水與倒影 ~ 日出粉彩畫教程...第 3 部分

Hi there, thank you so much for clicking the thumbnail and being interested in my work. In this video, I share with you how I achieved the water and reflections of this sunrise painting. 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, this is how I left it in part two. For the underdrawing, I'm using the same colours I've used for the sky really, which is lemon yellow, burnt sienna and an olive green. So just using basic colours really, just to roughly get something in. It's a case of just trying to fill that tooth up with a pastel matte and all the underdrawing is just to get the shape and the areas correct. So I've selected more colours now because this is a shadow area. So using browns and darker greens, we're just mapping out a balance of where things go. We're not concerned about values and the correct vibrancy at the moment. Like I say, there's three stages to how I do things, underdrawing, rich colours and then detail. So I decided to do this in two sections. So I'm going to do this half here and then do the other half later. So what I'm on with now is the rich colours. So that's the rich colours I've chose for the actual bright areas. It's the same what's in the sky and the Caran d'Ache pencils, which are rich in vibrancy. So it's a case of really pressing on a little bit more now and putting loads of pigment on here because it's really vibrant. So you need to really pile the pigment on. The more pigment you put on, the more vibrant it is. But I will glaze over as well, like I normally do, just to get that extra zinginess later on. But just basically laying in that sort of rich colour. The rich colours in the deep shadows there, I'm using green, cold red and warm red. So sometimes you have to mix those two together to get the correct sort of feel to it. Then I'm using black as well and also burnt sienna and yellow ochre. With this stage I'm trying to get the value more accurate. And also the chrome of certain areas are richer than others. And some are more desaturated. So it's a case of trying to get the balance at this stage. But I'm not interested in detail. The detail stage is the last stage. This is just preparing for the detail. So all that sort of scribbling you're doing and moving around and all you're doing is just mark making. All that will really come in handy when you start putting the details in. Because you just put odd little detail here and there. And it just makes all the difference. Because all this preparation you do now makes the detail stage a lot easier. It's a good idea to actually squint your eyes when you do the values, when you're trying to see the values. So this will help to find the subtle variations in the shadows. So basically what I'm doing here is just laying in the colour. It's for foundation for when I do the details. So it's about letting go and feeling the energy. And feel that water. Imagine you're standing there. And you can feel it. It's all about putting the feeling in on this rich stage as well. So it's just losing yourself into it. Try and melt into the reference image. And just sense where these shadows are. And just play really. It's really nice when you're loose like this. You're not worrying about putting every little detail the same. Because you can really enjoy it and just let yourself go. I mean when you start putting the details in. It will become a lot easier because you've done all this. The amount of information you can actually see in the reference can get you a little bit tense if you let it. So that's why I do these three stages. So I enjoy it on every stage then. So just let go. And don't worry about it too much. Because it can be a little bit daunting when you see all those little sort of ripples and that. It's just let go. The more you let go. The more you let go of the mind. And thinking about it. And the more you open up your heart. And just relax and let it flow from you. The more you'll just enjoy it. And the more you'll just find that it just happens. It just paints itself. The movements just happen. And you just observe them. Right here's a little bit of real time. Just showing you how I do these sort of really light ripples. Where the wind's blowing it a little bit. I really love doing these sort of things. It could be quite a few things. I mean sometimes you get these when it's like a movement. Maybe a fish has done it. Or a breeze causes a little bit of a ripple. And all I'm doing here is using yellow ochre. I don't really use pure white on any of this really. Because it's all rich colours. So I'm using even that colour there. You see there is like a lemon yellow and white together. I see it as constant play. Just trying to see what works. Picking up a pencil. You know I'm trying a different colour sometimes. Just to see what works. And then remember how that feels. And then it just becomes an automatic thing then. But it's a case of playing. Seeing how these things work together. The combination of pencils. I usually find that when you do a certain area. There's always a selection of pencils that you mix together. That makes it easier to get the effect you want. So it's just finding the combination you need. And then once you've got that combination. You know you're set. But you can always change things up. By glazing over with the primary colours. And secondary colours after. So sometimes I'll be doing something. And I know it's the wrong colour. But I know later on when I glaze. It will be the correct colour. So sometimes I can build the foundation. Of all the subtle shadows and stuff. But I know I can subtle it up later. So I'm not really worried. That it's not quite the right shade. Because I know it will be when I've done. 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. What I suggest you do actually as well. Is try and find pencils that are very similar colour. To what you're looking for as well. And then you can combine them with other pencils. To get the correct shade. So that's a case of playing. But this one here is slightly pink. Which actually is a super perfect colour. When you mix it with the lemon yellow together. It creates really nice glows. So I was lucky enough to actually find that in my kit. So I'm using like a lemon yellow mix. With a pink mix. And it sort of really glows. So I'm quite fortunate there. And I'm using that to subtle up. Sometimes as well it's a good idea. To actually put different pressure on as well. To create very subtle light variations. Now when I use black. I always mix something with it. Because black is very dead and dull. When you just put it on it's own. So always sort of mix either reds or browns. Or even blues with it. So just put something with the black. And it will actually deepen as well. It will get more of a richer. More natural sort of shadow with it as well. But you know normally. If I was an oil painter. I'd mix my own black you see. But you know with this being pastel. It's very difficult to mix a black up. And get the density. So you really have to use black in some cases. But always mix something with it like I mentioned. It seems to do the trick. I would like to take this opportunity to thank my Patreons. For their generous pledges every month. I really appreciate it. It does make a difference. It gives me the finances to actually. Keep doing these free YouTube videos. So I really appreciate your support. If you are considering joining me on Patreon. And want to get the benefit of longer. Slower and more in depth videos. Please find a link in the description below. To find more information. When you're putting little details in. It's just the odd little speck. Little mark here. It just makes all the difference. And the eye just fills in the gap. So it looks more detail than what actually is. So just putting the suggestion here. And a suggestion there. Just makes all the difference. And don't forget that you can glaze over the top of these marks. Just to settle the colours later. Right it's time to do the under drawing now. The other areas. So I've just picked up normally what I do. But a few greys as well. And then I will experiment. Picking things up. Seeing what works. So you'll see me picking up. Some Caran d'Ache colours as well. Like this pinky colour here. And then just playing about. Trying different combinations. Until it works. Like these two greys here. You're just trying different things. And some work. Sometimes it works. Sometimes it doesn't. But it's all play. This is why you don't get wrapped up in all the details. To start with. Because you're building it up. You're trying to work out. What works and what doesn't. So it's all play. Trying different things. Seeing if a certain combination of grey works. Or mixing grey with the different colours. But it's a good idea to use grey. Just to shape out the directions of the highlights. And also the shadows. So use darker greys and lighter greys. Here you can see me mapping out. Using the same colours as what's in the trees. Which is the green and burnt sienna. So I'm just getting an idea of where things go. And then using the lemon yellow mix. It's like lemon yellow with a bit of white in it. And just shaping everything up. Like I say. It's an underdrawing. So all this is. Is just get an idea of where things are. And then I'll go over this in a bit. With the richer colours. The drawing's done. I'm putting richer colours in now. So I'm pressing on the pencil. Harder as well in places. So you're varying the pressure of the pencil. Getting more pigment down in some areas. And not in others. Because you're using the colour of the paper as well. It's hard to explain what I'm doing. But it's just. Some areas are textured. Some aren't. It's a case of playing about. And see what works. 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. Because this would help the channel to grow. Things up a little bit here. Because I've got loads more real time. I want to add to this video. Later on. So you can see how I do the final details. So here. I'm just putting those glints in. And then just glazing. It's just a case of playing. Like I mentioned before. There's no easy way to explain it. But for certain ripples. You can put. Maybe a little bit of a grey. There's different. Subtleties of grey you can use. And then. Glaze over the top of it. Really melt into the actual. Reference image. Imagine you're there. Sense the water. Feel the breeze. On your face. While you're looking at it. Imagine that. That breeze is on the water. Making the ripples. All this really helps. And it starts to communicate. Through your hands then. And if you find yourself. Getting a bit stressed out with this. Because there's too much detail to put in. Just walk away from it. Take a break. And some deep breathing. And then just come back to it. With just awareness. Because the more you start to think. About these details. The more you'll feel tense. So the more you can just relax. And be aware of what's happening. The more it'll flow for you. So be aware. Rather than thinking. I'm just slowing it down now. To real time. So you can see. How I'm getting that texture. I'm using the real side. Of the pencil as well. And scraping it on. And because the pastel mat. Is like a sanded board. It'll just. In areas. It'll put little speckles. And that's like speckles. Of the sun shining on it. And then you can glaze. Over the top of it. So it's a case of really. Using the side of the pencil. To create the texture. And you're putting. Different pressures. On different areas. And then glazing. With different colours. Over the top. Of what you've done underneath. So you can see. What I'm doing there. And it's a case of. Really. The more you do it. The more you'll have an insight. Of how things can be changed. Because it starts off. Being a bit too light. But you'll know. When you're glazing. It'll be the correct colour. Using a brown here. But the lightest pressure. I'm putting on. But that's mixing. With the colour underneath. That's how. I'm changing the colours. So. It's different pressure. Here and there. That creates the texture. And the feeling you want. Now for the. Close in area. I'm using that combination. Of pencils. It's like a. Lemon white mix. With a pinky. Ready mix. And. Together. It really. Creates. Just the right. Amount of. Reflection. On the water. It's really bright reflections. And then what I'll do is. Just glaze over that. To create. The correct. Warm colour then. So that. Two of those. Pencils mixed together. Creates that warm shimmery. Colour I'm looking for. But. There's no pencil that colour. I had to use that combination. To get that colour. And then. You know where the ripples are. There's little bits of grey. Shadow. I'm using different greys as well. To create. The actual ripples. It's a case of playing about. Like I say. There's no easy way. Of doing this. It's just got to see. What's in your kit. And see what works. View. So you can have a. Closer look at it. How I'm doing it. It's just a case of. Again. Using those greys. Just trying to find. That ripple area. Then changing it up. We're just putting the. Lighter colours on top. There's no easy way. To explain it. It's just a case of. Just playing about. Putting little marks here. And little marks there. Little dashes. And. Just let yourself go. Merge into the actual. Reference image. That's the way to do it. And just let things. Just happen. Just showing you how. I'm building it up here again. With the rich colours. It's just. Just little speckles. Here and there. And then glazing over the top. Using light greys. Different colour greys. There's some bluer greys. I'm using there. Some darker greys. There's even a grey used. For actually the outline there. 708. Carbothello. That seemed to be perfect as well. For the actual shadows of the. Sort of ripples. So. You just got. There's no easy way to explain this. You just got to keep playing. And just enjoy it really. Just let go of the mind. Like I said. Because the mind will. Want to control things. And that will cause tension. So the more you can just open up. Open the heart. Just let go of thought. Just be totally in the now. And just imagine you're actually there. While you're painting. And feel that breeze on your skin. Like I mentioned. And. Sense it on the water. Sense the water elements as well. And just really. Lose yourself into it. And this all be. Sort of communicated. In your painting then. It'll all sort of. Flow into it. Now when you're doing the final details. Just open up and look at the whole picture. As one. And you'll find yourself going from one spot to another. It'll be a little bit of area there. Little bit into that area. It'll be going to trees. You'll be doing. All sorts of things. Just let your instincts take over. And just go with instincts. It shows you where to go. You'll have a feeling you'll need to go there. So. I mean I'm working on the trees here. There was something that just caught my eye. I sense that there was a bit too much of a sort of. Sharp edge on the edge there. So it's a case. When you put in these final details. Some areas are sharp. Some are blurred. Some stand out more. So you have to really sense the atmosphere. And see what's lacking in the atmosphere. In the actual painting. Compared to the reference. And then you get an instinctive. Feeling to where to go. And these little subtleties. Just make all the difference. Just notice there's some beams. Needed some more work. So it can be a little bit stressful. This you know. If you. If your mind kicks in. Because you think. Well I don't do it. Because I might spoil it. It looks all right before. But. You've just got to go for it. You know. You've just got to just. If your instinct tells you to do it. Do it. I'm using the cotton board. Here just to soften things up as well. Hope you've enjoyed this tutorial. This is the painting at the correct angle. Thank you so much for watching it. Right till the end. If you're interested in seeing more of my work. Here's some links. That you might be interested in.