中原宣孝 なかはらのぶたか
Nakahara Nobutaka
MY WORK - RUSSIAN MARE
2020年 05月 26日 (火) 15:03 | 編集
I drew a portrait with pencils and watercolors.
The pencils are MITSUBISHI's High-uni.
The smoothness of the core, all 22 gradations from 10H to 10B, and the quality of xylem are all the best.
The paper used was Artistico Extra White (100% cotton, 300 g, extra fine) by FABRIANO (founded in 1283).
It is a very bright and beautiful white paper, has strength, and is very easy to draw.

russian mare 4-1
Theory is to finish the whole in a well-balanced manner, but this time I drew clothes and a ushanka-hat roughly and then concentrated on the face.

russian mare 4-2
I felt that I had drawn that face too much, and then I drew other parts as well.
While paying attention to the volume of the hat, I used pencils and a kneading eraser to express the texture of the bright fur.

russian mare 4-3
The fur of the hat has a color that changes from the root to the tip, so I expressed it carefully.
I also paid attention to the volume and texture of the face and clothes.
I used up to 10H for the texture of the face, hair and so on.
For pencils with such a very hard core, a core grinder made by STEDTLER is useful.
Since the tip of the core can be made as sharp as a sewing needle, you can draw the texture you want.
After finishing the drawing with a pencil, I will finish with watercolors.

russian mare 4-4
It is complete.
SIZE: H250xW300mm
For coloring, I mainly used HORADAM transparent watercolors by SCHMINCKE (founded in 1881), and I also used FINETEC's pearl cent colors for highlighting eyes and lips and hat fur.
Portrait of Miss Misato
2014年 07月 13日 (日) 00:00 | 編集
I will introduce the process of this pencil drawing.

澤井さん-1 process

澤井さん-2 completing

At the beginning of the drawing, I have to be aware of the following always.

"Attention to detail too early, make light of the essential structure"
(From Nakahara method of "painting theory" )

Among the first to draw as if create a three-dimensional clay.

So as to draw come to mind by the image of the simplified structure the "plane",
I will continue to draw while capturing roughly the basic structure.

The "plane" will continue to decrease gradually from a big one.

Although I think you feel this way as a detour somehow,
It is a theory which is indispensable in order to capture the feeling of volume (stereoscopic effect) surely.

Happy New Year 2014
2014年 01月 01日 (水) 00:00 | 編集
はさまった-トリミング済
I was caught... / white pencil ・ black paper

As for the door of Room 12, he was going in and out that there is always no difficulty.
However, the door of the left-hand side did not open only within that time.
He still tried to enter from the space of a right half.
And he was caught.
Although he was struggling for a while, it is the figure which is taking a rest by getting tired.

I hope to be a wonderful year for all of you.

DETAILS - 6
2011年 06月 18日 (土) 12:00 | 編集
私たちにとっての天動説について
About the Ptolemaic System for Us/1303×1303mm/oil・linen・wooden frame

[Ⅰ] I explain the process of the creation of this work.

天動説3 process-1

I draft it by a pencil until I can image the whole of the work.

天動説4 process-2

I do a grazing by a red color.

天動説5 process-3

I do a second grazing with a blue color.
I often select this color though it is not general to do the grazing in purple.
The reason is to use the phenomenon of the complementary color.
I think in particular the glazing of this color to show a effect to express the depth of the hue of the skin.

天動説6 process-4

Furthermore, I paint each place in each color.

KICX0588.jpg process-5

The chair having a shape of the sheep is made in terra cotta.
To give rough feeling of the material of the chair, I paint IWA-ENOGU melted with water-soluble emulsion.
You may find some references in the past articles, "MAKI-E technic" and "DETAILS-2" about IWA-ENOGU .

KICX0587.jpg process-6

This part paints pigments with the sponge instead of the brush.
I remove the overflowing extra color with a brush before it dries.
I wait to dry, and this process is often repeated by a different color.
A flat brush of hard nylon is most suitable by this process.

[Ⅱ] I introduce the details of this work.

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DETAILS - 5
2011年 05月 21日 (土) 12:00 | 編集
★オルフェウスの忘れもの
A Thing Orpheus Left/1940×1303mm/oil・linen・wooden frame

I introduce the details of this work.

DSC_0141.jpg picture-1


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DSC_0144.jpg picture-5

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DSC_0162.jpg picture-7

This is a work based on the story of Orpheus in the Greek myth.
I suggested "the thing which Orpheus did not have to watch" by the wall of the background, and symbolized his wife Eurydice of the dryad which he had lost forever by the plant which had dried on the wall.

copyright (C) Nakahara Nobutaka all rights reserved.
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