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Talk about contouring techniques - demonstration - oil painting human body techniques

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Talk about contouring techniques - demonstration - oil painting human body techniques Empty Talk about contouring techniques - demonstration - oil painting human body techniques

Post by Admin Sat Mar 09, 2024 8:04 am


A, monochrome light and dark tone thin coating
Two, line drawing and monochrome thin coating
Third, line drawing and color thin coating
Four, line drawing and block surface
Direct representation
five. Alaprima (One Finish method)
Six, direct drawing
Seven, the direct drawing on the abstract base
Sketch technique
Charcoal drawing on paper
Nine, plate surface charcoal painting
Ten, Gong Dai pen sketch
eleven. Oil painting Sketch
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Demonstration 1: Thin paint in monochromatic tones
As can be seen from the following four demonstration works, my definition of contouring is different from the dictionary definition, which is a sketch with a rough outline but no details, while mine is a sketch with the necessary details to accurately depict the outline.
When I type the outline, I pay attention to precision and detail. A manuscript can be drawn vividly, naturally, and precisely. The idea that attention to the accuracy of length, shape and color will affect the vividness of the brushstrokes is unfounded. The more accurate the initial painting, the more successful it will be. But this simple truth is often forgotten or ignored.
When I was a student drawing life-size human bodies, I encountered all kinds of complicated problems and made all kinds of mistakes. Later, I learned that a painting can not be done in one stroke, it must be painted one brush stroke at a time, and a better brush stroke should start from the more obvious relationship between light and shade, shape and color of the object. Each object always has a relatively dark dark part, a light part, a shadow or a geometric color area, I will draw these parts first, because they are more obvious, easy to draw accurate. The more these precise parts are drawn in the beginning, the easier it is later to deal with difficult parts that are not easy to master.
This demonstration starts with multiple layers of contouring, using a transparent monochromatic thin paint method. The canvas is first coated with a middle tone of ripe brown thinned with turpentine and ivory black. Then paint all the shades of the object, adding more turpentine for brighter notes and less for darker ones. The resulting manuscript is close to monochrome, and then slightly processed, almost without color. This demonstration allows beginners to learn to use the tonal layers and to gain perceptual knowledge in handling the brush.
There are some minor drawbacks to this method of drafting. It is not convenient to draw small pictures. This method should be avoided when painting less than one-tenth the size of a life-size painting (this demonstration is in inches). In addition, this method is cumbersome and tedious to draw.
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However, the monochromatic shading method does have its significant points, especially when painting very complex objects and painting those difficult to master poses. First, because it is monochrome, in the draft stage can be free to solve the sketch and composition problems, without considering the color. Second, with a very thin thin coating method can be repeatedly modified, there will be no general oil painting because of too much modification and become messy, dirty problems. After solving the problems of sketch, tone, and boundaries during the draft stage, it is much easier to concentrate on color and structure later on.
The first step: Blend ripe brown and ivory black into a warm middle tone, mainly ripe brown, add turpentine to make it thin and transparent, apply the whole canvas with a large bristle pencil (use a medium rough canvas), and then paint the darker areas of the human body hair. The hair should be painted in a slightly thicker color, that is, less turpentine in the same middle tone, the hair covers the whole face, but it should express the strong expression of the subject. Instead of treating the block as hair, I treat it as a dark shade that determines its size and shape. Even in the beginning, shading and sketching should strive to draw accurately. Draw one part correctly, then draw another part correctly. Each part is interrelated, one part of the painting is not correct will affect the other, and the whole situation can not be controlled.
Step 2: This step should draw the human body image clearly. Start by rubbing a soft cloth along the upper surface of the human arm and arched knee to remove some of the original tone, creating a bright layer. The bristle pen is used to erase a little more on the extended legs and back, creating bright layers and creating a middle tone throughout the arm. You can use a clean soft cloth tip or a pen dipped in turpentine to change the tone, but never use opaque white during the contouring phase. At this stage, the boundary question is as important as light and shade and sketch. It is no accident that the lines running from the top of the shoulder to the wrist and across the extended knee are quite distinct, while the lines running from the armpit to the bottom of the wrist on the lower edge of the arm are less pronounced.
Step 3: Draw all the major highlights on the body. The head, arms, shoulders, and bent knees do not move them for a moment, but first develop bright notes in the lower torso, the hips, the folded foot, and the extended leg. The original layer of color in these areas has dried and can be wiped off with a soft cloth dipped in turpentine. The rest of it seems blurry, but it's still accurate. The tone and shape are correct, and the location is appropriate, except for the parts that are particularly bright at the end.
The fourth step, which is the comparative step after the draft, all the structural details of the human body are already in place. This will begin to draw the foreground. Apply a soft cloth with turpentine to lighten it. Then use a large flat bristle pencil to apply a layer of ripe brown and ivory black thinned with turpentine to give it a flowing feel. Then draw the background on both sides of the body in the same way. The strokes under the body should be soft, which is to use a clean large flat pen to draw horizontal strokes. Pay special attention to the interaction between the sharp edges of the body and the blurred edges at the contact point of the foreground or background. And the interaction of the overlapping edges on the human body. For example, the dark part under the arm. Draw the tune with a large conical pen, and then sweep it with a clean dry bristle pen in short strokes to blur the top edge of the tune. On the lower edge of this note is the projection of the arms on the legs. Gently brush this line over the still-damp color with a large, clean cone, and draw it down through the thigh and calf until you reach the extended thigh. So the edges are gone.
Step 5: Before starting with the opaque paint, continue to use the same dry sweep as in step 4 to soften the edges of the hair, the lower edges of the extended legs, and the bottom of the closed thighs. Use a medium flat bristle pen to draw horizontally in dark tones along the top edges of the arched knees and feet to create a defined edge. The rest of the sharp edges are treated in the same way. Then, start with the opaque paint, starting with the arched knees and shoulders, because these will be the brighter highlights, and they will be juxtaposed with the dark patches of hair to form the focal point of the painting. Tone the skin tone with earth, brown red and white, and add emerald green or cobalt blue to create highlights. For the darker parts, ivory black and ripe ochre are used. In painting the above main parts, I immediately determined the tone and style of the color of the whole picture. Write as correctly as possible, as you would when drafting. Avoid revision and rework.
Step six, color in a variety of different ways. Apply heavy, flat strokes to the forearms, head muscles, and shoulder swelling in the back. On the raised thighs, knees and chest, basically use a palette knife. Use thin, clear paint under the arms, between the raised thighs and feet, and in these dark areas behind the pelvis. Throughout the process, it is important to maintain the transparency of the dark area. The strong opaque light and the thick transparent dark part interact, giving the human body a three-dimensional sense. In the processing stage, you also use a palette knife to gently scrape away the dark spots under the arms, which are formed by thick horizontal strokes on the rough surface structure of the canvas. Also, use a badger brush to smooth those unsightly strokes on the buttocks and underside of the outstretched legs. Badger brush and sable brush can form beautiful and soft strokes, but they often have weak and loose adverse effects, which must be paid attention to when using.
Compare the finished human body: Oil on canvas, &P; &P; . In the completion phase, work is again done on the sideline. Where the shape turns clearly, such as the high end of the knee that can be lifted, the boundary line is clearer; Where the shape turns round and blunt, such as under the inner raised thigh and where the left edge of the hair meets the background, the edges are blurred. On the shoulder and the interfering foot, apply the thick paint method (that is, stack the surface with thick paint). In the foreground, especially near the foot, use wrinkle method (i.e. picking up a small amount of undiluted paint with a clean, dry bristle pencil and rubbing it across the picture to make it adhere to the surface structure of the canvas). On the top of the head and shoulders, use a thin brush (that is, pick up a small amount of paint with a bristle pen and rub it over the picture until it forms a thin, flat layer). The red cloth behind the human body, with heavy paint, scratched with a palette knife. Comparing the latter stage with the fifth and sixth steps, it can be seen that there is little confusion in the original brushwork. The background is still transparent, and the original place where the turpentine is applied has not changed, which is the pursuit of natural effects. The turpentine coating on the background is very thin and easily damaged, so it should be left to dry for two weeks after painting. When the thick parts of the paint are also dry, a moisturizer is sprayed to protect them. Dry for another six months, and then paint the whole thing.
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