粉彩肖像畫教程 豐富的色彩和細節階段~ 第 2 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 created the skin tones, clothes and details in this part 2 of the Wataturu Girl. 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. Here's a very quick recap on part 1 using the quarter grid to do the outline. Then going over them with tones of grey using the board as part of the tone. And then placing on the top of that burnt sienna, yellow ochre and ultramarine blue. Using for the shadows brown and green and also using lemon yellow in places. And basically just roughly getting this under drawing in. Just covering that tooth up a little bit so the subsequent layers in part 2 will be easier to apply. Now for adding the rich colours I'm using these here, just adding more pigment. And I've got a selection of Caran d'Ache with a Faber-Castell white there. I tend to get the darkest area in first so what I'm doing here is just getting that sort of value more sort of correct. So I'm putting that deeper Caran d'Ache colour in here, brown and black together. And then burnt sienna. And just basically just adding that richer colour. And just seeing how it goes to start with and then just keep building it up. Now this is still a blocking stage but it's a richer colour blocking stage. So I'll put more sort of details in later on. But basically all it is is just to get an idea of what the values is. And get the overall feel of it first before I start putting the details in. So here I'm using sort of burnt umber, ultramarine dark. And then just use a bit of white just to tint it. Enough to find a pencil in the Caran d'Ache which is a dark skin tone colour, 5%. Which works perfect for this skin tone. Now I'm adding a little cold red here just to change it up a little bit. So you have to play about with temperatures as well. So cold red, warm red or burnt sienna. It's just got to see what works really. Just sort of go different places just to get an overall balance to start with. And then go in with the details. I'm adding black now into the pupil. Because it tends to be the darkest part of a portrait. But adding that little bit of blue just to give it depth. Black can be a little bit dull sometimes. Now to get that really fresh white I'm using Faber-Castell. Seems to do the trick. And then again using brown and black together. So always try and mix something with the black. Now putting the highlights in the white of the eye in first. And then just glaze over them with orange and blue. Which are complementary colour to each other. Which creates beautiful greys. It's like a warm grey or a cold grey. Depends on how much blue you put in. Eyes are so important. And what I tend to do is actually let go of the mind. Open my heart. Send the open heart energy to the reference image. Allow that reference image energy to come into me. And out of my hands. So the more you can do that. And the more you can let go of tunnel vision. And focus in too much. You will find that all these sort of subtleties just happen. The more you let go. The more it just develops. 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. What I'm doing here is adding the white. And then just glazing over them with ultramarine light. And cold red. Now sort of hatching in the colour. All different directions. And this will create texture for me. So when I put the colours over the top. So all this is a sort of planned texture. All them lines will disappear once I start putting the subtleties in. But it's all sort of part of the process. Now you've got to work out which parts are fresh. And I'm using the Faber-Castell colour for that. Or the azurite and the Caran d'Ache. And then some areas I use Carbothella white. It depends on what the freshness is of the colour. So that's why I use different whites. And then I'm just glazing over again. Just keep putting that pigment down. And just blending it with my finger. And then eventually it all sort of builds up. And gets softer and softer. But you're creating that sort of very subtle sort of specks of colour. By adding all this texture. Layer after layer. Preparing the details here. But what I tend to do is not try and create exactly what I see in the reference. It's my interpretation at the end of the day. I'm trying to be more looser. And more sort of painterly. So I'm not trying to make it a ultra realistic portrait. All I'm doing is just letting it happen really. And it's my interpretation of what I'm seeing. I'd just like to take this opportunity to thank all my Patreons. For their wonderful support every month. I can't thank you enough. If you're interested in joining Patreon. And would like the benefit of longer, slower and more in depth videos. Most of my uploads now are in real time audio. Real time video. All the footage is there as well. So if you want to check that out. The link is in the description below. Here you can see how I'm sort of smoothing things out. So it's smaller circles. I'm using the 5% dark skin tone from Caran d'Ache. Then the Burnt Sienna. And then using Ultramarine Blue. Which creates sort of greys. And adding that sort of white to tint area. So I'm trying to get the temperature right. The chroma and the value. So it's all sort of small circles. Blending as I go. Pencil over pencil. And just the odd sort of rub with my finger. Now this is a great pencil to use. For tinting and also blending. This is actually a Carbothello White. It's Titanium White. But it blends the colours. Because it's quite chalky. So all that Caran d'Ache pencil I've put on. And Faber-Castell. I can blend it with that sort of Carbothello White. And then glaze over again. Over the top. The really fresh areas. I'm using the Faber-Castell White. Or the Azurite. From the Caran d'Ache range. I'm creating purples. Mixing with the colours I've already put in. So it's a case of just blending. And just feeling your way. And just let go of thinking. And just really enjoy letting go. And letting it just happen. It's an amazing feeling. When you connect to this sort of. Oneness with the reference image. It's like you really feel the energy. And you're one with it. And you try and create that oneness. In your work. I'm using the Caran d'Ache 5% here. It really makes things nice and soft. But the edges of the lips. They've got to be softened. Because you don't want plastic lips. Because if it's a hard edge. It looks plastic. So you've just got to really be careful with that. And the Burnt Sienna. Again with Ultramarine. Creates lovely subtle greys. And what I'm doing here. Is just putting that little detail in. Looking at the temperature. Putting more Chroma. See in that point there. I just put more Chroma. By adding Lemon Yard. And it's a case of going backwards. And forwards. Putting the white down. Glazing over. White glaze. Until you get the right shade. Now I'm using Brown to start with. For the eyebrows. Now the eyebrows are not really fine hair. It's almost like sort of wiry. And sort of fluffy really. But I'm using the Payne's Grey here as well. Mixing in. Because it's perfect colour for it. Because it seems like a purpley grey colour. So it's ideal. But I'm using Brown just to darken it up in places. So it's just a case of just letting go. And just being sort of spontaneous with it. And put your interpretation in. I don't try and put every hair exactly the same. I'm changing the temperature here and there. By using the Cold Red as well. And then using White to tint it up. So you have to look at the tints. The chroma. The values. And edges. And all these I'm aware of. I'm not thinking about it. I'm just aware of it. And so I'm just creating that sort of softness I'm feeling. Or it might be sharp in some areas. So I'm just aware of all these elements that I need to put in. 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. There's a selection of reds I'm using for the clothes. And the rest of the colours. To get that intense black. I'm using the Rembrandt stick. Now they really are rich. I use White to Rembrandt when I want something really vivid. But when I want something really dark. And got a lot of depth. I use the black of the Rembrandt as well. Now it's a case of finding what's in your kit. Closest you can get to the grey. And then just change it up. What I did there is put blue and red together. To create more of a purply grey. So you have to change it up. You see with some of the primaries. I'm adding Payne's Grey initially here for the shadows. But I will add some brown and blue with that later. To just darken it up. What it is. It's just getting that blocking to start with. And when you're happy with the tones. Then you can go in with the details then. Now I'm viewing the reference image on my monitor. Quite sort of small. So I can see the whole thing. And then what I'm doing is just putting suggestions in. So I'm not blowing the reference image really large. And trying to put every little detail in. Because I wanted to make it a suggestion. Because all the focus needs to be really on the eyes. And the face. Everything else is just sort of secondary really. But it's all one feeling. But I try and put more detail in the eyes. And the eyebrows. And the mouth. And nose. And the rest of it is just suggestion really. If you're interested in knowing how I do create shadows. By using the complementary colour. I've got a free class for you. And it really helps with not just portraits. But anything you do really. Landscapes. Animals. It all sort of applies. And you're welcome to it. And the link is in the description below. And it's absolutely free. So please check that out after the video. Now it's a case of finding a blue. What's close to it in your kit really. And then changing it up. You know if you want to make it more sort of purply. Just obviously add red. Adding that sort of shadow into the necklace now. Using the red and the black. For the clothes there. Just get that density. And also green as well. Because that gives a natural shadow to the red. With it being complementary. Now for the necklace I'm putting more richer. Fresher white in there. So I'm using Faber-Castell white. And then just glaze over with lemon yellow. And burnt sienna. So you're just preparing it with the white first. Redrawing it. And then just keep glazing with those two colours. And with a bit of green as well. Because that creates a greeny gold. Again I'm not trying to do it exactly like the reference. It's just my interpretation of it. So all I'm doing is just keeping the reference image quite small. And seeing it as a whole. And then just putting the colours what I see. So I paint what I see really. And just let it develop. Rather than try and paint every little detail. I just paint how it feels. Clothes here. It's a mixture of cold and warm reds. And then I'm just desaturating it. With green. Because you'll find it's too glowy in some areas. So you have to desaturate it. Or make it greyer. By adding this complementary colour. So I'm using dark green here. So that's always the best way of doing it. And then I'm using cold red. On the top of that. Just to get more density. So yeah it's just a case of playing really. And just using these complementaries. But if you need to go a bit darker. With clothes you can get away with using black. I would never use black in the skin. I would use brown and blue. But for clothes you can get away with just using black. Because that Carbothella black is amazing. It's a case of having a play really. And just. It's fun really. Just see it as fun. So what I've decided to do with this. Is to do a darker tone. And then use a lighter blue on the top. It will be easier than putting white down first. And glazing. So you have to work it out. Sometimes it takes a while to suss it out. The procedure. But once you get it. It becomes easier then. Now the direction of the nap. It's just a case of really finding that pattern. And once you get the pattern going. It becomes easier then. Now the pencil is quite blunt as well. So I can do it in one stroke. Rather than several strokes to get the line. I tend to look beyond the detail. And look at the structure first. And then build the foundation up. So first of all. Get in the directions. And then you can put darks and lights. And subtleties and break the lines up. It all becomes quite sort of straight forward. After you've done this basic structure. I'm using a carbo phthalo white here. Because it's a chalky white. And it's quite easy. And it's free flowing you see. So that's why I tend to. Like to map out with that pencil brand. What really gives it life. Is when you glaze over the top. With the primaries. So you just get. The sort of structure in there. And break some lines up. And then just glaze over then. With the red and the blue in this instance. To make it more purpley colour. And then just add those details back in. But you've got your sort of road map there. And that's how I did it. Now I'm using number 11 here. From the Contour Paris range. Don't normally use this colour. But it's ideal pink. For the highlights. So I've used that. In places you'll see me use. But the carbo phthalo reds are really rich. In vibrancy. But you have to be careful with some of them. Because there's some purples actually. That have got no stars at all. So the colour fastness is terrible. So you have to be careful. Which ones you use. I don't go any lower than 2 really. So these are what I've chose here. No lower than 2. So I think 1's 2, 3 and 4. Now with the map. I'm using the dark as a base. And then I'll put light over the top. So you can do either way. You can do light. And then put dark over the top. But I fancied doing it this way. It seemed better. And then I use this colour here. Which is like a violet pinky colour. But it's quite desaturated. And it's perfect really. For just putting these sort of lines in. So that were really a good find. In the carbo phthalo range there for that. All the time. I'm aware of everything I've just done. So I'm keeping it sort of basic. And not too detailed. Because if it's too detailed. It'll throw the whole picture. So you've got to be constantly. Being aware of the whole image. And make it become one then. By just having the suggestion here and there. And just basically just. Feel your way really. Now to help me. To get these details in certain areas. I'm leaning on like a stick. It's called a mall stick. And what it is. It just gives you the stability you want. But you can also see the image underneath. Rather than leaning on paper or glassine paper. For the final details. I'm just making sure everything's subtle. And balanced upright. So I'm looking at the values. The temperature. The chroma. And generally balancing it up. So and also the edges as well. Because some areas are softer. Some are sharper. At this stage I'm looking in the mirror a lot as well. And making sure that. It feels right. It's all about how it feels really. If it doesn't feel right. It needs attention. That's what I'm doing. So I don't look at something and go. Wow that needs sorting. That needs sorting. Because then I become into my head then. Or into my mind too much. So it's all about how it feels. And if it doesn't feel right. I just keep working on it until it does. There's ways that you can. Find out whether they feel right. As well as that you can take a photograph. With your mobile phone. Have a look at what it looks like on there. Take the portrait into another room. In a different light. Turn it upside down. That sometimes works. But if you just get that feel right. That's all that matters. Thank you so much for watching the video. Right till the end. I really appreciate it. If you've enjoyed it. Please give it a thumbs up. And share it with your friends. It would mean so much to me. As this would help the channel to grow. Been a fascinating portrait to do. I love African culture. So the essence and the feeling. Behind the actual reference image. Has been fascinating to capture. If there's any questions. Please leave a message. In the comment section below this video. But in the meantime. If you want to see more of my work. Please check out this video here. Take care. Bye.