丹•舒尔茨人物画示范——华夏综艺网
对于这个工作室画我用克莱森斯双油涂底漆亚麻帆布,# 15(我平时绘画表面),安装在1/2“短吻鳄板。这幅画,我大部分的大画,是完成使用照片作为我的参考(如下所示)。
步骤1:准备照片
我第一批我的照片,它将是相同的比例作为我的画布。这样我可以更容易地把所有的元素正确当绘画现场。同时考虑这张照片作为绘画的来源,我认为这将是有趣的做这幅画在一个更高的关键比照片。画在一个更高的关键只意味着所有的黑暗和中等范围值的绘画都是发光的,而所有的颜色更加饱和。所有的值仍然要与对方正常,但值的范围变得更加狭窄的工作。最黑暗的感光绘画成为中间色调值,而轻的灯仍像往常一样相同的值。
步骤2:图
然后我做一个非常详细的图纸在我的画布。在本例中,我使用的葡萄树木炭和确保花同样多的时间是很必要的,因为我的图纸将会提供我的方向我将跟随在剩下的绘画。当我画,我需要认真的测量使用我的参考照片,以确保一切都最终正确的大小和在正确的地方。曾经我很满意这一步,我喷画布与固定剂,这样我不会失去我的图纸(涂料稀释剂快速擦除炭)。
步骤3:调色画布
我的下一个步骤是应用一个洗到画布的颜色。我喜欢用一个颜色和价值,类似于某些区域的场景——在这种情况下,前景。
步骤4:颜色混合
现在,我准备好开始绘画,我使用一个调色刀混合了大量的颜色,我将需要起见最主要的区域。(我的调色板颜色下面列出,从左下角在我的调色板和向上和向右工作。)
钛白
镉柠檬
镉黄
镉黄深
黄色赭石
镉红
Terra罗莎
暗红
透明氧化物红
鲜绿色的
钴蓝色
深蓝色
象牙黑
步骤5:起见
用大量的漆,我混,我开始起见,所有主要的颜色在现场,关注大的形状。
第六步:继续起见
我继续盖帆布与近似价值观和颜色的每个形状。在这个过程中,我做了很多我的照片,然后眯着眼,在我的画比较值之间关系的形状。尽管我画在一个更高的关键,所有的值和颜色仍然需要相互联系正确。也想开始发展我的焦区(图和她的脸)因为那个领域将是最重要的部分绘画。
步骤7:细节
一旦建立了所有主要的形状,我返回到图并开始细化大形状和添加小形状(细节)。我也开始添加细节的背景。
第八步:精炼
我仍然在这一步添加细节,同时努力保持任何区域变得劳累。我想保持我的形状简单,然而确保它们包含足够的信息,看完和深思熟虑的。作为我工作的背景,我试图让形状简单的形状在图,背景不争夺视觉优势的图。我希望这个数字将是主要的部分绘画。我也想着各种各样的纹理在这一步中,要保持每个区域有趣。我添加更大,更厚的中风的油漆在背景进一步区分它的小中风的图。
第九步:最后的细化
现在,这幅画已接近完成,我再一次检查它的准确性通过观察它在镜子。我意识到面临的图需要多一点的工作,所以我回到这个区域做最后的调整有。然后我的工作前景草,确保让他们很简单,不要与我竞争焦点区域(图)。我的最后一步包括检查任何区域的这幅画代表着分散从我的焦点,或任何其他地区似乎不正确。一旦我做了,我完了!
Into the Light. Demonstration by Dan Schultz - Artist Website
For this studio painting I used Claessens double oil primed linen canvas, #15 (my usual painting surface), mounted on 1/2" Gator Board. This painting, as with most of my larger paintings, was completed using a photograph as my reference (shown below).
Step 1: Preparing the Photo
I first crop my photo so that it will be the same proportion as my canvas. This way I can more easily place all the elements correctly when painting the scene. While considering this photo as a painting source, I decided that it would be interesting to do the painting in a higher key than the photo. Painting in a higher key simply means that all the dark and middle-range values in the painting are lightened, while all the colors become more saturated. All the values still have to relate to each other properly, but the range of values to work with becomes more narrow. The darkest darks in the painting become mid-tone values, while the lightest lights remain about the same value as usual.
Step 2: Drawing
I then do a fairly detailed drawing on my canvas. In this case, I use vine charcoal and make sure to take as much time as necessary since my drawing will provide me with the direction I will follow for the rest of the painting. As I draw, I take careful measurements using my reference photo to make sure everything ends up the right size and in the right place. Once I'm satisfied with this step, I spray the canvas with fixative so that I won't lose my drawing (paint thinner quickly erases charcoal).
Step 3: Toning the Canvas
My next step is to apply a wash of color to the canvas. I like to use a color and value that is similar to some area of the scene -- in this case, the foreground.
Step 4: Color Mixing
Now that I am ready to start painting, I use a palette knife to mix up large piles of the colors that I will need to block-in the main areas. (My palette colors are listed below, starting from the bottom left on my palette and working upwards and to the right.)
Titanium White
Cadmium Lemon
Cadmium Yellow
Cadmium Yellow Deep
Yellow Ochre
Cadmium Red
Terra Rosa
Alizarin Crimson
Transparent Oxide Red
Viridian
Cobalt Blue
Ultramarine Blue
Ivory Black
Step 5: Block-In
Using the large piles of paint that I mixed, I start to block-in all the main colors in the scene, focusing on the big shapes.
Step 6: Continued Block-In
I continue to cover the canvas with the approximate values and colors of each shape. Throughout this process, I do a lot of squinting at my photo and at my painting to compare the value relationships between shapes. Even though I'm painting in a higher key, all the values and colors still need to relate properly to each other. I also like to begin to develop my focal area (the figure and her face) since that area will be the most important part of the painting.
Step 7: Details
Once all the major shapes are established, I return to the figure and begin to refine the big shapes and add smaller shapes (details). I also start adding details to the background.
Step 8: Refining
I'm still adding details in this step, while trying to keep any area from becoming overworked. I want to keep my shapes simple, yet make sure that they contain enough information to look finished and deliberate. As I work on the background, I try to make the shapes simpler than the shapes in the figure so that the background doesn't compete for visual dominance with the figure. I want the figure to be the dominant part of the painting. I'm also thinking about variety of textures in this step to keep each area interesting. I'm adding larger, thicker strokes of paint in the background to further differentiate it from the smaller strokes in the figure.
Step 9: Final Refinements
Now that the painting is nearing completion, I once again check it for accuracy by looking at it in a mirror. I realize that the face of the figure needs a little more work, so I return to that area to make final adjustments there. Then I work on the foreground grasses, making sure to keep them quite simple so that they don't compete with my focal area (the figure). My last step includes checking for any area of the painting that stands out as distracting from my focal point, or any other area that seems incorrect. Once I've done that, I'm finished!
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