“西藏祖母“油、24“16”
这是一个简单的结构,所以我没有去做一个初始图在开始起见。在这两种情况下的关键是专注于大型形状的阴影和光线模式先!总是会倾向去太光在阴影中这是关键时刻工作在那些整体价值关系。
即使没有一个细节,你应该开始看到表单。如果你不要,再多的细节稍后会帮助。
只是一个轻微的迹象而手将,虽然我要等到临近结束的时候绘画进入任何明确的。
慢慢地工作和精炼这些大的形状,增加一些背景值给我一些湿油漆工作面临的边缘和创建一些柔和的边缘。
在这一点上仍然没有细节。
最后,只有当我真的觉得大值和形状是正确的,我开始移动到较小的状在大质量。
头发是一个很好的例子,这个过程更大的形状较小。不要试着画在蓝色编织带和油漆都围绕它黑色的头发,因为你将得到一个非常僵硬,劳累过度的区域。因为黑暗的头发是更大的形状,我块,在第一,然后冲在一些较小的蓝形状的丝带。如果蓝色是较大的形状,只有少量的头发显示通,我就会做了相反的事。没关系什么是在前面的基础上,等等,在现实中。只是决定哪些是更大的、占主导地位的形状和做第一。你可以看到这在所有的领域——眼窝第一,然后眼球最重要的是更大的形状——黑暗的模式,然后小珠子项链上。
虽然有很多事情的背景,我保持简单和情趣。我想要最黑暗的黑暗,轻的灯光,和纯粹的颜色主题,把你的眼睛给她,而不是把所有的东西在背景中竞争,迷惑了我们的双眼。大部分的艺术家是选择,决定什么不要放在和简化很多你所做的包括。
在这里你看到很多精炼,最后进入最微小的细节,高亮和口音的颜色。一旦你投入时间和努力来获得大的形状和价值观正确,这部分是很容易的。当我发现自己苦苦挣扎在这个阶段,这通常是因为我犯了一些错误在之前的阶段。当这种情况发生时我不犹豫只是得到了大刷回去,擦出细节和保持工作的大型群众一旦更多的直到它是正确的。简单地添加细节永远不会帮助的东西价值或绘图。
精炼、工作的边缘,和最后的几小块的暖色背景来平衡一些温暖的女人。
最后,手。因为这不是我的兴趣中心,我让它非常简化和建议。
“西藏祖母“油、24“16”
原文如下：
Scott Burdick
Oil Painting Demonstration
painted 2007
"Tibetan Grandmother" oil, 24" by 16"
This was a simple composition so I didn't bother doing an initial drawing before starting the block-in. The key in either case is to concentrate on the large shapes of the shadow and light pattern first! The tendency will always be to go too light in the shadows so this is the crucial moment to work on those overall value relationships.
Even without a single detail, you should start to see the form. If you don't, no amount of detail will help later on.
Just a slight indication of where the hand will be, though I'm going to wait until near the end of the painting to get into anything definite.
Slowly working and refining those large shapes, adding some of the background value to give me some wet paint to work the edge of the face and create some softer edges.
Still no details at this point.
Finally, only when I really feel that the larger values and shapes are correct, do I start moving to the smaller shapes within the big masses.
The hair is a good example of the process of larger shapes to smaller. Don't try and draw in the blue braided ribbon and paint all the dark hair around it because you will end up with a very stiff, overworked area. Since the dark of the hair is the larger shape, I block that in first and then dash in some of the smaller blue shapes of the ribbon. If the blue were the larger shape with only little bits of hair showing through, I would have done the opposite. It doesn't matter what is in front, on top of, etc. in reality. Just decide which is the larger, dominant shape and do that first. You can see this in all the areas -- the eye socket first, then the eyeball on top of that larger shape -- the dark pattern of the necklace, then the smaller beads on top.
Even though there is a lot of things in the background, I'm keeping it simple and suggestive. I want the darkest darks, lightest lights, and purest colors in the subject to bring your eye to her rather than having all the stuff in the background compete and confuse the eye. A large part of being an artist is selection, deciding what not to put in and to simplify much of what you do include.
Here you see a lot of refining and finally getting into the smallest details, highlights, and accents of color. Once you've put in the time and effort to get the large shapes and values correct, this part is very easy. When I find myself struggling at this stage, it is generally because I've made some error in the previous stage. When that happens I don't hesitate to simply get the big brush back out and wipe out the details and keep working the large masses once more until it is right. Simply adding details will never help something that is out of value or drawing.
Refining, working the edges, and a final few dabs of warm colors in the background to balance some of the warms in the woman.
And finally, the hand. Since this isn't my center of interest, I keep it very simplified and suggested.
"Tibetan Grandmother" oil, 24" by 16"
