油画示范
这幅画我第一次把一个褐色的gessoed洗板 杀死了明亮的白度,可有时很难判断 你的价值观反对。接下来,我用鬃刷来描绘出一般 比例的苏珊的特性。一旦完成了,我开始直接作画< 的眼睛,将感兴趣的中心。
当我移动到每一个新的区域,关键是先开始用更大的 形状和缓慢移动到越来越小的细节。如果你要把细节 第一(如鼻孔而不是黑暗的飞机在鼻子下)你会 被迫漆围绕这些细节,而不是让那些勇敢的底层笔刷
这将给这幅画的生活。
当我进入阴影区域的脸我不断地斜眼看这个话题 并比较暗色调的光区域,以确保我得到新的 值在适当的关系,那些我已经放下。
主要完成的脸,我现在块的形状图。
像我的老师曾经告诉我们帕克先生不断,“别走的更快 比用精度!“因为一切在一幅画是累积的和 相互依赖的,一个错误会导致整个系列的后错误如果不是 立即纠正。
这是完成的绘画。
原文如下：
Scott Burdick
Oil Painting Demonstration
For this painting I first put a brownish wash over the gessoed board to
kill down the bright whiteness, which can sometimes make it difficult to judge
your values against. Next, I used a bristle brush to sketch out the general
proportions of Susan's features. Once this is done, I start painting directly
in the eye, which will be the center of interest.
As I move onto each new area, the key is to first start out with the larger
shapes and slowly move to smaller and smaller detail. If you are to put in the details
first (such as the nostril rather than the dark plane under the nose) you will be
forced to paint around those details rather than getting those gutsy underlying brushstrokes
that will give the painting life.
As I move into the shadow areas of the face I constantly squint at the subject
and compare the dark tones to the light areas to make sure that I get the new
values in the proper relation to those that I've already put down.
With the face mostly finished, I now block in the shapes of the figure.
As my teacher Mr. Parks used to tell us constantly, "Don't go any faster
than you can with accuracy!" Because everything in a painting is cumulative and
interdependent, one mistake will lead to a whole series of later errors if not
corrected immediately.
Here's the finished painting.
