具象油画教程由莱西·刘易斯
“艾米寄她的头发”
在启动个11 x 14英寸硬纸板面板与丙烯酸石膏,我画一个混合的原始黄土,深蓝色,钛白和一些介质在表面,然后用抹布擦拭它。接下来,我粗暴的在图和阴影,说明一般平面变化特别是背面。一些粉红色的肉颜色被添加和礼服一样的诘问。
在这个会话我集中在不久的手臂和脸部区域,定义形式更清晰。我添加了更少的稀释中风的深褐色/深蓝色/白色混合背景与温暖的肉。
这里的脸是发达多相似的主题和一些地区重申。轻微的变化完成背景。这件衣服是用厚涂漆和紫色是用于向下面对飞机的阴影区域既表明反射颜色也增加作品的统一性。
他们最后的形式得到调整定义。一些转换平滑而其他人得到一个更边缘。完成的肖像和发夹补充道。服装颜色被添加到肉上的影子在过去的会话,肤色已经添加到衣服来创建一个更强烈的形式和统一。最后,签名是补充道。
艾米寄她的头发
石油在面板,14“×11”
原文如下：
Figurative Oil Painting Tutorial By Lacey Lewis
“Amy Pinning Her Hair”
After priming an 11 x 14 inch hardboard panel with acrylic gesso, I painted a mixture of raw sienna, ultramarine blue, titanium white and some medium across the surface and then wiped it with a rag. Next, I roughed in the figure and the shadows, indicating general plane changes especially on the back. Some pink flesh color was added and the dress was roughed in as well.
During this session I focused on the near arm and face area, defining the forms more clearly. I added less diluted strokes of the burnt sienna/ultramarine blue/white mixture to the background to contrast with the warmth of the flesh.
Here the face is developed to a greater likeness of the subject and some areas are restated. Slight changes complete the background. The dress is painted in with thicker paint and the purple is used in the downward facing planes of the shadowed areas both to indicate reflected color and also to add to the unity of the work.
The forms get their final adjustments and definition. Some transitions are smoothed while others get a harder edge. The likeness is completed and the hairpins are added. As the dress color was added into the shadows on the flesh during the last session, skin tones are now added into dress to create a greater sense of form and unity. Finally, the signature is added.
Amy Pinning Her Hair
Oil on Panel, 14″ x 11″
