粉彩肖像畫技巧 ~ 如何輕鬆繪製逼真的灰髮

Hi there, thank you so much for clicking the thumbnail and being interested in my work. In this video, I share with you my techniques and tips on how I create grey hair. Be sure to watch it right through to the end because here and there I'll be slowing things down in real time so you can take a closer look. So let's dive in and take a look. Right, putting a centre point in the centre of my board there and that's where I tend to work from when I'm using a freehand method and just using imaginary angles just focusing on getting the big shapes in first and then filling in the middle then so do big shapes and then eventually get smaller and smaller and smaller The pastel pencil I'm using is from the Carbothello range and it's a 708, it's ideal for this really, it's just the right shade so I use dark grey pastel matte board and it's just a case of just feeling your way, mapping it out ready for when you start doing the underdrawing I'm keeping it simple now for the underdrawing using the 708 and white and also for the skin tones, these are the colours I'll be using Now the purpose of the underdrawing is to correct my outline so I'm using form, so I'm using light and shade to create the right sort of flow and the balance I'm trying to get the rhythm of the hair and correcting things accordingly and the skin tone I'm using brown and red and yellow ochre just for the initial sort of underdrawing just keeping it simple and then just moving things around like I say just to get the right placement I keep the pattern as close as I can to the reference image so I don't get lost in it and it helps to keep you relaxed if you have it sort of similar to what you're looking at so don't be too random with it I don't try and get everything exactly the same but it's close to it It's just so I can understand more of the colour subtleties and if you keep it the same sort of feel and shapes it becomes easier then Before I start adding the rich colours I tend to actually have a play just to see what greys are best Carpathel has got an amazing selection of grey pencils so I'm using a combination of two there with a bit of lemon yellow This will change into other things as you develop but initially you've just got to get that sort of first idea of what needs to be mixed But before I do anything like that I've got to get the highlights in so I'm using the Faber-Castell white which is really fresh in vibrancy and adding that to the details on the highlights and then using the Rembrandt stick as well If you're enjoying this video why not subscribe It's absolutely free and then you're sure not to miss any of my future videos It's about having a play really So what I'm doing is just putting a bit of Faber-Castell because it's fresh white and then glaze over with the grey and then a bit of yellow and that creates that greeny tinged feel to it and a little bit of red just to give it that warmth look to it It's just a matter of playing about really and on the way of doing these sort of things If you get distracted in a way that you feel like you need to try something I always do you know So I always let instincts take over But I'm putting the grey in here look So I'm looking at all different colours and I'm putting them in and playing about It's just building it all up to start with Initially I'm using these two colours here The black and the Payne's grey for the background Got to get that darkness in there now So that's the darkest area of the study And then what that'll do then Is to help me to judge What sort of value and colour and subtleties The grey area is So without doing this It would be difficult really to judge it So I needed to get this background in So I'll put it in very quickly for you here You can see visually how I'm putting the background in I'd just like to just take this opportunity To thank all my Patreons For their wonderful support Every month I can't thank you enough If you're considering joining me on Patreon And would like the benefit of longer Slower and more in-depth videos Please check out the link in the description below For more details So I've used the black and the light grey pencil Now I'm putting blue and red in there as well Just to sort of change it up in a bit of yellow So I'm using the primaries over that basic Sort of black and Payne's grey For the flyaway hair there I'm using the 110 It's like a light grey from the Carvathelo range Ideal for this Just mapping out where they go Just getting ideas That's all it is preparation Here's the colours I'll be using for the skin tone The rich stage Just running through the skin tone quite quickly Because I want to get onto the hair Because that's what this video is about So basically what I did is use a 5% Caran d'Ache skin tone in there And then went over them with a warm red Yellow ochre And then green to desaturate But if you want to see more of my skin tone videos I've got loads in my channel So please check that out So I just want to get through this quickly So I can get on with the hair So I needed to get the background done I need to get the skin tone done And then it would be so much easier then To get the colours right in the hair Just slowing down to real time So you can see what pace I work at It's quite slow and steady But I'm using the edge of the point there And just keep turning the pencil to find another edge And that's Faber-Castell white pencil Quite nice and fresh So what I'm doing is mapping out these fine hairs But first of all it's more of a blocking Even though it's a rich colour blocking It's still a blocking The details will be later on in this video But it's just a case now of Getting the values, the chroma And the placement right still So I'm altering things around still And making sure everything's all in position And then once I'm happy Then I'll go over the top with the details Which you'll see me do later on Just getting some pigment down now Just freshening it all up So I'm just blocking it up in areas Using the fresh Faber-Castell white You've got that sort of vibrancy And the Carbothello white When it's not so bright And it's more subdued So I'm swapping whites as I go But then glazing over then With the blue, lemon yellow And a little bit of red now and again Just to sort of change it up a little bit So I'm just working in these colours All this will be subtled out later But just a case of just sort of Putting all this colour down Quickly And then just readjusting it And refining it To a more of a detailed state later on Just mapping out Where these little sideboards are as well And just getting a feel for where things are Generally it's just the same as the underdrawing But it's just using richer colours To get the value, the chroma And the temperature more like Just ready for the details to go in But this is a bit of a real time here Just showing you how I'm putting A few whisks here and there And again the sort of pace I'm working at And you can see I'm using the side of the pencil there Turning it round Find a new edge And then all this will be glazed over Once I've just done a few marks So I do a few marks like this Then glaze over A few more marks Glaze over Until it's sort of You know shapes up really If you're enjoying this video Why not give it a like And share it with your friends It would mean so much to me As this would help the channel to grow Just got to be patient really And just allow that reference image To come inside you So you're drawing it from like inside you Rather than going too far out And like tunnel vision Concentrating on it too much That will keep you relaxed if you do that But if you do find yourself Being overwhelmed By all the details I suggest just taking a break And just sitting somewhere Taking deep breaths And then just come back With a new fresh outlook on it My approach is not to connect To any memories or expectations And just be totally here and now And then you find that it just happens Everything just flows from you And you just keep that sort of connection And really feel the energy of the person Even though I'm just doing this hair There's energy in there Of the person around it So I absorb that into me And allow it to go through the hands And it's absorbed by just opening the heart And just being open And it'll just come into you And out into your work What I do is I make the marks lighter than I want And then when I do a glaze It becomes the right colour So that's why you're seeing it A little bit too light here But when I've glazed over it It just sort of becomes the right colour And that light shines through And makes it shimmer So you get that shimmery feeling to the hair It looks a bit blue at the moment But when I start putting burnt sienna over Later on in this video It actually becomes more of a natural grey colour Because burnt sienna and blue together Make lovely greys So just letting you know that This will sort of change As the video progresses But you just have to build it up You have to leave it that colour And work on the whole overall effect And then come back to it And then change it up That's what I tend to do I don't worry about it not looking right At a certain stage I just allow it to be And just keep working in different areas And just go with the instinct really And eventually it all gets done Now adding more white now With the Rembrandt stick So just find the edge And just put that in And that creates that real bright Vibrant highlight then And then that'll give that 3D effect And it gives me more sort of Variation for values So you've got really extreme white there And you've got the dark of the background And then it gives me more scope To get that sort of 3D look If you want to know how I create shadows And desaturate colours I have got a free class And the link is in the description below I made it for sort of skin tones It's a colour wheel But it applies to everything I do really So it's landscapes, pets, wildlife, whatever It's the same sort of principle So you're welcome to that So please find the link in the description below For more details What I tend to do is work in big shapes And it gets smaller and smaller And eventually it gets really fine detail So it's, you know, loads of big colour put down Then refining it, reshaping it And then until you get to really very fine detail And that's what I'm tending to do now Is just trying to get a little bit more detail in And get that feeling of sort of aliveness And the rhythm of the hair As well as getting the energy of the person Behind it as well, you know, around it So there's a lot going off It's just a case of just being open And just let it flow from you Slowing it down to real time now So you can see what pace I'm working at And just putting some broken lines in there Because the hair is not one continuous line It's like broken highlights So I'm just sort of recreating that Trying to get as much pigment down as I can There's still tooth there for me to actually do that So that's why I don't work heavy straight away I build it up And it's just here and there Just putting them lighter areas Just makes all the difference And then what I'll be doing now Once I've got this white in Is to glaze over with the blue And the burnt sienna That's what I'm doing now Don't matter about it going into background So you can just glaze over it And then just put a little bit of burnt sienna in there And it creates like a nice warm gray in places And then you can leave the colder gray Which are more bluer in other areas So that's what's great about using burnt sienna And blue together You can have a warm gray or a cold gray Now at this point I'm looking in the mirror a lot And just seeing it from a different perspective I suggest taking it into a different room as well In different light sources Maybe turn it upside down as well Just to see how it looks And it gives you a different perspective on it And it starts to bring out Things that need to be worked on Just going through now Making the lines thinner in places as well Just to get that feel right Using a combination of burnt sienna Also using the 708 gray as well Using that in places And then just glaze over it to change it up So it's a really handy pencil that 708 gray Now what I'm aware of at this stage Is to get the temperature right The value The chroma The edges And I'm focused on the whole of the subject or portrait Whatever you're working on And trying to get the overall balance I'm squinting my eyes to see the values Open the eyes to see the colour And just sense the temperature Of what's warmer, what's cooler And just get an overall feel for it Don't name it as hair Just see it as light and shade Movement and flow I'm just darkening this area here with black It's a great black from Carbothella actually It's not too brash It's quite like a natural shadow So it really comes in handy But I always use a very light pressure with it Now for the skin tone here I'm just adding a little bit more colour here and there And a shadow Just to make it look more realistic I know it's hair study But just correcting the skin tone there a little bit I'm not putting too much detail in But enough just to give it a sense of reality To help create the balance as well I'm being aware of several areas at once So I'm here and there Just going from one place to another Just getting a general balance And making sure everything sort of feels at one So everything is a oneness rather than separate Hi there, thank you so much for watching the video Right to the end, I really appreciate it If there's any questions at all Please leave a message in the comments below And if you've enjoyed it Please give it a thumbs up And share it with your friends It means so much to me Because I help the channel to grow If you're interested in seeing any more of my work Please check out this video here Take care, bye for now