在我完成了丙烯酸阶段(和它完全干燥),我密封整个画布与温莎牛顿的Liquin。
我的第一层油背景。我想创建一个户外场景。你可以看到它是杂乱的、情绪化和中性。
用纸巾一手拿着小刷子,我开始“推”湿油漆约。
我只是在这个阶段使用透明的颜色。如果我开始使用不透明的颜色,它会变成泥浆…令人不快。
我通常都有一些想法,但是这是一个很好的时间来“玩耍”,颜色和价值。
背景是完成了,我会让它干。然后我用软粉笔或木炭绘制指南在夹克。我把它很轻,它只是融化到漆盖上时。
油漆颜色白,我使用生赭+钛白和这种混合物是凉快一点比我能与丙烯酸的颜色。然而我匹配值完全在我的油和油漆超过它。这 “白色”的裙子,脸看起来不那么黑了,是吗?
在油漆,我把夹克、裙子等,到一般光线和阴影。我掩盖所有的丙烯酸漆油。
我把光和影子一般,所以我可以操作模式。我使用一个摄影参考作为我的向导,但很少感到受“现实”如果我能想出一些更好的(看起来可信)。
我继续工作只有一般的光线和阴影,开始把背景变成“真正的油漆。“那是,我跟随画底色为指导并开始添加不透明的颜色。
原文如下;
After I’m done with the acrylic stage (and it is completely dry), I seal the entire canvas with Winsor-Newton’s Liquin.
My first layer of oil on the background. I want to create an outdoor scene. As you can see it is messy and moody and neutral.
With a paper towel in one hand and a brush in the other, I begin to “push” the wet paint around.
I am only using transparent colors at this stage. If I begin to use opaque colors, it will turn into mud…ick.
I generally have something in mind but this is a good time to “play around” with color and value.
Background is done and I’ll let it dry. Then I use soft chalk or charcoal to draw guidelines on the jacket. I keep it very light and it just melts into the paint when I cover it over.
To paint the color white, I use Raw Umber + Titanium white and this mixture is slightly cooler than what I can get with the acrylic colors. However I match the value exactly in my oils and paint over it. That ”white” skirt, face doesn’t look so dark now, eh?
In oil paint, I divide the jacket, skirt, etc. into general light and shadow. I cover up all the acrylic paint with oil.
I keep the light and shadow general so I can manipulate the patterns. I use a photographic reference as my guide but seldom feel bound by “reality” if I can think of something better (that looks believable).
I continue to work with just general light and shadow and start turning the background into “real paint.” That is, I follow the underpainting as a guide and begin to add opaque colors.
