Acrylic Solutions: Exploring Mixed Media Layer by Layer
[American] Chris Cozen , Julie Prichard
I like looking into a painting for a long time, to study it and see what I can find. The mystery of what I will uncover keeps me coming back for more. Looking for pieces and clues about what might be under the layers is exciting and it totally defines my painting style.
There is something completely captivating about mixed media. The freedom and serendipity of the art form allows me to get lost in the process, easily shifting between paint and paper, adding collage, line and texture. Mixed media never feels rote or formulaic. My training as a photographer provided my introduction to layering. Having the understanding that layers can be added and removed, or they can be added top to bottom or vice versa, is just as important in painting as it is in photography. Layering also helps break down the daunting feeling of making a mixed-media painting. Work on it one step at a time, knowing that one step is not in itself final but subject to whim. When teaching painting workshops, Chris and I stress that no painting is finished until you feel it is, in fact, finished.
I have a background in science. Knowing how things work is important to my methodology. I have learned about paints, mediums and grounds to understand how I can make them work for me, and throughout this book I share this knowledge with you. From this knowledge, we have compiled our favorite techniques.
We have broken down the layers in this way:
· Laying a Good Foundation: Proper surface preparation techniques along with variations to create visual interest even at the gesso level.
· Building structure: Support the composition through collage, texture, color, mark-making and image development.
·Developing complexity: Make unique and nuanced adjustments with collage, mono-printing, paint techniques, textural and sheer elements, paint skins and pattern.
· Finessing the details: Create finishing touches that may involve line, surface treatments, spray paint and special effect paint application.
At first，you might start with a simple gessoed canvas or board and move directly on to apply color or collage. As you gain
experience and confidence, we encourage you to try several techniques from each section as you build up your layers. Once you start working with layers, you will see how you can borrow ideas and techniques presented in one section to apply at another level in your painting. Remember, with mixed media you have tremendous freedom and flexibility to develop your composition as you choose, all the while adjusting and modifying as you apply layers.
When you mix and match techniques, you can achieve countless variations and looks. I hope you enjoy learning from this book and expanding your painting repertoire.
Chapter one
The Basics: Design, Color, Materials and More.
When we gaze upon a piece of art we find ourselves either captivated or bored, or somewhere in between. What makes the difference? What holds our attention? Part of what engages us is subjective: taste, style, color preferences, subject, etc. The rest comes from the artists understanding of how things work. How can we learn to hold a viewers attention? Which colors calm and which colors excite? Why use tube paint instead of fluids?
So many questions! Relax, there are guidelines even in art that will help you find the answers. Lets get started covering the basic.
Elements of Art
There are six important players in every composition: line, space, value, color, shape and texture. You will get to know them well. Each of these elements should be considered as you make art. Consider them the architectural components of successful composition and make them part of our art vocabulary.
Line
Line refers to the path the viewers eye takes as it explores the composition. Consider how you want the viewer to follow it. Sometimes the line our eye follow can actually be seen; sometimes it is implied through the arrangement of elements, such as when use we set up a row of similar shapes. The vertical lines of the plants pushing out of the ground are supported by the vertical bands of color. Imagine that someone has drawn a strong, black diagonal line across this composition. How would it alter the way your eye responds to the piece?
Space
Space refers to the area around and distance between elements. Without empty spaces for the eye to rest, a composition can become too busy. Ideally，you want your viewers eye to exit a composition having traveled around the entire piece. Edit things out to provide enough space for every element to breathe. The large areas of light blue around the central images provide space for the eye to rest.
Value
Value refers to light and dark in a composition, and includes highlighting and shading techniques. If a composition is all light values, there is no contrast, and the eye doesnrsquo;t know where to focus. Digital cameras work on the same principle. The background consists largely of light values and focal elements in darker values. The two rectangular shapes fall in a middle value and add balance to the composition.
Color
Hue is another word for color, which we see everywhere we look. We will show you what is possible with several red-blue-yellow combinations and what happens when they are mixed.
Color has a voice. Sometimes it is quiet, sometimes it is bold and audacious. Color also has a temperature. It can be warm or cool. Color includes tints and shades. And comes from pigments that also have distinct properties. As you create art, your color choices will express what your intentions are. Sometimes you
剩余内容已隐藏，支付完成后下载完整资料
丙烯画:探索混合材料技法
【美】克里斯·柯宗 朱莉·普里恰德
我喜欢长时间地凝神观赏一幅图画，仔细研究看看自己能如何发现。即将发现的奥秘让我不停地回顾探索。寻找不同绘图层次之下的图画和线索是非常振奋人心的事情，而分层次绘图乃我个人绘图风格的真实写照。
混合多种媒介作画有让人彻底心醉神迷之处。这种艺术形式的自由度和意外新发现让我每每沉浸其中，轻松自如地在画纸和颜料之间进行改变，添加拼贴、线条和肌理效果。多媒介作画不会让人觉得在生搬硬套画法或者让程式化的画法禁锢了创作的自由。作为摄影师所受的培训助我引入了分层绘画法。我了解到可以添加或者去除分层，可以从下到上也可以从上到下添加图层，这种了解对摄影和绘图一样重要。分层绘图能分解处理绘制多媒介图画中那种令人生畏的感觉。一次处理一个步骤，心中深知一个步骤本身不会产生最终的影响，而是完完全全受制于某次心血来潮。教授绘图课程时，克里斯和我都在强调：在你觉得它依然完工之前，图画其实尚未完工。
我有学理科的背景，甚至对事情原理的了解于我的绘画方法非常重要。我系统地了解颜料、媒剂和基底，目的是让它们为我所用，而在本书中我毫无保留地与你分享自己所了解的知识。根据这些知识，我和克里斯汇编了自己最喜欢的绘图技巧。
我们将不同图层进行了如下划分：
- 打下良好基础：恰当的表面处理技巧及在石膏基底层面创造视觉兴趣点的多种方法。
- 添加结构感：通过拼贴、肌理、色彩、做记号和拓展图像的方法支持构图。
- 拓展复杂元素：用拼贴、单印版画、绘图技巧、肌理和轻薄元素、制作绘画图层和图案的方法进行独特微妙的调整。
- 巧妙表现细节：进行最后的润饰，可能会用到线条处理、绘图表面的处理、喷漆和特殊效果颜料的应用。
起初，你可能会使用经过石膏底料进行简单处理的画布或画板，直接开始工作进行涂色或拼贴。随着经验的积累和增长，我们鼓励你在分层次绘图时尝试使用多种技巧。开始分层作图后，你就会发现如何借用某个章节所介绍的想法和技巧并将其应用于图画的另一个层次上。记住，使用多媒介绘图，你将拥有极大地自由度和灵活度来依照自己的心愿拓展构图，当你绘制不同图层的时候可以进行调整和修改。
如若混搭不同绘画技巧，你会获得无穷无尽的变化和视觉效果。衷心希望你能从本书中汲取知识并拓展自己的绘画技能。
第一章 基本要素：设计、色彩、材料等等
凝神静观一幅艺术作品之际，我们要么感觉心旌摇荡，要么无聊不堪，要么二者兼而有之。为何会有这样不同的反应呢？是什么吸引了我们的注意力呢？引人注目的一部分原因属于主观因素如品味、风格、色彩喜好、主题等等。而其他的原因来自艺术家对艺术的独特理解。那么，如何抓住观者的注意力呢？哪些色彩令人平静，哪些色彩令人兴奋呢？为何使用管状颜料而非液体颜料呢？
问题真是太多太杂！放松吧，即使是艺术，也有一些指导原则祝你寻找答案。让我们开始了解一些基本要素吧。
艺术的基本要素
在所有构图中有六个重要元素，即线条、空间、明度、色彩、形状和肌理。必须充分了解这些元素。在创作艺术作品时，必须对所有这些元素进行考虑，把它们视作成功构图的结构元素并令其成为自己艺术词汇的重要部分。
线条
线条指观看构图效果时观者的目光所追寻的线路。创作者须考虑自己希望观者如何追随线条移动目光。有时候目光会追随实际的线条移动，而有些时候线条是各种元素摆放方式所暗指的线条，如排成一行的相似形状。这里从地上冒出的植物垂直线条因垂直的色带而得到支持。想象一下，如果在这个构图中绘制一条粗黑对角线的话，效果会变得如何？那根线将如何改变你的目光对该图画的反应呢？
空间
空间指各个元素周围的区域以及它们之间的距离。如果没有空白的空间让目光暂时停歇，构图会显得过于繁忙拥挤。理想的情况是，在目光围绕整幅图移动后，你会希望观者的目光离开构图区域。要编辑删除一些内容为所有元素提供足够空间进行休息。此处，中央图像周围大块淡蓝色区域提供了让目光暂时停歇的空间。
明度
明度指构图中的明暗变化，包括高光和阴影技巧。如果一幅图画全部使用高明度，那么就不存在明度对比效果，而且目光也无法聚焦于图画。数字照相机的运作依据于同样的原理。此处，背景大多使用高明度，而焦点元素使用较低明度。两个长方形形状使用中明度为整幅图增添了平衡感。
色彩
色彩也可用色调表示。无论我们把目光投向何处，都会发现色彩无处不在。在此，我们将向你展示使用红黄蓝的组合能表达何种效果，将它们混合在一起又会产生何种效果。
色彩拥有自己的声音，有时候，它很安静，有时候又会显得大胆无畏。色彩拥有自己的温度，可以表现暖色和冷色。色彩因为来自具有不同特性的颜料，也会表现深浅明暗的不同。创作艺术作品之际，色彩选择可以表达个人意图。有时候，你希望在一幅宁静的作品的某处包含一个惊叹号。色彩能为你制作这种效果。
此处展示的这幅作品大多以深浅明暗效果不同的同种色彩绘制而成。蓝色的点点将人的目光引向下方并引入画中。
形状
形状指构图中可以用边界界定的区域，可以是能辨认的如圆形和方形形状或者是无法辨认的模糊形状。同光影在墙上跳动一般，背景中微小的色彩变化可以暗指空间的存在。应密切留意构图中的有趣空间。有时候，难以发现隐藏的形状。白色形状是与黑色背景相交的边界界定的正空间。注意，负空间也非常非常迷人。
肌理
肌理为图画表面的质地，包括视觉质地及图画的物质质地。它指作品平滑或者粗糙，有光泽或者亚光，以及介于这些品质之间的不同肌理效果。仅用视觉方法表现肌理效果时，我们使用线条、明暗效果或者色彩变化才表示物质特性的变化。
如需表现物理上的肌理效果，可以使用厚厚的拼贴元素改变图画的高度，也可以用多种方式往图画表面添加含有颗粒物质的产品，或者利用颜料的厚薄来表示。此示例通过添加凸起的塑型胶处理表面肌理表现平台效果。裂纹较表现的区域进一步加强了表面肌理效果。
材料、工具和艺术品供应
我们尝试保留了所需艺术供应品的一个极简清单。以下为所需基本材料：
·红黄蓝液体丙烯材料，外加钛白或者浅钛黄中的一种，以及“金色”牌浅钛黄丙烯缓干剂。
·2-4支带直边或者有角度边的尼龙或者丙烯纤维制的画笔或者天然鬃毛画笔，一只尼龙或者丙烯纤维制的大软毛刷。
·几把塑料宽边调色刀和一些不同的做记号的工具，如木头筷子，牙签、串肉杆、镀锌钉等等。
·购买的现成印模，或者用偶然发现的物品手工切割或者制作的印模。
·泡沫材料制成的碶形物用于图画颜料。
媒剂
往颜料里添加媒剂主要是为了在色彩不变的基础上改变颜料的力度，创造高光效果或者在某些图画区域延长在图画表面添加和处理颜料的时间。我们所使用的媒剂为丙烯聚合剂（亮光）、液体亚光媒剂、丙烯上光剂和丙烯缓干剂。
往颜料中添加丙烯聚合剂后，混色的干燥速度与液体颜料的速度一样，不会延长处理颜料的工作时间。亮光媒剂干燥后闪闪发光但不会改变色彩本身的颜色。亚光媒剂干燥后不会产生光泽感，让颜料的色彩略略变浅。
丙烯上光剂和丙烯缓干剂的特点是使用后可以延长处理颜料的工作时间。这两种产品是本书中与大家分享的各种过程中不可或缺的伙伴。取决于天气情况和画室的情况，上光剂延长10到15分钟工作时间之后会开始变干。因为液体颜料薄涂层会在数秒之间发干，这种媒剂的优势相当大。与丙烯缓干剂同时使用时，丙烯缓干剂专门为丙烯颜料最大化地延长工作时间。在我们绘图时将其与颜料共同使用，发现比起丙烯上光剂，它给予我们更长的工作时间。只要当心一点：不可用同一画笔使用这些媒剂，否则从绘图表面擦除的色彩要多过画上的色彩。
剩余内容已隐藏，支付完成后下载完整资料
资料编号：[30749]，资料为PDF文档或Word文档，PDF文档可免费转换为Word
以上是毕业论文外文翻译，课题毕业论文、任务书、文献综述、开题报告、程序设计、图纸设计等资料可联系客服协助查找。
