如何画一个风景水彩画——第1部分
一步一步的演示为我班一个景观的初学者在水彩画。
我的课在水彩画解决初学者第一次严重的景观最近,我想将许多技术我们已经使用在过去的赛季。我选择这个主题基于旧铅笔素描我已经踢着我的“想法”申请年它使用湿在湿、干刷,石头和砖,倒影,树叶,天空,和水。
步骤1
给新手的我总是喜欢强调仔细画第一,作为一种基础,允许他们一些余地携带自己的风格来承担。我意离开反射的小屋,直到后来太多行证明困惑在这个阶段。
步骤2
接下来,我们画出基本的屋顶颜色,混合使用原始黄土,布朗茜草、镉红,和一个触摸我们的标准阴影色由布朗茜草、和安特卫普蓝色。请注意我把一些消极空间的叶子,他们穿过屋顶。你可能会注意到我不小心涂面积在山墙,应该留下白色。我纠正了这个由掩蔽掉起重与普通水和面部组织。这就是为什么我一直坚持我的学生只使用300磅纸,因为它有助于纠正错误。
步骤3
我们表明了瓷砖或带状疱疹用同样的颜色在我们的第一个洗。使用# 2轮刷我们给人的印象的屋顶覆盖。不需要油漆在每瓦,但尽量错开他们一点。一定要延长你的瓷砖课程在白色空间留给树叶。
步骤4
现在我走在瓷砖与2号圆刷,使用我们的标准颜色来强调某些地区的影子。个人风格在这里将会发挥作用,但是他们的思想是建立一个现实的屋顶面积没有画在每一瓦。
步骤5
下面是它如何应该在这个阶段,混合均匀后这个区域与# 2轮刷装满水。试图强调脊瓦和显示他的边缘沿着外面的屋顶瓦片线。大量的机会来的个人风格在色彩和质感。
步骤6
现在把两个烟囱里,使用砖颜色匹配石头小屋。生黄土与触摸的棕色茜草的砖的工作,其次是一个薄的暗版的砖块。不要企图油漆在这个大小的砖块砌成,就说明了一些砖这里和那里。接着,一些标准阴影颜色来强调某些地区。如果结果不请您,试试混合与普通水。对于烟囱锅使用镉红带着些许的棕色茜草在轻洗,然后显示阴影面与我们的标准阴影色。
烟囱架可能是混凝土,因此表明有微弱的影子洗。我已经把一个影子,窗台下,修复我们的光源和方向,我画一方在我们标准的阴影颜色。你必须把这和尝试它第一。不要让它太暗。你总是可以添加另一个层之后。这不是一个建筑渲染所以我们会尝试为现实主义,但在一个松散的方式。
步骤7
这是我们的石头的基础技术。
步骤8
混淆几个石头的颜色从您现有的面板在不同的井和试用在便条纸。使用# 4圆刷,油漆在一系列的原石课程,记住要刹车的课程就像我们在我们的砖演示。不需要油漆在每个石头——只是一个建议。我们会在与水混合这一切在稍后的阶段。混合和匹配的颜色让那个老,风化看起来。
步骤9
这是我们所追求的,但是你可以玩得开心这通过引入自己的风格。不同的形状和颜色,但是记住这实际上是一个非常小的区域我们的绘画而这张是一个特写镜头在明亮的阳光下。实验在一张废纸第一。
第十步
下一个混合的结果与一个# 4轮刷和干净的水。这取决于你使用多少颜色,你可能不得不工作在色彩相当严重。但尽量不要油漆在干净的白色边的窗户和其他木质装饰。往后站,看看结果从一个正常的观看距离:约6到8英尺远。你添加更多的色彩和纹理来适应。
步骤11
工作这到纸和使用大量的水。
步骤12
这样就行了,我们可以再来修改这个如果需要。我们试图给人的印象是一堵石墙。
步骤13
小披屋棚被阻塞在与浅灰色由我们的标准的阴影颜色。小心油漆在木制品装饰离开白皮书。光的单坡屋顶是洗的深褐色,我最喜欢的锈色。
步骤14
把在阴影区域和离开白人的树在RH一边的绘画。你可能想去回想那些影子阿瑞斯和再保险表明一些石头让他们脱颖而出。我们的别墅是完成了,但我们可以修改这个在稍后的阶段。
步骤15
被屏蔽的背景树用洗水的平原使用45度平1/2 "刷。这使我们能够允许我们让最终的颜色流到边缘的小屋顺利和给我们时间来软化顶边。颜色逐渐稀释为背景的树木消失的小屋后面。
步骤16
我决定推荐保护边缘的小屋和下盘与液体掩蔽,让它更容易绘制背景树。如果我们画这个户外我们会使用一个更宽松的风格,但在工作室画从一张照片需要更多的纪律。在这里我使用结束的刷将掩蔽来拯救破坏刷。对于finework使用液体掩蔽我有一系列相对一次性刷我洗了洗涤剂。有些颜色可能会丢失当我们最终被移除,但数量不会影响这个主题。
原文如下：
How to Paint a Landscape in Watercolor - Part 1
A step by step demo of a landscape for my class of beginners in watercolour.
My class for beginners in watercolour tackled their first serious landscape recently, and I wanted to incorporate many of the techniques we have been using over the past season. I chose this subject matter based on a old pencil sketch I’ve had kicking around in my “ideas” file for years as it uses wet-in-wet, dry brush, stone and brick, reflections, foliage, sky, and water.
Step 1
With beginners I always like to emphasize a careful drawing first, as a kind of underpinning to allow them some leeway to bring their own style to bear. I intentionally left off the reflection of the cottage until later as too many lines prove confusing at this stage.
Step 2
Next we paint in the basic roof colour, using a mixture of Raw Sienna, Brown Madder, Cadmium Red, and a touch of our standard shadow colour made from Brown Madder, and Antwerp Blue. Notice how I’ve left some negative spaces for the leaves where they cross the roof. You may notice I accidentally painted over an area on the gable which should have been left white. I corrected this by masking it off and lifting it out with plain water and facial tissue. This is why I always insist my students use only 300 lb. paper as it helps in correcting mistakes.
Step 3
We indicate the tiles or shingles with the same colour over our first wash. Using a #2 round brush we give the impression of the roof covering. No need to paint in every tile, but try to stagger them a little. Be sure to extend your tile courses under the white spaces left for the leaves.
Step 4
Now I went over the tiles with a number 2 round brush, using our standard shadow colour to emphasize certain areas. Personal style will come into play here, but the idea is to create a realistic roof area without painting in every single tile.
Step 5
Here’s how it should look at this stage, after blending this area with a #2 round brush loaded with water. Try to emphasize the ridge tiles and show he edge of the tiles along the outer roof line. Lots of opportunity here for personal style in colour and texture.
Step 6
Now put in the two chimneys, using a brick colour to match the stone cottage. Raw Sienna with a touch of Brown Madder for the brick work, followed by a slighter darker version for the bricks. Don’t attempt to paint individual bricks at this size, just indicate a few bricks here and there. Follow this up with some standard shadow colour to emphasize certain areas. If the result doesn’t please you, try blending with plain water. For the chimney pots use Cadmium Red with a touch of Brown Madder in a light wash, then show the shadow side with our standard shadow colour.
The chimney ledge is probably concrete, so indicate that with a faint shadow wash. I’ve put a shadow under that ledge, and to fix our light source and direction, I’ve painted one side in our standard shadow colour. You’ll have to mix this and try it out first. Don’t get it too dark. You can always add another layer later. This is not an architectural rendering so we’ll try for realism, but in a loose way.
Step 7
This is the basis for our stone technique.
Step 8
Mix up several stone colours from your existing palette in separate wells and try them out on scrap paper. Using a #4 round brush, paint in a series of rough stone courses, remembering to brake the courses as we did in our brick demo. No need to paint in every stone – just a suggestion. We’ll be blending all this in with water at a later stage. Mix and match colours to get that old, weathered look.
Step 9
Here is what we’re aiming for, but you can have fun with this by introducing your own style. Vary the shapes and colour, but remember this is actually a very small area of our painting whereas this photograph is a close-up in bright sunshine. Experiment on a piece of scrap paper first.
Step 10
Next blend in the results with a #4 round brush and clean water. Depending on how much colour you’ve used, you may have to work in the colour quite heavily. but try not to paint over the clean white edges of the windows and other wood trim. Stand back and look at the the results from a normal viewing distance: about six to eight feet away. You add more colour and texture to suit.
Step 11
Work this well into the paper and use lots of water.
Step 12
This will do for now, and we can come back later to modify this if needed. We’re trying to give the impression of a stone wall.
Step 13
The little lean-to shed was blocked in with a light gray made from our standard shadow colour. Carefully paint around the woodwork trim to leave white paper. The shed roof was a light wash of Burnt Sienna, my favourite rust colour.
Step 14
Put in the shadow areas and leave the whites for the tree on the RH side of the painting. You may want to go back in those shadow ares and re-indicate some of the stones to make them stand out. Our cottage is completed for now, but we may modify this at a later stage.
Step 15
The background trees are blocked in with a wash of plain water using a 45 degree flat 1/2″ brush. This enables us to allow us to let the eventual colour flow up to the edges of the cottage smoothly and gives us time to soften the top edges. The colour is gradually diluted as the background trees disappear behind the cottage.
Step 16
I decided to recommend protecting the edge of the cottage and lower wall with liquid masking to make it easier to paint the background trees. If we were painting this outdoors we would be using a looser style, but in a studio painting from a photograph more discipline is required. Here I’m using the end of a brush to push the masking around to save damaging a brush. For finework using liquid masking I have a series of relatively disposable brushes I wash out with detergent. Some colour may be lost as we eventually removed this, but the amount will not affect this subject.
