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 4

landscape step 4

In this, the final stage of the landscape painting, we are going to refine many areas of the painting. We will further indicate critical detail, we will accentuate different textures, we will put in those all important highlights.

I first further define the cloud formation and soften some edges where the water is in the shadow, by doing very soft blending with a paper towel tool folded very few times. As you can see, this produces the most minimal of blended soft edges. I slightly soften some of the harder edges of the sails with this tool too.

I begin putting some highlights with a sharpened piece of 5A5 (Light Hansa Yellow). I place these on the paddle wheel and some of the flags. I particularly use this color on the flag on the rear of the ship to separate it better from the American flag.

I progress in my highlights to using 5A1 (Hansa Yellow). I suggest the golden hue on top of the structure, the captain's bridge. I suggest the decoration that was painted on the craft with this same 5A1. I touch up the reflections in the water also, to suggest that they arc in fact reflections of the boat's superstructure. I finally indicate the shiny brass of the flagpole with a sharpened piece of this stick.

For the red decoration that runs along the body of the vessel, I use 13C1 (Permanent Red), again cut to an ultra sharp edge. I use 32C1 (Warm Gray) to suggest a few flags on the other ships. I am careful that all flags fly in the same direction, as the wind would blow them. Even though one might think this is a rather dark color for flags, in fact it contrasts very well with the darkness of the water. I even use this color to suggest the ripples caused by the boats propelling through the water.

I choose 32A5 (White) to accentuate the lighter highlights in the scene. I touch the surface of the water where the ships meet water, and a few fluttering flags.

I now use an etching technique to indicate special textures and the sharpest of details. For this you need a single edged razor. I carefully scrape a very hard edge on the foreground sail. I then do a bit of cross hatching type of scratching to indicate the canvas texture of the sail itself. Note, as you use etching techniques, that these require a fairly heavy buildup of oil pastel to be effective. The heavy oil pastel cover also protects the surface of the paper underneath from inadvertent damage from the blade.

At this point, take a break and come back to analyze your painting with a fresh eye. When I did so, I decided to include some human figures to make the whole scene more exciting and to reinforce the scale to the landscape elements. I used my china markers to establish the figures, sailors on the boats. Control your pressure carefully when using china markers -- they break easily.

There you are -- a bit of work, but it was worth it! You have a lovely landscape painting, and a new found expertise in oil pastel painting. I am looking forward to hearing from you and even helping exhibit your work! I can be reached at the following address:

John T. Elliot, opa
Oil Pastel Association
Box 587
Nyack, New York 10960


ステップ 4









そこでは、あなたはそうする。--ちょっとした作業だが、それだけの、価値があったでしょう! あなたはすてきな風景画と新しく習得したオイルパステル画の専門的技術を持っている。私はあなたから連絡をもらって、あなたの創作の手伝いができることを楽しみにしている! 以下のアドレスへどうぞ:

John T. Elliot, opa
Oil Pastel Association
Box 587
Nyack, New York 10960