Portrait 6

portrait step6


At this point I want to refine the drawing of the eyes and the mouth, and develop the hair so it appears believably real.

I use may china markers heavily at this stage. I select a brown to draw the shadow on the lips. Since I need to make sure that the reflected light, which is cool, on the far side of the lip is apparent, I use cool gray #32B4 to indicate it. I use 13F5, the lavender pink, to redraw the upper lip, and 26E3, a warm brown, to indicate the dark areas surrounding the far side of the lips. I particularly emphasize the pillars of the mouth, the ridge between nostrils and lips, and the chin indentation. I gently scrape this shadow color with a razor, and then blend and clean the surface with-a paper towel. I use a touch of 5A2 for the reflected light on the nearer upper part of the lower lip and blend this with my finger. Be very careful in this part of the portrait - the slightest change in the shape of the lips can change the whole look and mood of the portrait. It is very important not to inadvertently change the characteristic expression of the sitter.

I use black china marker to re-establish the shadow of the cheekbone and under the jaw. I use a paper towel blender to blend the colors in the hair. This starts to bring out its texture. I use green pastel to accent strands of hair near the ear. I use green oil pastel to indicate the eyelash, eve makeup area, keeping the effect soft and natural. I use 32A2, near black, to indicate the pupil, and then 32A1, pure black, to accent the pupil, to define the darkest part of that structure. I don't make the pupil a harsh round statement, but shape it carefully.

Because the eyes are viewed from different angles, one being farther away from us, the farther one will have a slightly less dark effect and the pupil will have a slightly different shape than the nearer eye.

I restate the white of the eye with 32B4, cool gray, brightening the "white". I cut the pastel at an angle to get a sharp pointed edge. The white is whiter near the bottom ; at the top it is in the shadow of the upper lid. Where the light hits the eye, the white is warmer. I select 32C5, warm gray, and place a lighter accent in the pupil and the tear duct. This is not the final highlight, but underpainting for the final. The final highlight would be one with 32A5. The eves are now becoming the focal point of the portrait, which is exactly the effect you want to achieve.

I scrape and blend the nose toward the tip, making it softer and less prominent. If you notice, I have been modeling a pleasing flesh tone with many different colors, all of the same value. As long as the same values are used, the result will be unified yet lifelike. Color breathes life into the portrait ; your technique in handling make it believable.

ステップ 6 「仕上げ」

この部分ではチャイナマーカーを多用する。 茶色のチャイナマーカーを使い唇の陰影をつける。 クールな反射光を表現するために明るいクールグレイ#32B4 を唇のふちに使う。 13F5、明るいラベンダーピンクで上唇を、26E3、中間調のウォームブラウンで唇の回りの暗い部分を描く。 口元の縦の線、及び唇と鼻孔の間の鼻梁、それに、あごの凸凹を特に強調する。
この影の色をかみそりでそっと削り、ペーパータオルで混色して、表面をきれいにする。 5A2、明るい黄色を使い、下唇の上部にさっと反射光をつけ、指で混色する。 肖像画では、唇の形のちょっとした変化が全体の印象を左右するので十分気をつけて行う。



 32A2、黒に近い灰色でひとみを描き、32A1、完全な黒でひとみの最も黒い部分にアクセントをつける。 瞳孔は、滑らかな円になるように気をつけて形作る。

眼の白い部分の下の方がより白い。 というのは、上の方は、まぶたの陰の中にあるから。
目に光があたると白は暖色になる。 32C5、明るいウォームグレイを使いひとみの中と涙腺に光のアクセントをつける。
これはまだ、最終的なハイライトではなく下塗り。 最終的なハイライトは、32A5(完全な白)を使う。

色は肖像画に命を吹き込む。 あなたの技術がそれを確かなものにする。