Landscape[風景画] 描画技法のメニューに戻る/ステップ 1<< 2 >>3 >>4

Landscape Demonstration(原文)

Step 2

landscape step 2

In step 2 of this landscape painting, we will begin refining the drawing and introduce all the colors that will be used in the painting.

I use 32C1 (Warm Gray) in the upper left portion of the picture, the sky and mountain top area, to create the effect of mist.

I reinforce some of the basic drawing of the boats with 38F1 (Cerulean Blue). This will involve drawing the chimneys of the side-wheelers, and reinstating the bodies of the ships. I also suggest the water line on the ships, to make the objects more recognizable.

With that same 38F1 (Cerulean Blue), I re-establish the darker areas of the mountain on the left side of the picture. You will find, as you work heavily over this portion of your painting, that you have a fair amount of oil pastel build-up. In order to successfully apply subsequent layers, instead of continuing to use the broad edge of the stick for coverage, use the sharp corners of the square stick. This will allow for continued application of pigment. You might also vary the direction of the strokes.

I use blending techniques in this painting to create softened edges in the clouds and on the mist-covered mountain. You will notice, as you start blending, that the intensity of blended colors becomes more obvious. That is to say, less paper surface shows through and a greater saturation of oil pastel pigments takes place.

As I blend the mountain and sky colors, I run the sky slightly into the mountain's mass. It will help me to create the effect of the light that breaks through the cloud cover, spilling onto the mountain.

With my paper towel blender, I also carry the paint from the mountain right into the reflection area of the water. I even over-run my boats, since they are in the shadow of the mountain. I am not concerned about losing definition of the objects; in the next stage I will restore the drawing of the boats. At present, I am concerned with establishing color harmony and unity as a whole.

In the green area of the mountain, I introduce a bit of 26Hl (Red Ochre) to help the green become more vivid.

After I built stronger colors on the mountainside, I build a stronger light source in the sky. I especially want to bring out the area where the sun breaks through the storm clouds. Some blending helps me here, reducing, although not totally eliminating, the texture of the paper underneath. At all costs, I avoid using my lightest colors, such as Hansa Yellow or light grays or white at this point; they will be reserved for highlights later on. Instead I choose 32B4 (Non-color #2) to prepare the lighter areas of the sky. I totally cover the sky area, blending as I go, in preparation for a later application of blues.

I introduce 5A1 (Hansa Yellow) into the light source area. I use the side of the stick to cover a wide area. This color is used elsewhere to establish the basic color of the light. Particularly I introduce some of this color into the shadow side of the mountain to give the effect that the light is filtering through the shadow. This is very important in establishing the mood of the whole scene.

I now use 5A5 (Light Hansa Yellow) to intensify the source of light. I take a blade and cut my pastel stick in approximately an inch piece, on an angle, with a sharp edge. I apply this smaller piece of pastel with a variable pressure technique. I start the stroke with a definite firm pressure, then I gradually release pressure until at the end of the stroke, the application of color has stopped completely. This technique is especially effective in creating the rays of light that break through the clouds.

I also intensify the light in the parts of the clouds behind the mountains that face the light source. I apply the pastel stick directly into the paper, pressing it hard. This leaves interesting traces of color with random large chunks in it. These chunks of pigment give a painterly quality to the work.

I use a different technique here as well. As I apply the oil pastel to the painting, I roll it into the surface rather than drag it over the paper. By rolling and varying the pressure at the same time, many different types of traces can be left on the surface.

I now apply a touch of 10A1 (Cadmium Orange) into the sun's rays. I then use neutral gray, 32B4 (Non-color #2) to slightly subdue these orange traces. To continue color unity, I also introduce some of the Cadmium orange into the distant mountains, to give the effect that they too are affected by the light source.

Don't forget to step back (figuratively if you are painting from a boat!) when you are painting a landscape, to analyze the total effect. If your major values are losing importance, restore them before continuing. Subdue other elements, and re-establish the general balance of your composition.

Remember also that in a landscape painting particularly, you are dealing with many different textures. Here, the amount of surface paper you allow to show through can aid in establishing the various textures. In this painting, for example, I am allowing more paper to show through in the foliage area of the mountain than I allow to peek through in the smooth sky areas. On elements where I need soft edges, such as tree lines, I particularly let the paper surface show through.


ステップ 2




その同じ38F1(セルリアンブルー)を使い、私は絵の左側にある山の、 より暗い領域をもう一度描く。あなたは、あなたの絵のこの一部よりも大いにやり直しながら、見つけるだろう。正しい量のオイルパステル強化を持っている。さらに塗り重ねる作業がうまくいくように、スティックの側面を使わずにとがった角を使いなさい。そうすることで顔料を続けて塗布できる。また、ストロークの方向を指示を変えるのも良い。