水彩画的“大自然的雕塑——Kolob崖面在锡安国家公园”
一步一步的水彩画示范了罗兰•李
返回从“脚步的托马斯·莫兰“邀请赛漆在锡安国家公园年,我被克服的巨大巨大的岩石墙壁的锡安。他们的规模几乎是难以理解的。这是其中一个最大的水彩画我画。我希望它是大的和“在你的脸上。“这是一个故意试图捕捉那些悬崖的绝对规模。这个场景在泰勒溪在Kolob峡谷段锡安国家公园。
一步一步的绘画示范了罗兰•李
1。我使用一个特大号的单拱的140磅冷压水彩画纸给这幅画。我第一次泡在浴盆里,然后钉它我的底板。当干我精心地我的图纸使用光4 h铅笔。我用我拍的照片在一个早春飘起泰勒溪的小径。
天空中画完画后,我通常会做的,我开始躺在宽阔的洗的颜色在悬崖,不顾细节或边缘。我使用黄色赭石,随着Cad红灯和二氢喹吖啶珊瑚alowing色素混在湿洗自然。
2。一旦第一个水洗是干燥的,我搬回崖面,开始描述一些形式、阴影和表面特征的岩石。我粗略的在前台使用非常暗色素再次让他们连接在一起,创造出各种各样的颜色和价值观。
3。这个特写镜头展示了我如何粗糙前景岩石和灌木。而干燥,我飞溅清水入洗使用平刷,接着对我的手指。目的是创建一个自然纹理通过努力和软边缘,和暖色和冷色。当干,我将回来深色水洗和使用已存在的自然形状确定刷、树枝和石块将去。
4。sillouettes后油漆的小齿轮和杜松树我回去工作在悬崖峭壁上,仔细甄别阴影和岩石表面的裂缝。这是乐趣,但费时。因为它实际上是一个肖像的悬崖”脸“我努力捕获的特性和特征的分裂砂岩悬崖。
5。我通常一个画板上画,可倾斜的所以我可以控制水的流向。但当我进入细节阶段的一个更大的画我更舒适的将在一个画架和工作垂直。因为我不再使用加载刷子和真的湿洗,我不必担心油漆运行。我也想回到远离绘画和评价作文的整体感觉。我画的最黑暗的黑暗了,做最优秀的细节工作当我把画它的完成。
6。现在我所有东西都变成锋利的焦点并完成前台的树木。完成的画是大的和引人注目的。我爱的能力和力量的石头脸。这是我最喜欢的画,我所做的锡安。
“大自然的雕塑”Kolob崖面——锡安国家公园
24 x 38透明水彩
由罗兰·李
原文如下：
Watercolor Painting of "Nature's Sculpture - Kolob Cliff Face in Zion National Park "
Step by step watercolor painting demonstration by Roland Lee
Returning from the "Footsteps of Thomas Moran" invitational paint out during the Zion National Park Centennial, I was overcome with the massiveness of Zion's huge rock walls. Their scale is almost beyond comprehension. This is one of the largest watercolors I've painted. I wanted it to be big and "in your face." It is a deliberate attempt to capture the sheer magnitude of those cliffs. The scene is along Taylor Creek in the Kolob Canyons section of Zion National Park.
STEP BY STEP PAINTING DEMONSTRATION BY ROLAND LEE
1. I am using an oversize sheet of Arches 140 lb. cold pressed watercolor paper for this painting. I first soaked it in the bath tub, then stapled it to my backing board. When dry I carefully worked up my drawing using a light 4H pencil. I am using photos I shot during an early Spring hike up Taylor Creek Trail.
After painting in the sky, as I usually do, I begin laying in broad washes of color across the cliffs, with no regard for detail or edges. I am using yellow ochre, along with Cad Red Light and Quinacridone Coral alowing the pigments to mingle naturally in the wet wash.
2. Once the first washes are dry, I move back into the cliff face and start delineating some of the form, shadows, and surface features of the rock. I rough in the foreground using very dark pigments again letting them mingle together to create a variety of colors and values.
3. This close-up shows how I rough in the foreground rocks and shrubs. While drying, I splatter clear water into the washes using a flat brush and flicking it against my finger. The purpose is to create a natural texture through hard and soft edges, and warm and cool colors. When dry, I will come back with darker washes and use the natural shapes already present to determine where brush, branches, and rocks will go.
4. After painting the sillouettes of the Pinion and Juniper trees I go back to work on the cliffs, carefully identifying shadows and fissures in the rock face. This is fun, but time consuming. Since its actually a portrait of a cliff's "face" I work hard to capture the features and characteristics of the splintered sandstone cliffs.
5. I usually paint on a drawing board which is tiltable so I can control the flow of water. But as I move into the detail stages of a larger painting I am more comfortable placing the work on an easel and working vertically. Since I am no longer working with loaded brushes and really wet washes, I don't have to worry about the paint running. I also like to get back away from the painting and evaluate the overall feel of the composition. I am painting with the darkest darks now and doing the finest detail work as I bring the painting to its finish.
6. Now I bring everything into sharp focus and complete the foreground trees. The finished painting is big and dramatic. I love the power and strength in the stone face. This is one of my favorite Zion paintings that I've done.
"Nature's Sculpture" Kolob Cliff Face - Zion National Park
24 x 38 Transparent Watercolor
by Roland Lee
Giclee Prints are available of this painting
