粉彩繪畫技巧~加勒比海灘第 1 部分

Hi there, thank you so much for clicking the thumbnail and being interested in my work. In this video I share with you my techniques and tips on how I achieved the sky and the palm tree on the drawing. So be sure to watch it right through till the end because here and there I'll be slowing things down in real time so you can take a closer look. So let's dive in and take a look. Now we'll be doing this as a freehand method and a cross-reference method. So first of all I've put a centre point in the middle of my board and I've got the same on my reference image. So the first thing I did was get the horizon line in there. Right, just to illustrate how I do the cross-reference, see the cursor? I'm just moving it in the middle of the actual image there, just so you can see where I'm pointing to. Now there's a top scale there, which is the width, 16 inches. And then the depth scale, which is the depth of 21.5 inches. Now it's just a case of putting this cursor on a point anywhere where you want it measuring. Say if I wanted to measure this point of that leaf there, so I'll place that on that point there. Then if you look at the side, there's actually a dotted line that's giving you the actual measurement. And same on the top here. And it's just a case of reading that measurement and then you've got a measurement to measure on the board. You've got the width and then you've got the depth. So it's just a case of finding that on the board and just place a little dot where it is. And just keep going around different areas. Don't have to go crazy. Just enough to give you a location of certain things and then just freehand the rest of it. It just makes life a little bit easier on a big painting like this. Now the pencil I'm using is a Carbothello 708, which is slightly darker than the pastel matte board I'm using. Now if I need to rub that out, you can hardly see where that pencil's been. So that's why I use that colour or colour shade. Now I'm loosely putting these marks in. Just a little bit of cross reference, but mainly freehand. You have to be careful that this method don't become a crutch. Because you tend to want to put too many marks in if you're not careful. Because you're scared to actually guess where things are. So I tend to just put a little bit in, but then carry on with the freehand. Because it keeps the freedom of expression there. And it's more enjoyable when it's sort of spontaneous and free-flowing. Because it can become quite mechanical if you're not careful. Now the razor I'm using is a Faber-Castell kneadable razor. Really great to have in your kit, because it really does take off the mark quite cleanly. And it don't damage the surface of the pastel matte. So this is the outline almost complete now. Because the underdrawing is where I'll start shaping everything and start putting the form in. Now just keeping the pencil is quite simple. Just using a light ultramarine, blue, white and then the grey. Now the reason I'm using grey is because it's a neutral colour. So I can always change that to any colour and not create any mud. So that's why I'm using grey to draw out the underdrawing. So at any point I can just change that grey into a sky colour or a leaf colour. So it doesn't matter really. So it's easy to move around. Now doing it in grey like I'm doing here for the underdrawing will keep everything nice and relaxed. Because I can always change that up. Now if I went straight in there with green. It'll be so difficult because you'd have so much detail to put in. It's very hard to put it into the correct place. But with it being in grey you can move things around. So it's just getting the structure right and the placement. So all the outline is for. And the underdrawing is just to get the shapes in the right place. Now sometimes it's good to get some colour in there as well. Because you can freeze a little bit with the amount of detail. And when you've got some colour down. No matter how rough you put it down. You've made a start. So it just takes that tension away of wondering what to do. But best to just put the colour down and just play about with it really. Just see it as play. Rather than trying to get too wrapped up in all the details too soon. Now here's a little bit of real time just to show you how I'm doing this. It's just a case of just relaxing. And just feeling your way. And comparing one shape with the other shape. And putting more pressure on where the highlights are. And less where it's mid tone. So this is the beauty of using the grey as well. So you can just move it around. And put more white to it to make it a grey. It keeps everything so simple. And where the sky is shining through the leaves. Once you've got that position right. You can just go over with a bit of blue. So it's a case of just keep persevering with it. And just take your time. And just enjoy it really. And just feel the freedom. Just let it flow from you. Keep out of the mind. Because if you go way too much into the mind. And try and look at all the details. It'll freeze you. So keep the reference image quite small. So you see the shapes easier. If you're enjoying this video. Why not subscribe. It's absolutely free. Then you're sure not to miss any of my future videos. When you're applying the grey. Just press on more for the darker areas. So more pressure. And less pressure for the mid tones. Just focus using the grey and the white. To shape everything up. And then glaze blue. Or like a pinky colour. Just add a bit of cold red with the blue. To create the sky. Which is behind the leaves. Don't look too far ahead as well. Don't look at all the leaves you've got to do. Or she'll freeze with tension. Because the amount of work is involved. Just one step at a time. Just keep judging the shapes. And the angles. From what you've already drawn. And just keep persevering with it. What I did there really. I put all these sort of white. Tops of the branches in there first. Just to get the balance of where things go. And then just fill in the middle. With the grey and the white. And then start shaping up then. Once I get the basic shape. So just start with the big shapes first. And then get smaller and smaller. More detail. Another tip to keep you relaxed. Is to actually try and do. The same shapes. As close as you can. To what you see. So you're not too random with it. It's expressive. But it's not too expressive. It's close to the reference image. So it helps you to find a pattern. And then you don't lose your way. Because if you're too random. It's a case that you can get lost. In all that detail. Now when you're putting the sky in. You'll find that it's quite. Sort of grainy to start with. Because it's a sanded board. The pastel matte surface. So you need to sort of build up the layers. So you have to be patient with it. So I'll put some pigment down. And use my finger a lot to rub it in. Here's the selection of pencils. I'll be using for the subtleties. In the clouds and the sky. Now I'm using the grey pencil again. Now just to shape the actual. Distant islands there. The shoreline. And once I'm happy with the shape. I'll just glaze over with a bit of blue. And lemon yellow. Then I'm using a combination. Of different greys from the Carbothello. Some's more bluer. Some's more sort of creamier. There's all sorts of different shades of greys. That you can get in the Carbothello range. Really nice range to have. This one here I'm using now. Is a very light grey. Which is ideal for the clouds. Just to shape it up. Rather than going with the white. Because the white is too stark. Where that grey really just suits. The sort of subtlety I'm wanting. I'd just like to take this opportunity. To thank all my Patreons. For all their wonderful support. Every month. I really appreciate pledging. It really means a lot to me. Now if you're interested. In joining me on Patreon. Would like the benefit of longer. Slower and more in depth videos. Please find the link in the description below. This painting will be on there. As a probably 5 or 6 hour long video. It'll be around September 2022. When it'll be on. But you'll be able to see it. In more detail. Because I give all the brand names. Of the pencils. And all the list of numbers I've used. Also I give more exclusive narration as well. Because I've got more time. To explain things. So if you're interested in that. Be sure to have a look at the link. In the description below. So what I've decided to do really. Is to create my own sky. But keep it similar to. The pattern of things there. But instead of that sort of. Fluffiness of the clouds. And broken up bits. I've kept it more together. And more sort of smoother. So basically what you do first. Is block it in. With richer colours. And more closer colours. So that's what I'm doing here. Just blocking everything in. Then once you're happy with the position of it. Just glaze over them with the primary colours. Using a cold red. And then the ultramarine blues. And then I'm using an orange. In places. And also the. The lemon yellow. So I'm mainly blending really. With pencil over pencil. These Chalkier Carbothella pencils. Are ideal really. To sort of blend out. Now you can use the Caran d'Ache. Pencils which are richer in vibrancy. You can put them down. But then smooth over them. With the Chalkier pencils. Because then the Carbothella ones. Mix in with the pigment. Of the Caran d'Ache. To create really nice. Rich soft colours. There's orange. And ultramarine blue. Which are going to create nice greys. So what it is. To create a grey. Always use the complementary colour. So complementary colour of blue is orange. So when you mix blue and orange together. It makes subtle. Either blue greys. Or orangey greys. It creates a natural shade. Natural sort of shadows. It creates quite. An interesting feel to it. Rather than just using grey. I always try and mix them. On the final coats. To create this natural look. If you're enjoying this video. Why not give it a like. And share it with your friends. It would mean so much to me. As this would help the channel to grow. Using a cold red. With that combination of blue and orange together. To create subtle purples. As well as the grey tones. So it's a case of just mixing it up really. Just keeping these things basic. It creates quite. Beautiful colour harmonies. And they look quite natural together. I've mentioned earlier. Now I tend to use the Caran d'Ache. Chinese white. For clouds. This is really great for bringing out the vibrancy. That you can put this white down. And then that will shine through. The colour you put on the top. Now in some places where it's duller. And not so vibrant. You can get away with using the. Carbothello white. But you won't be able to get this sharpness. And vibrancy. With that brand name. So that's why I like to use. The Caran d'Ache in places. So if you can't really afford. The set of Caran d'Ache. Just buy the white. And that will put you in good stead. Because that white could mix in. With any other pigment you've got. Whichever brand it is. To create a really nice rich. Vibrant pigment. So when you're working out colours. It's not just about values. It's also about the chroma. How colours glow. Against other colours. So it's getting that sort of feeling. And also edges as well. Some edges need to be sharp. Some needs to be soft. It's all a matter of getting that balance. Now with skies. They tend to be. More ultramarine blue. Towards the top of the sky. And as you go towards the bottom of the sky. Towards the horizon. The more sort of warmer. More sort of turquoisey. So what I've used here. Is an ultramarine blue. It's slightly different to what you're seeing. On the actual image there. I didn't really like the look of it. It looked a bit flat. And a bit dull. A bit desaturated. So what I know from looking at life. And drawing from life. Is that the colours are more sort of. Richer and vibrant. So what I've done is. Is actually drawn from memory. And changed it up a little bit. Sometimes you have to do that. With photographs. They're not always accurate. So what I've done is. Just changed it up to what I feel. Is suitable for the painting. Now I've altered the sort of. Bittiness of all the sort of broken cloud there. And smoothed it together more. Into like a wisp of clouds. Again working from. What I've seen in nature. So making it sort of more. Softer rather than. Too sort of broken up like that. I think it does draw the eye. A little bit too much. Now when I start putting the water in. I will actually change the. Vibrancy of those clouds. To suit the water. It's always best to save these things. Till the last. So when you look at the painting as a whole. When all the elements are in there. Then you can change these things up. There's no good putting loads of detail. In those clouds. If it's not the correct shade or vibrancy. So I'll leave that. Right at the end. Just a little bit more detail here. Some real time. So you can see how I'm shaping up. The actual branches and leaves there. Just working through. I'm just putting some. Light grey there I'm using. And then what I'll do then is. Glaze with blue on the top. To create the right shade. But again all this will be. Sort of settled up. When everything's in there. Everything's in place. I'll create all the sort of vibrancy. What's needed. Right so I've sharpened the pencils. And I've got out my bob stick. Now this is a stick I use for my oil painting. It's got like a bit of a ball at the end. It's just a metal rod really. Just something to lean on. Rather than using glassine paper. And basically. I'm just sort of refining. The actual leaves. Just making sure. Then I've got correct gaps. And the structure is correct. And then putting the blue in. That's needed in certain areas. Or the cloud colour. In certain areas. Just to make it sort of more. Sort of correct. In the shape and everything. So when I start putting the green in there. It'll be a lot easier. So while I've got the grey out. The master will get all the structure right. So when you go over with the green. It's more straight forward. This is where it's really handy. When you're just using grey. Because you can just put a bit of sky in there. A bit of cloud over the grey. And it's no problem at all. You're not creating any mud. And the colours are fresh. So it's a great way really. To get the structure. And to feel comfortable then. When you start putting all those rich greens. And yellows in that foliage. So looking forward to next video. Where I'm going to show you. How I achieve all that. All the rich greens. And the depth of those shadows. So be sure to watch out for part 2. Thank you so much for watching the video so far. Hope you've enjoyed part 1. Now part 2 I'll be covering. How I put the colours on the leaves. And the branches. And also the bark of the tree. So be sure to watch out for that. Now if you're interested in. Watching any more of my work. Here's a series link. That you might be interested in. Take care.