这是我最新的水彩在纸上。我不 船上山这一个像我一样对我的大多数最近的水彩画,因为我想画一些水彩风景画在纸上,输入在不同的水彩竞赛。大多数水彩社会不会接受浸漆或安装水彩,但它不是一个真正的问题,因为它总是可以挂载一个水彩在船上一旦被画。
这里有一些图片的步骤我带。
这是我的绘画面板:丹尼尔·史密斯深褐色,里维斯 佩恩的 灰色, 幅霍尔拜因 钴绿松石,达芬奇普鲁士蓝,绿色颜料,镉柠檬,梵高茜草湖光。我也用一点黑色的从我的Yarka水彩潘集
我做在纸上画出主要的轮廓,然后湿纸,所以我可以在我的strtch担架。然后我保留一些白色区域掩蔽流体(也称为液体固定架)
我开始画树叶,混合不同深浅的绿色从我的绿色颜料,添加黄色、蓝色或红色,混合一些颜色湿在湿。
我画一段一段的,使我沿着画。
有一次我画所有的叶子,我需要一些时间来评估结果和我发现没有足够的音调变化得到的效果来的光线穿过树叶,我寻找。
我在做一个洗混合从sap绿色和茜草湖和将其作为釉的一些树叶我希望有点暗。
这是这幅画在我做一些地区笼罩在叶子上。
然后我开始工作在树干上。我画一个光洗开始,混合一些暗区域湿在湿
工作一段时间。我调整颜色和添加纹理到主干上。
我不断添加层结构
然后我删除掩蔽流体。我通常会软化边缘后来和油漆一个光洗白地区但对于这个特殊的画我想保持白色区域非常脆添加效应的阳光穿过树叶。
这是一个靠近面积与掩蔽流体移除。
叶子花边,水彩画在纸上,19.5 x 27英寸,
原文如下：This is my latest watercolor on paper. I didn’t mount this one on board as I did for most of my recent watercolors because I wanted to paint a few watercolor landscapes on paper and enter them in various watercolor competitions. Most watercolor societies won’t accept varnished or mounted watercolors, but it isn’t really an issue as it is always possible to mount a watercolor on board once it has been painted.
Here are a few pictures of the steps I took.
This is my painting palette: Daniel Smith Burnt Sienna, Reeves Payne’s grey, Holbein Cobalt Turquoise, Da Vinci Prussian blue, sap green, and cadmium lemon, Van Gogh Madder Lake Light. I also used a bit of black from my Yarka watercolor pan set
I did draw the main outlines on paper, then wet the paper so I could strtch it on my stretcher. I then reserved a few white areas with masking fluid (also called liquid frisket)
I start painting the leaves, mixing different shades of green from my sap green, adding yellow, blue or red, and mixing some of the colors wet in wet.
I paint section by section, making my way along the painting.
Once I painted all the leaves, I take some time to assess the result and I find that there is not enough tone variation to get the effect of the light coming through the leaves that I looking for.
I am making a wash mix from sap green and madder lake and will apply it as a glaze on some of the leaves I want a bit darker.
Here is the painting after I did darken some areas on the leaves.
Then I start working on the trunk. I paint a light wash to start, mixing some darker areas wet in wet
working one section at a time. I am adjusting colors and adding texture to the trunk.
I keep adding layers of texture
I then remove the masking fluid. I would usually soften the edges afterwards and paint a light wash on the white areas but for this particular painting I want to keep the white areas very crisp to add to the effect of light shinning through the leaves.
Here is a close up of an area with the masking fluid removed.
Leaves Lace, watercolor on paper, 19.5 x 27 inches,
Click here to purchase original or print:
