粉彩海景教程海景場景，伊斯拉在沙灘上玩耍 第 1 部分

Hi there, thank you so much for clicking the thumbnail and being interested in my work. In this video, part one, I share with you my techniques and tips on how to do the outline and also how to pastel paint the water and the sea and create that atmosphere. So be sure to watch it right through till 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, just to explain then the cross-reference method again. If you just see my cursor there, it's moving around a lot. So the idea is to place your cursor, say, on the side of the head here. And then at the top here you've got like a dashed line. And so that gives you the actual width measurement. It's all in inches. It's scaled at 10 inch before 14 inch, the reference image. So then you could sort of find where it is on the depth. So it's 8 7 8 there at that point at the side of the head. And you're looking at 6 1 8. So then you can actually place a mark then onto your board. And then you can just go around and do in certain areas. And just put the odd mark here and there. And that gives you the location where it is. And then just freehand the rest of it. Now you can put quite a few marks in when you're first starting out. But the idea behind this method is to get less and less little cross-reference marks. And do more freehand. It's a great way to learn you to see shapes and everything. And eventually you'll be able to do it freehand. So it's a good tool for that. But you can see my cursor on the reference image to your left on screen. Where I'm pointing it and where I'm actually doing the mark. And I'm using the pencil on a vertical plane as well. And a horizontal plane here and there. So I'm using the freehand method as well as the cross-reference. Pencil I'm using is a 708 Carbothello pencil. Which is really great for this. Because if you erase it, you can't see where it's been really. So it's a really good pencil colour. Now with the waves, I'm keeping a similar pattern. So I don't get lost in all the detail. It's a good way of keeping relaxed. So if you try and keep it similar. You don't have to be exact but very similar. It keeps you sort of focused then on getting the correct colour and the balance. Rather than losing yourself in all that detail. Now the blues and the red I'm using from the Conti Pastel range. Really nice colourfast pencils. And then here I'm using the Carbothello ones. And I'm using a grey-white pencil rather than white. Because it's quite soft. And it creates like a desaturation of the colour in a very subtle way. So it's a lovely pencil to use rather than the white. I use a combination of different blues for the sky. I've changed it a little bit to what the reference image is. I've made it a little bit more sort of turquoisey blue. Just to give it a little more interest. Trying different blues from different brands. Now the horizon, I tend to use a ruler for that. To make sure it's dead straight. And it's straight with the horizontal plane. Now I'm marking out the shadows of the waves with a plains grey. So I'm just marking those out. Just going over what I've done previously with the 708 outline pencil. But here I've slowed it down to real time. So you can see how I'm putting that sort of subtlety of movement into the water. And I'm just really just letting go. And connecting to the energy of it. And just let it flow from you. Rather than think about it too much. I'll give you a tip to help you relax while you're doing all this detail. Is to allow that image to come inside you. So you're actually drawing it from inside your heart. Rather than you going outside with thinking and forward tunnel vision to try and draw it. So it just keeps everything nice and relaxed then. And then once it's all mapped out. I'm glazing over with two different blues from the Contour Pastel range. A number 10 and a number 6 blue. Now this area once I've mapped it out. I'm glazing over with just the number 6. Which is more of a turquoise blue. And less ultramarine. Because as it goes into the distance it's more ultramarine. And then it goes less ultramarine as it comes towards you. 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. I always follow the similar procedure. Which is to map it out first. Get everything sort of in its place. So just focusing on just getting the shapes right. Not really concerned about the colours and everything. Just getting everything sort of in the right place. And the right feel. So I'm using a grey here to start with. Just to shape it up. And then what I'll do is glaze over then with the blue. Just to get a sort of feel for it. And it's filling the actual pastel mat as well with pigment. Which makes it easier then when I start putting the richer colours on. So again here I'm just mapping it all out. Same as what I did previously. And just making sure everything is in the right place. Trying to follow the similar pattern to what the reference image is. So I don't get too lost in it. And it creates more of a relaxed feeling then. Now I'm using the orange now to desaturate the blue. And also a brown to make a darker shadowy colour. You've just got to jump in and put the pigment down. And just see what happens really. Don't try and overthink it. Just feel your way. And you'll find that all these shapes just start to come together. Without even working it out at all. It just sort of happens. The more you can open up your heart. The more you can let go of the mind and thinking about it too much. The more it just becomes second nature then. So it's just a case of letting go. You'll get a sense of what colour to use. You know a bit more orange, a bit more blue. And a bit of brown. It sort of creates different sort of shadows. And different sort of feeling within that wave. To try and keep it loose and free flowing. I'm using that white grey. And then just glaze over the top. And it's creating that sort of subtlety I'm looking for. And sort of a misty look to it. Now it's always great to find a colour which is very similar to what you're looking for. And I was lucky enough to find this in the Caran d'Ache. It's a 093. And it's perfect for this sort of area here. Where it's a bit less depth of water. And you've got the colour of the sand and the blue mixed together. I'm laying that pigment down first. That colour. And then going over again with the 110. Of the Carbothello range. And then just putting some ultramarine over the top of that. And that's just the colour I'm looking for. I'd just like to take this opportunity to thank all my patrons. For their wonderful support every month. I can't thank you enough. Really appreciate it. If you're interested in joining me on Patreon. Please check out the link in the description below. For more details. This portrait will be on there at some point. In two parts. In all real time. So be sure to check out that when it's available. Now my approach to this was to just get all this blocking in now. Just get the colour in there. And don't be concerned about the details and the subtleties. Similar to when I do a portrait. You know I've got the three stages. Same here. It's the underdrawing. And then it'll be the rich colours. Then the details. So this is the underdrawing. So I'm just getting everything in position. And get a feel for it. So you are actually experimenting. Mixing the colours while you're doing this stage. But I'm not concerned about getting everything. The correct value. The correct chroma. It's just a matter of just getting that colour down. Now I found a pencil in the Carbothella range. A similar colour to the actual colour of the sand. Which was handy. Then just put a bit of ultramarine blue on there. And again a bit of that grey mix. And it seems to be the right shade. So just playing about with that. Just to get that edge. Just something to sort of work towards. Then when I'm putting the actual water lapping onto the sand there. It just gives me that little bit of sand to work with. So just again putting the underdrawing in. Just placing that pigment in. Because what it does. It puts the pigment into the tooth of the pastelmat. And it makes it a lot easier then. When you start placing those details in. You've got some pigment to work on. So it's just a case of just being free flowing. Really enjoy this stage as well. Because it's quite relaxing. And it's very loose. And you can get the energy in there. So I try to really open up and feel the waves. And the atmosphere. And look at it as a whole. Because everything becomes one you see. So I try and not separate it by putting too much detail in one spot. But by just keeping everything. Sort of a feeling of oneness. And aliveness. And really enjoy that looseness to it. And then that carries on then. Even in the detail stage. Your details become looser then. If you can keep that feeling. If you enjoy 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. If you do find that you're getting sort of overwhelmed by all the details. Always take a break. Just have 5 minutes away from it. You know keep quiet. Just be centered in the moment. And then come back to it with a fresh eye then. It's just. The more you can keep out of thinking. The more you can focus on the here and now. Because all the power you'll ever need. And all the energy you'll ever need. Is in the moment here and now. Not some future point. Or some memory from the past. It's just a matter of just being centered here and now. And then this will just all happen. All these colors and everything just mixes by themselves. It's a strange feeling. Because all you do is just observe what happens. After a while it becomes second nature. Now it's the detail stage now. So what I'm doing here. Is again keeping open. Keeping in the moment. But just looking at it as a whole. And sensing what needs to be done. So if there's an area that feels wrong. It means it needs some attention. So I go by its feeling rather than thinking. So I don't think all that looks wrong. I sense it. And if there's a feeling that it don't feel right. It needs attention till it does feel right. So that's how I do these things. If you do want to know more about color. And how to get the correct shadows. I have got a free class. That's available for you. The link is in the description below. It's regarding portrait skin tones. But it applies to everything I do. Landscapes, seascapes. It all applies. Whatever I seem to do. So you're welcome to it. It's in the description below. So please check that out. If you wish to acquire it. So what I'm sensing now is. How the values are. Is it dark enough in places. And also the chroma. How does it glow. Is some areas are glowing more than others. Now if it's glowing more. Add that little bit of lemon yellow. To create more of a sort of. Zinginess to it. And creating that sort of. Depth to it. I'm adding that little bit of brown and blue. Which is changing the actual value. When I glaze. It's just randomly put on. I'm not really precisely. Putting a glaze over a certain area. I'm just like letting it go across. I'm just letting it feel it's way. Give it freedom of movement. So it's very hard to put in words really. But here on the highlights. I'm adding that Rembrandt white. Because the sun is really sharp. And beaming on those little glints here. So I'll put that in. Little dots here and there. Then just moving it around then. With the carbophyll white. I'm using the azurite. Caran d'ache there. To add more vibrancy. In certain areas. So that's what I'm doing here is. Is getting that sort of. Chroma right in places. To give it that sparkle. To give it that life. And that feeling. Of movement and energy. Now I approach it as a little dot here. Little stroke here. Little mark. I'm not trying to put every detail the same. It's just my interpretation of it. It's almost impressionistic really. When you look close at it. It's all the different marks. But when you look at away from it. It all sort of merges. And it looks realistic. So that's where I'm at at the moment. With it really. It's just being spontaneous. And really enjoying the freedom. Of just expressing. Movement. Energy. And colour. Just working on the distant waves now. Just adding that little bit of highlight. I put more highlight in. The actual painting. Than there is in the reference image. Because I felt it needed. A little bit more sort of life to it. Because photographs can make. Certain things look flat. So I just needed to put that life in there. So I just expressed it in it. And just you know. Put in that little bit of lightness. And then glaze over for more chroma. In the distance. It's more sort of ultramarine. And as it comes closer to the shore. It's more sort of this turquoise colour. So that's what I've done really. Is try to get that balance. Hope you enjoyed part 1. Fascinated to do water is. I really enjoyed the change. You know from just doing portrait. It's been really interesting to do. Part 2 will be out shortly. That will be the sand and isla. And the finishing touches. So be sure to watch out for that. Now if you've enjoyed the video. Please give it a thumbs up. And share it with your friends. It would mean so much to me. Because this will help the channel to grow. And if there's any questions at all. Leave a message in the comments below. And I'll get back to you as soon as I can. In the meantime. Please check out this video here. For more content. Take care. Bye for now.