油畫技巧 | 顏色混合、介質等【Daria Callie】

Hi, in this video I put together a couple of clips from the videos I post on my Patreon page. I'll talk about color mixing, portraiture, share my thoughts and give you some painting tips. Hope you'll enjoy it. The question I get asked almost daily is how to mix colors for portrait painting or how to mix skin tones. And even though I've covered this topic many times, I wanna go in depth one more time and show how I do it. So, as you may know, I use these 5 main colors, burnt umber, ultramarine blue, cadmium red, cadmium yellow pale and titanium white. Now, when I have these colors on my palette, I'm gonna premix skin tones. I start with mixing darker tones first. For darker tones, I add a lot of burnt umber and ultramarine blue to the mixture. And the lighter the tone gets, I add less and less of these colors and mix in more titanium white. Keep in mind that there are many ways to achieve lifelike flesh tones. And we're not limited to this one method, but this is what I do and what works for me. You'll see me adjusting the colors a lot. Adding a pinch of this color, a bit more of that color and so on until I'm satisfied with the tone. And I'm satisfied with it if it's close enough to the color that I see on the reference picture or if I'm painting from life to the color I see on the model's face in front of me. Overall, I'm going to mix about 6 tones, from the dark ones to the light. Darker tones are the colors you see in the shadows. Midtones are the most neutral, medium colors. And lighter tones are the colors that you see when the light hits the face, excluding the highlights. This is pretty much self-explanatory, but I thought I'd mention it anyways. I'm sure you are familiar with the color wheel. And if you aren't, I'm going to explain how you can use it, at least in this one way. If you feel like the color you're mixing is too red, for example, all you have to do is to add the opposite color to make it less red. The opposite of red, as we can see on the color wheel, is green, so you have to add a little bit of yellow and blue to the mixture to tone down the redness. Let me give you another example. If your color is too blue, you need to add orange, so you add red and yellow, which together make the orange, and do a great job of toning down the blue. I understand that this can be a bit confusing to some of you, but once you get a grasp of it, you know it's a pretty simple concept that can be quite useful. As you can see, I leave these clean leftover colors here on the palette, and that's because I'm still going to use them and add some of those colors to the main mixes to create more variety. Here's the palette, that's what it looks like, and in a moment I'll show you what it becomes later. OK, here it is. It's way messier now, and this is how my palette looks like in the process. I keep shifting the hues here and there to make the portrait look more lifelike and real, and that's all there is to it. For the sake of simplicity of this demonstration, I'm gonna put the reference right here close to our painting surface. Now it's time to draw the outlines of the eye. Those outlines are gonna serve as a framework for our painting. All that we need this initial sketch for is to give us the idea of the proportions and sizes of our subject matter. Now when we're done with that, let's start painting. First of all, we will establish the darker tones, and then we can go from there. You see me using different brushes, and that's not only predicated on the fact that sometimes I need a smaller brush, sometimes I need a bigger one, but also, let me give you an example. When you paint some darker tones, and then you want to go lighter, even if you wipe this brush with a paper towel, it is still very hard to get all the dark pigment out of it. It's still gonna stay there in the bristles, and then it's very easy to pollute the lighter color, because the brush is not completely clean. So to avoid it, you can just switch between different brushes that you have. And you can even use some of the brushes for only darker tones, some of them for the lighter tones, or some of them for, like, very saturated colors. I don't know, like, find what works for you. All I'm doing is giving you this suggestion. I'm using the smallest brush I have for this work, in a size of 00, and I'm painting them very lightly, with no particular order. What I mean by that is, some people, especially beginners, like to paint every eyelash in the same direction, same way, like they're all twins or something. And that turns out looking kind of fake, so don't make this mistake. Lower eyelashes are usually lighter, so I'm using some brownish colors to paint them. So first of all, I use standing seed oil as a medium. I like liquid as well, but I only use it when I want to speed up the drying time for background, subtraction, and things of that nature. I never use it for portraits, because in this case, I want my paint to stay wet for as long as possible. Standing seed oil is not the most slow-drying medium, but it works great for me, so I stuck with it. I don't add any medium or paint thinner during the color mixing stage, simply because the brand of oil paint that I use has a great consistency to begin with. It's creamy and not too stiff. Most of the professional or rather artist-grade oil paints will be like that, Gamblin oil colors, Nevskaya palitra, which I use, etc., etc. You might have noticed that I have been painting on frosted acrylic panels. This painting is not an exception. These panels have a pretty smooth surface, which I love, but it is also frosted, so it has some roughness that helps to create a stronger bond between the paint and the surface. What else can I say about it? I will also mention that if you are transitioning to painting on smooth surfaces, aka wood, primed paper, some kind of panels, etc., from rough linen canvases, you will probably miss that texture that canvas gives you at first. That is what I felt when I first tried working on primed paper, I believe. It's been a while, though. I do love the effect frosted acrylic creates, and that due to its transparency, I was able to paint some of the background on the other side, even before starting a portrait. And it's just interesting and new to me. I realized that it's not a very common practice among oil painters, but I had this idea and I wanted to try it. I'm glad I did. Thanks to everyone who is a part of my little community on Patreon. I really appreciate your support. I hope you found this video helpful. Let me know what you think. Have a wonderful day and I'll see you later.