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101 Textures in Oil and Acrylic: Practical techniques for rendering a variety of surfaces
128Overview
Product Details
| ISBN-13: | 9781633226869 |
|---|---|
| Publisher: | Foster, Walter Publishing, Incorporated |
| Publication date: | 12/18/2018 |
| Series: | 101 Textures Series |
| Edition description: | Reprint |
| Pages: | 128 |
| Sales rank: | 697,815 |
| Product dimensions: | 6.50(w) x 9.50(h) x 0.45(d) |
About the Author
Read an Excerpt
CHAPTER 1
PEOPLE
COLOR PALETTE
• alizarin crimson • burnt sienna • cadmium yellow medium • ivory black • Payne's gray • phthalo blue • purple lake • raw sienna • sap green • titanium white • ultramarine blue • yellow ochre
Smooth Skin
STEP ONE Soft skin has a fine texture with smooth gradations of warm and cool tones. Create a mix of two parts burnt sienna to one part sap green, and thin it down on your palette. (See "Thinning Paint," page 12.) Cover your drawing with this transparent mixture using a 1/2-inch flat brush, spreading the color smoothly. Use the pounce technique to remove all brush-marks, leaving as smooth a surface as possible. (See "Pounce Technique," page 15.) Finally, roll a small piece of soft cloth to make a point and wipe off paint from the lightest areas of the image, such as the background and neck. (See "Wiping Away," page 13.)
STEP TWO Mix equal parts of burnt sienna, black, and white to create a cool skin tone. Using a 1/4-inch flat brush, paint the shadow and middle-value areas of the back, under the chin, and over the back of the neck with short, impressionistic strokes to simulate the texture of skin. To lighten and warm the color, slowly add more white and reduce the black for the lighter areas of the skin.
STEP THREE To add subtle texture and build up the middle values, use a 1/2-inch flat brush to apply mixes of burnt sienna and white. Wipe off the excess paint from your brush onto a cotton rag before laying on short, impressionistic drybrush marks that give the impression of skin texture. Next lay a painterly layer of white in the background areas, and use a fine, soft, dry brush to trace the lines of the front and back of the neck. This will soften and blur the edges to create more depth.
STEP FOUR Continue to work from dark to light using short, impressionistic strokes. Slowly build up the light layer by layer with a simple mix of burnt sienna and white. The lightest area will eventually have the thickest paint, which is a traditional way to build depth in a painting. For the lightest skin tones, cool the mix with a touch of phthalo blue to complement the warm shadows.
Aged Skin
STEP ONE Aged skin features deep wrinkle lines with strong contrast between the lights and shadows. To capture this, create a mix of one part burnt sienna to two parts sap green, and thin it down on your palette. Use a 1/2-inch flat brush to cover your drawing with this transparent mixture, and use the pounce technique to thin out your color until you can see your drawing through the paint. Next, using an old 1/4-inch flat brush that has splayed out slightly from use, dab the end of the brush into the same paint mixture and then dab it into the shadow areas of your drawing, leaving a stippled texture that resembles pores in skin. (See "Stippling," page 13.)
STEP TWO Mix burnt sienna with a small amount of black to create a dark skin tone. With a small round brush, paint the darkest areas, including the deepest parts of the wrinkles, the shadows under the nose, and where the nose and cheek meet. Trace over the wrinkle lines with a clean brush to soften the lines and blend the color out into the softer shadow areas, such as the dimple on the nose.
STEP THREE To begin building the middle values of this rough, wrinkled skin, mix equal parts of purple lake and raw sienna and varying amounts of white to lighten. Working with a value very close to your darkest shadow color, slowly dab in spots of color, working from the shadows into the light. Both a 1/4-inch flat brush and a small pointed brush would work well, depending on the size of the area you are working on. Do not blend the colors together on the painting, but rather leave separate marks, which add to the detail in the wrinkles and pores.
STEP FOUR In this final layer, focus on bringing up the light that is hitting the nose, cheek, and lips, in addition to the light edges of the wrinkles. Using a very neutral, cool skin tone mixed with purple lake, burnt sienna, and white, continue to work from the previous middle value toward the lightest highlights using a 1/4-inch flat brush. Wipe most of the excess paint off your brush onto a cloth. Use the flat edge for larger strokes and the corners for tiny areas, using the drybrush technique to pull out the texture of the canvas or board to mimic the roughness of aged skin. (See "Drybrush," page 12.)
Straight Hair
STEP ONE To create long, flowing red hair, start with equal parts of burnt sienna and sap green to create a warm, golden, transparent brown for the middle to dark values of the hair. Rotate a 1/2-inch flat brush to use the long, thin edge rather than the wide, flat edge, and paint long, smooth strokes from top to bottom in the direction of the hair. Capture smooth curves to give the hair a sense of movement.
STEP TWO Next paint the deep shadows with a mix of equal parts of black and burnt sienna, using the thin edge of the same 1/2-inch brush and long strokes from the top to the bottom. Use pure burnt sienna to paint in the middle-value areas of the hair to achieve a warm, rich red tone. Go over your lines as many times as needed to create smooth, silky lines.
STEP THREE Continue building the middle and lighter strands of red hair using a long, fine-pointed brush loaded with a mix of burnt sienna, cadmium yellow medium, and white. Turn the painting in the direction that makes it easiest for you to create long, sweeping lines. If needed, thin down your paint for a smoother flow. Then use a darker mix of equal parts of burnt sienna and ultramarine blue to redefine the shadow areas and further smooth the lines. Reshape where needed.
STEP FOUR This final layer is all about bringing up the values in the areas where the light is strongest, such as the sides of the head. For the lightest strands of hair along the sides, use one part white, two parts cadmium yellow medium, and one or two parts burnt sienna to retain the reddish orange color. For the cooler reflective lights on the back, mix equal parts of alizarin crimson and burnt sienna with a touch of white to lighten or ultramarine blue to cool. Turn your painting to the angle that is most comfortable and allows for the smoothest strokes with a long, pointed #2 brush. Thin your paint to create smooth, fine lines that flow easily.
Curly Hair
STEP ONE To create these big "dirty" blonde curls, mix equal parts of burnt sienna and sap green to create a warm, golden, transparent brown. This will be the middle value of the hair. Use a 1/2-inch flat brush to cover your drawing with this transparent mixture; then use the pounce technique to thin the color until you can see your drawing through the paint. Finally, using your eraser cloth, remove some color from areas of the curls where the light is strongest.
STEP TWO Using a 1/4-inch brush and equal parts of black and burnt sienna, paint the darkest shadow areas and curls, sweeping your brush in the same direction as the hair. A stiffer brush will create harder, more wiry hair, where as a longer, softer brush will result in silkier strands. After you have achieved the values you desire, you can soften the brushmarks by cleaning your brush, wiping it almost dry, and retracing your strokes as many times as necessary. As the curls recede into the shadows, your edges should be soft to create more realistic depth.
STEP THREE Continue to build the middle values using a fine-pointed brush (longer bristles work better for hair) and varying blends of ultramarine blue, burnt sienna, and white. If some of the curls get over-painted, simply use a darker mixture to redefine your shadows and darken the ends of the curls where they move in and out of the shadows. Do not focus on single strands of hair in this stage; rather, keep your edges soft to create a more general impression of curls.
STEP FOUR Highlights on curls tend to be much more dramatic and brighter than on straight hair because the light is concentrated on a smaller section of the curl. Use various blends of yellow ochre and white to add detail to the curls, working along the tops of the curls and toward the ends in shadow. Use a very light touch and thin paint to create finer lines and bring the individual hairs into focus. Using more and more white and a touch of phthalo blue to cool down your highlights, hit the brightest highlights with thicker paint using a fine-pointed #2 brush.
Wavy Hair
STEP ONE Wavy hair requires a combination of the techniques for straight and curly hair. Mix one-third burnt sienna with two-thirds sap green to create a warm, golden, transparent brown for the middle-to-dark values of the hair. Using a 1/2-inch brush, cover your drawing with this transparent color mixture and, using the pounce technique, thin the color until you can see your drawing through the paint. Finally, using your eraser cloth, remove some of the color from the areas where the light hits the waves most and from the negative spaces around the edges of the hair. This leaves soft edges for the remaining color, which helps them recede and suggest more depth within the mass of hair.
STEP TWO For the shadow areas, mix equal parts of raw sienna and black. A 1/4-inch flat brush and long, sweeping strokes work well to create smoothness while giving you enough control for the smaller negative spaces between the waves and at the ends of loose strands around the edges.
STEP THREE Build the middle and light brown values using varying blends of burnt sienna and cadmium yellow medium and full-length strokes with a long, fine-pointed brush. Curl your wrist as you follow your lines around the waves. Retrace your strokes as many times as needed to attain the smoothness you desire. Thin your paint to create silkier lines, but not so much that it becomes transparent. Redefine your shapes and shadows with a dark mix of sap green and burnt sienna; then blur the edges of the hair, always stroking in the direction of the hair. To paint the negative spaces between the loose strands of hair, dab white and a little green gold hue between the hair. Using a very soft, dry fan brush, lightly brush the white toward the hair to soften the edges.
STEP FOUR Spend some time building up the middle values using a long pointed brush with very soft, long strokes. Each stroke should start with a point (less pressure) and widen (more pressure) as you reach the center of the wave. Use less pressure again as you near the shadow end of the wave. Thin down your paint and turn the painting to the angle that allows the most fluidity in your movement to produce longer, smoother, and softer strokes. For the highlights, use equal parts of raw sienna and white.
Facial Hair
STEP ONE Mix two parts burnt sienna to one part sap green, and thin the paint on your palette. Using a 1/2-inch flat brush, cover your drawing with this transparent color mixture, spreading the color as smoothly as possible. Use the pounce technique to remove all brushmarks. Next use your eraser cloth to remove some of the color from the areas where the light hits the moustache and beard, or where there is more gray hair.
STEP TWO Create the darkest shadow areas, including under the lips and nose and between the moustache and beard, with the thin edge of a 1/4-inch flat brush and a mixture of equal parts of burnt sienna and black. By adding a small amount of alizarin crimson and white to lighten, you can create a dark pink lip color that still integrates with the beard and other skin tones.
STEP THREE Fill in the middle value of this red beard and moustache using a fine-pointed brush and a thinned mix of equal parts of raw sienna and burnt sienna. With burnt sienna and sap green, redefine your shadows and soften edges where needed. For the cheek, lighten burnt sienna with varying amounts of white and use your small pointed brush to create fine, impressionistic strokes that disappear as they merge with the beard along the hairline.
STEP FOUR Start by adding lighter whiskers on the cheek and lower parts of the beard with a fine-pointed brush and variations of raw sienna, burnt sienna, and white. To capture the variation of hair growth in longer, untrimmed beards and moustaches, paint in short strands against the direction of the main hair growth, especially in the shadow areas and over the lips. Finally, add the lightest strands, starting at the end of the hair and stroking back toward the follicle for a thick-to-thin line, creating the illusion that it is disappearing into the beard.
Eye
STEP ONE The iris of the eye has intricate detail and soft, stringy areas that can be treated almost like hair at the beginning. There is so much depth and color variation, but the edges of these areas need to be kept defined yet soft to retain the watery effect in the eye. Start by laying a smooth layer of two parts burnt sienna mixed with one part sap green using your soft 1/2-inch flat brush. Use the pounce technique to smooth out the brushstrokes and follow up with the eraser cloth, removing color along the light edges of the gold area that flares out from the pupil. Do the same with the circular highlight, as it is difficult to achieve a bright white over dark color.
STEP TWO The pupil comes to life with a simple mix of black warmed up with burnt sienna. After painting in this area with your 1/4-inch flat brush, use the same brush to drag this color outward in loose, squiggly lines that radiate from the center of the pupil. This will soften the edge of the circle and begin to establish the warm brownish areas of the iris pattern. With a small pointed brush and a lighter mix of equal parts of black and burnt sienna, paint the remaining dark parts of the iris using loose, painterly lines with soft edges. You can wipe off your brush and trace over your strokes to soften edges and make the eye appear smooth and moist.
STEP THREE To introduce the blue tones in the iris, use a long, fine-pointed brush and various blends of white with Payne's gray for a more neutral color, or ultramarine blue for brighter eyes. Thin this color so your marks flow smoothly to retain a blurred, watery affect. Working from the center outward toward the edges of the iris, create loose, squiggly lines in varying opacities to replicate the complex patterns and depth of the iris.
STEP FOUR For the final touches on the iris, fill in the white of the circular highlight with a #3 round brush. Then punch up the color on the golden rays fanning out from the pupil using a #1 or #2 round brush and a mixture of yellow ochre, burnt sienna, and white.
(Continues…)
Excerpted from "101 Textures in Oil & Acrylic"
by .
Copyright © 2013 Quarto Publishing Group USA Inc..
Excerpted by permission of The Quarto Group.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Getting Started, 4,
How to Use This Book, 5,
Tools & Materials, 6,
Color Theory, 11,
Painting Techniques, 12,
People, 16,
1. Smooth Skin, 17,
2. Aged Skin, 18,
3. Straight Hair, 19,
4. Curly Hair, 20,
5. Wavy Hair, 21,
6. Facial Hair, 22,
7. Eye, 23,
Animals & Insects, 24,
8. Smooth Canine Fur, 25,
9. Curly Canine Fur, 26,
10. Coarse Canine Fur, 27,
11. Long Cat Hair, 28,
12. Short Cat Hair, 29,
13. Horse Coat, 30,
14. Horse Mane, 31,
15. Dolphin, 32,
16. Elephant, 33,
17. Snake, 34,
18. Leopard, 35,
19. Zebra, 36,
20. Starfish, 37,
21. Feathers, 38,
22. Butterfly Wing, 39,
23. Spiderweb, 40,
Fabrics & Textiles, 42,
24. Burlap, 43,
25. Wool, 44,
26. Tweed, 45,
27. Plaid, 46,
28. Denim, 47,
29. Cotton, 48,
30. Silk, 49,
31. Satin, 50,
32. Velvet, 51,
33. Leather, 52,
34. Patent Leather, 53,
35. Sequins, 54,
36. Lace, 55,
37. Straw Hat, 56,
38. Woven Basket, 57,
Glass, Stone, Ceramics, Wood & Metal, 58,
39. Beveled Crystal, 59,
40. Clear Glass, 60,
41. Amber-Colored Glass, 61,
42. Cobalt-Colored Glass, 62,
43. Porcelain, 63,
44. Shiny Gold, 64,
45. Polished Sterling Silver, 65,
46. Pewter, 66,
47. Copper, 67,
48. Hammered Brass, 68,
49. Clay Pottery, 69,
50. Rusted Steel, 70,
51. Smooth Concrete, 71,
52. Stucco, 72,
53. Brick, 73,
54. Cobblestone, 74,
55. Marble, 75,
56. Pearl, 76,
57. Diamond, 77,
58. Smooth Wood, 78,
59. Aged Wood, 79,
60. Wooden Barrel, 80,
61. Wrought iron, 81,
Food & Beverage, 82,
62. Citrus Fruit Rind, 83,
63. Orange Fruit, 84,
64. Apple, 85,
65. Grapes, 86,
66. Coconut, 87,
67. Peanut Shell, 88,
68. Walnut Shell, 89,
69. White Wine, 90,
70. Red Wine, 91,
71. Black Coffee, 82,
72. French Baguette, 93,
73. Frosting, 94,
74. Dark Chocolate, 95,
Nature, 96,
75. Tree Bark, 97,
76. Pine Tree Needles, 98,
77. Pinecone, 99,
78. Palm Frond, 100,
79. Thatched Roof, 101,
80. Fern, 102,
81. Moss, 103,
82. Grass Field, 104,
83. Flower Petals, 105,
84. Mountain Rock, 106,
85. Smooth Rock, 107,
86. River Pebbles, 108,
87. Sand, 109,
88. Seashell, 110,
89. Running River, 111,
90. Still Lake, 112,
91. Rippled Lake, 113,
92. Bubbles, 114,
93. Smoke, 115,
94. Ocean, 116,
95. Clouds, 117,
96. Rain Drops on a Window, 118,
97. Rain Drops from the Sky, 119,
98. Snowflakes, 120,
99. Snow Powder, 121,
100. Frozen Pond, 122,
101. Fall Foliage, 123,
Artist's Gallery, 124,
About the Author, 128,