这3 x4“油画绘画是在同样的方式为“远低于“我的目的是做一个不透明的传递,让那湿油漆干几周,然后复习这一薄层,增强了细节颜色和细节,在需要的地方。这不是“脂肪在精益”由于该层以上drys快于下层。然而,这神态,或釉的影响只是做当我知道基漆层是完全干燥的。
我不使用油漆那么重,我担心未来的开裂,这不可避免地会发生如果我用沉重的厚涂法。难的是等待3或4周,直到我确信底层涂料是涂料表面干燥再之前,因为我知道这2件外套会带回所有的丰富的色彩,增强作品的总体外观。在画廊,经常看到工作看起来死亡或钝已经作为如果它缺乏这些额外的调整,可以带它一起。我怀疑这是由于更多的艺术家需要完成工作和显示,而不是缺乏兴趣精炼它。
大多数的艺术家我知道有足够的完整性要将工作做到最好。所以当我看到明显的失光或缺乏丰富的色彩自然的油,它可能是,在某种程度上,由于艺术家偏爱一个哑光清漆相反的光泽。传统的达玛树脂清漆最适合我,应用至少2个月后完成一幅画。我通常做几件在一个时间和通气工作室好。我喜欢Kamar漆,喷漆喷,最好的清漆我曾经使用过两丙烯酸和石油。不幸的是,它的毒性,与许多艺术家喷雾剂和液体。如果你使用Kamar或另一个喷雾,像修整清漆,到外面去如果你能在另一个房间,你可以发泄分别。它的形成过程,它可以导致dizzness甚至眩晕,我已经不止一次和我的预防措施,甚至
现在我坚持传统的达玛树脂和刷它,然后 离开房间,让它空气完全。
油溅泼固定铅笔
在我稍微固定铅笔画画我洗薄、快干层油只使用矿物的精神和坚持一个宽2英寸,它迫使我布里斯托尔榛子不要担心细节区域但专注于大型乡土化区域。下面,玻璃面板显示了大型堆漆我可以通过在一些会议。我添加几滴的亚麻籽油,每一桩得到光滑,谄媚的一致性、混合与一个小调色刀。
对于较大的油画,我真正的目标是保持整个表面湿为2或3天需要完全地覆盖和茶秀它。我知道地球的颜色将干最快,然后更多的中性色和最后,蓝色和紫色。我总是用几色,知道我可以混合任何2 ndary色调从这些。我隔离黑人(象牙或灯黑的黑暗的颜色更蓝片),烧棕土和黄赭石、氧化铁(或红棕色变种),这些我添加几滴丁香油。
我把这到每一桩,这使得油漆保持湿不了一天但是一周,即使在调色板。为什么这样做呢?画的我研究过那最吸引我,我才意识到边控制。如果你能达到控制的焦点,这是一个关键的色调,那么伟大绘画作品可以在质量与选择性关注一个镜头。大多数画家实现很简单,就是绘画与厚漆更迅速,萨金特,Boldini和佐恩确实。萨金特想画每一幅看起来像它做是自发的,但我相信,作为一个艺术家,他只是想漆湿到湿的效果,至少在头,为了实现这一目标,他经常消灭,开始几次达到一看那是毫不费力的和专横的。
知道了这一点,我的目标是延长总体工作时间才可以看到那些飞机和边缘后我迅速基石着色,然后模型或茶秀这湿油漆到相邻湿颜色。这是更多的中风比混合区域,但要么给一个效应控制的焦点。诀窍是躺下油漆使用正确的粘度,这使得色调融合容易和快速。它几乎不可能实现,如果油漆是俗气或干当你想回去在这里和那里,进一步调整颜色,价值和焦点。
头是画在非常直接和只花了几分钟来看看我想要的。我有一个准确的画下来,即使油漆是不透明的,淹没了铅笔和洗,准确的混合和直接斯托克斯颜色允许快速的结果。
最初的中风的脑袋,
中央区域起见。
较低的块。
雾封锁在
以上,你可以看到松起见的雾。即使这意味着看起来精致的最后是可信的,我知道油漆将保持湿了一段时间,所以我不需要工作还这个区域。我更喜欢起见,其余大部分图像,然后联系雾色和价值观的和谐的整体。通过这种方式,我可以更好地判断远到模型边缘和得到过渡混合需要赋予它某种意义上的透明空间。
最后时间的流逝
原文如下：
This 3x4 ' oil on canvas painting was done in the same manner as "Far Below" where my intention was to do a single opaque pass of wet paint, let that dry for weeks, then go over this with a thinner detail layer that enhances the color and detail, where needed. This is not 'fat over lean' since the layer above drys faster than the underlayer. However, this patina, or glaze effect is only done when I know the base paint layer is completely dry.
I am not using paint so heavy that I worry about future cracking, which would inevitably happen if I used heavy impasto. The hard part is waiting the 3 or 4 weeks until I am sure the underlying paint is bone dry before coating the surface again, since I know this 2nd coat will bring back all the rich color and enhance the overall look of the piece. In galleries, I often see work that looks dead or dull already as if its lacking those extra tweaks that could bring it all together. I suspect this is due more to the artists need to have the work finished and shown rather than a lack of interest in refining it.
Most artists I know have enough integrity to want to do their best work. So when I do see the obvious dulling or lack of rich color natural to oil, it may be, in part, due to the artists preference for a matte varnish instead of gloss. Traditional Damar varnish works best for me, applied at least 2 months after a painting is completed. I usually do several pieces at a time and vent the studio well. I like Kamar varnish, a Krylon Spray, the best varnish I have ever used on both acrylic and oil. Unfortunately, its toxic, like many artists sprays and liquids. If you use Kamar or another spray, like retouch varnish, do it outside if you can or in another room that you can vent separately. Its a buildup process and it can cause dizzness and even vertigo, which I have had more than once even with my precautions.
Now I stick with traditional Damar and brush it on, then leave the room and let it air out completely.
Oil wash over fixed pencil
Over my slightly fixed pencil drawing I wash a thin, quick drying layer of oil using only mineral spirits and sticking with a wide 2 inch bristol filbert, which forces me not to worry about detail areas but to concentrate on large local-color areas. Below, the glass palette shows the large pile of paint I can go through in a few sessions. I add several drops of linseed oil to each pile to get a smooth, buttery consistency, mixed well with a small palette knife.
For larger paintings, my real goal is to keep the entire surface wet for the 2 or 3 days it takes to completely cover and finess it. I know that the earth colors will dry fastest, then more neutral colors and finally the blues and purples. I always use just a few colors, knowing I can mix any 2ndary hue from these. I isolate the black (ivory or lamp black for the darkest shades on more blue pieces) , burnt umber and yellow ochre, red oxide (or reddish brown variants) and to these I add a few drops of oil of cloves.
I mix this well into each pile and this allows the paint to stay wet not for a day but up to a week, even on the palette. Why do this? Of the paintings I have studied that appeal to me most, I realize the edges are controlled. If you can achieve a controlled focus, which is a key to great tonal paintings, then the work can take on a quality not unlike selective focus on a lens. Most painters achieve this by simply painting with thicker paint more quickly, as Sargent, Boldini and Zorn did. Sargent wanted to paint every portrait to look like it was done spontaneously, but I am convinced, as an artist, that he simply desired to paint wet into wet for the effects, at least around the head, and to achieve this goal he often wiped out and started over several times to achieve a look that was effortless and masterful.
Knowing this, my goal is to extend the overall working time to be able to see those planes and edges after I have quickly laid in the foundation coloring, then model or finess this wet paint into the adjacent wet colors. These are more strokes than blended areas, but either gives an effect of controlled focus. The trick is to lay down the paint with the right viscosity and this makes the tonal fusing easy and fast. Its nearly impossible to achieve if the paint is tacky or dry when you want to go back in here and there and further adjust color, value and focus.
The head was painted in very direct and only took a few minutes to get the look I wanted. I had an accurate drawing down and even though the paint was opaque and covered the pencil and wash, accurate mixing and direct stokes of color allow for a quick result.
Initial strokes around the head,
Block-in of the central area.
Lower block_in.
Fog blocked in
Above, you can see the loose block-in of the fog. Even though its meant to look diaphanous for the final to be believable, I know the paint will stay wet for some time so I don't need to work this area just yet. I prefer to block-in most of the rest of the image and then relate the fog color and values to the harmonious whole. In this way, I can better judge how far to model the edges and get the transitional blending needed to give it a sense of transparent space.
