油画示范
画2002
这是我最初的图纸上的玛丽亚拉伸,40“30”块介质变形Clausens双油待发的亚麻布。因为大小的画和事实,我想要一个特定的成分,我使用一些葡萄树木炭仔细素描这一个。仅以一个快速测量头,弄清楚有多少单位高玛丽亚从头到座位以及宽,你可以很容易地保证自己,你最终的确切成分你心中。我知道我希望这是一个真人大小的绘画,所以我研究出了单位一旦构成是决定,即使伸出我的画布。
整个第一次会议是用于设置姿势,摆弄灯光,伸展画布,然后画出来。其实我有个不同的想法最初,由玛丽亚在蓝色的连衣裙,她的头发,坐在窗户前的配置文件。设置完成后,一个,但是,我只是想我们会尝试不一样的东西,最终决定画这个设置相反。通常在使用一个模型从生活的趋势是只是简单的把模型下来,冲进绘画没有花费足够的时间考虑设置。这无疑是我最大的错!试图克服这一点,我一直强迫自己把整个三个小时在工作第一天的姿势然后绘图。采取快照或做草图走,所以你可以看他们后,想想工作最好的,然后重新开始你的想法设置,考虑第二天。把尽可能多的思想和创造力进入你的设置和灯光你投入实际的绘画本身。这是肯定的一件事我需要工作在个人,所以我说多提醒自己是别人!
现在我可以去工作表面上而不用担心手出轨的画布之后。下面的照片是在第一届实际绘画(加上一点玛丽亚离开后一天)——大约4或5小时的工作,我认为。最重要的事情在这幅画是要不断地斜眼看每个值比较他们最轻的光和黑暗的黑暗的主题。达到橙色光芒的亮度右侧的玛丽亚的脸,我需要把所有的其他值在她脸上有点颜色比你可能使他们如果看着他们在隔离。事实上,大部分的绘画仍然是白色帆布不打扰我因为我的决定正在看时,比较值的模型和在我的调色板,而不是当看着我的画。
第二天,玛丽亚回来,我钓了脸和头发,上班的服装(一个三小时的会议没有任何更多的工作,而她走了)。注意有多少暗我要比白色的画布。再一次,如果我不经常比较这些值,这光橙色的一侧玛丽亚的脸,我肯定会画白色的衬衫太光一个值。这通常是很难意识到当看着油漆完因为很少有补丁的纯白色的任何一幅画。我有时喜欢举起一块白色的纸在一幅画前在博物馆给我的眼睛一个参考点的真实价值一个画家用在光区。有时,我想试一试你会惊讶。
下面这幅画看起来像在第四天的绘画(另一个三个小时的会话,可能一两个小时,这里的软化边漫不经心,等等)。这是快30“40”为我所做的。这是一个非常简单的成分,但有时这些可以是最好的。通常我做的画从生活带我至少一半时间做的从照片因为所有的值和颜色是正确的对我有复制,而在一个照片我必须努力工作来漆会是什么样子的生活,而不是复制错误的价值观在这张照片。当然,并不是所有的姿势或科目可以举行了为期四天,所以我不会扔掉我的相机呢!
“玛丽亚与辫子”油,40“30”——模型,玛丽亚卡罗尔。这是最后的绘画,它更容易看到在照片下面因为我拍我更专业的极化/钨灯设置,摆脱所有的眩光。不幸的是,我必须重新安排我的工作室设置灯光和一切,所以我没有拍摄的每一个阶段,但至少你可以看到这个过程做一个更大的绘画从生活与这幅画。的缺点是,它变平的偏振器件事情有点和你宽松一些的感觉厚度的笔触。
这里是几更近距离的镜头,这样你可以看到细节的脸和一些绘画。
在这个距离你真的能看到微妙的相互影响的温暖和凉爽的中风一起工作来创建的肤色。因为大部分的脸在阴影中,我选择不使用极其明的原始颜色,因为他们会参加太多的光辉,橘黄色的灯光下右边的脸。即使在更微妙的领域工作,你仍然要使用灰色的版本的红色、黄色和蓝色创造充满活力的这样的颜色。
这是我在我的工作室画玛丽亚连同我的好朋友,和伟大的画家,史蒂夫•蔡尔兹,谁跟我一起画玛丽亚。你可以看看史蒂夫的工作(和一个演示他拍摄这个模型的会话)在他的网站上https://stevechilds.com/对于这个设置我使用我的开销森林城5000(设计50)萤光作为主要光源,一个温暖的钨光了玛丽亚的适合的那一片橙色的光。我喜欢这个颜色对位使用一个寒冷和温暖的光在相同的绘画。
在这个角落,我的工作室,你可以看到一些照片我已经打印出来,贴起来。这给了我时间看和仔细考虑一些画我想做。有时一个照片可能保持在好几年以前我找出我怎么可能把它漆成。一些从未得到作画,而另一些则画印制后立即。我是站在一个健身房马特,我们买了从基督教青年会当他们摆脱旧的。我和苏珊都使用两个,4 ' 8 '垫铺设纵(给我们一个16岁的小走廊走路时候来回画)。当你整天站着画,它使一个巨大的差异!
原文如下：
Scott Burdick
Oil Painting Demonstration
painted 2002
Here's my initial drawing of Maria on a stretched, 40" by 30" piece of medium textured Clausens double oil primed linen. Because of the size of the painting and the fact that I wanted it to work out to a specific composition, I used some vine charcoal to carefully sketch this one out. By just taking a quick measurement of the head and figuring out how many units high Maria is from head to seat as well as wide, you can very easily assure yourself that you'll end up with exactly the composition you have in mind. I knew I wanted this to be a life-sized painting, so I worked out the units once the pose was decided on, even before stretching out my canvas.
The entire first session was spent on setting up the pose, fooling around with lights, stretching the canvas, and then drawing it out. I actually had a different idea initially, which consisted of Maria in a blue dress with her hair up and sitting profile in front of a window. After setting that one up, however, I just thought we'd try something different and ultimately decided to paint this setup instead. Often when working with a model from life the tendency is to simply plop the model down and rush into painting without spending enough time considering the setup. This has certainly been my greatest fault! To try and overcome this, I've been forcing myself to take an entire three hours the first day in just working on the pose and then the drawing. Take snapshots or do sketches as you go so you can look them over later, think about which works the best and then start fresh with your idea set and well considered the following day. Put as much thought and creativity into your setup and the lighting as you put into the actual painting itself. This is certainly one of the things I need to work on personally, so I'm saying it as much to remind myself as everyone else!
Now I can go to work on the face without worrying that the hands might run off the canvas later on. The photograph below was taken after the first session of actual painting (plus a little more after Maria had left for the day)-- about four or five hours of work, I think. The most important thing in this painting was to constantly squint at each value and compare them to the lightest light and darkest dark of the subject. To achieve the brightness of the orange glow on the right side of Maria's face, I needed to keep all the other values in her face quite a bit darker than you might make them if looking at them in isolation. The fact that much of the painting is still white canvas doesn't bother me since my decisions are being made while looking and comparing values on the model and on my palette, rather than when looking at my painting.
The next day when Maria returned, I fished off the face and hair and got to work on the clothing (a three hour session without any more work while she was gone). Notice how much darker I'm going than the white of the canvas. Again, if I weren't constantly comparing these values to that light orange on the side of Maria's face, I would certainly have painted the white shirt much too light a value. This is often difficult to realize when looking at a finished painting since there are rarely patches of pure white anywhere on a painting. I sometimes like to hold up a piece of white paper in front of a painting in a museum to give my eye a reference point of the true value a painter used on light areas. Try it sometimes and I think you'll be surprised.
Below is what the painting looked like after the fourth day of painting (another three hour session and maybe an hour or two of softening an edge here, noodling there, etc.). This is about as fast a 30" by 40" as I've done. It is a very simple composition, but sometimes those can be the best. Generally the paintings I do from life take me at least half the time of those done from photographs since all the values and colors are right there for me to copy, while in a photo I have to work hard to paint what it would look like from life rather than copying the incorrect values in the photo. Of course, not all poses or subjects can be held for four days so I won't be throwing out my camera yet!
"Maria With Braids" oil, 40" by 30" -- model, Maria Carroll. Here's the final painting -- it's easier to see in the photo below since I shot it with my more professional polarized/tungsten light setup, which gets rid of all the glare. Unfortunately, I have to rearrange my studio to set the lights and everything up for it, so I didn't shoot every stage with it, but at least you can see the process of doing a larger painting from life with this painting. The disadvantage of the polarizers is that it flattens things out a bit and you loose some of the feel of the thickness of the brush strokes.
Here's a couple of closer shots so you can see the details in the face and some of the brushwork.
In this close-up you can really see the subtle interplay of warm and cool strokes working together to create the flesh tones. Since most of the face was in shadow, I chose not to use extremely bright, primary colors because they would have competed too much with the brilliance of the orange light on the right of the face. Even when working in more subtle areas, you will still be using grayed versions of red, yellow and blue to create vibrant juxtapositions of color.
Here's me in my studio painting Maria along with my good friend, and great painter, Steve Childs, who joined me in painting Maria. You can check out Steve's work (and a demo he photographed of this model session) at his website https://stevechilds.com/ For this setup I'm using my overhead Sylvania 5000 (Design 50) florescent lights as the main light source, with a warm tungsten light off to Maria's right for the strip of orange light. I liked the color counterpoint using a cool and warm light in the same painting.
In this corner of my studio, you can see some of the photos I've printed out and taped up. This gives me time to look at and mull over some of the paintings I'm thinking about doing. Sometimes a photo might stay up there for a couple of years before I figure out how I might paint it. Some never get painted, while others are painted immediately after being printed. I'm standing on a gym matt that we bought from the YMCA when they were getting rid of old ones. Both Susan and I use two, 4' by 8' mats laid lengthwise (giving us a 16' little corridor to walk back and forth while painting). When you're standing all day painting, it makes an enormous difference!
