我最近的水彩在纸上,我画这一段一段的从左到右,混合颜色湿在湿和添加大量的飞溅末。
我开始通过伸展我的水彩画纸(拱门热压机140磅)在担架上,然后我让它干。然后我做一个精确的画树。
然后我保存所有的白色区域液体固定架。这是把一个很长的时间,但将允许我自由和更快的无需油漆去约小区域的白色。
这是我的绘画面板:丹尼尔·史密斯深褐色,里夫斯佩恩 灰色,绿松石,达芬奇幅霍尔拜因钴普鲁士蓝,绿色颜料,红色和镉柠檬,永久梵高茜草湖光。
我开始油漆、一个地区在一个时间。混合颜色湿在湿
我将我沿着画。
我使用一个非常有限的调色板和主要是蓝色,绿色和棕色。
当我画完画,我把这幅画平放在地板上,并将它不同的水彩颜料飞溅洗。
我让2水彩混合。
然后我飞溅画大量使用一些滴管。这一次,我离开了我的液体飞溅在我坚持我想要保持我的白色区域酥和定义良好的。
原文如下：My latest watercolor on paper, I painted this one section by section from left to right, mixing colors wet in wet and adding a lot of splattering towards the end.
I am starting by stretching my watercolor paper ( Arches hot press 140 lb) on a stretcher, and then I am leaving it to dry. I then make a precise drawing of the trees.
Then I preserve all the white areas with liquid frisket. This is taking a long time but will allow me to paint freely and faster without having to go around tiny areas of white.
This is my painting palette: Daniel Smith Burnt Sienna, Reeves Payne’s grey, Holbein Cobalt Turquoise, Da Vinci Prussian blue, sap green,permanent red and cadmium lemon, Van Gogh Madder Lake Light.
I am starting to paint, one area at a time. mixing colors wet in wet
I am making my way along the painting.
I am using a very limited palette with mainly blue, green and brown.
When I am done painting, I lay the painting flat on the floor and will splash it with 2 different watercolor washes.
I make 2 watercolor mixes.
I then splatter the painting heavily using some droppers. This time I am leaving the liquid resist on while I am splattering as I want to keep my white area crisp and well defined.
