这是一个相当全面油画示范这幅画的Caverna魔法。这需要大约7英尺画2周总,但是我工作在这近一个月,不几天之间,允许釉或返工区域不透明,让油漆完全干燥。
这幅画是不寻常的,通常为我在我感到非常直接的
总体感觉的光和最后看我想要的是清晰的在我脑海里在我开始。背景和最终的整体照明就从一个冷却器语气,最初,到一个更暖和的最后看起来,有点惊喜。
我喜欢当一个绘画呈现一种它自己的生命,开始提出新的思路和心理学解释。艺术家创作更多表现主义的或印象派的作品,即使现实主义者,知道怎样一幅画可以成为更多的东西在它自己的颜色和情绪变化的每一个阶段完成。它的一个迷人的东西看,往往令人沮丧,但如果你坚持下去,我鼓励学生去做,你经常想出一些更加充实的比你的初步设想。
很Caverna——粗线在铁矿的帆布
醇酸黑草图的细节
我开始这张画布的镀层紧密与一个不透明的语气,让这黄色赭石干几天直到我准备画出设计。在电脑上我制定了一个完整的设计数字和相当自信的我有一些接近工作比encompased总体想法从我最初拟定。我使用一个醇酸黑画这个非常粗糙,只是指示刻度线在这里和那里,一些线工作,表明阴影和光线都休息。我有意地使这幅画松和知道黑会勉强上来通过我的初始块在层,这始终是不透明的。在赭色的基调,而不是白色,我立刻会感到你没有花费大量的时间显示在这个阶段不必要的细节。
阻塞的图
在这里你可以看到照片参考头,这我也跟着有些忠实。我的大部分工作都是由最初的来源,无论是摄影、草图、研究或我所看到的在我的脑海里。我认为没有优势与模型的工作生活,实际上它的一个真正的障碍,它会导致一个非常有限的概念和创造性的方法。理由是,如果你限制自己只有你可以设置和看到的,为了跟随你油漆,然后有一个自然的限制,你可以逼真地建立和发展趋势是建立什么可用,包括照明。另一方面,一些最好的工作是完成从实时模型,我可以诚实地说,你可以看到更多的工作和颜色是更自然。但在有插图的这么长时间我发现它容易弥补颜色,当然更喜欢发明,而不是复制。不管怎样,不管你是最好的,但是对于那些不幸的批评者认为,只有良好的艺术是直接生产的生活,那就如此多的销售谈话和炒作和无知。它像说最好的风景是aire练习作品,当有伟大的景观创造没有参考,一些一无所有但复制照片而其他人完成一个完全不同的设计或画的方法,甚至是抽象的。
我认为它像其他每件事,聆听你内心的声音,做你想做的,喜欢做的,你喜欢的方式工作,你就会得到过去的,到最后的质量如何的成品。
我喜欢有朋友在两个阵营。
下面你将看到阶段的背景被大致放在。我平时
技术是快速和loosly应用不透明漆没有介质和把它放在含有1“猪鬃持平或榛子或1“平紫貂,给我一个好的边缘翻转四周,拉进彼此的边缘。
一旦这个重块在drys彻底地,我的意图是光泽或呆滞每个地区更加透明漆和油非常适合玩这样的色彩效果。
惠斯勒这样做有效地在他的许多作品,尤其在背景,他想要一个更抽象的和结构看。
其唯一的方法我可以致富,泥土,灿烂的颜色不透明漆就可以不给相同的全内辛作为绿或釉。
一个真正的釉,顺便说一下,是做在多层薄透明漆的白色没有透明度之间。我倾向于油漆,然后正确的,如果需要,通过消灭需要改变,然后再包浆。
不幸的是监视器、幻灯片、版画,当然书不能开始显示复制品真正的半透明的丰富的色彩,一个原始油显示,尤其是在温暖的工作室照明,我用画下。我只能拍摄这些细节照给迹象表明原来的看起来像。
初始背景封锁在
块在向左走
左上块在
左上解决
图封锁在完全
右上封锁在
下面是最终的。如果你比较这张照片上面的图片你可以很容易地看出铜绿分层工作不透明的underlayers热身,给一个更丰富的整体基调。我用Liquin介质对于这个作为其最好的我已经找到更快的干燥效果和Liquin是粘性足够的设置到干燥、哑光油漆带出所有的暗区域为更紧密的色调匹配。如果你还不习惯一个光滑的介质,它可能有点棘手的起初,但过了几分钟,它将开始建立和最终,几小时后,开始变得粘稠,而且那是当我有最多的控制。它听起来很奇怪,但微粘漆抓住更好的,所以如果你有控制的中风是你把下来,你将会有一个更接受拉,或阻力,从刷,你可以推拉一点,即使是为了改善小刷子。我通常去猪鬃公寓在这一点上和工作快,但偶尔乱涂乱画或快中风的紫貂持平或圆往往会给一个伟大的转变从一个区域到下一个没有overblending,看起来无聊和毫无生气的。
Caverna最后5×7′很的油画
更近的镜头的图和树最后
最后头的细节
岩石显示半透明的光泽在沉重的阻塞
你可以开始看到一点的效果在初始块铜绿黄金在重漆在特写镜头的摇滚节以上。原是富有,但是这个想法显示在这里,甚至有些变形。许多学生太醉心于将漆严重,由于各种原因,他们从未开发他们的绘画技能能够正确的不透明地和徒手画的。不透明的行为不断画本身就是一个良好的学习技术,现实主义者,它迫使你去寻找更好的绘画在油漆。我记得看到Valsequez被清洗和恢复,在过程中,在国家画廊,华盛顿特区,保护部门。最上层已经被删除在一个区域在右下角,你可以看看Valesquez画黑色在灰绿色洗或帆布染色。
他的画的手很干净,简单而准确的——只是一个薄容易黑线,漂浮在绿色色调。从那他曾不透明地与色调,并相信从一开始,他可以填写区域内的手画线,如果需要之外的。
还有另一种方法来得到一个伟大的效果,虽然费时但外观结果在美丽的skintones或其他铜绿效果。简单的工作从一开始透明。
我没有patientce,像当前影响我得到与不透明块在第一和透明度
,只要其骨干当应用随着上覆漆干的速度比下面有什么。
这也需要一些耐心。着色或玻璃从一开始在一个白色的地面可以带几层和艺术家需要学习哪些颜色是不透明的,透明的(最上都标有管,作为开始)和我当然有我的最爱,但是结果可能只是美丽。
Maxfield帕里什,提香Rembrant,和许多其他人使用玻璃,效果很好,再一次,你只是不能告诉如何丰富和充满光原来的油,直到你看到他们在一个温暖的光在博物馆。
他们发光,没有其他的方式获得的效果。其尤其有效,在添加红色腮红和其他皮肤着色与一个非常微妙的联系。
如果你认为物理学的画然后你可以达到工作部分和应用油漆在这样的自然属性是你看到的。例如,大锅,下面,是一个沉重的、不透明的金属,所以我画的沉重和块状的中风。
但是蒸汽或烟是淙淙,实现透明的透明效果你可以油漆区域相交时的蒸汽,翻起,融合的背景和工作稍微不透明。或者,你可以画背景好像没有蒸汽,然后,当干燥,油漆蒸汽在背景,使用更多的半透明的漆作为真正的蒸汽会自然上升。
我做了第二个方法,运行2通过半透明的寒冷和温暖的着色为阴,中厚whispy油漆,我解决在固体绿色背景在它下面。第二通过只够再介绍一些有色高亮的烟雾,它是足够厚,会捡一些温暖的天空光就像岩石,虽然不不透明地。
认为表面依据物理和表面更容易解释,甚至就像我在这里做的。
皮肤自然是不透明的,但有一个luminence到它,因此一些光泽,一些透明度和一些透明度可以考虑。
天然木材,像一个树干,往往是非常不透明和亚光的,不是闪亮的,所以光线在它有更少的反射质量和更多的平不透明度,捡少反射颜色。闪亮的物体反射光线更好,因为他们的适用是光滑的,像玻璃或金属——抛光金属更能反映光芒暗淡的金属已被刮伤,工作表面。沉闷的对象往往是一个不那么富裕或饱和。
如果,比方说,纸是湿的,或沙子,然后湿润的地方,更闪亮,因为水分会创建一个光滑闪亮的表面。其迷人的开始想到每一个表面都是不同的,可以利用画家谁想实现更多的现实主义在他或她的工作。
每一个写实绘画是一个模拟的什么是真正的不管怎样,放置在一个平面上。
它的所有技巧来欺骗眼睛的,所以为什么不学习物理的反应在表面,让它更容易解释或发明新图像。
一旦你得到的基本观念下你会开始看到一切都是相对的,并且很容易创造或发明领域而不是精心复制在你面前的是谁。
你可以保留信息只要看和观察自然和翻译这些经验到一个视觉语句有意义和有清晰和逻辑而不是画你所看到的,不涉及或理解为什么对象看起来真实的在任何给定的空间。
大锅部分
布设计阻塞
布细节阶段2
最后的黑暗的布细节
原文如下：
Here is a fairly comprehensive oil painting demonstration of the painting Caverna Magic. This 7 ft painting took approximately 2 weeks total, but I worked on this for nearly a month, skipping several days in between to allow for glazes or reworking areas opaquely and letting paint fully dry.
This painting was unusual for me in that I usually am very direct about the
overall feeling of light and the final look I want is clear in my head before I start. The background and the final overall lighting went from a cooler tone, initially, to a warmer final look, and that was a bit of a surprise.
I like when a painting takes on something of a life of its own and begins to suggest new ideas and a psychology to interpret. Artists who paint more expressionistic or impressionist works, even realists, know how a painting can become something more on its own as the color and mood shifts in each stage of finish. Its a fascinating thing to watch, often frustrating, but if you stick with it, as I encourage any student to do, you often come up with something that is much more fulfilling than your initial idea.
Caverna Magica- rough line over ocher toned canvas
Alkyd black rough drawing detail
I started this piece by coating a tightly stretched canvas with an opaque tone of yellow ochre and let this dry for days until I was ready to draw out the design. On the computer I worked out a full design digitally and was fairly confident I had something close to work from than encompased the overall idea I had initially sketched out.I used an alkyd black and drew this out quite rough, just indicating tick marks here and there and some line work to indicate where the shadow and light breaks were. I intentionally kept this drawing loose and knew that the black would barely come up through my initial block in layer, which is always opaque. Over the ochre tone, as opposed to white, I immediately could feel the halftones without spending a lot of time indicating unnecessary detail at this stage.
Blockin of figure
Here you can see the photo reference for the head, which I followed somewhat faithfully. Most of my work is made up from an initial source, whether its photographic, sketches, studies or what I see in my head.I see no advantage to working with models from life, in fact its a real hindrance and it can lead to a very limited conceptual and creative approach. The reason being that if you limit yourself to only what you can set up and see, meant to follow as you paint, then there is a natural limitation as to what you can realistically set up and the tendency is to set up whats available, including the lighting.On the other hand- some of the best work is done from live models and I can say honestly that you can see a lot more to work from and the color is more natural. But after having illustrated for so long I find it easy to make up color and certainly prefer to invent rather than copy.Either way, whatever works for you is best, but for those unfortunate critics who feel the only good art is that produced directly from life, thats just so much sales talk and hype and ignorance.
Its like saying the best landscapes are plein aire works, when there are great landscapes created with no reference at all and some with nothing but copied photos while others are done with a completely different design or painted approach, even abstract.
I think its like every thing else, listen to your inner voice and do what you want and enjoy doing- work the way you like and you will get past the how and onto the final quality of the finished pieces.
I prefer to have friends in both camps.
Below you will see stages of the background being roughly laid in. My usual
technique is to quickly and loosly apply opaque paint with no medium and lay it on with either a 1″ bristle flat or filbert or a 1″ flat sable that gives me a good edge to flip around and pull edges into each other.
Once this heavy block in throughly drys, my intention is to patina or glaze over every area with more transparent paint and oil is perfect for playing with such color effects.
Whistler did this effectively in many of his works, especially in backgrounds where he wanted a more abstract and textural look.
Its the only way I can get rich, earthy, brilliant color as opaque paint alone can not give the same full inner sheen as a patina or glaze.
A true glaze, by the way, is done in multiple layers of thin transparent paint on white with no opacity in between. I tend to paint, then correct, if needed, by obliterating what needs to be changed, then patina again.
Unfortunately monitors, transparencies, prints, and certainly book reproductions can not begin to show the true translucent rich color that an original oil shows,especially under the warmer studio lighting that I use to paint under. I can only shoot these detail shots to give an indication of what the original looks like.
Initial background blocked in
Block in moving left
Upper left block in
Upper left smoothed out
Figure blocked in fully
Upper right blocked in
Below is the final. If you compare this shot to the images above you can easily see how the patina layering works to warm up the opaque underlayers and give a much richer overall tone.I use Liquin Medium for this as its the best I have found for faster drying effects and the Liquin is viscous enough to set into the dryed, matte paint to bring out all the darker areas for closer tonal matching. If you aren’t used to a slick medium, it might be a bit tricky at first, but after a few minutes it will begin to set up and eventually, in a few hours, begin to get sticky, and thats when I have the most control.Its sounds weird, but slightly sticky paint grabs better, so if you have control of the strokes as you put them down, you will have a more receptive pull, or drag, off the brush that you can push and pull a bit for refinements, even with smaller brushes. I usually go for the bristle flats at this point and work fast, but an occasional squiggle or quick strokes of a sable flat or round often give a great transition from one area into the next without overblending, which looks boring and lifeless.
Caverna Magica Final 5×7′ oil canvas
Closer shot of figure and tree final
Final head detail
Rock showing translucent patina over heavy blockin
You can start to see a bit of the effect of the patina gold over the initial block in heavy paint in the closeup of the rock section above. The original is richer but the idea shows here, even some of the texturing.Many students get so wrapped up in putting paint on heavily, for various reasons, and they never develop their drawing skills to be able to correct opaquely and freehand.The act of continuously painting opaquely in itself is a good learning technique as, for realists, it forces you to search for better drawing within the paint.I remember seeing a Valsequez being cleaned and restored, in process, at the National Gallery, D.C., conservation department.
The top layers had been removed on an area in the lower right of the painting, and you could see how Valesquez had drawn in black over a greenish-gray wash or canvas stain.
His drawing of the hand was very clean and simple but accurate- just a thin easy black line that floated over the green tint. From that he had worked opaquely with the flesh tones and was confident from the start that he could fill in the areas within the hand line drawing and outside of it if needed.
There is another way to get a great effect, although time consuming but the finished look results in beautiful skintones or other patina effects. Simply work transparently from the start.
I don’t have the patientce for it and like the current effects I get with the opaque block in first and transparency over
that, so long as its bone dry when applied as the overlying paint will dry quicker than whats underneath.
That takes some patience as well. Tinting or glazing from the start over a white ground can take several layers and the artist needs to learn which colors are opaque and which transparent (most are marked on the tubes, as a start) and I certainly have my favorites, but the results can be just beautiful.
Maxfield Parrish, Titian, Rembrant, and many others used glazing to great effect and, again, you simply can’t tell how rich and full of light the original oils are until you see them under a warm light in a museum.
They glow, and there is no other way to get that effect. Its especially effective in adding red blush and other skin coloring with a very subtle touch.
If you think about the physics of what you are painting then you can approach the work in sections and apply paint in such a way as is natural to the properties of what you are seeing. For example, the cauldron, below, is a heavy, opaque metal, so I painted it heavy and with blocky strokes.
But the steam or smoke is natually diaphanous so to achieve transparent effects you can either paint the areas intersecting the steam as it billows up, blending in and out of the background and working slightly more opaque. Or- you can paint the background as if there were no steam and then, when dry, paint the steam OVER the background, using more translucent paint as the real steam would rise naturally.
I did the 2nd approach, running 2 passes of semi-transparent cool and warm coloring as cloudy, medium heavy whispy paint that I smoothed out over the solid greenish background below it. The 2nd pass was just enough to introduce some more tinted highlighting as the smoke, where it is thick enough, would pick up some of the warm sky light just like the rocks, although less opaquely.
Think of surfaces in terms of physics and the surfaces are much easier to interpret, even made up like I did here.
Skin is naturally opaque, but there is a luminence to it as well, so some sheen, some transparency and some opacity can be considered.
Natural wood, like a tree trunk, tends to be very opaque and matte, not shiny, so the light on it has less reflective quality and more flat opacity, picking up less reflective color as well. Shiny objects reflect light better because their sufaces are smooth- like glass or metal- where polished metal reflects more shine than dull metal which has a scratched, work surface. Dull objects tends to be a little less rich or saturated.
If, say, paper is wet, or sand, then the area where the wetness is, is much more shiny- because the moisture creates a smoother shiny surface. Its fascinating to start to think of how every surface is different and can be figured out for the painter who wants to achieve more realism in his or her work.
Every realistic painting is a simulation of what is real anyway, placed on a flat surface.
Its all tricks to fool the eye, so why not learn how physics react on surfaces to make it easier to interpret or invent new images.
Once you get the basic ideas down you can begin to see how everything is relative and how easy it is to create or invent areas rather than elaborately copy what is before you.
You can retain information simply by looking and observing nature and translate those experiences into a visual statement that makes sense and has clarity and logic instead of just painting what you see and not relating to or understanding why objects look real in any given space.
Cauldron section
Cloth design blockin
Cloth detail stage 2
Final darkening of cloth detail
