粉彩肖像教程...值和色度〜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 achieve the background and the rich colours and details in this portrait of my nephew, Russell. 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. Right, following on from part one, I decided to do the background first before I start putting the colours in the face and the beard. So I've selected a few greys from the Carbophella range. Yellow, ochre, brown, a couple of blues and a red to start with to mix with the greys. My approach first was to put the greys down and then glaze over the top then and mix in with the primary colours. I'm speeding this section up a little. I'm just using the 708 which I use for the outline, a grey pencil from Carbophella. Drawing in with that and then using different greys and then just glazing over them with blue and orange. So I tried that to see because complementary colours will create subtle shadows so I tried that for a bit. It's like a play to start with. You're just playing with it to see what works. So I decided to try these pencils using the lemon yellow and that warm blue there and that seemed to work better. Still using the grey. Why use the grey and the white with? It was to actually make the actual value. So you're trying to create the right value and then once you've got the value more or less then you can just glaze over them with these different subtleties with the blues, the yellows and the reds and so on. Let's lock down to real time now just to show you how I'm creating the texture of this. Just using the white to get that texture first then just glazing over it in this instance with yellow ochre and then a bit of red to warm it up a little bit. And then just keep working on that sort of value with the grey and then just keep repeating the process of just getting that texture down and then just keep glazing over these different shades. And then it creates a very subtle blend of natural colour tints. Now sometimes I use a white or sometimes I use a light grey just to get the highlights in there. It's just a case of playing to see what works and then this is how I'm glazing here just showing you here in real time just going through over with the blue and then the yellow to create like a greeny tinge. I'm mixing that red and brown and blue and brown make natural shadows as well so that's a really good combination. Now here's the colours I'm using for this top two different reds and the two different brand names are black the one's more sort of deeper the Caran d'Ache one is a deeper black but mainly using the Carbothelos to start with but just mixing in the cold red and then the warm red together which creates the correct shade then. Just adding a little bit of white for the highlight and then just glaze over again with the warmer red and then a little bit of cold red on top and it seemed to have done the trick. For the subtle shadows in the red I've used a dark green and red and putting that up against the actual shadow so it subtly blends in. Now for a little bit of a beard see I'm trying to get those darker areas in first then it makes it easier then to judge the values for the skin tone. So now for the beard I'm using dark brown blue, a cold red in there as well and warm red. There's all sorts of colours going in there just to try and create the correct shade. Just line it down to real time just to show you how I'm drawing it out now with the white and then I'll just glaze over the top so you're just, you know, redefining what you've already done in the underdrawing and then just keep going against it with black and then glaze over with the subtle browns and blues and just keep working on it until it develops really. It's just a case of keep persevering that's the key and it will develop eventually. If you enjoy this video, why not subscribe? It's absolutely free and then you're sure not to miss any of my future videos. Now what I'm doing as well is squinting my eyes to see the values and then open my eyes to see the colour so I'm flipping from one to the other and just being aware of the whole image I'm keeping the reference image small enough so I can see the whole of it so I can get the overall feel but the side of that on my computer I've actually opened up another file exactly the same but just blown it up bigger so I can see it for the details so it's like just being there just so you know what sort of detail is there but then just go back to the smaller image and just be as suggestive rather than too detailed. Now I've got the darkest values done Now it's time to do the flesh tone now it gives me an idea of what to do I'm using the green here with the red and yellow ochre Now if you haven't got the Caran d'Ache pencils just press on more and put more pigment down that will create more sort of richness because this is a rich stage rich colour stage Now I'm using these Caran d'Ache rich colours They're very rich in pigment I really like Caran d'Ache for this You don't have to put too much pressure on to get that sort of pigment down as well So I'm using the cold red and the warm red together with the dark green just to get that shadow I'm looking for If you're new to my videos I use green to desaturate a red It's a complementary colour So if you use a complementary colour or every colour you're using it creates a natural shadow So that's why I'm using the green here Now if you can't get it dark enough I tend to use brown and blue with that which you'll see me do later in this video Now it's a great combination the warm red which is vermilion in this case and yellow ochre in the Caran d'Ache range a really great combination It really makes lovely warm skin tones Now I'm using a Chinese white here It's like a warm white It's got a touch of yellow in it And it really does suit the skin tone I'm just doing very small circles Getting that texture Then I'll just keep glazing over Then small circles again Glaze over, small circles, glaze over Until you get the desired effect Now because it's a warmer skin tone I'm using olive green here To mix in with the red It seems to suit it better You have to keep trying These different temperatures of the colours Just to see what works best It's just trial and error really You've just got to keep persevering And playing really Every stage is like a play First of all when you start doing the rich stage It's all like a blocking It's not details It's just getting that sort of value right And the chroma right And once you're happy with the chroma and the value Then you can start putting the details in Now there's a reflective light of blue Into the skin on the shadows here So I'm using ultramarine blue light And darken in some places Just to reflect that So it's like using primary colours really You've got yellow ochre as your yellow Your vermilion red as the red obviously And the blue as ultramarine blue And with those three colours They make really nice skin tones And then I use olive green Which is a secondary colour A complementary colour of red I use that to subtle and desaturate What I tend to do is work on The brightest areas of the skin And the dark areas at the same time So you get a sort of happy medium then And sort of get an idea of how it feels So I'm going to the shadow Then going into light And getting that sort of relationship right And then work from that Now with a lot of warm light on this portrait The shadows tend to be cooler Now the reference image you're seeing on screen here Is on the computer So it is oversaturated And the contrast is too dark It's just how it's filmed But in real life If I were doing that from life The shadows are never that dark anyway The always more interesting shadows Is more light and reflected light So when you do things from life You tend to remember how things look And how they are And so you can adjust photographs accordingly I'd just like to take this opportunity To thank all my Patreons For all their wonderful support every month I really appreciate it It means the world to me If you're considering joining me on Patreon And would like the benefit of longer Slower and more in-depth videos Please take a look at the link In the description below for more details Now with the reflective light On this part of the portrait I'm using the white To sort of get that feel of it Then just glaze over the top Then just using brown To get that sort of very sort of fine hair Because it's actually been graded On the side there Slowing it down to real time now So you can see how I'm putting the details in here I'm just working on it And restructuring what I've done On the under drawing And then glaze over them Once I've got the position more accurate And the flow more Doing the hair is all about getting the flow And the movement And getting that right And then once you've got that You can just glaze over I've got burnt sienna here And then yellow ochre I'm just glazing over with Now revisiting the reflected light Putting a bit more in there And then starting to put a bit more black in there Now as well in the hair To get that contrast Because it's the contrast That gives it that realism If you don't get that contrast right The darkest darks and the lightest lights It don't feel natural It feels a bit flat So getting those correct is really important Here I'm getting that vibrancy By putting the Caran d'Ache 5% flesh tone in there And then I'll use 5%, 10% And flesh tone All those three different combinations All it is is like yellow ochre mix With a bit of red But different sort of proportions It just helps with me getting the texture Rather than trying to mix it By adding so many different layers I can just put that down first Get that sort of vibrancy Then when I glaze over the top That vibrancy shines through the colour then And it creates really a natural skin tone It gives it life to it 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 will help the channel to grow Excuse my tone of voice at the moment Because I must have picked up a flu virus And it's steadily got worse As I've started this narration So just bear with me Just make allowances for it But basically I'm feeling that This video is getting a bit long now So I'll start speeding it up It's only repeating what I've already said So you can just visually see what I've done Just to mention that I am using lemon yellow To create the chroma in certain areas It's all about the values, chroma Our things are more sort of fresher and brighter And some colours are more subdued as well But by adding that little lemon yellow Into the mix It creates that sort of zinginess And it glows And it's a really good tip And I found it seems to work With every colour you use Just adding that little bit of lemon yellow Not a lot, it just lifts it all up Now to create the vibrancy of the lips I'm using a cold and warm red from the Caran d'Ache Plus a cold and warm green To create the shadows or desaturation Sometimes you need to use both reds It's a case of playing around really But I use the green to create a natural shadow Again I'm using the Caran d'Ache white there To create that sort of glow underneath If you haven't got a Caran d'Ache white A Faber-Castell white is really good Because that's quite vibrant I tend to use the Carbothello white To sort of blend things out Because it's more of a neutral sort of white Not sort of vibrant So it's really good for blending Then I just glaze over again That's what I use it for It's quite chalky Now I'm just going to rush through this Because it's the same procedure As what I've done with the hair You're just putting the white down Glaze over, white down, glaze over Getting the structure correct And just correcting it all the time And just being aware of the whole thing So you're really connecting to the energy And the feeling of the character of the person So even though you're just doing the beard You're actually feeling the movement to that beard The texture of it And trying to create that By feeling it It sort of flows through you And out your hands you see So it's best to really be conscious Of what you're drawing But as a whole So it feels whole then when you've finished it Now the waterfall here I'm using a light grey And the 708 grey that I used for the outline And then just doing a tonal drawing first To get an idea of the values And then I'm glazing over them With the primary colours To create that subtle sort of rainbow effect And there's all sorts of different subtleties But I found just using these sort of Basic primary colours over the top It just makes all the difference Now I used a Caran d'Ache azurite white Because it's a fresher white Than the Chinese white For the highlights of this waterfall And then used the Carbothello ones To smooth everything out To create that sort of misty feel to it Now I'm using the same procedure For the rock formation In front of the waterfall here Using the 708 Carbothello grey and white To create like a tonal drawing Then once I'm happy with the actual Tonal value of it I'm going over them with brown Cold red, green and blues And lemon yellows And all sorts of different colours But the thing is with grey tone It don't muddy the colour up When you actually add colours on top So it's really good to do If you've got something complicated Just doing it in grey first And then just going over with colour You can't go wrong Just quickly going through this again For you on this top Using the black, the Carbothello black And then mixing the two reds together The cold red and the warm red together Then using dark green in certain areas as well To get the subtle shadows Now all the picture is more or less complete It gives me time now to get the details correct In the beard and in the face Because I've got the values and everything now I can sort of connect to and be one with So I'm basically going over the beard And putting the freshness again in there And then just glazing over them With the burnt sienna and brown So putting the little highlights And little wisps here and there Putting lemon yellow in Just to sort of create chrome in places Basically I'm just feeling the whole thing Just letting go Let go of the mind, open the heart And just feel the energy flow through you Now what I do at this stage Is look in the mirror a lot At a reflection So you see it at a different angle It brings out what needs to be done I take a photograph with my mobile phone See what that looks like It really does help to see everything correctly This is a great tool to have in your toolbox It's a colour shaper It's ideal for really subtle details Just to sort of soften up the edges Because all the details is about Getting the edges right The value and the chroma So just softening these edges Makes a difference And that's a great tool for it Right so now it's time To put the subtleties in the eyes there Just softening things up It's all about getting the edges correct You don't want any sharp edges I do like to put special attention on the eyes Because obviously the eyes are the mirror of the soul You've heard that expression before And it is true There's a lot of feeling and emotion in the eyes So what I tend to do is again Is open the heart Let go of the mind Really focus on how it feels And you've got to be careful Not to put too much details in It's still got to be subtle and expressive Just making sure the white of the eyes Is fresh as well I had to change it slightly To what the photograph was Because it looked a bit red and pink On the actual photograph reference So I made it more realistic To what I know what eyes look like Using the orange and the blue And put a little bit of red in there Just to create a little bit of a purpley colour as well So it's a case of experience You can change these things up Just to make it look a bit more realistic To what the reference image is Thank you so much for watching the video Right till the end Here's the finished painting At the correct angle Rather than being in perspective on the easel If you're interested in seeing more of my work Please check out these links here