简·琼斯
从休闲到正式、庄重的节日,布料,可以是一个重要的元素在绘画。它可以设置或支持你的作文的整体气氛。折叠的配置,他们的方向和强度的照明都扮演一个角色在表达品质的布料。描述这些折叠和香肠漆可以恐吓和令人困惑的。但是有良好的准备,画着可以成为一个有趣的部分面料你的过程和给你极大的满足。
1。参考材料
无论是实际的织物或参考图(上图),首先你需要的是良好的参考材料。参考应该照明,揭示了褶皱明显。我使用户外灯,因为它创造了良好定义的区域的光线和阴影。你不想尝试“假”或组成一个区域。一个趋势是包括太多的折叠和层。保持简单,尤其是在第一,然后,当你越来越熟练,你可以得到更多的精致。
2。图纸
布料是如此容易找出用铅笔和橡皮比用油漆刷!个人的形状表明折叠或阴影可以是不规则的,和他们自己没有意义。因此,需要准确的形状和在正确的位置,这样他们融入一个统一的整体,这就像把一个谜团。画每个形状一样小心,尽可能调整每个当你投入额外的形状。
在第二步,我画线,表明一个值或颜色变化的发生,如区域的反射光。通常这些边软,但这些区域显示值或颜色的转变,所以我表明,在绘图。把尽可能多的信息你可以到这一步,即使你认为你不需要它。把它无论如何作为一个提醒,以后当你画。
3。混合颜料
因为在我的画帘反映天空(所以,牵牛花们的协调),它包含一个提示的蓝色。我的灰色混合佩恩与一点点的深蓝色,然后添加钛白色。为最轻的地区,我使用的混合物钛白和那不勒斯黄灯。
4。创建折叠和阴影
主要有三个事情要考虑当画帘:价值、形状和边缘。选择正确的值为该地区的油漆。请记住,轻盈或黑暗的油漆是相对于周边地区。如果你把一些画下来,它并不十分正确,擦起来,放在正确的值。刮或擦拭是如此容易得多,比试图“修复”油漆你已经放下。
块的形状与正确的价值观,调整既是你走。这将是一个简单的步骤,如果你已经列出了你的图纸中正确的形状。这幅画的过程总是一个改进和修正的图纸。
5。调整边缘
这一步真的确定你的布料看起来真实与否。如果一个形状的边缘是困难的,然后混合它只是有点,它似乎是周边地区的一部分。如果边很软,然后混合,以反映。如果你overblend,只需刷在一些油漆的正确颜色和混合再次。在你放置几个形状,后退一步,评估区。
在我参考照片,最右边的影子在窗帘是很黑暗的,提出了很多的对比在一个区域太远的焦点地区,所以我照亮,影子创造更感兴趣,那里。请注意,尽管我没有使用任何白色油漆直接出管,布料看起来是白色的。
对于一些艺术家,有倾向于油漆所有的灯或全部在各领域的一个值一次。相反,每个区域的工作完成,然后继续前进。这将给你一个更快的成就感和让你知道如果你在正确的轨道。它还更容易保持你的手从油漆未干!
如果你需要离开你的画帘前完成,然后找到一个区域,硬边,如一个褶皱重叠另一个否则,停止在一个领域你已经预先混合的颜色。这样你可以选择确切的颜色的油漆,只是继续在另一个会话。
原文如下：
Hanging in There
Painting the folds and shadows in drapery can be tricky. Here’s how to set yourself up for success.
By Jane Jones
From casual to formal, stately to festive, drapery can be an important element in a painting. It can set or support the overall mood of your composition. The configuration of the folds, their orientation and the intensity of the lighting all play a part in the expressive qualities of the drapery. Depicting those folds and tucks in paint can be intimidating and baffling. But with good preparation, painting draped fabric can become a fun part of your process and give you great satisfaction.
1. Reference material
Whether it’s the actual fabric or a reference photo (above), the first thing you need is good reference material. The reference should have lighting that reveals the folds clearly. I used outdoor light because it creates well-defined areas of light and shadow. You don’t want to try to “fake” or make up an area. One tendency is to include too many folds and layers. Keep it simple, especially at first; then, as you become more skilled, you can get more elaborate.
2. The drawing
Drapery is so much easier to figure out with a pencil and eraser than with a paintbrush! The individual shapes that indicate folds or shadows can be irregular, and they don’t make sense by themselves. Therefore, the shapes need to be accurate and in the correct location so that they fit into a coherent whole; it’s like putting a puzzle together. Draw each shape as carefully as possible, adjusting each as you put in additional shapes.
In step two, I draw lines to indicate where a value or color transition occurs, such as the areas of reflected light. Often these edges are soft, but those areas show a shift in value or color, so I indicate that in the drawing. Put as much information as you can into this step, even if you think you won’t need it. Draw it anyway—as a reminder for later when you’re painting.
3. Mixing the paints
Since the drapery in my painting is reflecting the sky (and so that it harmonizes with the morning glories), it contains a hint of blue. I mixed Payne’s gray with a little bit of ultramarine blue, and then added titanium white. For the lightest areas, I used mixtures of titanium white and Naples yellow light.
4. Creating folds and shadows
There are three main things to consider when painting drapery: value, shape and edges. Select the correct value of paint for the area. Remember that the lightness or darkness of the paint is relative to the surrounding areas. If you put some paint down and it isn’t quite right, wipe it up and put in the correct value. Scraping or wiping is so much easier than trying to “fix” the paint you’ve already put down.
Block in the shapes with the correct values, adjusting both as you go. This will be an easy step if you’ve outlined the shapes correctly in your drawing. The painting process is always a refinement and correction of the drawing.
5. Adjusting the edges
This step really determines whether your drapery looks realistic or not. If the edge of a shape is hard, then blend it just a little so that it appears to be part of the surrounding area. If the edge is very soft, then blend it to reflect that. If you overblend, simply brush in some paint of the correct color and blend again. After you’ve placed a few shapes, take a step back and evaluate the area.
In my reference photo, the far right shadow on the drapery is quite dark and presents a lot of contrast in an area too far from the focal area, so I lightened that shadow to create less interest there. Notice that even though I didn’t use any white paint directly out of the tube, the drapery appears to be white.
For some artists, there’s a tendency to paint all of the lights or all of one value in various areas at once. Instead, work each area to completion, and then move on. This will give you a quicker sense of accomplishment and let you know if you’re on the right track. It’s also easier to keep your hand out of the wet paint!
If you need to leave your painting before the drapery is completed, then find an area with hard edges, such as where one fold overlaps another. Otherwise, leave off in an area where you’ve already premixed the color. That way you can pick up the exact color of paint and just continue in another session.
