强大的佩尔什马——油画教程,从草图到调色刀
3重要艺术家的技巧
跳进我的方法之前,这一令人佩尔什马马叫花生,我想与你分享三个艺术家的技巧解决三个基本材料,和我的派拉蒙的嗜好。
必要的# 1 -正确的东西
我第一次把自己一个豪华chemex杯咖啡。Chemex咖啡壶的咖啡是煮,只留下一个光滑、强大、不可抗拒的黑咖啡。
百胜。
我目前最喜欢的烤是皮特的苏门答腊混合。
基本# 2 -正确的画笔
在喝这个deliciousity我抓住我的第一选择的武器。通常鬃毛刷,偶尔一支铅笔。我最喜欢的一个品牌鬃毛刷的 银刷大奖赛猪鬃油漆刷.
我把我的画笔画后形状通过清洗彻底,并把他们与线程保持形状。
# 3 -正确的调色板刀至关重要
当适用时,我真的很喜欢把用调色刀的工作为我更多的结构,大胆的画。我使用各种不同的边缘面板刀。我最喜欢的刀与有一个直边,和一个弯曲的边缘。是重要的有一个好的反弹(通常是)你的调色刀。吱吱的叫声塑料调色板刀仅仅是值得清洗你的调色板。
从草图
现在,在这幅画的花生。对于这个惊人的佩尔什马,我开始与一个底层色基调画布上使用一个组合的亚麻籽油,深褐色,烧棕土,(或生赭)和一丝镉橙带出温暖。底层色后的所有设置我用笔写在一个速写马奔跑。
调色板刀
在使用笔触描绘这个宏伟的能量和运动佩尔什马马,我用调色刀强调他美丽的鬃毛流动的深度。在温暖的漆层下工作,我经常工作湿到湿。其他时间我需要等待涂料层干燥前躺在最后的一些结构/运动中风。
线工作和笔触
与一个光滑而强大的马这样的我能够口音能源都大胆的线条的变化,在他的前腿和行如你所见。
再一次,玩硬和软边缘。
尾巴,让软边缘显示运动和后腿,而大胆的笔触突出他强有力的肌肉在他的后端。
当你知道一幅画是真正完成了吗?
这是一个常见的问题,非常重要!刷之前接触到画布,我研究这个话题,看看空白画布。我想象我希望这幅画是什么样子,我希望它代表了主题,整体基调和情绪应该是什么,我将如何处理这个问题。这不是一个数学方程,或一组严格的规则,而是一种感觉。它有理解你的过程,你的油漆,然后做你释放你的个人主题!
因此,要回答这个问题。我知道我画完的时候,它看起来像我画一开始出发。当它实现我最初的感觉,和期望当我把第一笔canvas-THAT是当我知道它的完成!
原文如下：
Before jumping into my approach of this stunning Percheron Stallion named Peanut, I thought I’d share with you three artist’s tips addressing three essential materials, and my paramount indulgence.
Essential #1 – the right stuff
I first treat myself to a luxurious cup of chemex coffee. The Chemex coffee maker is the way the coffee is brewed, leaving nothing but a smooth, strong, irresistible black cup of coffee.
photo of chemex
Yum.
My current favorite roast is Peet’s Sumatra blend.
Essential #2 – the right brushes
While sipping this deliciousity I grab my first weapon of choice. Typically a bristle brush, occasionally a pencil. One of my favorite brand of bristle brushes are the Silver Brush Grand Prix Hog Bristle Paint Brushes.
oil painting brushes
I keep my brushes in shape by cleaning them thoroughly after painting, and tying them with thread to maintain their shape.
Essential #3 – the right palette knives
When applicable, I really enjoy incorporating the use of palette knife work into my more textural, bolder paintings. I use a variety of different edges in my palette knives. My favorite knife to work with has one straight edge, and one curved edge. It’s important to have a good bounce (typically) to your palette knife. The cheep plastic palette knives are barely worthy of cleaning your palette.
photo of palette knives
From Sketch
Now, on to the painting of Peanut. For this stunning Percheron, I began with an underpainting to tone the canvas using a combo of Linseed Oil, Burnt Sienna, Burnt Umber, (or Raw Umber) and a hint of Cadmium Orange to bring out the warmth. After the underpainting is all set I pencilled in a quick sketch of the running horse.
sketch of oil painting
To Palette Knife
After using brush strokes to depict the energy and movement of this majestic Percheron horse, I used a palette knife to highlight the depth of his beautiful flowing mane. Working from warm under layers of paint, I often work wet into wet. Other times I need to wait for layers of paint to dry before laying in some of the final textural/movement strokes.
percheron mane detail
Line Work & Brush Strokes
With a sleek yet powerful horse like this I was able to accent its energy with variation of both bold brushstrokes, and line as you see here in his front leg.
percheron leg detail of painting
Again, playing with hard and soft edges.
Letting the soft edges show movement in the tail, and back leg, while bolder placed brush strokes highlight his strong muscles in his back end.
brush stroke detail
When do you know a painting is actually finished?
This is a common question, and an important one too! Before a brush touches the canvas, I study the subject and look at the blank canvas. I visualize what I want the painting to look like, and how I want it to represent the subject, what the overall tone and mood should be, and how I will approach it. This is not a mathematical equation, or a stringent set of rules, but rather a feeling. It comes with understanding your process, and your paints, and then you’re freed to tailor it to your individual subject!
So, to answer the question. I know I’ve finished the painting when it looks like what I set out to paint in the beginning. When it fulfills my original feeling, and expectation when I set the first brushstroke on the canvas–THAT is when I know it’s finish!
