山地大猩猩——示范
这个大型绘画必定需要一个计划如果我做主题正义。铅笔素描左显示了重要的事情我想使眼睛兴趣中心。
第一阶段总是一样的,不管什么话题——得到一些油漆整个画布。我不太担心正确的颜色,但我总是画的方向皮毛,甚至是在早期成长阶段。
根据我平时技术一个非常薄外套的Liquin绘画介质应用于整个画布前我开始画在它虽然它仍然是湿的,这允许油漆更容易滑动。
与第一层屏蔽了,干我知道油漆的liquin另一个薄外套在毛皮面积是画。
然后我选择了我的一个老鬃毛刷(或年龄一个自己通过摩擦刷毛沿着玻璃纸)和倾斜只是提示成厚厚的油漆(不liquin)在这个实例中我使用白色+一个小群青和烧棕土。
与一个非常轻触和流动中风我然后模拟第一(在层)的皮毛纹理。
这张图片显示了整个毛皮区域变形,它显然是太光在这个阶段,但它将会被打回来以后釉。
应用釉我再次涂薄薄的一层liquin在毛皮区域,然后同时仍然湿我釉面极薄的透明的暗在顶部。
与下层绒毛击退与釉料在前一个阶段(这是现在干)我开始油漆在皮草细节(参见肩区)这样做是遵循同样的技术liquin然后鬃刷一点油漆表面上
在第二次层皮毛纹理已经应用和干燥然后时间更多,也许另一层釉纹理的地方我觉得需要它。
原文如下：
Mountain Gorilla – Free Demonstration
This large painting will certainly need a plan if I am to do the subject justice. The pencil sketch left shows the important things I have in mind to make the eyes the center of interest.
The first stages are always the same no matter what the subject – get some paint on the whole canvas. I don’t worry too much about the correct colours, but I do always paint in the direction of fur growth, even at this early stage.
As per my usual technique a very thin coat of Liquin painting medium was applied to the whole canvas before I began painting in to it whilst it was still wet – this allows the paint to slide more easily.
With the first coat blocked in and dry I know paint another thin coat of liquin over the fur area to be painted.
I then select one of my old bristle brushes (or age one yourself by rubbing the bristles along glass paper) and dip just the tip into thick oil paint (no liquin) in this instance I used white plus a little ultramarine blue and burnt umber.
With a very light touch and flowing strokes I then simulated the first (under-layer) of fur texture.
This image shows the whole fur area textured, it is obviously much too light at this stage but it will be knocked back with glazes later.
To apply a glaze I once again painted a thin coat of liquin over the fur area, then whilst still wet I glazed a very thin transparent dark over the top.
With the underfur knocked back with the glazes in the previous stage (which is now dry) I begin to paint in the fur details (see the shoulder area) this is done following the same technique of liquin then a bristle brush with a little paint on the surface
After the second layer of fur texture has been applied and is dry it is then time for more glazes and perhaps another coat of texture in places I feel needs it. I also strengt
