第一次如何油漆像莫奈吗?了解什么是在他的调色板。
莫奈开始搬。后来他选择了印象派的方法,因为他想学习光的影响在他周围的对象。
看看他选择的颜色为了解他用于他的风景和静物画:
白色铅,铬黄、镉黄、鲜绿色的绿、翠绿、法国深蓝色,钴蓝色,茜草红、朱砂。
一个印象派调色板首先…
你会看到一些象牙黑在他的画在1886年之前,但他放弃了对他的以后的工作和使用更鲜明的色彩混合他的灰色。
要知道铅白色是有毒的,所以使用钛白色是一种安全的选择。
你也可以代替铬黄和镉黄灯,用大红代替茜草红。
无论你做什么,确保你有两个强烈的黄色和红色,一个充满活力的蓝色和绿色。一旦您熟悉有限的调色板,你可以逐步添加到它。
颜色已经开发的时间以来莫奈。你应该与他们的实验(很好玩!),但只有在你精通一个有限的调色板。你可以开始只有三种颜色加白色作为减少调色板。
如何画喜欢莫奈,用破碎的颜色:视觉颜色混合吗
学习如何画喜欢莫奈,您将需要采用一种技术名为“视觉混合。”
莫奈是通过,例如,把一个中风的纯红色的旁边就是一个中风的纯黄色。肩并肩,这两个景点的颜色产生丰富和充满活力的橙色。
他还躺在大量的充满活力的颜色第一。然后他会运用纯色在他们中风丰富原有的色彩质量。
作为一个例子,看看下面的图表混合橙色。
第一个点在最左边是橙色颜色直接从管。第二个是并列的纯黄色和纯红色并排。中间的点使用相同的黄色放在上面的湿湿的一片红。
第四是由于黄混合成红使用湿到干技术(scumbling-painting不透明或半透明的颜色在干较暗的颜色)。它是几乎一样的第三,但更充满活力。最后一块最右边的结果直接混合红色和黄色油漆。
您可以看到,第二,第四和第五斑点更充满活力和有趣的。颜色不仅是混合但似乎震动。
莫奈混合他的颜色或者使用一个湿到湿技术或scumbling(湿颜色斑点干层)。莫奈将混合一系列二次颜色的调色板,把它们并排,或者他们的师父保持颜色斑点分离。
如何画喜欢莫奈的——这个过程。虽然他画在户外,莫奈画没有完成在一个会话中。事实上,许多油画太大,他不得不雇佣一个助理,把他们拉。他说,他把许多油画并工作在每一个户外在短时间在每天同一时间超过几天。
你可以想象他有很少的时间去工作每天一幅画在“时刻”不见了,他搬到下一个。这种方法允许画作干一天或两个会话间,这使得scumbling容易。
所以,如果你想学习如何画喜欢莫奈,记住,你没有在一个会话中来完成所有的事情。
演示如何油漆像莫奈证明这一切,为什么我们不把一幅莫奈的“干草堆在冬天,”并重新创建它吗?
“Haystackin冬季”是一个迷人的、简单和明白无误的莫奈的paintingbecause两标的物和笔法。没有complicateddrawing是必要的,这使得它非常适合这个演示。
首先,我画出大致的形状用一把刷子,然后盖大massesto创建一个底层色的白色帆布。(我偏toningcanvases为油画,但这是例外)。
我使用稍微稀释漆(稀释一些水自我使用水溶性油油漆)。我用蓝色为基调,山在背景,和一个温暖的绿的和黄色的前景和在干草堆。我把一些白色向天空以匹配值在莫奈的原画。然后我让thelayer完全干燥。
一旦第一层是干,我开始渐淡颜色印花布。从顶部开始,我渐淡淡黄色到较低的天空。我混个苍白变灰的绿色到较低的部分的山。我渐淡蓝色到投射阴影的干草堆。我usingorange混个棕色,黄色,和深褐色有点蓝草村stackand右边。我也轻拍同样的温暖theforeground棕色。
在下一步,我干刷白色的颜色到地面。我语气白色下来与少量的黄色或蓝色。我不希望使用含淀粉的白漆直接从管,因为它吸引了太多的关注。即使莫奈是paintingthe最有活力的颜色,他仍在maintainingharmony深思熟虑的颜色和价值。
这是一个封闭的破碎,我使用colordabs。注意,我让画底色显示通过。白色油漆是厚的厚涂法的段落。
然后我修改天空和山通过添加更多的绿色和黄色ofgrayed渍。我继续渐淡白色颜料在地面。我保持动作尽可能地分开。
我继续使用相同的scumbling技术morecolors涂到画布上。我保持整体价值关系correctby眯着眼。每次我发现我错怪acolor的价值,我修改它。即使是有趣和充满活力的颜色,他们仍然需要绑在一起做一个统一的整体。
我开始瞄准小质量和细节。我混合一些灰色的红颜色的树木中间离开。
几乎做…。我看到在莫奈的原画,thehaystack的影子有紫颜色上。我可以添加thatcolor立即,但我担心它可能使阴影lookmuddy和沉重的。所以我等到整个绘画是干,然后,在Iscumble颜色为一个空灵和光线效果。
我可以画这个场景在一个会话,但withMonet破碎的颜色,我要等技术为每个层dryuntil是俗气或半干,颜色我渐淡或干刷在不会打扰层下面。
作为一个练习aire画家,我知道,这是毫无疑问的创建一幅莫奈的户外的大小在一个会话中。
它'snice知道我不必让一幅“正确”的firstday;我可以返工了许多天,直到它完成。
如果你想学习如何画喜欢莫奈,最好是复制画作是。这将给你一个更好的理解processworks。它会让你欣赏光学效果throughhis技术和他的尊重naturaleffects忠实地捕捉到的光。
革命的水溶性油油漆
原文如下：
First–How to paint like Monet? Learn what’s on his color palette.
Monet started out as a tonalist. He later chose the impressionist approach because he wanted to study the effects of light on the objects around him.
Take a look at his choice of colors to get an idea of what he used for his landscape and still life paintings:
Lead white, chrome yellow, cadmium yellow, viridian green, emerald green, French ultramarine, cobalt blue, madder red, and vermilion.
An impressionist palette to begin with…
You will see some ivory black in his paintings before 1886, but he abandoned it for his later work and used more vibrant colors to mix his grays.
Be aware that lead white is toxic, so use titanium white as a safe alternative.
You can also replace chrome yellow with cadmium yellow light, and use alizarin crimson instead of madder red.
Whatever you do, make sure you have two intense yellows and reds, a vibrant blue, and a green. Once you are familiar with a limited palette, you can gradually add to it.
Many colors have been developed since Monet’s time. You should definitely experiment with them (it’s fun!) but only after you are proficient with a limited palette. You can start with as few as three colors plus white as a reduced palette.
How to Paint like Monet- Use Broken Colors: Visual Color Mixing
To learn how to paint like Monet, you will need to adopt a technique called “visual mixing.”
Monet did this by, for example, putting a stroke of pure red right next to a stroke of pure yellow. Side by side, the two spots of color produce a rich and vibrant orange.
He also laid in large masses of vibrant color first. Then he would apply strokes of pure colors over them to enrich the original color masses.
As an example, see the chart below for mixing orange.
The first spot on the far left is orange color straight from the tube. The second is a juxtaposition of pure yellow and pure red side by side. The middle spot uses the same yellow laid on top of a wet spot of red.
The fourth is the result of yellow mixed into red using a wet into dry technique (scumbling—painting opaque or semi-opaque colors over dried darker colors). It is almost the same as the third, but more vibrant. The last patch on the far right is the result of directly mixing the red and yellow paint.
You can see that the second, the fourth and the fifth spots are more vibrant and interesting. The colors are not only mixed but seem to vibrate.
Monet mixed his colors using either a wet into wet technique or scumbling (wet color spots on dried layers). Monet would mix a series of secondary colors on the palette, and placed them side by side or, dabbed them all over keeping the color spots separate.
How to paint like Monet’s- the process.
Although he painted outdoors, Monet did not finish paintings in one session. In fact, many of the canvases were so large he had to hire an assistant to haul them in and out. He said that he brought many canvases outdoors and worked on each one for a short time at the same time of day over several days.
You can imagine how he had very little time to work on a painting each day before the “moment” was gone and he moved on to the next. This approach allowed the paintings to dry a day or two between sessions, which makes scumbling easier.
So if you want to learn how to paint like Monet, keep in mind that you don’t have to finish everything in one session.
A Demo of how to paint like Monet
To demonstrate all of this, why don’t we take a painting of Monet’s, the “Haystack in Winter,” and recreate it?
“Haystack in Winter” is a charming, simple, and unmistakably Monet painting because of both the subject matter and the brushstrokes. No complicated drawing is needed, which makes it perfect for this demo.
First, I draw the large shapes with a brush, and then cover the large masses to create an underpainting on the white canvas. (I am partial to toning canvases for oil painting, but this is the exception).
I use slightly diluted paint (diluted with some water since I use water soluble oil paints). I use a blue tone for the mountain in the background, and a warm green and yellow in the foreground and on the haystack. I mix some white into the sky to match the value in Monet’s original painting. I then let the layer dry completely.
Once the first layer is dried, I begin to scumble colors all over. Starting from the top, I scumble pale yellow into the lower sky. I mix a pale grayed green into the lower part of the mountain. I scumble blue into the cast shadow of the haystack. I mix a brown using orange, yellow, and burnt sienna with a bit of blue for the hay stack and the village on the right. I also dab the same warm brown in the foreground.
In the next step, I dry brush the white colors into the ground. I tone the white down with a tiny amount of yellow or blue. I do not want to use the starchy white paint directly from the tube, because it attracts too much attention. Even when Monet was painting the most vibrant colors, he was still very deliberate in maintaining harmony of color and value.
Here is a close up of the broken color dabs that I used. Notice that I let the underpainting show through. The white paints are thick impasto passages.
I then modify the sky and the mountain by adding more dabs of grayed green and yellow. I continue to scumble white paints over the ground. I keep the dabs separate as much as possible.
I continue using the same scumbling technique to dab more colors onto the canvas. I keep the overall value relationships correct by squinting. Every time I find that I have misjudged the value of a color, I modify it. Even if the colors are interesting and vibrant, they still need to be tied together to make a united whole.
I begin to zero in on small masses and details. I mix some grayed red color for the trees on the middle left.
Almost done….I see in Monet’s original painting that the haystack’s shadow has violet colors on top. I could have added that color immediately, but I am afraid that it might make the shadow look muddy and heavy. So I wait until the whole painting is dry and then I scumble that color over it for an airy and light effect.
The original haystack painting’s size is 25¾ x 36 3/8 inches (65.4 x 92.3 cm). Monet painted it outdoors. The demo I did is only 6×8 inches.
I could have painted this scene in one session, but with Monet’s broken color technique, I have to wait for each layer to dry until it is tacky or semi-dry so that the colors I scumble or dry brush over will not disturb the layer underneath.
As a plein aire painter, I know that it is out of question to create a painting the size of Monet’s outdoors in one session.
It’s nice to know that I do not have to make a painting ‘right’ on the first day; I can rework it over many days until it’s finished.
If you want to learn how to paint like Monet, it is best to copy his paintings. That will give you a better understanding of how the process works. It will make you appreciate the optical effects achieved through his techniques and his respect for faithfully catching the natural effects of light.
