而在本文的图像是一个完成的画,这个演示将中心的结构和轮廓的基本破坏波。完成的波-包括导通,幻灯片,泡沫模式和foamburst -如下所示为指导完成作文。
现在,我有我的作文在头脑中,我使用一个衬套刷和任何淡蓝色颜色草图的轮廓画。我发现我的想法与尽可能多的草图精度尽可能将确保最好的结果。如果时间允许,我允许草图来干,然后再继续下一步。如果草图是干燥的,我知道我总能回到它如果我失去我的原始成分(一些我似乎做时常!)混合少量的稀释剂的颜色将会加速干燥时间。
虽然有很多方法可以开始绘画,我通常会先使用兴趣中心。建立一个强大的“身份”这里可以防止其他地区的绘画成为分心。在这幅画,我想画眼睛与透明度的焦点这幅画,所以我先刷在脸上的颜色的波。
与我的调色刀,我混合触动的翠绿和柠檬黄色与少量的白色。使用平紫貂刷,我躺在一个薄带颜色的顶部的波。我想要最轻的色调在波峰,波是薄而透明。添加更多的翡翠绿色的混合物给了我第二个带颜色的整个中心的波。颜色在该基地的波更难以实现。用鲜绿色的为基础色,我添加一个触摸的茜素、补充、到灰色的色调。茜素是一个更强大的颜色和将会迅速占据了混合物。我将它放在了鲜绿色的谨慎,每次少许,直到颜色是一个平衡的灰绿色。如果颜色显得太暗,我添加一个跟踪数量的白色浑浊的强度。当颜色是满意的,我用它来填写底部区域的波。现在是时候混合颜色带。
我使用一个# 14 # 16平紫貂的或混合颜色带。奠定了刷尖在画布如图所示插图中,我轻轻刷来回画布,好像我是画一个董事会。当我画,我把刷向上或向下稍微把颜色在一起。需要一点耐心混合颜色带均匀。我发现控制压力的刷在画布上是很重要的。沉重的压力会接太多油漆的刷尖和减少颜色回到画布。较轻的压力将使颜色混合均匀。我也尽量保持刷清洁干燥。在我多次混合中风,我擦拭刷尖轻轻地放在一个干布去除多余的颜色。结果应该是一个从最轻的地区甚至混合在波峰到较暗的颜色在该基地的波。
对阴影区域在foamburst我用鲜绿色的,暗红与白色为基础——这一次有点蓝的混合物。如果颜色似乎太亮,少量的深褐色可能被添加到灰色的混合物。我用一个小榛子填写颜色foamburst底部和周围的岩石,使区域的画布的明亮和二次强调是后来添加的。我还添加了一些颜色在该基地的泄漏,foamburst上方。接下来,我使用了平紫貂油漆在更深的undercolor泄漏的中心。一个薄带的透明颜色是画在在双方的泄漏。再次,貂刷工作良好混合均匀的三个领域。
一个细线的阴影泡沫颜色卷起的右边缘的漏油并在顶部的透明给对比打破。接下来,使用衬套刷,我卷线的颜色从底部向上的泄漏到顶部的波。我偶尔擦拭刷轻轻的放在布去除残留在添加更多的线。线条曲线作为他们到达顶部的波,给一个外观的圆度和深度。在完成几个完整的线,我添加短笔画分解刚度。微小的u型交叉笔画的线被添加到显示下降的水。最后,整个导通和foamburst软化与混合刷。
水低于泡沫模式是滚滚的从扰动的增兵计划,已经过去了。作为模式沸腾,表面看来几乎白色从曝气。当水已经平息的背后传球波,泡沫开始分裂开来,消散。
左边的生动的例子也有帮助更好地理解模式的形状在碎波。第一个视图动画是圆圈边缘的出现在眼睛水平。没有中心颜色是可见的。同样,开孔泡沫在该基地的波是不可见的,因为他们不太坏了,我们正在观看他们在眼睛水平。接下来,圆转垂直和一些颜色进入视线。这个模式已经成为了一个椭圆的波面升高起来,它开始伸展和分裂。当循环变成全视图,该模式将在垂直面波。如果波是打破,如绘画、模式图像会发生改变,变得更加破碎时,在旋度。
角度来看也是一个考虑因素在塑造模式。在这幅画的波是打破以一个轻微的角度向左,允许我们查看“卷曲”或“管道”在休息。将会被拉伸的泡沫模式垂直镜像,透视。
好玩的部分来了!使用衬垫刷和阴影灰色,我开始形成模式面临的波。模式使用的形状在碎波发生在更复杂的波结构。移动的膨胀,另一面,浪涛、水破坏岩石…都有各自的动力学和美丽。
小图片展示其中的一些动态。模式的形状显示水运动和增强图像的深度。第一个显示泡沫模式在安静的水。他们似乎遵循温柔的膨胀。第二张图片展示了深水下的岩石海岸。由于回流和障碍物,水是在不断动荡。在第三张照片海浪打破了反对岬和回流对入射波。这里的水是被许多对立的力量。我试图想象动作的水当我工作的时候,使用模式来显示方向和运动的冲浪。
完成白突出顶部的波,我负荷的一面刷尖与白色混合,将加载突出一边刷下来,持有它的波峰。“Squiggling“刷远离颜色和水平地在画布上留下重岭的油漆在foamburst的顶部。一个小榛树适合强调泡沫前的休息。
玻璃可以用来给深颜色,软化严酷的区域的颜色,换一个颜色,或者甚至创建一个不同的心情在这幅画。玻璃是应用微量的彩色颜料在透明介质。在本文中我使用上光工艺提炼和软化领域的泡沫。在地区背后的浪峰,尤其是在顶部的泡沫破灭,我有白色和有色的釉到foamburst工作与一个更大的混合刷。宽松、自由中风的帮助给运动的幻觉。白色的已经混合创建迷雾留下了破坏波,而突然有尖锐的笔触左未混合的。
感人的尖端大貂刷成组合的纯色如温莎蓝,铬绿,茜素、或深褐色,我把它们足够的玻璃介质使颜色透明。现在它可以很容易地平滑的模式在前面的波,使底层色显示通过。“切割”一些釉回undercolor可以是一个有效的方法在水中形成的涟漪。我倾斜的顶端平紫貂刷成薄,轻轻触摸它到一个软布。创建行颜色较浅,我把刷上优势,吸引其向上和整个模式。颜色会发生变化。它可能需要多次努力,但是我重复这个过程,直到我满意最终的图像。添加背景、岩石、和前景,它完成的!谢谢你和我一起画。
“打破波“油12×16
原文如下：While the images in this article are part of a completed painting, this demonstration will center on the structure and contours of the basic breaking wave. The completed wave – including the breakover, transparencies, foam patterns and foamburst – is shown below as a guide to the finished composition.
Now that I have my composition in mind, I use a liner brush and any light blue color to sketch the outline of the painting. I’ve found that sketching my idea with as much accuracy as possible will insure the best results. If time permits, I allow the sketch to dry before continuing with the next step. If the sketch is dry, I know that I can always return to it if I lose my original composition (something I seem to do all too often!) Mixing a small amount of thinner with the color will hasten the drying time.
Although there are many ways to begin a painting, I usually start with the center of interest. Establishing a strong “identity” here prevents other areas of the painting from becoming distractions. In this painting, I want to draw the eye to the transparency as the focal point of the painting, so I’ll begin by brushing in the colors on the face of the wave.
With my palette knife, I mix touches of Emerald Green and Lemon Yellow with a small amount of white. Using a flat sable brush, I lay on a thin band of color at the top of the wave. I want the lightest tint at the crest, where the wave is thin and translucent. Adding more Emerald Green to the mixture gives me the second band of color across the center of the wave. The color at the base of the wave is more difficult to achieve. Using Viridian as the base color, I add a touch of Alizarin, a complement, to gray the hue. Alizarin is a much stronger color and will rapidly dominate the mixture. I mix it into the Viridian cautiously, a little at a time, until the color is a balanced gray-green. If the color appears too dark, I add a trace amount of white to dull the intensity. When the color is satisfactory, I use it to fill in the area at the base of the wave. Now it’s time to blend the color bands.
I use a #14 or #16 flat sable for blending the color bands. Laying the brush tip against the canvas as shown in the inset, I lightly brush back and forth across the canvas as if I were painting a board. As I paint, I move the brush up or down slightly to bring the colors together. It takes a little patience to blend the color bands evenly. I’ve found that controlling the pressure of the brush on the canvas is important. A heavy pressure will pick up too much paint on the brush tip and cut the color back to the canvas. A lighter pressure will allow the color to blend evenly. I also try to keep the brush clean and dry. After I’ve made several blending strokes, I wipe the brush tip gently on a dry cloth to remove excess color. The result should be an even blend from the lightest area at the crest to the darker color at the base of the wave.
For the shadowed areas in the foamburst I use Viridian and Alizarin Crimson with white as a base – this time with a touch of blue in the mixture. If the color appears too bright, a small amount of Burnt Sienna may be added to gray the mixture. I use a small filbert to fill in the color at the base of the foamburst and around the rock, leaving areas of canvas for bright and secondary highlights to be added later. I have also added some color at the base of the spill, just above the foamburst. Next, I used the flat sable to paint in the deeper undercolor at the center of the spill. A thin band of the transparency color is painted in at both sides of the spill. Again, the sable brush works well to blend the three areas uniformly.
A thin line of shadowed foam color rolled up the right edge of the spill and across the top of the transparency gives contrast to the break. Next, using the liner brush, I roll in lines of color from the bottom of the spill upwards to the top of the wave. I occasionally wipe the brush gently on a cloth to remove the residue before adding more of the lines. The lines curve as they reach toward the top of the wave, giving an appearance of roundness and depth. After completing several of the full lines, I add shorter strokes to break up the rigidity. Tiny u-shaped cross-strokes on the lines are added to show the fall of the water. Finally, the entire breakover and foamburst are softened with the blending brush.
Water below the foam patterns is roiling from the disturbance of the surge that has passed. As the patterns boil, the surface appears almost white from the aeration. When the water has quieted behind the passing wave, the foam begins to break apart and dissipate.
The animated example at left helps too better understand the shapes of the patterns on the breaking wave. The first view in the animation is the edge of the circle seen at eye level. No center color is visible. Likewise, openings in the foam at the base of the wave are not visible because they are less broken and we are viewing them at eye level. Next, the circle turns vertically and some of the color comes into view. The pattern has now become an elipse as the wave face lifts it up and it begins to stretch and break apart. As the circle turns into full view, the pattern would be on the vertical face of the wave. If the wave is breaking, as in the painting, the pattern image reverses and becomes even more broken as it moves up and under the curl.
Perspective is also a consideration in shaping the patterns. In this painting the wave is breaking at a slight angle to the left, allowing us to view the “curl” or “pipeline” under the break. The foam patterns will be stretched vertically to mirror that perspective.
Now for the fun part! Using the liner brush and the shadow-gray, I begin to form the patterns on the face of the wave. The shapes of the patterns used on the breaking wave occur on more complex wave structures as well. Moving swells, crosscurrents, backwash, water breaking over rocks…all have their own dynamics and beauty.
The small images demonstrate some of these dynamics. The shapes of the patterns show the water movement and enhance the depth of the image. The first shows foam patterns on quiet water. They appear to follow the gentle swell. The second image shows deep water off rocky shores. Because of backwash and obstructions, the water is in constant turmoil. In the third image the surf has broken against the headlands and is surging back against an incoming wave. Here the water is compelled by many opposing forces. I try to visualize the action of the water as I work, using the patterns to show direction and movement of the surf.
To finish the white highlight at the top of the wave, I load one side of the brush tip with the white highlight mixture, turning the loaded side of the brush down and holding it at the wave crest. “Squiggling” the brush away from the color and horizontally across the canvas leaves a heavier ridge of paint across the top of the foamburst. A smaller filbert works well for highlighting the foam in front of the break.
Glazing may be used to give depth to color, soften harsh areas of color, change a hue, or even create a different mood in the painting. Glazing is the application of trace amounts of color pigments in a transparent medium. In this article I’m using the glazing process to refine and soften the areas of foam. In the areas behind the wave crests and especially around the top of the foam burst, I’ve tinted the glaze with white and worked it into the foamburst with a larger blending brush. Loose, free strokes help to give the illusion of movement. The white has been blended to create the mists left behind the breaking wave, while the burst has sharper strokes left unblended.
Touching the tip of the large sable brush into combinations of pure colors such as Winsor Blue, Viridian, Alizarin, or Burnt Sienna, I mix them with enough of the glazing medium to make the color transparent. Now it can be easily smoothed over the patterns on the front of the wave, allowing the underpainting to show through. “Cutting” some of the glaze back to the undercolor can be an effective way of forming ripples in the water. I dip the tip of the flat sable brush into thinner and touch it lightly to a soft cloth. To create lines of lighter color, I turn the brush on edge, drawing it upwards and across the patterns. Color variations will occur. It may take several tries, but I repeat the process until I’m satisfied with the final image. Adding the background, rocks, and foreground, and it’s finished! Thank you for painting along with me.
“The Breaking Wave” Oil 12 x 16
