艾蜜莉用油畫畫兩扇門

在這段影片中,Emily將畫出這幅完成的畫作, 你將觀看她畫出來的畫作。 她在這段影片中提到過幾次, 我對她說她的速度不夠快, 她不太專注於細節。 她實際上有很多經驗, 她畫了20幅畫作以上, 依照我的方法, 我嘗試勉強她不要太擔心 她畫出來的畫作。 尤其是像這塊岩石的牆壁, 或者你畫了一些葉子, 你可以想像, 如果你畫了一些葉子, 或者這塊岩石的牆壁, 如果你去那裡, 你嘗試畫每一個小葉子, 就像你所看到的, 每一個小形狀, 每一個小葉子, 同樣的數量, 同樣的圖案, 這需要很長時間, 所以當我畫土壤, 畫塑料, 或者像這塊岩石的牆壁, 我不會隨便去那裡, 嘗試複製每一個線, 每一個小岩石, 我會用筆畫一堆線, 從我的暗影開始, 當我這樣做的時候, 我並不是真的在嘗試, 畫出每一個線的數量, 角度可能會不一樣, 形狀可能會不一樣, 但角度和暗影的形狀 是相似的, 如果我這樣畫, 畫出來的效果 是非常快速的, 不像是嘗試 隨意地畫出所有東西, 所以這就是 我想要做的兩點, 所以請記住, Emily有很多經驗, 同時, 她在畫一些 具有特殊意義的東西, 例如這塊岩石的牆壁, 她在畫的, 或者塑料, 如果你在畫一堆小葉子, 或者一些類似的東西, 所以, 不得不說, 這是Emily在畫 兩扇門, 這是她在海地時 我正在畫出 我的指引, 在畫面上, 這真的幫我 看到 每個部分 的細節, 因為這扇門 是一幅很大的畫, 所以我正在畫 這扇門, 使用比例分割器 來標記 鑰匙, 鑰匙的關鍵點 在每扇門上, 我可能 標記得太多了, 我真的不需要 畫出 如同我所做的細節, 但是 這就讓我 感覺更好, 然後, 我在混合顏色, 我嘗試製作 蠻大的堆積, 因為我知道 這是一幅大畫, 要花一段時間 製作, 然後, 我將我的 製作 保持濕潤, 而 堆積越大, 就越好, 開始畫 這裡, 總是用 最暗的顏色, 顯然是黑色, 填充 最暗的 部分 扇門, 因此, 如果你看 整體的畫作, 這是右扇門, 它有 更多的 塵埃, 實際上, 它是塵埃, 是藍色的塗料 褪色, 所以它有更多 暗色, 暗色的顏色, 總是先製作 暗色, 然後, 馬克 總是提醒我, 我將 將 暗色 塗得 更大, 塗得 更多, 因為 你可以 很容易 回到 填充 暗色, 如果需要, 我現在 做 一些步驟, 首先, 做一些步驟, 從黑色開始, 現在, 我將 更淺色的 塗料, 填充 老師 我想 非常我知道 從 And as quickly as he wanted me to I'm starting with the blue colors The blue row And the darkest ones first, obviously And it was a challenge Because as you can see in the reference photo You know, some of the colors look smeared And I didn't want to leave that out Because I really like that about the door It looks dirty So I wanted to be messy And I think maybe if I painted with a larger paint brush I could have moved a little bit faster But over and over, Mark was trying to remind me Okay, you're doing great, your colors are great Your values are right on, which is very important However, you're focusing too much on the detail And I did have to use some power blue in my blues here Just to kick them up a notch I couldn't quite get that aqua blue From the Geneva palette I had to use a power blue But not very much It was pretty easy to get the blue After I just used a little bit of the power blue And it's really difficult for me to watch myself paint now It's because I want to just say, go for it Why are you being so tentative with your paint brush? Just go for it, lay it in, you got it, keep going But while I was doing it, it's like I'm so worried I'm messing it up That I can't move on as quickly as I should But it's like I lack the confidence To paint as boldly as I want to And maybe with more practice I will I mean, I have been painting for a while But it's not something I do on a full-time basis So I don't have the confidence I need To paint boldly like I want to Still laying in some of the blues I do feel like I'm still a little hesitant And what I have to remind myself is Okay, no one is going to see the reference photo So it doesn't even matter if it doesn't match perfectly It just has to look like a door that has rust on it A door that's old, that was painted blue And now the paint is flaking off and the door is rusting So if I focus on that Then I can paint a little bit more boldly And maybe it's because I've painted more portraits Than just objects That I tend to just focus so much on getting it right Getting it to match as closely as I can To the reference photo Because in portraiture, you have to get the likeness And you do need to figure out how to get the likeness And you've got to put those key points in the right place But with a door, it just doesn't matter Not like it does with a portrait So at this point, I'm trying to make it look I need to add more noise Because as you can see the reference photo The door, it's just a mess It's really messy And I probably should have done it even more I was just afraid I was going to mess it up too much Mark, he would say Okay, you're focusing too much on the details And you're painting too literally Stop painting so literally It's doors, it doesn't have to be perfect Go for it So I would try to go for it And I would do it for a while But then I would go back into my old habits Of trying to be exact And my brush strokes are too tedious It took way longer than it needed to It did, it's a large painting for one thing And it took a long time These bricks, I really just focused so much on Each brick, each brick And I did not have to do that And if you look at the overall painting If you compare the bricks on the right door To the bricks on the left door You can tell that the bricks on the left door Are painted much more loosely And probably took half the time To paint the bricks on the right door I don't think they're any better The ones on the right and the ones on the left It's just more tight Painted more tight, more literally But obviously when you see the overall painting The bricks on the left It's bricks, you can tell it's bricks And that's all that really matters The values are correct I painted them much more quickly I painted them overall the same The darks first, building your shadows Not polluting your shadows But I guess by that point I was more confident I felt more comfortable And I was just tired of painting With these same colors I get bored, you know Like this big painting It's the same colors Okay, I've got another door And so I was more confident in my brush strokes I painted more quickly I was more loose with the door on the left So you guys let me know which one you like better They are different looking doors But especially the bricks on the left I painted way more quickly And again, Mark is always saying Value is king Value, value, value Now I'm laying in the shadows of the concrete And again, it has to be abstract Because that's what the concrete looks like But the exact pattern and the exact shapes Does not matter at all And I did overpaint the shadows Which was fine I painted them more large than was in the photo Because I went back later And painted over the dark Because it works easily with the lighter colors Well, yeah, this is one step from black Laying in some of the more of the dark colors And too much detail Because it just really doesn't matter It just needs to look like a concrete wall, you know It's a concrete wall There's some bricks mixed in And that's all your eyes want to see Or have to see to understand Oh, this is a brick wall I mean, this is a concrete wall With some bricks mixed in And I am painting with a larger brush I just made myself I'm like, oh, well Now I went to a smaller brush I should have stayed with the larger brush Because I think it would have moved much more quickly And it probably would have been better And I changed brushes again This brush has more of a softer edge Which I wanted It helps with blending the lighter colors And with the darker colors I think because Mark is constantly saying Build your shadows, don't pollute your shadows I'm a little bit If anything, I'm a little bit afraid of going in And making my I'm afraid of polluting my shadows So I overpaint the darks And then when I do come in with the lighter steps I don't I'm not confident with that I don't paint them as large as I should If that makes any sense And therefore, the shadows Which is the dark parts The shadows and the ridges Here I am rolling a brush I really Anyway, the ridges are Larger than in the actual painting Going back to what I was saying So to roll the brush I really I tried rolling a brush for the first time And I got better at it as the painting went on It's just adding noise It's adding noise Because it's It's a very noisy painting It's messy There's not really You just have to do it To sort of, or at least I did I just had to keep doing it To get a feel for it To get the right look So going back to what I was saying About how my crevices and shadows Are bigger and darker than in the painting Basically my wall looks older And more And worse shape Than the one in the reference photo Because I made my crevices bigger and darker And I left them like that I'm finally coming in with the highlights The highlights of the concrete wall Lightening it up And it was fun to come in So you can see that It's the sun shining on the wall That's what makes those highlights And trying to sort of make it look like The sun filtering through a tree Or the sun filtering through You know, a plant It was a tree, I guess And making these spots of sunlight That was fun to paint So I let that door dry And now I'm coming back And I'm painting this plant So this is wet on dry And by this time I was a little bit more Confident and focused on Just laying it in And not really worrying about it Looking exactly like the photo So I'm first coming in With the darkest greens Trying to keep it abstract Because in nature That's what you encounter Is abstractness That's how I wanted it to look Was completely abstract And I knew that If I just got the values right It would look just fine This was pretty fun This was pretty fun to paint For whatever reason I'm not intimidated by trees Because you can get away with a lot When you paint a little plant Or a little tree I painted my daughter many years ago And it was I took the photo outside And there was a lot of plants And I Oh, that painting took so long Because I was trying to paint it literally And maybe I learned my lesson On that painting That by the end of it I think just like by the end of this one I was painting more loosely I was like okay This is taking way too long And I can't even tell a difference If it takes me an hour To paint the little tree Or if it takes me 20 minutes To paint the little tree So And now I'm just putting in these shadows Where the little tree Little plant is making a shadow On the inside of the brick wall And I'm coming in with the highlights Of the tree Just saying okay Where do I see them over there Okay, I basically see them here Just blob it in Doesn't have to be the exact shape However, it does need to be an abstract pattern Not just like bam bam bam Right in a row It has to be abstract And that brush that I'm using right there Is I really liked it Because it makes It's pretty soft And as you can see in the reference photo The plant has It's kind of frilly on the edges So that was a good brush to use for that I think that's one of the lightest steps Maybe There might be some yellow I come in with But Just trying to keep it abstract There we go There's the yellow I think that's the very lightest of the light In the little tree That was really fun to paint But even still I mean even this Which this took way shorter than many other things I want to just tell myself Okay, you're doing great Keep going Go faster Just go for it Now I'm just adding some extra noise In the shadow I don't know if You guys struggle with that as well Sort of overthinking Overthinking Now obviously if this was If I was trying to paint Hyper realism It would matter But I was actually trying to paint this more abstractly And I had no idea how difficult it would be Let's see So this is the Left door See my bricks Are they okay They look fine I put those in way faster Than I did the other bricks Because Mark I was getting really tired of Mark Telling me over and over You're painting too slowly You're looking too much at You're focusing too much on the details You'll do fine if you just lay it in And keep going So now I'm laying in the shadows of the plants There are these vines hanging down And I'm starting with the shadows The darkest darks Well I guess some of those are There are these weird bean looking Things on the vines That I was painting in initially And also shadows on the wall And this is also painted Wet on dry I allowed the painting to dry And then I came back in on top of it Because if I didn't It would completely smear it And this was pretty fun to paint as well Because I knew It did not have to be exact Because No one's gonna say Wait a minute I recognize that plant That doesn't look exactly right It just doesn't matter It's a vine It's I think it was actually Two different types of plants Mixed in there Now it is important that The values are correct And that I did build them slowly That I started with the darkest And moved up to the To the highlights Yeah those are those bean Beany Bean parts of the plant And now I'm putting in these Long parts of the vine Which that was really fun too Because I knew it didn't have to be exact And those did vary in color Some of them Would be light dark light dark Just because the way the sun Was shining on them But most of them were Pretty light color And the reason I painted those in first Is because I didn't want to smear Anything else So I painted the long vines in Initially And then came back With the leaves And blotted in the leaves You'll see And I wanted to know Where to paint the leaves Obviously they need to be on the vine So I'm sticking with the browns I noticed I needed to put Some more brown in the top I thought I need more vines I didn't put enough vines And actually I put in extra Plants in the top as well Because I thought the right side Needed some vines Just a few I didn't put in a lot but some And I'm starting with the darkest Couple steps of the leaves Of the vine And I'm trying to As Mark says Just go for it Not worrying so much about Exactness But also you Trying to stay abstract Not any recognizable patterns Keep it abstract Sometimes I do I would sort of find Try to find a leaf that I liked The shape of And replicate that If there was a couple of leaves That I saw I like the shape of that leaf It looks sort of like a heart I would try to mimic that But otherwise I just blob it Just blob the paint brush And I'm probably painting these too dark But I will come back and Paint the highlights in These over here I remember Not even noticing I really didn't even notice them much Until I started Oh there are some leaves over here And for some reason right now It looks like My colors are off But I guess I come back in With the more yellow highlight I think my vines look like They're a little bit more spread out perhaps But does it matter? It does not matter Still looks like vines and leaves Cascading in front of a door That's all that matters So there's my yellow highlights Coming in And then even more highlights This was fun And it was especially fun Because it was one of the last things I painted And I knew that I was about to be finished So I'm fixing the shadow See how the shadow was the wrong shape initially Because it just didn't make sense Because it was coming from the arch of the bricks It needed to be more archy More rounded So I wanted to come back and fix that And just making it more messy And I probably could have even made it more messy But it's like I'm scared to make it too messy Because then how do you make it un-messy Which you can But I'm afraid I'm going to go past that point of messiness To make it just look like really bad So I'm pretty conservative With making my paintings look messy Or noisy rather So this is what I added Because I wanted some vines On the right side of the painting As well as the left And this is not on the reference photo But obviously I looked at the reference photo To match the colors But I'd already painted I'd just painted them So I had all the right colors there I'd already mixed all the leaf colors And this was, you know Just artistic license Which anyone can do I wanted it to be more balanced I guess is the word It didn't feel balanced Because there was all these green vines on the left side And nothing on the right side There was a plant down at the bottom But at the top there weren't any vines So I wanted to add some And I'm coming back in now I wanted to do this wet on dry Make some of these highlights On the concrete more bright Because I wanted it to look like the sunshine Filtering through the vines It needed more highlights I thought Or maybe Mark said he thought it needed more highlights That's probably what happened Because I was so ready to be finished With this painting at this point And still rolling My brush You should definitely try it It's really fun And you know Obviously different brushes make different marks And here it is finished I hope you like it It took a really long time to paint But I'm satisfied with it I'm happy with it If you go to drawmixpaint.com You can find links to all my free videos If you go to genevafineart.com You can find out all about the paint that I use to paint with That I manufacture myself right here in Austin, Texas And thank you so much for watching