这仅仅是一个演示绘画的那种彼得使用作为一个介绍车间,因此不是完全与完整的绘画课程在他的网站出售。它不同于包装课集,其中没有很多照片,因为演示本身是非常简单的。一个列表的所有材料、刷子等包含在这一课。
材料和准备每一节课
除非另有指示,我将使用1/2板(15 * 22)300 # 100%破布(棉)乞力马扎罗山水彩画纸。
其他需要提交的材料有:
1。照片和价值研究的参考示意图(强烈推荐)。
2。铅笔,橡皮擦,尺子,遮蔽胶带,旧标准尺寸浴巾(卷紧)。
3。两个装水的容器(一个用于清洁和一个用于脏水)——大型塑料奶酪浴缸是好的。
4。纸巾和/或清洁布(吸收多余的水刷在必要的时候)。
5。板与无孔的表面(即片有机玻璃大约20×24”)。一个光滑无孔的桌面都好用的开始,然而,你将不能倾斜或移动就像一个独立的董事会。
4。调色板。如果你是初学者,不想变得太大量投资于设备在这个时间您可以使用一个白色的陶瓷餐盘混合你的颜色和一个塑料冰块托盘持有你的颜料。最好是填满井从管颜料和允许他们干了你的第一次会议之前。然后,当你已经准备好开始绘画,雾表面用喷雾瓶,等待几分钟,他们就可以使用。我使用一个罗伯特·e·伍德调色板。井是大型和内部分为两个大的混合区域。盖子也可以作为一个调色板举行四个较小的洗涤。
5。刷- 2“平洗刷(这应该是一个水彩画笔——不是丙烯酸或油太硬,会破坏表面的纸);1“平洗擦;加至少一个圆- # 9或6 #。当你开始画全张纸3“平洗刷是建议。
6。油漆。这些应该是水彩画管颜料。现在制造商使大量管(37 ml)。质量不错的水彩颜料。如果你开始用一个小选择基本色你应该可以混合任何你需要和可以添加更多的你的调色板当你开始实验。
我使用下面的基本颜色在这些教训:
红色:
暗红
布鲁斯:
钴蓝色;群青;普鲁士蓝
黄色:
Aureolin;橙黄色,深褐色
我将ocasionally使用其他颜色在这些教训,会告诉你当我这样做。
步骤# 1
使用提供的照片(或,在那里没有可用的照片,完成绘画)轻轻在设计草图在你的水彩画纸。当绘画自己的作文,你应该花一些时间在缩略草图、计划安排你的形状。记得要改变尺寸和轮廓在创建一个设计,你可以油漆没有太大的困难。你想有一些有趣的在绘画…旅程的目的地一样重要。
步骤# 2
完全浸湿的纸浸泡在浴缸的水约5 - 10分钟允许纸张拉伸。这将打开纤维的纸让色素解决,而反映出的白色纸向眼睛,从而创造了光看的彩色玻璃。最后一块看起来应该像一个水彩绘画,不仅完成了一幅画水彩颜料。
第三步
持有你的论文仔细的角落,让多余的水分滴完,然后放置到你的董事会。现在,滚你的毛巾纸几次。本文应该保持潮湿但不湿-所有闪光或发光应该消失。你现在有一个可行的表面,这将允许您轻松实现硬软两种边缘随意。
第四步
胶带的边缘你的董事会。水困在本文将允许一个更大的“窗口”的工作时间。
重要提示:
当我谈到一个丰富的水坑在以下页面,我的意思是一个混合的漆通过你看不见底部的面板。油漆应似乎相同的强度和价值在混合区,因为它是好,但应包含足够的水,这样当搅起的用刷子和应用到纸它继续顺利和不给干刷的效果。这可能需要一点练习开始。
步骤1到步骤4后后在“材料&准备“你已经准备好开始……. .绘画
以上是我的一张完成绘画。因为这只是一个简单的演示,我没有使用照片参考。开始你的画——轻轻画出三个大的形状。您将使用这些指导只有和不应该感到受线路。不要让它打扰你如果你的中风发生去外面这些行。
步骤# 5
我开始通过混合的诱人的颜色调色板中井——深蓝色;玫瑰茜草真实或暗红,深褐色。这些水坑含有大量的水,但仍有足够的颜料是生动的调色板。记住,我们不是试图与自然竞争。我们还没有得到一个机会提前出来。它是相当困难的竞争日落或日出在一张纸上22“x 30”,所以我们不得不欺骗一点通过使用颜色我们的优势。在我画什么我总是确定的颜色和纹理的主题,然后试图找到最快捷的方式将故事告诉。如果它是没有生命危险,试试看!
步骤# 6
我知道有颜色的桦树。它有一个粗糙的纹理和它有一个形状。所以…我们开始吧。捡起所有三种颜色在一个平刷。我尝试使用最大的刷,我就能把工作做好,并开始应用多色洗字里行间(如果需要然后还线条),然后让所有三种颜色混合在一起在纸上。
步骤# 7
不同的色彩模式在树与树之间通过一个颜色比其他人更占主导地位。这将创建一个小更多的兴趣在这幅画。尝试和有有趣的色彩模式。你会惊讶地发现,许多不同的颜色在一个桦木树。就像我先前说的,忘记住字里行间。他们只是一个参考。你越放松与刷,效果越好。
步骤# 8
下面的步骤显示树的纹理和圆度。首先刮或移动一个水坑从一侧的树,另一个轻微的弧的中风。清洁卡或抓取工具在每个中风和重新开始。开始你的行程 外的树。坚决把颜料到另一边。这样做虽然油漆还是湿的。结果将取决于如何湿或干燥的油漆是在这个阶段。你可能需要练习在一个废片纸几次得到正确的压力和时间。
步骤# 9
重复步骤# 8,记住要改变你的中风的宽度(使用切碎信用卡)和离开一些地区作为最初画。参阅图完成的绘画。哪里有光/白色区域,油漆已经报废使用国际信用卡技术。然后,当油漆还是湿的,洪水在某些黑暗和强烈的色彩(富油漆混合物——更少的水)显示桦木水泡。
步骤# 10
选择一个湿边缘,存一些颜料在干一侧的边缘。如果你触摸两湿和干燥的地方,同时你会得到一个边线外面的树和丰富的色彩将流血到你的湿区给软边缘。一个有趣的组合。
步骤# 11
从这些水坑在纸上. .油漆在一些曲线显示圆度的桦树。我们首先确定树的形状,确定颜色我们选择告诉这个故事,然后执行结构。
步骤# 12
无论是. .在纸上的水坑或从调色板中……一些树枝刮/油漆在使调色刀或一个小刷子。我更喜欢刀,因为它给了一个更“苗条的“自然的外观。树枝真的应该出现角。每一个生长季后起飞的分支在一个稍微不同的角度。是一个相当崎岖的桦树,丰盛的树和角中风捕捉性格很好。
步骤# 13
现在是时候的收尾工作。这和下面的步骤需要您允许纸张干…所以去喝杯咖啡或使用你的吹干燥…如果你很着急。现在,在干燥的纸,你可以添加更多的书法的标志——黑暗,将呆在水泡你放了他们,而不是出血到其他洗。
步骤# 14
让你的标志上面后晾干……。组合一个新的干净的水坑的深蓝色-大量的水。然后,使用一个平刷,油漆一个条纹下影子的一面每个桦树树干(一侧的起点你刮痕迹)。
步骤# 15
与一个相当潮湿刷(不滴水)浸湿(软化)内部边缘显示渐进的影子。让这幅画干一次。
步骤# 16
与一个相当强大的混合的深褐色,釉在少数地区为最后的触摸。这些透明的笔触在现有的颜色给相当的影响。我们不是要与自然竞争,只是裙子她一点。
步骤# 17
这里我们有我们的桦树集群,只是添加了鸟的房子。
原文如下：
Welcome to a FREE sample of Peter Humeniuk’s watercolour lessons
This is just a demo painting of the sort that Peter uses as an introduction to workshops and therefore not as complete as the full painting lessons offered for sale at his site. It is different from the packaged lesson sets in that there are not quite as many pictures because the demo itself is very simple. A list of all materials, brushes etc. is included with this lesson.
Materials & Preparation for EVERY Lesson
Unless otherwise indicated, I will be using 1/2 sheet (15″ x 22″) 300# 100% rag (cotton) Kilimanjaro watercolour paper.
Other Materials required are:
1. Photo reference for sketch and value study (strongly recommended).
2. Pencil, eraser, ruler, masking tape, old regular size bath towel (tightly rolled).
3. Two water containers (one for clean and one for dirty water) – large plastic cottage cheese tubs are ok.
4. Paper towels and/or clean rag (to absorb excess water from brushes when necessary).
5. Board with non-porous surface (i.e. sheet of plexiglass approx 20″ x 24″). A smooth non-porous table top will work well enough in the beginning, however, you will not be able to tilt or move it like you would a separate board.
4. Palette. If you are a beginner and don’t want to become too heavily invested in equipment at this time you can use a white ceramic dinner plate for mixing your colours and a plastic ice cube tray to hold your pigments. It is best to fill the wells from tube pigments and allow them to dry out before your first session. Then, when you are ready to begin painting, mist the surface with a spray bottle, wait a few minutes, and they will be ready to use. I use a Robert E. Wood palette. The wells are large and the inside is divided into two large mixing areas. The lid also works as a palette for holding four smaller washes.
5. Brushes – 2″ flat wash brush (this should be a watercolour brush – not acrylic or oil as they are too stiff and will damage the surface of the paper); 1″ flat wash brush; plus at least one round – #9 or #6. When you begin painting on full sheets of paper, a 3″ flat wash brush is advised.
6. Paints. These should be watercolour tube pigments. There are now manufacturers who make large quantity tubes (37ml.) of good quality watercolour paints. If you begin with a small selection of primary colours you should be able to mix anything you need and can add more to your palette as you begin to experiment.
I use the following basic colours in these lessons:
Red:
Alizarin Crimson
Blues:
Cobalt Blue; Ultramarine Blue; Prussian Blue
Yellows:
Aureolin; Gamboge; Burnt Sienna
I will ocasionally use other colours throughout these lessons and will tell you when I do so.
Step #1
Using the photograph provided (or, where not available, the photo of the completed painting) lightly sketch in the design on your watercolour paper. When painting your own compositions, you should always spend some time on thumbnail sketches, planning the arrangement of your shapes. Remember to vary the size and contours while creating a design that you can paint without too much difficulty. You want to have some fun during the painting…the journey is just as important as the destination.
Step #2
Thoroughly soak the paper by immersing it in a tub of water for about 5-10 minutes allowing the paper to stretch. This will open up the fibers of the paper letting the pigment settle, while reflecting the white of the paper towards the eye and thus creating the luminous look of stained glass. The final piece should look like a watercolour painting, not just a painting done with watercolour pigment.
Step #3
Holding your paper carefully by the corners, let excess water drip off and then place onto your board. Now, roll your towel over the paper several times. The paper should remain damp but not wet – all glisten or shine should disappear. You now have a workable surface which will allow you to easily achieve both hard and soft edges at will.
Step #4
Tape the edges to your board. The water trapped under the paper will allow a greater “window” of working time.
Important Note:
When I speak of a rich puddle in the following pages, I mean a mixture of paint through which you cannot see the bottom of the palette. The paint should appear to be the same intensity and value in the mixing area as it is in the well, but should contain enough water so that when scooped up with the brush and applied to the paper it goes on smoothly and does not give a dry brush effect. This will probably take a little practise in the beginning.
After following Steps 1 through 4 in “Materials & Preparation” you are ready to start painting……..
Above is a photo of my completed painting. Because this is just a simple demo, I have not used a photo reference. To begin your painting – lightly draw the three large shapes. You will use these as a guide only and should not feel bound by the lines. Don’t let it bother you if your strokes happen to go outside these lines.
Step #5
I begin by mixing puddles of colour in the palette wells – ultramarine blue; rose madder genuine or alizarin crimson; burnt sienna. These puddles contain a fair amount of water, but still have enough pigment to be vivid on the palette. Remember, we are not trying to compete with nature. We haven’t got a chance of coming out ahead. It is rather difficult to compete with a sunset or sunrise on a piece of paper 22″ x 30″, so we have to cheat a little by using colour to our advantage. Before I paint anything I always determine the colour and texture of the subject, then try to find the quickest way of getting the story told. If it is not life threatening – try it!
Step #6
I know there is colour in the birch. It has a rough texture and it has got a shape. So…here we go. Pick up all three colours on a flat brush. I try to use the largest brush I have that will get the job done, and start applying a multicolour wash between the lines (if need be then also over the lines), then let all three colours mingle together on the paper.
Step # 7
Vary the colour pattern from tree to tree by making one colour more dominant than the others. This will create a little more interest in the painting. Try and have fun with the colour patterns. You will be surprised how many different colours there are in a birch tree. As I said earlier, forget about staying between the lines. They are only a reference. The more relaxed you are with the brush, the better the results.
Step # 8
This next step shows texture and roundness of the tree. Start by scraping or moving a puddle from one side of the tree to the other with a slight arc to the stroke. Clean the card or scraping tool after every stroke and start again. Begin your stroke outside the tree. Firmly pull the pigment to the other side. This is done while the paint is still wet. Results will vary depending on how wet or dry the paint is at this stage. You may need to practise on a scrap piece of paper a few times to get the pressure and timing right.
Step # 9
Repeat Step #8, remembering to vary the width of your strokes (use cut up credit cards) and to leave some areas as originally painted. Refer to the photo of the finished painting. Where there are light/white areas, the paint has been scraped out by using the credit card technique.Then, while the paint is still wet, flood in some darker and more intense colour (richer paint mixture – less water) to show the birch blisters.
Step # 10
Pick a wet edge and deposit some pigment on the dry side of the edge. If you are touching both wet and dry areas simultaneously, you will get a hard edge on the outside of the tree and rich colour will bleed into your wet area giving a soft edge. An interesting combination.
Step #11
From these puddles on the paper..paint in some curved lines to show the roundness of the birch. We first identify the shape of the tree, determine the colour we choose to tell the story, then execute the texture.
Step # 12
From either..the puddles on the paper…or from the palette..scrape/paint some branches in using a palette knife or a small brush. I prefer the knife as it gives a more “twiggy” natural look. The branches should really appear angular. After every growing season the branch takes off at a slightly different angle. The birch is a rather rugged, hearty tree and the angular strokes capture the character quite nicely.
Step #13
Now it is time for the finishing touches. This and the following steps require that you allow the paper to dry…so go have a cup of coffee…or use your blow drier if you are in a hurry.Now, on dry paper, you can add more calligraphic marks – darker blisters – that will stay where you put them, instead of bleeding into other washes.
Step #14
After allowing your marks above to dry…….mix a new clean puddle of ultramarine blue – lots of water. Then, using a flat brush, paint a stripe down the shadow side of each birch trunk (the side opposite the starting point of your scrape marks).
Step # 15
With a fairly damp brush (not dripping) wet out (soften) the inside edge to show the gradual shadow. Let the painting dry once more.
Step # 16
With a fairly strong mix of burnt sienna, glaze in a few areas for the final touch. These transparent brush strokes over the existing colours give quite an effect. We’re not trying to compete with nature, just dress her up a bit.
Step #17
Here we have our birch cluster, just add the bird house.
