这是时间真的钉的肖像。有时我带我的参考照片旁边的区域我绘画。
然而,你必须小心带表面的绘画。表面必须干燥。我把带子材料先resticking它到画布上为了减少粘连。我不离开胶带粘在表面画当我离开画架。
我开始通过添加釉。我用生赭,生黄土,烧棕土要么单独或者联合——但是我可以开始创建模特儿的肤色。我可以用一个薄釉原料赭画细节
(如眼睑)和增强形式(上图)。
我在skintones釉非常缓慢和薄。我让每一层干,然后再开始下一个。
我刷颜色到脸颊和开始定义眼睛和头发的颜色。
注意,如果这是一个女人的颜色我将开始与一个深肤色的价值在底层色,其余完全相同。
我慢慢添加颜色料。然后我画一点点的钛白+黄色赭石苍白到湿釉构建光。
光厚和不透明的。
影子是薄和透明。
我注意到老主人的色带:
黄色赭石苍白添加到额头。
红色(印度红和/或暗红永久)被添加到区域从眉线到下巴。
一个很酷的蓝色(法国深蓝色)添加到颈部和胸部。
一个釉是一个很多的介质(我使用Liquin)与一点点的透明色。它会看起来很像苍白的彩色玻璃。
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有时我渐淡颜色在表面均匀的音调和增加亮度。一个渐淡是一大堆的介质(Liquin)与一点点的不透明的颜色(如钛白色)。它通常看起来像冲淡牛奶。
在白色的画底色后,我所有的层都是透明或半透明的。我已经有一个相似,所以我不想失去它。
当我正在做最后的釉料和scumbles脸和手,我其他颜色的釉绘画丰富的颜色。
注意,因为我的地球调色板,我不使用颜色“蓝色。“相反,我使用象牙黑+钛白使颜色蓝色。如果最后我想加强这颜色我可以添加一个蓝釉如果必要的。
所有做的。
原文如下：
This is the time to really nail the likeness. Sometimes I tape my reference photo next to the area I’m painting.
However, you must be careful with tape on the surface of the painting. The surface must be dry. I stick the tape to material first before resticking it to the canvas in order to reduce the adhesion. I do not leave tape sticking to the surface of a painting when I leave the easel.
I begin by adding a glaze. I use raw umber, raw sienna, and burnt umber either alone or in combination – however I can to begin to create the sitter’s skin tone. I may use a thin glaze of raw umber to draw details
(like eyelids) and enhance the form (above).
I glaze in the skintones very slowly and thinly. I let each layer dry before beginning the next.
I brush color into the cheeks and begin to define eye and hair color.
Note that if this was a woman of color I would begin with a darker value of skintone in the underpainting – the rest is exactly the same.
I am adding color slowly in layers of glazes. Then I am painting tiny bits of Titanium White + Yellow Ochre Pale into the wet glazes to build light.
Light is thick and opaque.
Shadow is thin and transparent.
I am mindful of the Old Master’s technique of color banding:
Yellow Ochre Pale is added to the forehead.
Reds (Indian Red and/or Alizarin Crimson Permanent) are added to the area from the eyebrow line to the chin.
A cool blue (French Ultramarine) is added to the neck and chest.
A glaze is a lot of medium (I use Liquin) with a little bit of transparent color. It will look a lot like pale stained glass.
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Sometimes I scumble a color on the face to even out the tones and add luminosity. A scumble is a whole lot of medium (Liquin) with a little bit of opaque color (like Titanium White). It often looks like watered down milk.
After the underpainting in white, all of my layers are transparent or translucent. I already had a likeness so I didn’t want to lose it.
As I am doing the final glazes and scumbles on the face and hands, I am glazing other colors in the painting to enrich the colors.
Note that because of my earth palette, I don’t use the color “blue.” Instead I use Ivory Black + Titanium White to make the color blue. If at the end I want to intensify that color I can add a blue glaze if necessary.
