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| Disegno dal Vero_Lumeggiature © Franck Grafite B4, velatura acrilica e lumeggiata in tempera bianca e nera su cartoncino per acquarelli 40x33 cm. Rome, 16th July 2018. |
🇮🇹 La quinta lezione di Disegno dal Vero riguardava la Lumeggiatura a tempera e il docente è stato Mauro De Luca. La Scuola Romana dei Fumetti mi sta svelando molte tecniche che già immagino come potrei sfruttare per altri lavori. 😁
De Luca è docente dedicato alla pittura, soprattutto ad olio. Il suo stile d'insegnamento è perciò spesso rivolto ad allievi esperti e noi del corso estivo gli saremo sicuramente apparsi 'passivi'. Il suo modo di insegnare è molto individualistico, preferisce accostarsi al lavoro di ciascuno suggerendo tecniche e cambiamenti bisbigliando, pur di non disturbare il flusso artistico della classe. Ci sarebbero servite più di due ore! 😄
De Luca ci ha invitato a disegnare con il medium che preferivamo: sanguigna, carboncino, grafite. Stavolta, ho scelto la mia cara vecchia grafite B4, piuttosto corposa ma che resiste alla mia mano pesante. Perfezionate le proporzioni e le ombre, De Luca ha passato la velatura per creare uno sfondo di tono medio, dove far spiccare in seguito le luci, chiamate lumeggiatura.
La velatura era una tinta caffè acrilico mischiata a molta acqua, passata con ampie pennellate in orizzontale dalla parte superiore in giù. Perciò, De Luca ci ha fatto prima fissare al distensore - una tavola - con il nastro da restauro, per evitare che l'eccesso di acqua imbarchi il cartoncino.
Abbiamo aspettato poco che si asciugasse, visto il caldo di lunedì scorso a Roma! 😅🌞
La lumeggiatura a tempera è una tecnica molto usata da Michelangelo, Leonardo, Raffaello e la cosa mi ha esaltato. Si tratta di usare il bianco e il nero della tempera su un piatto ed aggiungiamo acqua con il pennello di martora, anche piatto, ma non molto grande. Il bianco si posa su una piccola zona in luce del disegno e, lavorando con il pennello poco bagnato, si sparge e si sfuma, creando le zone di mezza luce. De Luca ci ha detto di evitare il nero sull'incarnato, ma dipingere le zone di massima ombra dello sfondo attorno alla figura. Per rinforzare le ombre sulla figura, bisogna riprendere la matita scelta per lo schizzo.
Sono soddisfatta del risultato, anche se ho rinunciato a definire il ritratto per concentrarmi sulla figura.
🇬🇧 My fifth lesson of Figure Design dealt with highlight on tempera and our teacher was Mauro De Luca. Scuola Romana dei Fumetti is going to reveal many tips that I have been already figuring how I could use for farther works of mines. 😁
De Luca is a teacher very focused on painting, specially with oil colours. His way of teaching often expected that students should be expertise and actually, in this Summer course, we might look quite 'passive'. So, he was teaching was very individualistic, he preferred to go close to every student, whispering techniques and changing to fix each of our work, in order not to disturb the artistic mood of all the classroom. I think we needed more than two hours! 😄
De Luca told us to sketch with the medium we preferred: sanguigne, charcoal, graphite. This time, I chose my dear graphite B4, that is quite rich but resistant to my heavy hand. After correcting proportions and shadows, he painted the veil on our sketches to make background with medium shade, to let come out their highlights.
Veil had the shade of coffee, acrylic colours with much water, painted with wide gestures horizontally, from up-side to the bottom. That's why, before we sticked our paper to the table with adesive tapes, avoiding that paper might warp for too much water.
Anyway, we should waiting few minutes, because the hot weather of that day in Rome dried paper immediately! 😅🌞
Highlights with tempera was a technique very common among ancient artists as Michelangelo, Leonardo and Raphaël and listening to this anecdote exalted me. It consists in some white and black tempera colours on palette, in our case a dish, adding water with sable brush quite tiny. We should paint little zones illuminated in the drawing and then, working with wet brush, we were shading and fading the white, getting half-lighted areas. De Luca told us to avoid the use of black over the skin, we should rather paint the darker background behind the figure. On the other hand, the shadows on the body should be pointed out with the medium we had chosen for the sketching.
I am satisfied of the result picture, even though I decided to define the portrait in order to focus on the whole figure.
🇬🇧 My fifth lesson of Figure Design dealt with highlight on tempera and our teacher was Mauro De Luca. Scuola Romana dei Fumetti is going to reveal many tips that I have been already figuring how I could use for farther works of mines. 😁
De Luca is a teacher very focused on painting, specially with oil colours. His way of teaching often expected that students should be expertise and actually, in this Summer course, we might look quite 'passive'. So, he was teaching was very individualistic, he preferred to go close to every student, whispering techniques and changing to fix each of our work, in order not to disturb the artistic mood of all the classroom. I think we needed more than two hours! 😄
De Luca told us to sketch with the medium we preferred: sanguigne, charcoal, graphite. This time, I chose my dear graphite B4, that is quite rich but resistant to my heavy hand. After correcting proportions and shadows, he painted the veil on our sketches to make background with medium shade, to let come out their highlights.
Veil had the shade of coffee, acrylic colours with much water, painted with wide gestures horizontally, from up-side to the bottom. That's why, before we sticked our paper to the table with adesive tapes, avoiding that paper might warp for too much water.
Anyway, we should waiting few minutes, because the hot weather of that day in Rome dried paper immediately! 😅🌞
Highlights with tempera was a technique very common among ancient artists as Michelangelo, Leonardo and Raphaël and listening to this anecdote exalted me. It consists in some white and black tempera colours on palette, in our case a dish, adding water with sable brush quite tiny. We should paint little zones illuminated in the drawing and then, working with wet brush, we were shading and fading the white, getting half-lighted areas. De Luca told us to avoid the use of black over the skin, we should rather paint the darker background behind the figure. On the other hand, the shadows on the body should be pointed out with the medium we had chosen for the sketching.
I am satisfied of the result picture, even though I decided to define the portrait in order to focus on the whole figure.
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