佛兰德的技术阶段1 -色调图
1,我的画将基于语气而不是颜色。弗兰德斯技术几乎是一个ABC的应用色彩所以我不觉得需要任何颜色的研究或参考。我想让你试试吧。我素描我尽可能准确地话题。
2、其次我把草图在我的灯箱,然后仔细添加基调。我不需要任何线工作明显。
3,我继续添加基调。
4,使用我的手指把铅笔和一个橡皮擦去除强调我腻子最终版本的我的主题色调。如果你觉得没有足够的信心在你的绘图技能但你可以试试工作从黑白照片或随意复制我的画。
弗兰德技术2 -帆布预科。
1、封面画布混合黄色赭石和象牙黑变薄与艺术家级松节油。您可以添加三层,但没有更多的。你的目标是三部分,一部分黑人。赭色薄这半的松节油。允许接触干燥。
弗兰德技术3 -图转移和修复
2、把你的图和描图纸和超过行如果有必要使用葡萄木炭。
3,重要的是要解决绘图,这样它就不会阻塞,直到你准备这样做。这里我用象牙黑与松节油和0号的紫貂刷去了木炭线。我听说墨水可以代替这里但我从来没有这样做过所以不能保证结果。我只过了线,我认为重要的。它们对我很重要,因为如果我失去他们,我就会发现更难得到相似我的课题。
弗兰德技术4 -玻璃
4、允许黑摸干超过三天或更多的如果有必要然后画布将准备好玻璃。我想用三个釉料,四大部分。这就是我使用一个混合的英国红和象牙黑。我用铅笔色调的研究能给我提供一个指南,我将试图重现在红色和黑色。我仍然使用松节油作为我的稀释剂。首先,目标是一半松节油使用大约四分之一在最后上光会话。我在我的红色头发釉和胸部区域的主题。这是快速烹制虽然没有需要你冲这个阶段。重要的是信心的中风和瞄准音调已经工作在铅笔。允许接触干燥。
5,我加入球队的脸,眼睛现在独自离开了。再去干。
6,我添加深色和灯光到眼睛区域。我本来可以做在最后阶段,但想要完全控制,所以需要让过去釉干燥以避免任何湿在湿效果。
弗兰德技术5 -色调画
7、现在我切换到精炼亚麻油和建立广泛的领域深色,浅色,后在红色中色调。面开始像我的原图。使用约四分之一亚麻籽油漆混合在这里、工作在潮湿湿。
6 - Scumbling佛兰德的技术
8,一旦干我渐淡一些,我期望钛白亮点下降。渐淡,是使用干燥,光线,色彩在一个黑暗的片状不透明层。这是一个有的和容易的方法。我从英语几个粉红色红、钛白和烧棕土为深色斑点。我使用一个平刷大小一寸和圆的大小6。只是把颜色在红军使用你的色调指南。顺理成章地,深色的棕色的影子在哪里,应该应用最轻的颜色的光落。你应该能够判断这从你的色调图。很多人不会尝试这个没有色彩研究或参考但我敦促你去尝试。你将学习了难以置信 画如果你坚持这。
9,我继续scumbling并开始铺设一些颜色的头发。头发不是scumbled。切换到油漆稀释约四分之一的亚麻籽。让你的笔画数。缓慢、稳定和足够的压力。我使用一个半英寸平面和轮6和2。
10、继续面临以下你的色调指南。暗,灯光和中色调。许多中色调如你所愿。
弗兰德技术7 -体颜色
11、添加颜色的头发。从最黑暗最轻和中期之后语气。之后,进一步增加音调,这样你有一个范围。
12,你上次中风将纯漆。你可以画在你中色调、灯光或只是你的灯,不管你喜欢。我画了两个。
弗兰德技术8混合和强调。
13、现在的最好的一点。在面临需要基于现实看起来。油漆应该有点生硬,但仍然可塑的。2或3天应该是足够的,但有多变量,你必须使用你自己的判断。这是通过轻轻混合的方向每一笔。我使用一个风扇刷到更大的区域在脸部和胸部半英寸平面和圆6为头发。最后用一个圆2我脸和面部特征的混合。在这一阶段检查如果你需要加强突出。如果不是你完成。
请参阅本教程基本混合如果你不熟悉的我是怎么做的。
你的画受益于黄色和红色层。红黄产生一种发光效果,这是转移至不完美的scumbled层。
寻找我的进一步的教程,我使用釉弗拉芒技术产生类似的效果。这更接近原始的从业者技术确实。
最后我想提醒你关于大量的在线课程所有声称知道这个神奇的技术内部。记住,大多数这些艺术家试图卖给你一些东西。在我的经验中有很少的课程值得他们的盐在线。买一本好书和练习的效果远胜于支出一百美元或英镑在一些大师的课程。许多这些人似乎包装自己和工艺在神秘性,剩下的我们可怜的凡人只能瞥见。这是精英胡说八道。
有一个原因,我说这个。我已经要求指出用户知识的良好来源,一直很生气听到你其中的一些有了良好的钱完全的荒谬。我决定买一些DVD和已经订阅了少数网络课程看到到底发生了什么。到目前为止,我已经学会没有任何价值,但是当我完成了我将让你知道如果任何这些资源是有价值的。当然我不会告诉你该做什么,但请小心谨慎。钱是难和容易失去。买课程或DVD / CD的哪里有退款的保证。
原文如下：
Flemish Technique Stage 1 – Tonal Drawing
1, My painting will be based on tone rather than colour. The flemish technique is almost an ABC of applying colour so I don’t feel the need for any colour studies or reference. I’d like you to try this too. I sketch my subject as accurately as possible.
2, Secondly I place the sketch on my light box and then carefully add tone. I don’t need any line work obviously.
3, I continue with adding tone.
4, Using my fingers to blend the pencil and a putty eraser to remove highlights I end up with a tonal version of my subject. If you don’t feel confident enough in your drawing skills yet you could try working from a black and white photograph or feel free to copy my drawing.
Flemish Technique 2 – Canvas Prep.
1, Cover the canvas with a mixture of yellow ochre and ivory black thinned with artists grade turpentine. You can add three layers but no more. You are aiming for three parts ochre to one part black. Thin this with a half of turps. Allow to touch dry.
Flemish Technique 3 – Drawing Transfer and Fixing
2, Transfer your drawing with tracing paper and go over the lines if necessary using vine charcoal.
3, It’s important to fix the drawing so it isn’t obliterated until you are ready to do so. Here I have used ivory black with turps and a size 0 sable brush to go over the charcoal lines. I am told that ink can be substituted here but I have never done this so can’t vouch for the results. I’ve only gone over the lines that I consider important. They are important to me because if I lose them I will find it much harder to get the likeness of my subject.
Flemish Technique 4 – Glazing
4, Allow the black to touch dry over three days or more if necessary and then the canvas will be ready for glazing. I intend to use three glazes, four at the most. This is where I use a mixture of English red and ivory black. My tonal study in pencil provides me with a guide that I will try to reproduce in red and black. I am still using turps as my thinner. Start with half turps and aim to be using about a quarter in the last glazing session. I glaze my reds across the hair and chest area of the subject. This is accomplished fairly quickly although there is no need for you to rush this stage. The important thing is confidence in the strokes and aiming for the tones already worked out in pencil. Allow to touch dry.
5, I add reds to the face, leaving the eyes alone for now. Again leave to dry.
6, I add darks and lights to the eye area. I could have done this at the last stage but wanted complete control and so needed to allow the last glaze to dry to avoid any wet on wet effects.
Flemish Technique 5 – Tonal Painting
7, Now I switch to refined linseed oil and build up broad areas of dark, light and finally mid tones in reds. The face is beginning to resemble my original drawing. Use about a quarter linseed to paint mix here and work wet in wet.
Flemish Technique 6 – Scumbling
8, Once dry I scumble some titanium white where I expect the highlights to fall. To scumble is to use a dry, light, patchy colour over a dark opaque layer. This is an effective and easy technique. I made up several pinks from the English red, titanium white and burnt umber for the darker patches. I used a flat brush SIZE ONE INCH and round SIZE 6. Just drag the colours over the reds using your tonal guide. It stands to reason that the darker umber goes where the shadows are and the lightest colours should be applied where the light falls. You should be able to judge this from your tonal drawing. A lot of people will not attempt this without a colour study or reference but I urge you to try. You will learn an unbelievable amount about painting if you persevere with this.
9, I continue the scumbling and start laying some colours on the hair. The hair isn’t scumbled. Switch to paint thinned by about a quarter linseed. Make your strokes count. Slow, steady and with plenty of pressure. I used a half inch flat and rounds 6 and 2.
10, Continue with the face following your tonal guide. Darks, lights and mid tones. As many mid tones as you wish.
Flemish Technique 7 – Body Colour
11, Add colour to the hair. Start with darkest then the lightest and a mid tone. After that add further tones so you have a range.
12, Your last strokes will be pure paint. You can either paint over your mid tones and lights or just your lights, whatever you prefer. I painted over both.
Flemish Technique 8 Blending and highlights.
13, The best bit now. Where the face takes on a realistic look. The paint should be a little stiff but still malleable. 2 or 3 days should be enough but there are so many variables you will have to use your own judgement. This was achieved by gently blending in the direction of each brushstroke. I used a fan brush for the larger areas on the face and chest and a half inch flat and round 6 for the hair. Finally using a round 2 I blended the face and facial features. At this stage check if you need to strengthen highlights. If not you are finished.
See this tutorial on basic blending if you’re unfamiliar how I do this.
Your painting benefits from the yellow and red layers. Red on yellow produces a glowing effect and this is transferred through the imperfect scumbled layers.
Look out for my further tutorial on flemish techniques where I use glazes to produce a similar effect. This is closer to what the original practitioners of this technique did.
Finally I’d like to caution you about the large number of courses online all claiming to know this magical technique inside out. Bear in mind that most of these artists are trying to sell you something. In my experience there are very few courses worth their salt online. Buying a good book and practicing is far more effective than spending a hundred dollars or pounds on some guru’s course. Many of these people seem to wrap themselves and their craft in mystique that the rest of us poor mortals can only glimpse at. This is elitist nonsense.
There is a reason I’m saying this. I have been asked to point users to good sources of knowledge and have been quite annoyed to hear that some of you have parted with good money for utter nonsense. I decided to buy some of these DVD’s and have subscribed to a handful of online courses to see exactly what is going on. So far I’ve learned nothing of any worth, however when I’ve finished I will let you know if any of these resources are worthwhile. Of course I’m not telling you what to do but please be cautious. Money is hard to come by and easy to lose. Buy courses or DVD/CD’s where there is a money back guarantee.
