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  • Well we finally chosen a place to paint

  • this particular area struck be the moment I saw it's filled with beautiful

  • nipples yellows

  • Alizarin Crimson this area is called twenty Mule Team

  • and we'll get into that a little bit later but let's go ahead and get

  • started

  • I'm gonna take burnt sienna cobalt blue and squeeze it on my pallet

  • What I'm going to first do is is cut my canvas into three sections

  • and what I want is the main composition to be in the center part in my painting

  • I see little pathway

  • okay what I'm doing is an now getting a little bit more

  • of a dynamic sketch an little bit more positive with

  • harder lines as I get into the corner my painting

  • I wanna apply a little bit more cobalt blue in the corner

  • I want to darkened the corners of my painting and then more white as I get further than

  • now notice Im just scrubbing my color in

  • what we want to do right now is want to capture all the little

  • footnotes up where the highlight is at this very moment

  • throughout the pain in the light is gonna be changing

  • and it would be almost impossible for us to to make

  • all those changes as the afternoon wears on what I wanted to someone put some

  • footnotes right where the light is at this very moment

  • now when I'm going to do them going to notice where

  • these highlights are

  • in my composition and I'm just gonna place them in and scribble

  • very quickly okay these long lines of light

  • I'm bouncing around and I'm just giving

  • myself an idea where the light is. What I want to do right now

  • is actually start on the main peak right

  • at this very moment the main peak has beautiful cast

  • of cerulean, blue cobalt blue a little bit of alizarin crimson

  • kind of a purplish tone and I want to try to get that

  • in my painting and I'm gonna do that by taking cobalt blue

  • and white and alizarin crimson I'm gonna

  • very carefully at this point start laying in the shadow sat on my mountain

  • at this point we are not going to waste one brushstroke

  • every brush truck counts we're past the sketching phase

  • and we're now in the painting phase so what we're doing is we're taking a

  • mixture of Blue and

  • yellow I'm and a lot a white and creating a greenish tone

  • all of these different

  • tones makeup Death Valley. Now I'm gonna take burnt sienna cobalt blue

  • these are the same colors that are used in the background mountains

  • and I'm going to place a little shadows

  • every one of these little tiny highlights has to have a shadow

  • and it's important to make

  • everyone in the shapes a little bit different. At this point I'm gonna switch

  • to larger brush

  • and we're gonna start painting in the bushes. We're going to take cobalt blue

  • in a little bit of yellow ocher and this is a very dry brush compared to what we

  • were using before

  • probably one yellow ocher me if you notice

  • I'm hitting my brush into my pallet

  • I'm actually trying to break the hairs up so that I can create bushes with

  • this brush

  • now we're going to take this color and we're gonna keep in mind that the bushes

  • in the distance or smaller

  • this is just like the rocks

  • things that get feather away from you they get smaller

  • Now as the bushes come closer they need to get a larger

  • now we're going to put a little bit a highlight on. What I've done as I

  • mixed little bit more white and this color and we're just gonna put a little

  • light on the topic these bushes

  • a little bit of light

  • we can also pick up the palette knife

  • if you can look at the bush on the right, you can scrape in

  • few little twigs...

Well we finally chosen a place to paint


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A2 初級

如何畫Plein Air, Alla Prima, Stefan Baumann的油畫。 (How to paint Plein Air, Alla Prima, Oil Painting by Stefan Baumann)

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    Benjamin Shih 發佈於 2021 年 01 月 14 日