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  • Don Glynn - Painting Figures in Watercolour ("Human Dimension)

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    Angela Barbi
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    Article that appeared in The Leisure Painter called Human Dimension with tips on about how to draw and paint figures in your paintings, by Don Glynn.

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    Don Glynn_Painting figures in Watercolour ("Human Dimension)

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    Article that appeared in The Leisure Painter called Human Dimension with tips on about how to draw and paint figures in your paintings, by Don Glynn.

    Авторское право:

    Attribution Non-Commercial (BY-NC)
    Скачайте в формате PDF или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    191 просмотров3 страницы

    Don Glynn - Painting Figures in Watercolour ("Human Dimension)

    Загружено:

    Angela Barbi
    Article that appeared in The Leisure Painter called Human Dimension with tips on about how to draw and paint figures in your paintings, by Don Glynn.

    Авторское право:

    Attribution Non-Commercial (BY-NC)
    Скачайте в формате PDF или читайте онлайн в Scribd
    Отметить как неприемлемый контент
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    The human dimension Don Glynn takes the pain out of adding figures to your paintings scien psalen ay Ate Reece understanding of the human figure. Without this knowledge your subject matter will oe ee eee they are unable to paint figures Sb chose wee hee es ‘vast number of paintings devoid of life: empty street scenes, and dol hae eens ee transformed by the introduction of figures. ‘Anyone who applies themselves with due diligence can become. es requires simply the desire, good Sh bee ances: eae ‘Shapes and proportions Front view Rather than thinking of the figure in terms of lines, look for the basic shapes and proportions of the body then join them together. In its simplest Component parts, the figure is made up of the head, the torso, ‘upper extremities and, finaly, lower extremities (Figure 1, top right). Figure 2 (right) shows how brought these simple shapes together to achieve basic male and female figures. Figure 3 (above right) shows the sequence I used to paint these ‘simple forms using 4 mix of cadmium red with a touch of cadmium yellow. When trying this exercise, relate the size of the head to the rest of the body, and notice how the upper and lower ‘extremities are larger at the top and taper away at the feet. Remember you are not making an anatomical drawing. you are ‘creating simpte figure shapes t0 complement and help your composition. So relax and don't ‘worry if the proportions don't look right. Analyse where you are going wrong, then continue until you are satisfied with the result. Side view I repeated the: exercises to show the side views (of the male and female figures (Figure 4, right). Notice how the vertical line of gravity helps you to balance the figure, and the curvatures of the spine helps to define the tors. 38° LetsurePainter yous Male Female Upper and lower ‘eatemites ‘4 Figure 1 Sihovetid figue shapes, showing individual features ‘ i ;' 4g iif was 44 Figure 2 The shapes from ‘4 Figure 3 The shapes are then painted using a No. 10 sable bresh Figure 1 are put together to and tiem washes o cadmium red with a touch of cadmium yellow. ‘make male and female figures ‘And there you have simple figures 4 CoE 4e¢@ *, 4h" Vf ‘a Figure 4 Persil sketch of side view above then sequence of painied ‘male ard female forms, The vertical line helps you to balance the figure ive painters-online Posture “The next step is to consider the human figure in a variety of pose ‘This introduces movement into the ‘equation so itis important to ‘consider and simplify the major moving parts of the body: the head, torso, shoulder girdle, arms, forearms, hands, thighs, lower legs and feet Stand in front of a minor, move these parts individually then combine the movement 1 see the shapes you make. Turning the head, nodding or shrugging the shoulder are just some of the many movements we perform daily. Note that the movement sets off a chain reaction through the body, which helps maintuin balance. I is these postures that we must learn to capture used the same inal simple shapes in Figure 5 (top) but on the first two lefi-hand male and female figures, white spaces have been used for the articulations. It is now a simple matter of painting the figures in their swim wear and you have the makings of a beach scene (Figure 6, right). Movement With proportion and posture under ‘our belts, we progress to sketching random figures in action (Figure 7, right), Despite having painted the figures in a very casual manner, they look like puppets and there is ‘no unity i the scene. They are simply individual, unlinked shapes. However, the figures are a reasonable example of gesture painting, which I use in many of my painting. The Natural Way to Paint by Charles Reid (Watson- Guptill, £1299, 1SBN 9780823031733) has a delightful section on gesture painting. If you can find a Copy, all your problems solved! Figure 8 (below) is further progression of gesture painting by the addition of sand and sea. I have kept with the beach theme for is fist sketch of a group. I kept the sketch loose and indistinet, which adds character to the litle scene. | also added scribbled line to define the figures more. Below is an explanation of how I painted the Painting process 1 blobbed in the heads, arms and legs using a mix of cadmium red and yellow. 2 When this was reasonably dry, 1 painted the cobalt blue top on the Jeftchand figure then used cadmium yellow for the dress 3 The skin was cadmium red, cobah blue and other diny colours fon my palete. 4 The shorts on the right-hand won paintersonline co.uk figuee we umber, painted with raw rm sepia, and again other dirty colours on my palette and e ‘The figure’s hair was painted with the sume colour mix. / 1 ' 5 When ths was dry, I used a light sgrey mix made from cerulean blue sadmium red for the lefthand fi figure and the blouse of the gil in 4 the brown skirt 6 The background was simple washes of potters pink, yellow ‘ochte, and cobalt blue with s touch Of potter's pink. A splash of this colour was also added to the figures. «4 Figure 5The letthand figures show where the articulations are 71 finished with line scribbling, placed on the figure, which helps remind us of how the body moves using a Rigger to mess up oF highlight aspects of the figures. This may have been a mistake but, in writing this article, Lam also experimenting ad taking chances Bur this final scribbling brings to mind the essential requirement of any artist ~ don’ file Groups 4 \ age, s ig deals with the problems of dawing too much atention to one figure through an ey Try ' t avoud this because the oly thing 1, shows groups of figures and ess of detail. Try to use the only’ thing that will atiract the viewer's eye is the dominant figure. An initial ‘4. Figure 6Add swim wear and your figures are ready for a sketch, Figure 9 (top of page 40), beach scene ‘gave me a rough indication of the ‘4 Figure 7 Simple action figures demonstrate gesture panting technique ‘4 Figure 8 Acton figures on the beach ‘wy 2000 Leisure Painter 39 » 44. Figure 10 In this beach scene, shapes ar focused on rather than detailed portraits of figures, which adds tothe teneralivelines of te scene. The colours used were mixes of burt sienna and umber, raw umber, cobalt blue, ‘indian with the odd touch ofalizarin crimson, cadmium red and yeow figure compositions which are shown in the finished colour sketch (Figure 10, above). The main figures in Figure 10 are in the foreground and harmonise with the middle distant figures. 1 connected the two groups by applying simple masses that blend in with the heads and the torsos of the foreground figures. itis a bit of a muddle but, on a well- populated beach, shimmering in ihe heat, nothing defined but the foreground figures. This creates the stmosphere and captures the life and vitality of the T started by painting the headland, which occupied the upper quarter of the sketch, Using 1 No, 14 Da Vinei sable brush, 1 applied a light wash of raw sienna and continued it down t0 include the foreground. This dried rapidly the heat and [ was able t0 paint the colour shapes of the headiand quickly. 1 was painting contra jour (into the light) so the ‘onal and colour T painted over the figures that protruded into the eadland. The small area of Sea was painted with cobalt blue and a touch of cadmium red to tone down. [took cae (o retain the triangle shape of the 40 Leisure painter yy ‘4 Figure 11 An unusual va ‘umbrella. 1 continued with this h to cover the base of the headland and form the shadow shapes in the middle distance and foreground, Water was added to dilute the blue as L worked my way down the painting, When this passage was dry, 1 painted the two foreground figures using thick pigment Uliramarine blue and sepia was used for the figure in blue, and cadinium red with raw sienna for the figure in red, The skin tones were mixed from cadmium red and yellow then, when dry, a cast shadow was applied. The middle distant and distant figures were ited as one mass with ‘iations in tone and some lights to suggest heads and extremi ‘To finish, I used white go for highlights and added more ‘cast shadows as I felt necessary From above Figure 11 (below) shows how to ge point makes figures more interesting ~ but accurate drawing is paramount paint figures from a high vantag point. Tigs was the easiest ofthe sketches to do because, once yo hhave the figures drawn accurate the rests relatively simple, App awash of yellow ochre or aw sienna, cutting out the Figures a the water's edge so they are lef as white paper. Apply the skin tones then the darks and colour asshown, A few diagonal brushstrokes completes the water's edge and the sketch. Focal points When figures are the focal point of a painting, you need to work more carefully at the pencil

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