水彩绘画 我道:静物
注意从作者:因为 创作“静物画,我的路!“我有很多的邮件,来自世界各地的 人感谢我做演示。一些要求 画线。我已经创建了一个素描为那些感兴趣的人在一起 之后。这是一个大的图像,所以一个好的尺寸打印是可能的而不过于模糊。
查看实际的线路图, 按照这个链接,或点击缩略图向右。它 保存到您的硬盘驱动器,按下shift再单击的链接,并将其保存到你的电脑。 享受!
组的研究 仍然生活在外面的太阳。背景和基础是一片片的 屏蔽板。调整项目最佳 成分,然后 照片用数码相机。你 可以使用正常的相机和照片扫描在您当地的照片 商店。
使用你的电脑 图像软件,第一批图像,然后调整对比度/亮度给一个褪色的形象。当印刷在mono这将使用更少的墨水。
你的打印机设置 所需尺寸你通常 水彩画纸使用。我设置为34厘米宽,31厘米高。因为这是大于A4 海报和平滑调整需要勾选。设置为单声道,我们做 不需要一个颜色印刷。
这 是打印机的输出。四张纸与图像之间 分裂。
我们现在 修剪和粘贴在一起。
粘 和排队,重复和修剪所有四个准备跟踪。
我 使用“石墨转移纸”,应该可以从你当地的 艺术商店。如果不是盖的背面印花床单用软铅笔或炭笔。然后绘制你想要转移到周围的轮廓 你水彩纸。不要 逼债,否则你会破坏纸!
这里是图片 转移”桑德斯300通用不是“ 纸拉伸 和举行胶纸带。我们现在准备开始绘画。我们 有我们的草图和原始图像可以显示在计算机 虽然我们是绘画。这样做的优势在于你可以现在吃 苹果而画。
掩蔽 流体应用于玻璃、苹果和jar保存凸显。画笔是一个古老的 显示。刷毛已经削减和洗涤液 用于保护通过阻止掩蔽流体收集在 箍。用这个刷,我可以申请罚款行流体。
混合了大量的洗的背景、混合的深蓝色和浅红色的 联系。与这幅画上下颠倒,我应用了平洗 周围的物体和绘画的顶部。看到漂亮的珠的油漆 收集边缘吗?这是典型的在应用流体与 洗板倾斜15度。不要扔掉剩余的背景 洗,保存它你将需要它之后。不要担心如果它干的调色板, 水可以在需要时添加。
我们 已经应用了洗过玻璃,为背景以看 穿过它。
之前清洗干燥。一块吸水纸是用来提升一些 油漆,给反光看玻璃。
使用一些原始的洗,添加佩恩的灰色变暗和油漆罐,玻璃之间的阴影。影子玻璃画使用背景洗和黑暗的底部与佩恩的灰色。影子在玻璃涂上背景洗和佩恩的灰色下降而湿的中心部分。
使用边缘的一块吸墨纸升力线漆玻璃的影子在一个曲线,代表光的涟漪。
彻底干燥使用吹风机和删除掩蔽流体从玻璃。
白色的纸现在显示通过强调,涟漪在影子显示在油漆被取消。
铅笔标记删除使用腻子橡胶。
一些边缘软化通过刷涂上清水,用纸巾。
计算机援助:如果你的画一部分是容易漆,从侧面旋转图像在你的计算机来匹配。你不能这么做一个正常的静物设置!
优良的边缘为顶部的玻璃是用一支削尖的铅笔水彩画的添加。铅笔是用来干的,但是如果你愿意可以软化,用清水轻轻刷。细节添加到影子使用原来的洗。添加带顶部周围rim和随机曲线在从上到下。
影子在玻璃中间稍微昏暗。
目前的进度:背景、玻璃、和阴影完成。jar将解决下!
首先,我们必须定义jar和给它一些形状。
这个材质添加混合使用烧棕土,佩恩的灰色和浅红色的感觉。虽然它仍然是湿的,添加了一些额外的盖子边缘周围变黑。一边处理显示仅仅通过绘画的影子。
一个光洗生黄土上所有的罐子给它一个灰白色的中国形象。
掩蔽流体上可见的盖子和前沿。
一个强大的富有蓝色组合是由温莎蓝色和深蓝色。模式并逐步被涂上了油漆干燥前昏暗的第一。
当绘画细节,放大图像在你的电脑上。它帮助!
画完画后模式在侧,左边是通过提高一些油漆减轻稍微用纸巾。
精致的细节之后添加第一个是干使用装配工刷。掩蔽流体远离jar,光芒可以看到盖子和上边缘,保存白皮书现在显示。
目前的进度。下一步是油漆的苹果。顺便说一下他们是美味的。
原文如下：
Watercolour Painting My Way :Still Life
Note from the author: Since authoring “Still Life Painting, My Way!” I have had a lot of emails, from folks all around the world thanking me for the demo. Some have asked for a line drawing. I have created a line drawing for folks who are interested in following along. It is a large image, so a good size printout is possible
without becoming too pixelated.
To view the actual line drawing, follow this link, or click on the thumbnail to the right. To save it to your hard drive, SHIFT-CLICK on the link, and save it out to your PC. Enjoy!
Set up the still life study outside in the sun. Background and base are pieces of masking board. Adjust items for best composition and then photograph using a digital camera.You could use a normal camera and have the photo scanned at your local photo shop.
Using your computer image software, first crop the image and then adjust contrast/brightness to give a faded image. When printed in mono this will use far less ink.
Set up your printer to the size required for your watercolor paper you normally use. Mine is set to 34cms wide and 31cms high. As this is larger than A4 the poster and smooth resize will need to be ticked. Set to mono , we do not need a color print.
This is the output from the printer. Four sheets of paper with image divided between them.
We now trim and paste together.
Glued and lined up, repeat and trim all four ready for tracing.
I use “Graphite Transfer paper” which should be available from your local art shop. If not cover the back of the printed sheet with soft lead pencil or charcoal pencil. Then drawn around outlines you want transferred to your watercolor paper.Don’t press too hard or you will damage the paper!
Here is the transferred image on “Saunders 300gm Not” paper stretched and held with gummed paper strip. We are now ready to start painting.We have our sketch and the original image can be displayed on the computer while we are painting. This has the advantage that you can now eat the apples while painting.
Masking fluid is applied to the glass, apples and jar to save highlights. The brush shown is an old one. The bristles have been trimmed and washing liquid applied to protect by stopping the masking fluid collecting around the ferrule. With this brush, I can apply fines lines of fluid.
Mix up plenty of wash for the background, mixture of ultramarine and touch of light red. With the painting upside down, I applied a flat wash around the objects and to the top of the painting. See the nice bead of paint collecting at the edge? This is typical when applying a fluid wash with the board tilted at 15 degrees. Don’t throw away the remaining background wash, save it you will need it later. Don’t worry if it dries in the palette, water can be added when required.
We have applied the wash over the glass, as the background can be seen looking through it.
Before the wash is dry. A piece of blotting paper is used to lift some of the paint, giving the reflective look of glass.
Using some of the original wash, add Payne’s Grey to darken and paint the shadow between the jar and glass. Shadow of glass was painted using background wash and darkened at the bottom with Payne’s Grey. Shadow inside glass painted with background wash and Payne’s Grey dropped in while wet into the center portion.
Using the edge of a piece of blotting paper lift lines of paint on glass shadow on a curve, to represent ripples of light.
Dry thoroughly using a hairdryer and remove masking fluid from the glass.
The white of the paper now shows through for highlights, and ripples show in the shadow where paint was lifted.
Pencil marks erased using a putty rubber.
Some edges are softened by brushing on clear water and dabbing with a tissue.
Computer aid: if a part of your painting is easier to paint from the side, rotate the image on your computer to match. You can’t do this with a normal still life setup!
The fine edge for the top of the glass is added with a sharpened watercolor pencil. The pencil is used dry, but can be softened if you wish by lightly brushing with clear water. Detail is added to the shadow using the original wash. Add the band around the top rim and random curves across from top to bottom.
Shadow inside glass darkened slightly at the middle.
Progress so far: background, glass, and shadows completed. The jar will be tackled next!
First, we have to define the jar and give it some shape.
The shading is added using a mixture of burnt umber, Payne’s Grey and a touch of light red. While it was still wet, some extra was added around lid edge to darken. Side handle shown simply by painting in the shadow.
A light wash of raw sienna painted over all of the jar to give it an off-white china look.
Masking fluid is visible on lid and front edge.
A strong rich blue mix was made from winsor blue and ultramarine. The pattern is painted in and edging darkened before first paint dries.
When painting detail, magnify the image on your computer. It helps!
After painting the pattern on the side, the left was lightened slightly by lifting some paint with a tissue.
Fine detail added after first was dry using a rigger brush. Masking fluid removed from jar, sparkle can be seen on lid and top edge, where the preserved white paper now shows.
Progress so far. Next step is to paint the apples. By the way they were delicious.
