煌!大的老树,原始森林的残迹,仍然坚持在更高的分。我感觉我走了80多年。一个先锋味似乎徘徊在寂静…我拍了几张相片和离开,知道我有一个很好的绘画基础。
创作这幅画
油画示范-步骤2
很久以后,在我的工作室,我研究照片和开始一个小布局草图。这个话题仍然兴奋我但成分可能有多大的改善。流,最初吸引我需要转移到几百米,要通过我的画。我发明了一个绕组,松金属路,安装一个旧木桥过了河,然后把路就在前台。
流和道路提供良好的眼路径,但我仍然认为一个额外的焦点,除了山是必要的。塞到上面右边的道路被一个理想的地方为一个维多利亚时代的定居者的小屋。我画了一个在然后把我关注前台树叶。而不是大海的多刺的灌木,它们出现在金雀花的照片,我决定在一些牧草,许多本地的树木和蕨类植物和许多等级草。
在这个阶段我已经走了很长的路从我原来的照片,但是一个激动人心的“走在和探索“图片故事都将发生。
技术和表面处理
油画示范-步骤3
技术
这些年来,我已经设法结合松动和自发性的草图,自由和意外的影响和丰富性和多功能性的水彩画的油。
我将要描述似乎极其复杂和耗时的,事实上它很简单,往往导致非凡的效果,尤其是在发光的阴影区域。
表面制备
我使用一个10厘米的房子画笔给一个82×65厘米片硬纸板两层石膏。在第二个外套我很小心使用笔刷在直角的第一层。在一个光喷砂,石膏给我提供了一个低救济纵横交错的模式,这是更为顺畅,但仍然提供了比帆布好牙,这是理想的工作在木炭。
木炭
油画示范-步骤4
使用一根柳树木炭,我画的这幅画在一个相当宽松的风格。每当我屏蔽了阴影,我小心地不按努力消灭有趣的纹理创建的brushstroked石膏。然后我花了一个喷雾罐的可行的固定剂、喷整个图像表面与几个光外套,木炭将不再涂抹摩擦时。(这幅画我犯了愚蠢的错误,不除去大部分的木炭在天际线上喷涂前固定剂——结果呢?额外的工作覆盖了油之后)。
丙烯酸和墨汁
油画示范-步骤5
接下来,我抓起一个2.5厘米的糕点,把整个事情刷到一个可怕的水墨画使用透明丙烯酸的颜色。我避免使用任何不透明颜料(白,黄,黄赭色那不勒斯,氧化铁,等等),这些将消灭木炭。
添加进一步的兴趣,我把一个塑料喷雾罐满墨汁和喷的小肉团墨水在照片表面。有些我用纸巾软化了回来。我试图限制气泡主要是中下部分绘画以保持天空,远山清洁柔软。
这里是我的画看起来一个烂摊子。好的方面是它不怎么炫耀的或粗糙的初步工作是因为下一阶段可以拉在一起。同时,“事故”可以变成有趣的效果如果允许显示通过油。位,不工作可以隐藏应用厚油涂料。
油和来自高层的工作
油画示范-步骤6
油
我使用一个大的木制调色板和一个硬、光滑的表面。我总是把所有我的颜色出来在我开始之前,我总是把每个颜色在同一个位置,一两英寸的在边缘留下良好的空间在中间混合颜色。有一个标准的布局出发时你的颜色是一样重要的拥有一个标准配置你的钢琴的键盘或你的电脑。
在一个角落的调色板我夹一个金属板杯半满的品牌经典介质档案。我发现这是一个非常好的介质,尤其适合薄釉彩的颜色。
我用的最多的颜色是片状白色、黄色赭石,火星红色和深蓝色。
我用小数量的鹅黄色、镉黄灯、镉橙、镉红灯,暗红,氧化铬绿,绿,蓝,Pthalo Pthalo生黄土和烧棕土。我之所以用片状白色是因为我想最小化持平或沉闷的斑点在完成的绘画。片白色作为底漆,钛白具有性能的搪瓷。我知道,我将使用至少2层油漆所以规则;-“开始与底漆-完成珐琅”。
另一个点。我已经放弃了廉价的刷子。最近我一直在使用艺术谱定义者系列鬃毛刷子和找到他们优秀。
来自高层的工作
我几乎总是先从天空在光源(片状白色和一个小鹅黄色)。
当我工作的时候远离光我添加更多的鹅黄色,也许一丝镉红,然后越来越蓝。当我画一个晴朗的天空,我确定它是苍白下来在地平线上,它深化了因为它上升。
接下来,使用同样的大(10号)刷,刷在降温的遥远的陆地。我使用第二个刷清洁,柔软的强调在树上或牧场。我用白色,深蓝色和红色是我基本不透明的火星影子混合物。
我逐步减少大量的白色阴影作为我工作的内容和向下转发,以免掩盖所有的有趣,点点在底层色效果。
等我走到前台,大红和生黄土(漂亮的透明)已经取代了火星红(非常不透明)在阴影中。
我小心地进一步充实和温暖的阴影越近,对他们的前景。我也避免穿上强调,直到我满意为止,影子音调和颜色是相当正确的。阳光照射的叶有越来越多的黄色在它越到前台。一些脆,前景突出在草地上已经投入使用一个长头发,尖貂”起重工“刷。我总是用钛白和触动的镉黄和镉橙这样强调。
微调和框架
油画示范-步骤7
微调
一旦整个绘画有一层油,我通常让它干,然后让整个事情一件外套的润饰清漆。这增加光泽表面上和废除了任何机会沉闷补丁开发当我申请额外的油漆。
用我所有的山水画,我喜欢邀请眼睛去旅行穿越太空。
这通常意味着一些初中遥远的部分需要被进一步追溯。我做这一个非常薄的应用锌白色(透明),通常一些生黄土在它。烟霾的小屋是用这种方式建立。
通常一些前景阴影需要加强。这是通过使用薄层茜素、深蓝色和地球棕色。
框架
最后,我把油漆完下一个非常强烈的光和花时间来凝视和梦想。剩下唯一要做的就是选择一个框架。因为我大部分的绘画有一个相当传统的风味,我去与一个传统的感觉。帧他们必须宽,通常将黄金或银叶。
不要吝啬当涉及到框架。一个廉价的框架一个可爱的画可以降级,可怕!
有网 如下：
Oil Painting Demonstration – Step 1
Sometimes I set out with an imagined mental picture and then go looking for suitable reference that will give the painting authenticity. Other times I go prospecting for good painting subjects. The demonstration painting, “Memories of Taranaki”, is the result of one such trip.
The low light was perfect one still winter afternoon. An ethereal Mt Taranaki presided over the land, majestic, disembodied, cut off from the middle distance by low cloud and mist. I knew my problem was going to be finding a suitable foreground. So, as the light faded, I drove hurriedly down a country road, stopping whenever I saw streams or trees that might prove interesting.
In these conditions, a camera is the only way to grab detailed reference. I found a reasonable rock strewn stream, climbed on to some rough ground above and beside it, was attracted to what appeared to be a rocky outcrop to my right. I ran a little further and found myself gazing over an old quarry site. Brilliant! Big old trees, remnants of the original native forest, still held out on the higher points. I felt I’d stepped back in time 80 years. A pioneer flavour seemed to linger in the stillness… I took several photos and left, knowing I had the basis for a very good painting.
Composing the Painting
Oil Painting Demonstration – Step 2
Much later, in my studio, I studied the photos and began a small layout sketch. The subject still excited me but the composition could stand much improvement. The stream that had originally appealed to me needed to be shifted a few hundred metres and re-routed through my painting. I invented a winding, loose metal road, installed an old wooden bridge over the stream and then brought the road right across the foreground.
The stream and road provided good eye paths, but I still felt that an extra focal point, other than the mountain was needed. Tucked over to the right above the road was an ideal place for a Victorian settler’s cottage. I drew one in then turned my attention to the foreground foliage. Instead of the sea of prickly gorse bushes which featured in the photos, I decided on some pasture, a number of native trees and ferns and lots of rank grass.
By this stage I had come a long way from my original photos, but an exciting “walk-in-and-explore” picture story was all set to happen.
Technique and Surface Preparation
Oil Painting Demonstration – Step 3
Technique
Over the years I’ve sought ways to combine the looseness and spontaneity of sketching, the freedom and accidental effects of watercolours and the richness and versatility of oils.
What I’m about to describe may seem dreadfully complex and time consuming; in fact its pretty straightforward and often results in marvelous effects, particularly in glowing shadow areas.
Surface Preparation
I used a 10cm house painting brush to give a 82 x 65cm sheet of hardboard two coats of gesso. On the second coat I was careful to use brushstrokes which were at right angles to the first coat. After a light sanding, the gesso provided me with a low relief criss-cross pattern, which was much smoother than canvas, but still provided good tooth, which is ideal for working in charcoal.
Charcoal
Oil Painting Demonstration – Step 4
Using a stick of willow charcoal, I sketched the painting up in a fairly loose style. Whenever I blocked in shadows, I was careful not to press so hard as to obliterate the interesting texture created by the brushstroked gesso. I then took an aerosol can of workable fixative and sprayed the whole picture surface with several light coats so that the charcoal would no longer smudge when rubbed. (With this painting I made the silly mistake of not dusting off most of the charcoal near the skyline before spraying on fixative – Result? Extra work covering it up with oils later).
Acrylics and Indian Ink
Oil Painting Demonstration – Step 5
Next I grabbed a 2.5cm pastry brush and turned the whole thing into a dreadful wash painting using transparent acrylic colours. I avoided using any opaque pigments (white, Naples Yellow, Yellow Ochre, Red Oxide, and so on) as these would obliterate the charcoal.
To add further interest, I took a plastic spray pot filled with Indian ink and squirted little blobs of ink on to the picture surface. Some of these I softened back with a paper towel. I tried to restrict the blobs mostly to the middle and lower parts of the painting in order to keep the sky and distant mountain clean and soft.
This is the point where my painting looks a real mess. The good thing is that it doesn’t matter how garish or rough the preliminary work is because the next stage can pull it all together. Also, the “accidents” can be turned into interesting effects if allowed to show through the oils. Bits that don’t work can be hidden by applying thicker oil paint.
Oils and Working from the Top
Oil Painting Demonstration – Step 6
Oils
I use a large wooden palette with a hard, polished surface. I always set all my colours out before I begin, and I always put each colour in the same position, an inch or two in from the edge which leaves a good space in the middle for mixing colours. Having a standard layout when setting out your colours is as important as having a standard configuration for the keyboard of your piano or your computer.
On one corner of the palette I clip a metal palette cup half full of Archival brand Classic Medium. I’ve found this an excellent medium, particularly suited to thin glazes of colour.
The colours I use most are Flake White, Yellow Ochre, Mars Red and Ultramarine.
I use smaller quantities of Naples Yellow, Cadmium Yellow Light, Cadmium Orange, Cadmium Red Light, Alizarin Crimson, Oxide of Chromium, Pthalo Green, Pthalo Blue, Raw Sienna and Burnt Umber. The reason I use Flake White is because I want to minimize flat or dull spots in the finished painting. Flake White acts as a primer, while Titanium White has the properties of enamel. I know that I’ll use at least 2 coats of oil paint so the rule is;- “Start with primer – finish with enamel”.
One other point. I’ve given up on cheap brushes. Lately I’ve been using Art Spectrum Definer series bristle brushes and find them excellent.
Working from the Top
I almost always start with the sky over at the light source (Flake White and a little Naples Yellow).
As I work away from the light I add more Naples Yellow, perhaps a hint of Cadmium Red, and then progressively more blue. When I paint a clear sky, I make sure it is pale down on the horizon, and that it deepens as it rises.
Next, using the same large (No. 10) brush, I paint in the cool parts of distant land masses. I use a second brush for clean, soft highlights on trees or pasture. I use white, Ultramarine and Mars Red as my basic opaque shadow mixture.
I progressively reduce the amount of white content in shadows as I work forwards and downwards so as not to cover up all of the interesting, blobby effects in the underpainting.
By the time I reach the foreground, Alizarin Crimson and Raw Sienna (beautifully transparent) have replaced Mars Red (very opaque) in the shadows.
I am careful to further enrich and warm the shadows the closer they are to the foreground. I also avoid putting on highlights until I’m satisfied that the shadow tones and colours are fairly right. Sunlit foliage has more and more yellow in it the closer it gets to the foreground. Some of the crisp, foreground highlights in the grass have been put in using a long haired, pointed sable “rigger” brush. I always use Titanium White with touches of Cadmium yellow and Cadmium Orange for such highlights.
Fine Tuning and Framing
Oil Painting Demonstration – Step 7
Fine Tuning
Once the whole painting has one coat of oils on it, I generally let it dry, then give the whole thing a coat of retouching varnish. This increases gloss on the surface and does away with any chance of dull patches developing when I apply additional paint.
With all of my landscape paintings, I like to invite the eye to go on a journey through space.
This usually means that some middle distant parts need to be knocked back further. I do this with a very thin application of Zinc White (transparent), often with some Raw Sienna in it. The smoke haze from the cottage was created in this way.
Often some foreground shadows need strengthening. This is achieved using thin layers of Alizarin, Ultramarine and earth browns.
Framing
Finally, I set the finished painting up under a very strong light and took the time to gaze and dream. The only thing left to do was choose a frame. Because most of my paintings have a fairly traditional flavour, I go for frames with a traditional feel. They must be wide, and usually incorporate either gold or silver leaf.
Dont skimp when it comes to framing. A cheap frame around a lovely painting can downgrade it horribly!
