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 3

landscape step 3

In Step 3, we will work on re-establishing the drawing and introducing detail, especially on the ships.

At this point, I would like to mention the use of china markers. Traditional, or chalky pastel, sticks can be supplemented by pastel pencils -- essentially, small amounts of pastel encased in a wooden sheathing. These are used for fine detail painting. Oil pastellists do not have a similar aid as yet. China markers, which come in a surprizing variety of colors, including black and white, when purchased through a major art supply store, can come in very handy. I use them for superfine detail, as well as occasionally for some blending.

I start my detail drawing by using 32B4 (Non-color #2) to underpaint the whiteness of the vessels. Of course, I will not use an actual white yet; this is reserved for highlighting in Step 4. I simply want to make the boats more visible and suggest some motion. This last I do by suggesting the wave that is produced when each boat moves through the water.

To create the round housing on the side-wheelers, I use both 32B4 (Non-color #2) and 32C1 (Warm Gray). I vary these two colors to suggest differences in color of the ships themselves. I use 32C1, the darker gray, for the superstructure so that there is enough contrast between that and the main body of the ship.

The structure of the big paddle wheel itself is very interesting visually. To express it, I sharpen a small piece of 32B4 (Non-color #2) by making sharp edges with a single edged razor blade. This enables me to make precise lines in this portion of the drawing.

Having suggested the body of the ship, I now use Black, 32A1, to indicate the chimneys on the paddle wheelers. I cut a very small piece, about 1/4 inch long. I apply this in very small square strokes, all the way along the height of each chimney, from left to right. This technique gives me an interesting quality to this detail.

I use 32A1 (Black) also to indicate the smoke coming out of the chimneys. It appears to be quite dark but I plan to subdue it later.

At this point I suggest the white on the water, and the partial reflection of the white part of the ships in the river itself. For this I choose 32C5 (Warm Gray).

With 32A1 (Black) I indicate the structure that moves the paddle wheels and the engine area. I make another cut in my pastel stick to create a sharp enough edge to do precise drawing of the marvelous Victorian details. For all of this work I am careful to use controlled pressure and interrupted lines, so that I avoid mechanical drafting effects and instead preserve a painterly creative effect.

I emphasize these ship details with 5A1 (Hansa Yellow). Again, I sharpen the stick so that I can do more precise work than I usually do. I would note that this particular color also contributes to the overall cheerfulness of the scene.

I use 10B1 (Vermilion) to indicate a bright piece of machinery on the boat. This vermilion becomes absolutely vibrant against the blue gray backgrounds. It also helps to give a cheerful, festive air to the composition.

The flags I also indicate with 10B1 (Vermilion), making sure that they seem to flutter gaily in the wind. For the American flag, I underpaint with 5A5 (Hansa Yellow) and 32B5 (non-color #2). I use the colors heavily, because I don't want any paper texture to show through the flag. The effect of cloth will be expressed through oil pastel alone.

I now switch from darks to white, 32A5, for the ship details. As you can see, this white detail makes the picture much more sparkly, much more exciting. I do the same with the prow of the ship. I thereby emphasize the sleek form of the hull.

I occasionally have to sharpen my pastel stick by making a new cut with my blade.

Even though I am making sharp details, I am careful to keep the receding lines softer than the closer lines.

I now suggest the supporting poles of the deck canopy. I reinforce the detail of the machines that drive the paddle wheels. There are some supporting cables that run from the chimney to the upper structure of the boat. The china marker is perfect for this type of detail.

Finally, I put some attention into the sailboat on the right side of the painting. I rely on my china marker for the detail of the rigging. China markers are very simple to use -- you just draw on top of the underpainting. Be careful though. Don't make the details too dark or overwhelming. Just suggest the rigging. The sailboats are not, after all, the center of attention of your painting. You cannot allow any details to steal the scene.

At this point, with essential details drawn in, we are ready for the fourth stage of this painting -- the final touches.


ステップ 3





大きな水車は、その構造自体が見ていて非常におもしろい。それを描写するために片刃のかみそりで32B4 (無彩色#2)の短いスティックを削って尖らせる。それを使えば、私が絵のこの部分で正確な線を描くことができる。