油畫示範 - 取材自生活 - 濕中濕 - 銀色容器

我將在這塑膠袋上塗上銀色的塑膠殼 我正在從生命中工作 我將它安裝在我的左側的陰影箱 這是銀色塑膠殼的近鏡 這是一張照片 我正在從生命中工作 所以我正在看的版本 並不完全像照片 大家要記住 但基本上 這就是我正在看的版本 就是銀色塑膠殼 我將塗上銀色塑膠殼 我喜歡塗上快速塗上 這是我做的另一個極端版本 我不會說是急於塗上 因為我沒有什麼大量的塑膠殼 我只是在塑膠殼上用黑色塗上 我只是在塗上 沒有塗上顏色 我只在塗上顏色 這是我以前在圖畫裡塗黑色的背景 當我有一個桌子或桌子 I would rough it in like this and just paint and just go And I think in most of my videos And I always need to clarify this If you want to learn how to paint You really and you're starting out for the first time Or you want to learn the fundamentals The best way to do that is to go to my To go to drawmixpaint.com and look up There's a video called how to paint in oil And how to draw in proportion And how to mix colors There's those three videos which are highlighted on the website They're free to watch But go watch those and do it that way But what I want to do in this video Is I'm really showing you how I paint And how ultimately after you learn how to mix colors After you learn to see values and everything Then you can put all that aside And with the instinct that you've gained From doing all those exercises with color mixing And checking yourself And even using a proportional divider You then use those instincts to paint Like I'm doing here And it's not because I have any natural ability When I first started painting I didn't have a clue I really didn't And I could draw a little bit But even drawing is something that anybody can learn And as you can see Look at the mistake I've already That lid should be tilting back a lot more than it is And eventually I'll fix that But just to show you how rough this is I'm not really thinking too hard I'm just getting everything painted in Painting in the background To give myself some background to look at And just going for it Basically working dark to light like I always do And I absolutely insist that my students do that And that's because you'll see You'll see whatever it is develop In front of you If you work dark to light I mean as you can already look at it Because I've kind of brushed in a shadow Even though it's wrong You can look over there and start to see The container The three dimension of it And so work dark to light That's why I'm painting in this foreground And I think what I decided to do here Was just to go ahead and paint in the tablecloth Quickly and be done with it I started to work on the silver container Normally I just put background around that And then finish it But in this case I just decided For whatever reason Just to go ahead and finish the tablecloth Or not finish it But just to get it roughed in So I have some background Whenever you get the values right Having that background put in And getting rid of all this blank canvas It usually helps in being able to see What you're looking at And get an idea Whether your values are right or not I mean you can look at the shadow Even on the silver container now And because I've roughed it in You start to see it And as I go forward It's going to make it all that much easier to see If your values are right So always work in order Basically try to get all your blacks put in first Then your next darkest step put in And then your next step all the way through And you even want to hold off on the highlight at all times So now I'm just mixing up a little table color On the fly here And you know again If you want to learn to mix colors Go and do it According to my video How to mix colors in oil Which is on drawmixpaint.com And don't do it the way I'm doing it here Because this is all instinct Which a lot of it You know you're not going to get Until you develop instincts of your own So I very much Typically like that table edge Is actually a lot lighter Than what I'm putting in So I'm painting the table Kind of one step down From as light as it should be And the reason I'm doing that Is because as I work all this edge And mix it up I don't want it to turn into a big milky mess So I'm keeping those bright table colors Out of there And the other nice thing about that Is when I do get around to painting it I'm going to lay in those highlights And it's going to stand on top of those You know slightly darker colors And it's going to give it a much more Three dimensional look And the way I'm painting this For you know the front part Is I'm not going in there And trying to you know individually Paint each one of those shadows As you can see I never said you know Tried to duplicate it in any way I just put in an abstract pattern Of shadow and mid tone That I felt sort of duplicated The way that fabric looked And you'd be amazed At what you can get away with So long as your values are right So again here I'm hitting this edge And this is definitely not The highlight color at all It's you know a good Probably two steps down Compared to that light That light glow on the corner Or the edge of the table there So when I come back at the end I don't remember exactly when I put it in But when I finally come in And put in those highlights They're going to look really nice Sitting on top of this darker color If you go in and just paint the highlight It tends to look real flat Because you don't have the The value you know Underlying value texture Or whatever that you can see You can see it in the photo there So this shadow here is You know again Looks like I painted it wrong I'll probably notice that And fix it later But notice how rough I'm keeping everything I'm not in the slightest way Worrying about detail Detail is something You put in at the very end And so you don't get carried away With trying to paint You know I'm not even Painting the edge The little sharp edge Beneath the lid line You know that reflective white line I'm going to hold off on that I just want to get my basic shapes right Which as you can see Are actually not even right It's slanted Mine's a little fatter Whatever I just don't care And I'm not really trying to Duplicate this silver container Perfectly at all I'm just trying to To paint a silver container That has a pleasing Quality to it It's certainly going to be more painterly And not photo real or anything But when you step back From across the room It should look pretty good I hope And that's part of the lesson here Is that you Roughing it in I mean this is the way John Singer Sargent painted I don't know for sure but Well I do I can look at his paintings And tell it's the way Reppin painted You start by sort of Blocking it in And getting your rough in So to speak But your values should be true At that point That's the key So you have to be able to Paint your values correctly Otherwise all that fixing It just all turns to melt So being able to see your values And just lay them down And have them be right Not have any detail But have your values be right That's what makes all the difference Because those values The detail is going to be laid on top of that So I'm using Geneva Artist Oil Color Which I manufacture Right here in Austin, Texas Where I live But if you can't get Geneva colors Where you live You can certainly use Comparable colors like Winsor & Newton And everything You know they have Colors that are very similar And work great So now I'm putting in A lighter color And I don't think I ever made The tabletop quite as light As you see it there It might be the photo Again you have to remember This is a photograph That you're looking at I was looking at life Which is going to be different You know some of the mid-tones Seem to be darker In the photograph That I was working from Or rather From the photograph That you're looking at And when I'm looking at it From life Those mid-tones Look different to me But I'm just You know putting it in Working dark to light And that's why you can Start to see it That's why you can Start to see the lid If I was putting in Mid-tones here And dark spots there And highlights there You wouldn't see it It would just be all this Splotches of paint That wouldn't really make Any sense to your eye And it needs to make sense To your eye So you can continue To get your values right And everything else Now I'm noticing That mine was way too Tall I just I don't know But I've just learned Over the years Through my experience That you just don't worry About detail You just get it painted And The way I learned To paint like this I would have never learned To paint fast like this Without Being under the pressure Of meeting deadlines With portraits Because I would have clients Coming The same day Or same afternoon And in the morning I'd be trying to finish A background or whatever And that I didn't have a choice It was sink or swim But that taught me so much And I thought about Trying to do a lesson Or trying to Lay out and explain A lesson that Somebody could do Or an exercise That you could do To force yourself To speed paint Either by Setting a clock And saying it has to be finished At a certain time Or something like that But I was I'm going to come up with something Because I think it's a good thing But the deal is though Is you really have to start off By learning the fundamentals of color And the way you do that Is to go Again and watch those videos Where you use a color checker You mix your lines of color And learn to see the color and the value But the whole point of this exercise here That I'm doing now Is just to kind of show you Where you go with that instinct Once you have the instinct You can do no wrong in a way Because you can see what you're doing You can see when the values are right To an amateur eye Like right now These colors that I am putting in Might look too dark But they won't look dark to you If you've done Color mixing exercises And mixing colors from life And checking your colors Once you've done that enough It stops surprising you And you start to understand And you start to be able to look at a color And see it And you know And one of the things You can see the color That I'm putting in right now Is too orange Compared to the source I think I'm pretty sure that's right Again you're looking at a photograph I was looking at live But I can adjust That later I can look at it And say you know that's too orange And throw some blue into it And it ends up Making the color dance a little more Because you got that mixture Those contrasting colors Like you'd see in the In the shadow on the tablecloth You know where you have These two colors that You know up close you see You might see a bluish color And an orangish color But then when you step across the room Those kind of melt together And create a new color And that's the nature Of a lot of great art You know if you look at A sergeant painting up close You can see it So now I'm I think I'm noticing that That my color was maybe too orange So mixing colors on the fly That's another thing It's just having instinct It's always about adjusting colors And knowing how to adjust them But by working with a real simple Limited palette like this It's all It just makes it easy Because if you want to adjust Your color toward the yellow There's the yellow If you need orange You grab yellow and red There's not any confusion It's not like you have to choose Between a whole bunch of You know Ten different pigments or whatever So I am painting very much The darker color in there I'm not painting that highlight at all I'm not going to go anywhere Near highlights just yet But it's Somebody said that Painting is making a mistake And then fixing it And that's basically what you do Is you make a mistake Which I'm There's so many things wrong with this I can see right now That some of my values are even off But then I can I'm going to go in and fix those mistakes And if you get close enough On your values And that's the value In learning to mix colors from life Using a color checker Is if you can get close on your values Then you can see The changes that need to be made In other words If you look at the color That I just painted in there On the left of the bottom there I think it's too light Compared to the source And the reason you can see that Is because all the blacks around it And all the other colors are around it And they're basically pretty close So you Make a mistake on the canvas You get your values wrong You know You do your best And then you fix And you You know once you The more of the canvas You get covered The easier it is to see your values But do not make the mistake Of painting in those highlights Before you get in the base shadows So even now you can start to see Where the values are wrong And that's because I have enough of the canvas covered And it's basically with the right values Even though they're not But they're even close enough And you're gonna see that I never get near those highlights I'm gonna just hold off It's real tempting It's always fun to put the highlight in It always makes things look so much better Especially when you're painting Something reflective like this But it's a mistake Just hold off Try to make it look as Accurate as you possibly can Without any of the bright colors All the bright highlights and shines And lighter values Are gonna be put in on top of all of this When I sit here And look at the photograph I feel like I'm doing a horrible job With this thing But I think that That's part of it That's part of Roughing it in Is that you go through this period Where the temptation is You just wanna go in there And fix all those little details You wanna put in all the Your mind just goes to the detail And you're so anxious to put it in Because you think that's gonna solve your Your problems But until you get these values right Like I'm doing now I'm adjusting the value I realize that I got that edge Too light And that the whole thing needs to be wider You've gotta fix all those Those things Before you start putting in detail Because otherwise you're just gonna have to Paint it over again If it's in the wrong spot I see that a lot in my students' work They'll have a painting finished And the whole vase is lopsided and wonky But they've got all this Super sharp detail all over it And it's because they went in And started putting detail in Before they got their shape right Or their values right for that matter Not to say I don't make the same mistake myself But I've learned from experience That it's better to just get it right Like I'm trying to get the shape of this The opening there To be the right ellipse I could have taken this painting And let it dry And oiled it out And, you know, gone in and Really polished it up And made it almost photo real But that wasn't the point You know, this is I like the way this painting finished The level of detail that's in it Is good enough for me You know, from across the room From even six feet away I think it's all there And I wasn't trying to duplicate This particular silver container So if it's not exactly the right Shape or whatever, that's fine, too So values, as you can see Again, I'm not getting anywhere near the shine I'm giving myself a base To come in and put those reflections into One of the big mistakes I made on the shape I don't know what I was thinking But when I look at it now It might have been, again, that You're looking at a photograph Which wasn't exactly the same angle But the shadow inside the lid Comes down more on the left Than I ended up painting it And don't think it really matters You know, I don't think it really takes away From anything when you see it as a whole But I don't know I don't know why I missed that That's the kind of thing That I would catch when I come back After it dried But I'm happy with the way this turned out One of the things people miss About wet and wet And this is all wet and wet Is that they think That you can't fix things Because you got to wait for the paint To dry or something But it's actually the opposite I found it much easier to fix things You can wipe off You can always blend your color Into other color The worst thing in the world Is for me to paint wet on dry Not always But in a lot of cases When I would have to fix a portrait And come back I would literally have to go in And re-wet the paint So that I could get my colors To work the way I wanted them to Because there's nothing better Than just wet Mixing into wet paint It creates a different color A less chalky color Than rubbing wet paint On top of dry paint And you can fix and change You know, a huge amount There is a point when you can just Overload the canvas with paint But see, just as I'm doing right now I'm just painting that paint Right on top of wet paint And it has a real nice blend quality As it pulls down So, you know, this is Obviously This is Geneva Artist Oil Color Which has the medium Already mixed into it And it's a consistency that I like There are certainly artists out there That like their paint thicker To dry faster or whatever But as far as For my type of painting Wet and wet And where I like my paint to stay wet You know, on my palette for days Even like a week I like my paint to dry slow And so that's why I formulated The Geneva paint the way I do And if you can't, again If you can't get the Geneva paint Just go to the supply list You can go look up the We have, you know, for people That can't buy this paint Or for anybody else for that matter You can go and look up What the alternatives are In other brands, Windsor Newton or whatever But you do need to mix up some medium And thin your paint down So that it dries slow You know, Burnt Umber will dry in 8 hours If you don't add slow-drying medium to it So it's a little bit of trouble But anyway, so that's the paint I'm using It's just basically Like tube paint But with medium already mixed into it So it's nice and thin So here's the reflection That I'm sort of putting in But notice how much darker It's not nearly white-white I'm still giving myself a base To paint into But that base is now You know, it's more yellow Because I see that in the reflection This is a little bit of detail work You know, probably more than I But I'm sort of redrawing the line I guess it was bugging me I always keep one brush With just black And as you work and paint It is very easy to milk your blacks up So, you know, when you're done With your, whatever it is you're painting Always go back and look And make sure that you've got Crispy black blacks And that's what I'm doing here I know those areas up in there Need to be black-black So I'm trying to make sure That those pure blacks are in there And I see that a lot I see a lot of people That their blacks just never get To black-black They've always got a little bit of milk to them And that milk really hurts your realism Because it looks like there's You know, I don't know what to the eye Like there's fog in the air or something But to have those crispy blacks Really gives it that extra level of realism You just can't help it Blacks just tend to They can become milky so easy So a lot of this that I'm doing now Is fixing shapes Starting to get A little bit more highlight in there Just to give myself something To look at But at this point I'm very confident That that's where that shine's going to go You know, I could always wipe it off And repaint it But I don't want to do that And it's always nice to put the shines in Because it kind of makes everything work And notice I'm not using a detail brush There's something about using a brush That's got a few Hog's hair bristles coming out That the line doesn't It isn't this Perfect line It's kind of this very slightly abstract Bristly line That from a distance has a better effect You know, a little bit of noise In there is always good It's just that little bit of abstraction Where you can see the texture Whatever Now I'm putting some real strong orange In my brush But watch how lightly I touch the canvas It's just a little bit of You know, kind of Overboard orange That I see in there And I know it's too strong But I just am doing it Knowing I can come back with a little blue To kick it down a little bit If I want to Which actually I think I do later But having those little orange Blazes in there Mixed with the highlight in the end It's going to give it that Sort of orange quality that you see In the photo that you're looking at You know, when you work from life You tend to paint more Loose, you tend to paint more You know, of the essential And tend to not focus On detail as much I highly recommend You know, building yourself a shadow box You know, it's very impractical To paint from life a lot of times Especially if you're working out You know, doing landscapes With changing light Or having models to work with or whatever But if you paint a still life It's not hard To build just an inexpensive Little shadow box And you can just throw some stuff Into it and paint Because it will teach you to loosen up And to be more More carefree With your brushwork And there's a quality You know, to that There's something special about You know, paint That's just kind of put in there And not overworked So I'm sort of getting into some detail But at the same time I'm fixing my line a little bit Here and there Probably making a little milk In the process but That's easy enough to get out This burnt umber that I'm putting in That's like the opposite of milk If you see milk Throw a little burnt umber into it It'll just kill it immediately Because milk is basically blue-gray And burnt umber Is basically dark orange So it's just the exact opposite So there's a very slight Reflection onto the tablecloth And that's another advantage To me of painting that base color That was slightly too dark You know, that's what makes Makes it so nice To now come in and put these Little glows And highlight areas Into the fabric Like I'm doing now It's what's giving it texture And one of the things about Looking at this thing up close Like you are now With me painting it And having the photograph Right next to it to compare to Is that in order to really see This painting You need to, you know, step back Six feet away from it You know, it's the best effect Is just to walk in And see it in my studio Under the studio lights And it has a real quality Of like it looks like It's just sitting there or whatever But when you get up close This is when it falls apart So you have to be able to Appreciate that a little bit That you're sort of staring at this up close Like I am when I paint But the lesson to learn from that Is the same thing is going to happen to you You know, when you're painting And you're staring at it up close It's really hard to like it You know, you want it to be Beautiful to your eyes up close But if you get in there And start overpainting the detail You're going to kill it You're going to milk it up But, you know, a painting like this From six or eight feet away It just looks It looks like perfect realism It's amazing It's like a magic trick So this glow, the orange glow That you can see in the photograph I'm definitely exaggerating this But I have no problem with that Because I can quickly come back With some blue or some blue green And just, you know, kill it Blue being the opposite of orange Green being the opposite of red So I'm mixing kind of a Bluey green Which I'm going to then throw Into that orange Just a little bit here and there And it'll quickly tone it down But the end result Is still going to have a little bit Of that strong orange in there And a little bit of the blue in there And that little swirl of colors It's got a real nice quality to it So it was just a different way Of handling that I kind of overpainted the orange And then came back with the gray To kind of tone it down But you've got to have a handle On your color mixing So I keep repeating myself But if you're learning for the first time You know, don't do it like I'm doing it Mix your color lines Learn to mix colors from life And you'll develop an instinct Which you can then use to paint Like I'm doing here And you know, I stopped with this painting And left it rough But I could have kept working on it I could have either continued to work wet and wet Which probably would have been fine Or I could have let it dry Oiled it out, and oil it out If you don't know what that means It just means that I take Some refined linseed oil and a soft cloth And rub the surface of the painting To bring back the luster Because paint grows matte As it dries and becomes flat It's kind of hard to see what you get So you oil it out And then you put in a second layer On top of it But this one I've just decided to leave it rough And just, you know, not take it To the extreme of realism or whatever But the process would be the same Is my point I would go through the same workflow I would paint it the very same way I would just keep going And I would continue to refine it And put in more and more detail And if I wanted to go real extreme And make it almost photo real I could do that, too That might require me letting it dry Oiling it out And literally coming in And almost painting an entire second coat But A lot of the underpainting Would be poking through all over the place Sort of as a foundation And maybe one day I'll do a video on that But this is really what I It's my own personal style that I like And so that's what I teach You know, personally That getting into the super detail That you don't even That doesn't even matter from a distance You know, when I used to do portraits There was some of those portraits And you can look on my website and see it MarkCarter.com And see some of my paintings But in those paintings There are some that are really You know, I kind of pushed it about as hard as I could On the realism Because it was just what I was doing For clients at the time And for a lot of reasons That I don't want to get into But this is really the way I love to paint This is about as much detail As I want to put And if you look at what I'm doing now I'm just putting in these little teeny spots It's not slick, it's not perfect Like the photograph shows it to be But, you know, when you step back You know, eight feet away None of that matters You don't see that detail in it Little bit of jumbly shine Like I'm putting in now Actually works better Than a perfect, perfect You know, overworked line Might And this keeps your values Nice and crisp Look at the very slight shadow line Underneath what I'm painting right now You know, one little touch And that turns to milk And you lose that richness So the values are king And one of the nice things About not overworking paintings Is that your colors stay so pretty and nice You know, it would be very tempting To pull out a detail brush To paint this right now But I don't know what it is I just always like A bunch of bristles You know, dragging across The wet paint It creates a little bit of abstraction That's really nice And you can see how mine are more Jumble, everything's kind of You know, not straight But When you get back away It all looks great I'm trying to fix the things that matter Like I'm doing now Bumping that line a little bit You know, it is something You will see from a distance So the big shapes And the big, you know, overall Those are things that you'll see So I'm just going to fix This little table edge a little bit And Put in Just adjust a few colors here and there And then You're going to see As I get these last little Crispy blacks in on the shine You're going to notice How this thing just It's just these last little bits Of surface texture, so to speak These are things That you might see from a distance That can really make a difference I think my table edge Kind of dropped there on the right I'm adjusting that All these changes that I'm making Are things that you'll notice From six or eight feet away That's important to remember 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