1。语气:然后拉着我18×26画布,田野,我用薄薄的健美的丙烯酸混合的黄色赭石和洋红。通过不同比例的混合物,我可以得到一个凉爽或温暖的基调。
2。图:在当地,我花了大约一个小时做我的最初的图纸有点镉红钝化与深蓝色。这确立了主要的形状在黑暗,光,和midvalues,记录下了阴影模式。
3。起见:第一天结束时,我完成了我的价值观,建立平均起见的色调。我也开始调整形状。整个会话在第一天持续了大约两个小时。
苹果树和覆盆子手杖(油、18×24)由迈克尔·切斯利·约翰逊
4。调整和细节:第二,最后一天,我继续比较彼此的主要形状和调整它们似乎很有必要。我也分手了更大的形状成更小的形状来显示更多的景观的细节。这幅画会话也持续了大约两个小时。在这里你看到油漆完苹果的树木和覆盆子手杖(油、18×24)。
原文如下：
This demonstration is an excerpt from the feature article, “Livin’ Large” by Michael Chesley Johnson. If you enjoy this step by step demo, subscribe to The Artist’s Magazine for 10 full issues of instruction and inspiration per year!
Plein Air Painting in Two Sessions
by Michael Chesley Johnson
1. Tone: Before taking my 18×26 stretched canvas to the field, I toned it with a thin wash of an acrylic mixture of yellow ochre and magenta. By varying the proportions in the mixture, I could get a cooler or warmer tone.
2. Drawing: Once in the field, I spent about an hour making my initial drawing with a little cadmium red dulled with ultramarine blue. This established the major shapes in dark, light, and midvalues, and recorded the shadow patterns.
3. Block-In: By the end of the first day, I’d completed my block-in, establishing the average values of the hues. I’d also started adjusting shapes. The entire session on this first day lasted about two hours.
Apple Trees and Raspberry Canes (oil, 18×24) by Michael Chesley Johnson
4. Adjustments and details: On the second and final day, I continued comparing the major shapes to each other and adjusting them as seemed necessary. I also broke up the bigger shapes into smaller shapes to show more of the landscape’s details. This painting session also lasted about two hours. Here you see the finished painting Apple Trees and Raspberry Canes (oil, 18×24).
