水彩画技巧——绘画金属-示范
开始
金属对象总是构成特殊问题在水彩画家。我们中间的纯粹主义者不喜欢使用固体白色挑出重点,初学者往往避免解决闪亮的金属在静物画。铜和铜通常是很容易的,因为他们有基本的颜色——但一个银茶壶是什么颜色?与铬,这取决于。这取决于围绕银茶壶。是被画在自然日光呢?白炽灯?荧光灯或混合物。对于此演示我选择了一个镀银的茶壶点着荧光灯在没有缝浅绿色的背景。
跟踪图像
我使用现代计算机技术在这个演示,但你仍然可以获得好的结果老式的方法。我打印出来一个8“×10”色彩开枪将它用作跟踪源。使用300磅拱门纸,我用带子把印出的纸,用艺术家的石墨纸转移形象,用一个尖锐的5 h铅笔。请注意我把实际茶壶身边作为参考,加上照片和垫,它将最终安装。
无可厚非图像
我需要一个比平时暗铅笔图像以照片为你,所以我轻轻抹去原在我最后无可厚非的图像。不要犹豫把图和参考照片颠倒帮助得出困难的曲线。这也有助于给你一个不同的角度你画的对象。
最终的图像
你必须决定你想要多少细节在你的最终图像。如果你想要一个印象的银茶壶,而不是一个更具象的形象,你可以省去你认为你不需要。我选择了一个精确的图纸对于此演示。现在我们准备油漆。在这里我总是建议片刻的安静的反思如何画这张画。看看茶壶仔细(或不管你在画)。看起来正确的对象,看有什么。什么是反射?什么会被忽略或强调使金属看起来像金属吗?决定哪些领域需要misket允许白皮书显示通过。主题是什么颜色的?
计算机图像
由于现代计算机技术,我们现在可以保持原始图像的监控对于频繁引用。这可以帮助如果你不能油漆仍然生活在的地方。你可能没有房间以保持数周,透射光从你的电脑显示器就像一个幻灯片。电脑并不是必不可少的课程。你可以从一幅画中画,一本杂志或者一个日历。这个想法是为了玩得开心。
从哪里开始?
在我的绘画我通常开始的中心兴趣,除非我决定背景或天空应该在第一。没有硬性规定。这里我开始在顶部和工作下来。它已经看上去像金属我认为。我用洗的安特卫普蓝色和棕色茜草作为我的基本颜色,有点暗绿色捡起绿色的背景。注意misket细节是在帮助离开白皮书主要强调。
引入垫
早在我的画我介绍垫我最终会使用。这总是使立即提升到绘画和似乎提高了颜色。它也给你一个额外的动力继续,充当一种啦啦队长和显示你,你已经走了多远。
更大的绘画更需要你对任何能帮助你继续前进,特别是如果你油漆单独与没有输入从老师或其他的画家。注意突出显示在顶部的盖子已经软化,使扩散突出。这样做以一个小的,僵硬的油,使用水和刷子擦洗并洒温柔动作与面部组织。不要过度的这种技术或你会破坏纸张和随后的颜色将运行。实验第一。
手柄
离开misket到位,基本洗去过去处理区,有几个黑暗地方强调轮廓。较暗的部分是由一个混合的安特卫普蓝色、棕色茜草和乌贼。我从黑暗的色调混合三个光。一旦你尝试用金属物体,你将开始看到在某些领域需要重点夸大了高光和阴影的对比。这确实是二维的诡计。你必须傻瓜的眼睛在思考——嘿——这是金属。它是闪亮的寻找。
移除misket
轻轻地去除misket区域用胶带或特殊的升降机卖这个目的。现在你有白色让你错觉占据。
创造幻觉
现在您添加深色触动到的幻想出压花树叶处理。轻轻软化极端强调与洗衣刷技术,回去在更黑暗的阴影。基地面积
这里的misket已经被移除和基地洗应用。一个光绿色颜料洗了拿起彩色的背景。把垫回来经常来丰富你的精神。别忘了——这应该是乐趣!
纠正错误
两件事错在这个阶段:一个是偶然使用绿松石代替蓝色,这给了我一个明显的绿色影子,另一个是在一个地方画应该留下白色。
错误的阴影色很快就被解决了,但是我不得不举起点颜色让白皮书显示通过。实验用这项技术第一,但地方一些胶带在受灾地区和精心绘制,在你想要提升。这有一个切刀和媒体艺术在如图所示位置。经验会教你如何难以出版社;你不想损害表面的纸。现在使用硬毛刷,清洁的水和面部组织,或者轻拍和污点。然后用一个小吹风机仔细和轻轻抬起了面具。
几乎做
剩下的就是该地区重绘出了差错,削弱了强调你感觉太硬了,是时候为背景。最终的结果是合适的金属我认为,当然这些激怒示威看起来总是比真的更容易!我不能亲自去看你的肩,甚至如果我是,我只能帮助你到目前为止。最终你在你自己的,只有通过不断的实践和经验你能完美的任何技术。你会失败很多次,但是你会从失败中学习,每次得到更好一点。
背景洗
现在有困难的部分:背景洗。锁住前门,把窗帘,关掉你的手机,消除狗和孩子们,准备好一个走钢丝表演。穿上干净的洗水和油漆都正确的在1/16”的绘画。然后把水权的轮廓你的茶壶用湿刷如图所示。小心不去在绘画或背景颜色将遵循水和把事情弄糟。你需要一个稳定的手在这里和一些停止你弄脏你都干了些什么。把这幅画颠倒如果它将帮助。好了,你可以开始重新呼吸了!
应用彩色
当清洁洗差不多干了,我用洗的暗绿色带着些许的棕色茜草和乌贼。颜色按照我的水清洗,然后我把色彩
这幅画的边缘如图所示。你会注意到颜色洗仍然闪亮但你会工作的更快或你将有一个双行显示当它变干。实践这种技术之前做一个实际的绘画。
清理洗
以防止开花的盈余彩色边缘的你的画,使用平刷仔细吸水所有边缘的颜色。你的画非常脆弱的在这个阶段,所以把所有的办法让它干。使用电吹风如果你想加快。
最后的修饰
我添加了一个额外的影子在该基地的我的照片,使用一个更强的混合暗绿色一点棕色茜草和乌贼。我混这一些有点潮湿的刷。在这是彻底地干我画在这强烈的影子就在底部边缘,软化它与潮湿的笔刷,然后磨几年中健美反思基础。
完成!
好了,你的手机打开,打开前门,让狗和孩子。你完成。完成的结果看起来好金属我认为,尽管一个茶壶不是一个候选人任何人的客厅墙,经验应该帮助你下次你面对绘画金属在水彩画。
原文如下：
Watercolor Painting Techniques – Painting Metal – Demonstration
(Click Images For Larger Views)
Getting started
Metal objects always pose a special problem for painters in watercolour. The purists among us don’t like to use a solid white to pick out the highlights, and beginners often avoid tackling shiny metal in still life paintings. Brass and copper are usually easier, as they have base colours – but what colour is a silver teapot? As with chrome, it depends. It depends on what surrounds the silver teapot. Is is being painted in natural daylight? Incandescent light? Fluorescent light or a mixture. For this demonstration I’ve chosen a silver plated teapot lit by fluorescent light on a no-seam pale green background.
Tracing the image
I’m using modern computer technology in this demonstration, but you can still achieve good results the old-fashioned way. I printed out an 8″ x 10″ colour shot and used it as a tracing source. Using 300 lb Arches paper, I taped the print-out to the paper and used artists’ graphite paper to transfer the image, using a sharp 5H pencil. Note I kept the actual teapot close by for reference, plus the photograph and the mat in which it will be eventually mounted.
Re-drawing the image
I needed a darker than usual pencil image in order to photograph this for you, so I gently erased the original before my final re-drawing of the image. Don’t hesitate to turn the drawing and the reference photograph upside down to help draw difficult curves. This also helps in giving you a different perspective to the object you’re drawing.
The final image
You must decide how much detail you want in your final image. If you want an impression of a silver teapot, and not a more representational image, you can leave out what you think you won’t need. I’ve chosen an accurate drawing for this demonstration. Now we’re ready to paint. Here I always suggest a few moments of quiet reflection on exactly how you will paint this picture. Look at the teapot carefully (or whatever it is you’re painting). Look right into the object and see what is there. What is being reflected? What might be left out or emphasized to make the metal look like metal? Decide what areas need misket to allow the white paper to show through. What is the colour theme?
The computer image
Thanks to modern computer technology we can now keep the original image up on the monitor for frequent reference. This helps if you simply cannot paint a still life in place. You may not have the room to keep it up for weeks, and the transmitted light from your computer monitor acts like a slide show. A computer isn’t essential of course. You can paint from a photograph, a magazine or a calendar. The idea is to have fun.
Where to start?
In any of my paintings I usually start at the centre of interest, unless I decide the background or sky should go in first. There’s no hard and fast rule. Here I started at the top and worked down. It’s already looking like metal I think. I used a wash of Antwerp Blue and Brown Madder as my basic colour, with a little Sap Green to pick up the green background. Note the misket detail is in to help leave white paper for the main highlights.
Introducing the mat
Early in any of my paintings I introduce the mat I will eventually use. This always gives an immediate lift to the painting and seems to enhance the colours. It also gives you an added motivation to continue, and acts as a kind of cheerleader and shows you how far you’ve come.
The bigger the painting the more need you have for anything which helps you keep going, especially if you paint alone with no input from teachers or other painters. Notice how the highlight along the top of the lid has been softened to make a diffused highlight. Do this with a small, stiff oil brush, using water and a gentle scrubbing motion and dabbing with facial tissue. Don’t overdo this technique or you’ll damage the paper and subsequent colours will run. Experiment first.
The handle
Leaving the misket in place, the basic wash goes over the handle area, with a couple of darker places to emphasize contours. The darker parts are made from a mixture of Antwerp Blue, Brown Madder and Sepia. I mixed three shades from darkest to light. Once you’ve experimented with metal objects, you will begin to see where certain areas will need emphasis to exaggerate the contrast between highlights and shadows. This is really two-dimensional trickery. You must fool the eye into thinking – hey – this is metal. It’s shiny looking.
Removing the misket
Gently remove the misket area with masking tape or the special lifter sold for this purpose. Now you have white highlights to allow your illusion to take hold.
Creating the illusion
Now you add the darker touches to create the illusion of embossed leaves on the handle. Gently soften the extreme highlights with the scrub-brush technique, and go back in with more dark shadows.
The base area
Here the misket has already been removed and the base wash applied. A light sap green wash was added to pick up the colour from the background. Put the mat back frequently to bolster your spirits. Don’t forget – this is supposed to be fun!
Correcting mistakes
Two things went wrong at this stage: one was the accidental use of Turquoise instead of Antwerp Blue, which gave me a distinctly green shadow, the the other was painting over a place which should have been left white.
The wrong shadow colour was quickly corrected, but I had to lift out some colour to allow white paper to show through. Experiment with this technique first, but place some masking tape over the affected area and carefully draw in what you want to lift out. Cut this out with an art knife and press in place as shown. Experience will teach you how hard to press; you don’t want to damage the surface of the paper. Now use the stiff brush, clean water and facial tissue, to alternatively dab and blot. Then use a small hairdryer to carefully and gently lift off the mask.
Almost done
All that remains is to re-paint the area that went wrong, soften up the highlights you feel are too hard, and it’s time for the background. The finished result is suitably metallic I think, and of course these infuriating demonstrations always look easier than the really are! I can’t be there in person to look over your shoulder, and even if I was, I could only help you so far. Ultimately you’re on your own, and only through constant practice and experience can you perfect any technique. You’re going to fail many times, but you will learn from your failures and each time get a little better.
Background wash
Now comes the tricky part: the background wash. Lock the front door, draw the drapes, turn off your cell phone, banish the dog and the kids, and be prepared for a high-wire act. Put on a clean wash of water all over and paint right up within 1/16″ of the painting. Then push the water right up to the outline of your teapot with a wet brush as shown. Be careful not to go over the painting or the background colour will follow the water and mess it up. You’ll need a steady hand here and something to stop you smudging what you’ve done. Turn the painting upside down if it will help. OK – you can start breathing again now!
Applying the colour
When the clean wash is almost dry, I used a wash of Sap Green with a touch of Brown Madder and Sepia. The colour followed my water wash and then I pushed the colour
into the edge of the painting as shown. You’ll notice the colour wash still glistens but you’ll have to work quickly or you will have a double line showing when it dries. Practice this technique before doing an actual painting.
Cleaning up the wash
To prevent blossoming from the surplus colour along the edge of your painting, use a flat brush to carefully sop up the colour all around the edges. Your painting is very vulnerable at this stage, so move everything out of the way to let it dry. Use a hair-dryer if you want to speed things.
The finishing touches
I added a little extra shadow at the base of my picture, using a stronger mix of Sap Green a touch of Brown Madder and Sepia. I blended this in with a slightly moist brush. After this was throughly dry I painted in that intense shadow just along the bottom edge, softened it with a moist brush, and sharpened up a few mid-toned reflections on the base.
All done!
OK – switch on your cell-phone, unlock the front door and let the dog and the kids in. You’re done. The finished result looks nicely metallic I think, and although a single teapot is not a candidate for anyone’s living room wall, the experience should help you the next time you are faced with painting metal in watercolours.
