试试你的手在明亮的阳光
添加“深色”把这阳光与水彩艺术家艾伦·柯克在法国南部。
试图捕捉明亮的阳光在我的工作是一个挑战是无法避免的,画在法国南部。生活和工作在这里作为一个艺术家在过去的三年里,我终于知道了,当你想要的阳光在你的工作你需要漆黑暗阴影健壮如你敢。
我钦佩的工作Castagnet阿尔瓦罗,约瑟夫Zbukvic和大卫泰勒,所有水彩艺术家绘画长大在炎热的太阳。阿尔瓦罗重复一次又一次在他的教学dvd,如果你想要太阳,油漆的深色。
在传统的英语教育方法和画水彩画长大的英国北部海岸和摩尔人,我发现很难代表强烈的对比,在一个阳光明媚的阳光访问在村庄和景观在这个阳光明媚的地区。
这个运动特别适合这项任务。坐在树荫下在一家咖啡馆在尘土飞扬的法国村,我看到太阳转换门窗在建筑相反。我拍这张照片是我画的。深呼吸,勇敢地抓住机会记录热量和亮度的一个典型的阳光明媚的法国视图。
我们会把旧的法则的漆光暗”在它的头部,并遵循澳大利亚,大卫泰勒,谁经常描绘他的黑暗的音调非常早期的绘画过程。他雇佣了这种技术通常当画他的阳光明媚的澳大利亚街景。
当你开始这项工作时,记住你想要的结果。我喜欢在我的头修复结果;在本例中,我想要一个免费的、精力充沛的阳光水彩速写的流淌在查看器。我发现它有用的保持这样一个核心理念作为我工作的最前线。
材料
——水彩画纸300 gsm粗糙纹理(我使用兰顿威望粗糙)
-掩蔽磁带
-板
-水彩颜料
- 深褐色
- 生黄土
- 烧棕土
- 钴蓝色
- 深蓝色紫
- 钴紫
- 法国深蓝色
——刷
- 紫貂大小8
- 小剑班轮
- 装配工尺寸2
- 4 b铅笔
步骤1 -图
用软铅笔,4 b或更高,轻轻画出两个主要的窗户和门。当你绘制窗口,显示黑暗的阴影——他们掩盖了窗框和玻璃部分。保持你的铅笔工作宽松自由的,当你把路灯,不要担心直线。你不需要绘制任何的树枝和树叶。当我画iI告诉自己“保持铅笔移动”这有助于我保持放松,停止我变得慢和刚性与我的台词。
步骤2 -第一次洗
在你的调色板上准备非常湿分离井生黄土,钴,钴蓝色和紫色深褐色。的关键是保持你洗手洗很湿。应用主要生黄土在纸。留下一个轻洗和一些白色的窗户,并添加一个小深褐色到门口,但否则忽略图标志完全。
同时本文仍然是湿的,应用钴紫和钴蓝色部分的纸,将覆盖在阴影让这些颜色在纸上混合。不要担心洗一起跑步或颜色不呆在铅笔线边界。当你完成了这个洗,让它干燥和抵制呼吁修改或添加更多的色彩。我通常起床煮咖啡的诱惑的方式在这一点上。
步骤3——画阴影
“惊人的“阴影所以很快在绘画过程的关键是这个工作。使用现有的颜色在你的调色板(清洗它们,如果需要的话)。
也添加一个混合烧棕土,深蓝色紫和法国的深蓝色。这种组合产生一种丰富的、黑暗的、温暖的阴影颜色。当你的工作改变这个阴影混合通过添加更多海外的紫罗兰在一个时刻,然后更永久的淡紫色或深蓝色在另一个。你每笔的不同组合会让你的影子活泼。
使用一个装配工或剑:内心刷誓行影子在这一步给你两个明显的优势。首先,它给你控制你需要的边缘阴影,你需要表明叶或分支和你需要油漆阴影投在窗户和门。其次,它会给一个免费的和充满活力的质量到你的绘画。
添加阴影周围的纸和门窗。玩得开心用刷子和尝试的工作很快。不要慢当绘画的灯杆、灯;工作很快,不要担心被完美的线。当阴影已干,添加深褐色到门口和窗口边界。
步骤4——最后的细节
完成最后一步只有在最后洗已干。在这最后一步使用一个标准的起重工添加细节,窗户和门。水彩艺术家约瑟夫Zbukvic称这最后一步的添加珠宝”。使用的颜色在你的调色板添加细节。
为窗帘上混个弱灰色洗的颜色在你的调色板。
用在窗户上的百叶窗深褐色和门。洗后都干我混合最黑暗的语气我可以从我的调色板和使用我的起重工、添加了锻造铁制品在窗口的底部和门把手。
我发现完成一个工作很困难,但我告诉自己停止和抵制使即使是最小的变化。它是如此诱人当看着完成的工作要认为它可以受益于一个小调整。有这样工作这样的行动可以是致命的。你想要一个清晰的充满活力的素描,有一个直接的和强大的吸引力。情况往往是这样:你看的越久越地区一个工作你找到你认为是“改进”。我的建议是尽量遵循“随它去”。
原文如下：
ry Your Hand At Bright Sunshine
Add the ‘Darks’ to get the sunshine with watercolour artist Allan Kirk in southern France.
(Click Images for Larger Views)
Trying to capture bright sunshine in my work is a challenge that can’t be avoided, painting in southern France. Living and working as an artist here for the last three years, I have finally learned that if you want sunshine in your work you need to paint the dark shadows as strong as you dare.
I admire the work of Alvaro Castagnet, Joseph Zbukvic and David Taylor, all watercolour artists who have grown up painting in the hot sun. Alvaro repeats again and again in his instructional DVDs that if you want sun, paint the darks.
Schooled in traditional English watercolour methods and brought up painting the northern English coast and moors, I find it a struggle to represent the strong contrasts that a bright sun visits on the villages and landscape in this sunny region.
This exercise is particularly suited to the task. Sitting in the shade at a café in a dusty French village, I see the sun transform the windows and doors on the buildings opposite. I took the photo as I sketched. Take a deep breath and boldly grasp the opportunity to record the heat and brightness of a typical sunny French view.
We will turn the old rule of thumb ‘paint light to dark’ on it’s head, and follow the Australian, David Taylor, who often paints his darkest tones very early in the painting process. He employs this technique often when painting his sunny Australian street scenes.
As you begin this work, keep in mind the outcome that you want. I like to fix the outcome in my head; in this case, I want a free, energetic watercolour sketch where the sunshine ‘pops’ out at the viewer. I find it useful to keep one central idea like this at the forefront as I work.
Materials
- Watercolour Paper 300gsm rough texture (I used Langton Prestige rough)
- Masking Tape
- Board
- Watercolour paints
Burnt Sienna
Raw Sienna
Burnt Umber
Cobalt Blue
Ultramarine Violet
Cobalt Violet
French Ultramarine Blue
- Brushes
Sable size 8
Small Sword Liner
Rigger size 2
- 4B Pencil
Step 1 – Drawing
Use a soft pencil, 4B or higher, to lightly draw the two main windows and door. When you draw the windows, indicate the dark shadows – they obscure the window frames and glass in parts. Keep your pencil work loose and free, and when you draw the streetlight, do not worry about straight lines. You do not need to draw any of the branches and leaves. When I draw iI tell myself to “keep the pencil moving” this helps me keep loose and stops me getting slow and rigid with my lines.
Step 2 – First Wash
In your palette prepare very wet separate wells of Raw Sienna, Cobalt Violet, Cobalt Blue and Burnt Sienna. The key to the first wash is to keep your washes very wet. Apply mainly Raw Sienna across the paper. Leave a lighter wash and some white on the windows, and add a little Burnt Sienna to the door, but otherwise ignore the drawing marks altogether.
Whilst the paper is still wet, apply Cobalt Violet and Cobalt Blue to the parts of the paper that would be covered in shadow Let these colours mix on the paper. Do not worry about washes running together or colours not staying within pencil line boundaries. When you have completed this wash, allow it to dry and resist the urge to tinker or add more colour. I usually get up and make a coffee out of temptation’s way at this point.
Step 3 – Painting the Shadows
“Whacking in” the shadows so soon in the painting process is the key to this work. Use the existing colours in your palette (freshen them up if needed).
Also add a mix of Burnt Umber, Ultramarine Violet and French Ultramarine Blue. This combination produces a rich, dark and warm shadow colour. As you work vary this shadow mix by adding more Ultramarine Violet at one moment, then more Permanent Mauve or Ultramarine Blue at another. Varying your mix with each brushstroke will keep your shadows lively.
Using a rigger or Sword :iner brush for the finer lines of shadow in this step gives you two clear advantages. Firstly, it gives you the control you need at the edge of the shadows where you need to indicate a leaf or branch and where you need to paint the shadows on the windows and door. Secondly, it will give a free and energetic quality to your brushwork.
Add the shadows around the outside of the paper and also on the windows and doors. Have fun with the brush and try to work quickly. Do not be slow when painting the lamp post and lamp; work quickly and do not worry about the line being perfect. When the shadows have dried, add Burnt Sienna to the door and window boundaries.
Step 4 – final Details
Complete the final step only after the last wash has dried. In this last step use a standard rigger to add the details to the windows and door. The watercolour artist Joseph Zbukvic calls this final step ‘ adding the jewellery’. Use the colours in your palette to add the details.
For the window curtains mix a weak grey wash from the colours in your palette.
Use Burnt Sienna on the window shutters and door. After the washes had dried I mixed the darkest tone I could from my palette and using my rigger, added the wrought ironwork at the bottom of the window and door handle.
I find finishing a work difficult, but I tell myself to stop and to resist making even the smallest change. It is so tempting when looking at a finished work to think that it could benefit from a few tweaks. With a work like this such action can be fatal. You want a clear energetic sketch that has an immediate and powerful appeal. It is often the case that the longer you look at a work the more areas you find for what you think are ‘improvements’. The advice I try to follow is ‘leave it alone’.
