( 그림공부 ) 인물로 풍경화에 활력을 불어 넣기

“Warren County Court House, NJ” (watercolor, 12 x 9 in.) In this piece, painted during the Victorian Days festival in Belvidere, New Jersey, I used lighter values for the figures in the distance and bolder colors for those up front to create a sense of depth.

 

Hema Gupta 라는 인도의 여류 화가가 쓴 글이 있어 옮긴다.

그림에 활력을 불어 넣기 위해 인물을 그리는 방법을 설명하고 있는데

좋은 공부가 된다.

( 번역은 구글 번역, 영어 원문은 맨 뒤에 )

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인간은 그림 속 인물에 자연스럽게 끌리는데, 먼 배경의 점이든 전경의 완전히 

발달된 사람이든 마찬가지입니다. 인물은 즉시 규모를 제공하고, 

관심 지점을 추가하며, 서사를 만듭니다.
저는 주로 도시 환경에서 야외 그림을 그리기 때문에 제 작품에 인물을 포함시키지

않을 방법이 없습니다. 대부분 작품에서 인물의 위치를 ​​처음에 확정하는 것을 좋아합니다.

하지만 가끔은 관습적인 지혜에 반하여 작품에 필요하다면 그림의 끝 부분에 인물을

하나나 둘 추가합니다.

특히 마지막 순간에 추가할 때는 조심해야 합니다. 제대로 만들어지지 않은 인물은 

엄지손가락처럼 튀어나와 그림이 아마추어처럼 보일 수 있기 때문입니다. 

다행히도 연습을 하면 얼굴이나 신체의 다른 부분에 대한 너무 많은 세부 사항을 

포함할 필요 없이 걷거나 앉는 것과 같은 간단한 자세의 인물을 쉽게 만들어낼 수 있습니다.

인물 연구

시작하기 위해, 저는 작업에 포함시킬 인물의 스케치를 몇 개 테스트합니다. 

특히 자세가 다소 복잡한 인물의 스케치를 테스트합니다.

 

 

 

 

View of the scene

 

 

1단계

저는 부드러운 연필을 사용하여 140파운드 Saunders 콜드프레스 종이에 

느슨한 그림으로 시작합니다. 저는 주요 요소를 가능한 한 명확하게 확립하고, 

특히 인물에 주의를 기울입니다. 자유형 그림의 다소 불완전한 선 품질은 

앞으로의 단계에서 느슨하게 그림을 그리도록 격려할 것입니다.

 

step 1

2단계

첫 번째 워싱은 위에서 시작하여 하늘을 코발트 블루와 군청색을 섞어서 칠합니다. 

나무 잎사귀에는 수액 녹색과 원시 시에나를 사용하여 집의 좌우측 울타리 근처는 

밝게 유지합니다. 빛의 근원을 마주하는 건물의 일부는 그대로 두고 인물 주변도 

자릅니다. 건물의 그림자 쪽은 군청색, 코발트 블루, 퍼머넌트 로즈를 섞어서 칠합니다. 

혼합물을 다양하게 하여 노란색을 넣습니다. 이 단계에서는 가장자리가 딱딱해지지 

않도록 빠르게 움직이는 것이 중요합니다. 흥미를 위해 잎사귀 혼합물에 

약간의 번트 시에나를 넣고 잔디를 칠하여 색상이 도로로 흐르도록 합니다.

종이를 따라 아래로 움직이면서 약간의 어두운 색상을 추가합니다.

워싱이 마르기 시작하면 그림의 아랫부분에 맑은 물을 뿌려 약간 흩뜨립니다.

 

step 2

3단계

이전 워시가 마르면 배경을 칠하기 시작합니다. 나무의 경우 첫 번째 워시에서 

사용한 것과 같은 색상의 어두운 혼합물을 느슨하게 칠합니다. 

다양한 붓놀림을 사용하여 잎을 표현합니다. 그런 다음 오른쪽에 나무를 추가하고 

기둥 주변을 조심스럽게 칠하고 몇 개의 끊어진 선을 추가하여 울타리를 표시합니다.

 

step 3

4단계

저는 더 많은 세부 사항을 계속 추가하면서 지붕을 군청색, 번트 시에나,

그리고 약간의 중립적인 색조를 섞어 칠합니다. 이 시점에서 저는 작은 건물의

그림자 면이 약해 보이는 것을 알아차리고, 그 위에 더 어두운 그림자를 그립니다.

동시에 주변 문의 어두운 부분을 칠하여 인물을 정의하기 시작합니다.

저는 현관, 문, 창문을 느슨하게 칠합니다. 제가 네거티브 페인팅을 사용하여

인물 근처에 하이라이트를 몇 개 남겨두는 것을 주목하세요.

 

step 4

5단계

전봇대와 그 옆에 있는 작은 기둥을 드라이브러싱합니다. 이 수직선은 직선 울타리 

선을 깨고 흥미를 더합니다. 그런 다음 다시 인물로 주의를 돌립니다. 

팔레트에 이전에 섞은 것으로 만든 푸른색 혼합물로 색을 약간 더합니다. 

약간의 흰색을 남겨두고 드라이브러싱 획을 사용하여 인물의 다리를 표현합니다. 

한 번에 모양을 제대로 표현하려고 노력하지만 항상 그런 것은 아닙니다. 

어쨌든 실수에 대해 너무 걱정하지 않으려고 노력합니다. 

야외에서는 이 모든 것이 과정을 즐기는 것의 일부입니다.

 

step 5

6단계

인형 주변 영역을 계속 다듬습니다. 수레바퀴를 칠하고 막대기 더미와 

무작위 물체를 암시하는 표시를 합니다. 인형이 충분히 눈에 띄지 않는다고 

생각해서 그중 하나에 빨간색을 더해 주의를 끌었습니다. 

또한 전경에 잔디를 넣고 리거를 사용하여 전선을 넣었습니다.

 

step 6

마지막 단계

이 단계에서는 잠시 휴식을 취하기 위해 걸어 나갑니다. 새로운 관점으로 

돌아와서 흰색 구아슈를 사용하여 인물 주변에 몇 가지 하이라이트를 추가합니다. 

또한 도로 가장자리에 드라이브러시 획을 더 적용하고 인물을 향해 

방향선을 그립니다. 모든 것을 하나로 모으기 위해 전경에 그림자를 추가하여 

그림에 더 많은 빛을 가져온 다음 가볍게 뿌려 부드럽게 합니다. 

결국 밝고 화창한 날 열심히 일하는 이 남자들의 이야기를 들려주려는 시도에 만족합니다.

 

Final Painting

 

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As humans we naturally gravitate towards figures in a painting, whether they’re specks in the distant background or a fully developed person in the foreground. A figure instantly provides scale, adds a point of interest, and creates a narrative.

 

I mainly paint plein air in urban settings, so there’s no way to escape including figures in my work. Most often, I like to nail down their positions in a composition at the beginning. Every once in a while, though, I’ll run contrary to conventional wisdom and add a figure or two towards the end of a painting if the piece demands it.

 

I have to take care, especially when it comes to last-minute additions, as a poorly crafted figure stands out like a sore thumb, and can make the painting look amateurish. The good news is that with some practice it becomes fairly easy to come up with figures in simple postures like walking or sitting without needing to worry about including too many details of the face or other parts of the body.

 

Figure Studies

 

To start, I test some sketches of the figures I plan on including in the work, particularly the ones whose postures are somewhat complex.

 

Step 1

 

I start with a loose drawing on 140-lb. Saunders cold-pressed paper using a soft pencil. I establish the main elements as clearly as possible, paying special attention to the figures. The somewhat imperfect line quality of the freehand drawing will encourage me to paint loosely in the coming stages.

 

Step 2

 

For my first wash, I begin at the top, painting the sky with a mixture of cobalt blue and a touch of ultramarine blue. For the tree foliage, I use sap green and raw sienna, keeping it light near the fence on both the left and right side of the house. I leave parts of the the buildings that face the light source untouched and cut around the figures as well. I paint the shadow side of the building with a mix of ultramarine, cobalt blue, and permanent rose. I vary the mixture and drop in some yellow. At this stage it’s important to move fast so as not get hard edges. I drop some burnt sienna into the foliage mixture for interest and paint the grass, allowing the color to flow into the road. I add some darks as I move down the paper. As the wash starts to dry, I spatter some clear water on the lower section of the painting to break it up a bit.

 

Step 3

 

Once the previous wash is dry, I start painting the background. For the tree, I loosely brush in a darker mix of the same colors used in the first wash. I use a variety of brushstrokes to suggest leaves. I then add the tree on the right side, carefully painting around the pole, and indicate the fence by adding a few broken lines.

 

Step 4

 

I continue to add more details, painting the roof with a mixture of ultramarine blue, burnt sienna, and a touch of neutral tint. At this point, I notice the shadow side of the smaller building looks weak, so I glaze a darker shadow over it. At the same time I start defining the figures by painting the dark of the doors around them. I loosely brush in the porch, door, and windows. Notice how I use negative painting to leave some highlights near the figures.

 

Step 5

 

I drybrush the electric pole and the small pole next to it. These verticals break up the straight hedge line, adding interest. I then turn my attention back to the figures. I add some color, mostly a bluish mix made from previous mixtures on my palette. Taking care to leave some white, I use drybrush strokes to suggest the figures’ legs. Although I try to get the shapes right in one shot, it doesn’t always happen. In any case, I try not to worry too much about mistakes; in plein air, it’s all part of enjoying the the process.

 

Step 6

 

I continue refining the area around the figures. I paint the wheel barrow and put in some marks suggesting a pile of sticks and some random objects. I feel that the figures don’t stand out enough, so I add some red to one of them to draw attention. I also put in some grass in the foreground, and wires using a rigger.

 

Final Step

 

At this stage, I walk away to take a break. Back with a fresh perspective, I add a few highlights around the figures using white gouache. I also apply some more drybrush strokes on the edge of the road and some directional lines leading towards the figures. To pull it all together, I add a shadow in the foreground, which helps bring in more light to the painting, then soften it by spritzing it lightly. In the end, I’m happy with my attempt to tell the story of these men hard at work on a bright sunny day.