我最近的水彩和混合媒体景观,我想试着画一个更大的大小是有限的水彩但大小我的纸和董事会我有可用的所以我想画一幅三联画是画在保持我的大船上安装纸过程可控。我也认为中断引入的3板会添加一些节奏到现有的节奏的树干。
这幅画我决定使用两种不同的技术:我画树叶,果实颜色直接混合湿在湿的效果和明亮的颜色 和我使用分层技术有更多的控制在树干色调变化。这里有,在更多的细节步骤我带。
我将使用一个有限的调色板,这风景
幅霍尔拜因:钴绿松石光,永久的红色,
丹尼尔·史密斯:深褐色
达芬奇普鲁士蓝,镉和铬绿绿柠檬黄色
伦勃朗:中等黄色,
梵高:茜草湖光
里维斯佩恩灰色
我先画很轻洗背景,绘画在树干地区。
我绘制背景树叶,混合颜色湿在湿所以颜色是混合在纸上而不是在我的调色板和正在产生不错的材质和颜色的变化。
这是一个靠近的叶面积
这是三部曲的与所有的背景和树叶画
作画之前,我需要保护的树干的几个领域的叶子是在前面的主干区域,因为它会花费很多的时间,油漆在。我画了这些树叶与掩蔽流体。我也屏蔽在树木之间的几行。
然后我可以开始画第一层黄色的。
一旦它完全干我继续分层的主要颜色,画现在蓝色层(普鲁士蓝)
然后我漆一层红色,使用幅霍尔拜因永久红。
下一步是漆层来调整颜色,直到我满意最后的颜色。我添加了许多连续层,总是等在前面的层之间要干透,所以颜色保持活力。
我起飞的屏蔽所有的绘画作品液体,它是很难离开,会 边缘自然如果保留原样。
软化那些硬边留下的掩蔽液,我将使用一个非常硬刷和一点点水。这是一个古老的刷,我的确削减了接近处理事件非常僵硬。
这里有一些边缘软化。
最后,最后一步是飞溅的水彩和添加一些点滴,好玩的!
我用洗的黄色和红色和一些钴蓝色混合着中国白(水粉画)我喜欢乳白色也增加,蓝色。有些颜色会混合在纸上。
实现一个更和连续飞溅效果,我躺三部曲的电池板并排在地板上,开始飞溅。我也会躺在一个30岁的面板 度 角度和添加一些水滴沿着树干。
这里有几个亲近的ups和纹理的点滴。
靠近
原文如下：
My latest watercolor and mixed media landscape, I wanted to try painting a bigger sized watercolor but was limited by the size of my paper and the boards I had available so I thought painting a triptych was a way to paint bigger while keeping my process of mounting paper on board manageable. I also thought the interruption introduced by the 3 boards would add some rhythm to the existing rhythm of the tree trunks.
For this painting I decided to use two different techniques : I painted the leaves directly, having colors mingle wet in wet for interesting effects and bright colors and I used a layering technique for the trunks to have more control on color and tone variation. Here are, in more details the steps I took.
I started by mounting my paper on board, to see a step by step tutorial of this process, click here: https://paintingdemos.com/2012/10/16/mountin-watercolor-paper-on-board/
I will use a limited palette for this landscape
Holbein: cobalt turquoise light, permanent red,
Daniel Smith : Burnt Sienna
Da Vinci Prussian blue, Cadmium Lemon Yellow and Viridian Green
Rembrandt : Medium yellow,
Van Gogh: Madder Lake Light
Reeves Payne Grey
I start by painting very light washes on the background, painting around the tree trunks areas.
I paint the background leaves, mixing colors wet in wet so the colors are mixing on the paper rather than on my palette and are producing nice textures and changes of color.
Here is a close up of the leaves area
Here is the triptych with all the background and foliage painted
Before painting the trunks I need to protect the few areas where leaves are in front of the trunk area, as it would take too much time to paint around.I paint over those leaves with masking fluid. I am also masking a few lines in between trees.
Then I can start painting the first layer of yellow.
Once it is totally dry I continue layering the primary colors, painting now a blue layer ( Prussian Blue)
Then I paint a layer of red, using the Holbein Permanent red.
The next step is to paint more layers to adjust the colors until I am satisfied with the final color. I added many successive layers, always waiting in between for the previous layer to be thoroughly dried, so the colors stay vibrant.
I the take off the masking fluid on all the paintings, it is leaving very hard edges that would look unnatural if left as is.
To soften those hard edges left by the masking fluid, I will use a very stiff brush and a bit of water. This is an old brush that I did cut closer to the handle so it stays very stiff.
Here are some edges softened.
Finally, the last step is to splash the watercolor and add some drips, the fun part!
I am using a wash of yellow and red and some of the cobalt blue mixed with China white (gouache) as I like the milky appearance it is adding to that blue. Some of those colors will mix on the paper.
To achieve an even and continuous splashing effect, I lay the triptych panels side by side on the floor and start splashing. I will also lay the panels at a 30 degrees angle and add some drips along the trunks.
Here are a few close ups of the drips and textures.
close up
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