锡安国家公园——水彩画技术由罗兰·李
再次,锡安国家公园是我的主题。
在2008年11月下旬艾美奖获奖制片人菲尔Tuckett和摄制组从迪克西州立大学拍摄我的一个户外水彩类作为我们工作在这地点沿北叉圣母河在锡安。天气很华丽的拍摄画面为一个新的纪录片锡安国家公园的年纪念。
这个场景是在河里把脚下的Sinawava殿,这实际上是我后面的图片。圣母河在每年的这个时候,是非常平静的,和平的和明亮的黄色的三角叶杨添加一个戏剧性的触摸到现场。
当你遵循绘画顺序下面,你可以比较每个步骤完成之后出现的画在右边。
1。我开始画这幅画的天空使用湿在湿技术。然后迅速广泛的松散的颜色洗剩下的绘画。
2。阴影在遥远的悬崖是对这张图片的一部分,所以我尝试建立“黑暗和灯先。
3。现在我搬下来,剪叶对阴影的边缘上使用消极的画,让颜料混合自然的枝叶。
4。我继续把中间磨成焦点小心不要太暗的值。最黑暗的黑暗总是在前台所以我需要留下一些空间去黑暗当我到达岩石和前台树叶。
5。在这里我开始粗糙的深色的树叶在前台主要画黑了灯使用drybrush技术。
6。河里,前台收到了大量的时间和精力,因为这是我们真的能看到细节在自然。
画这大也存在一些问题watercolorist的。我用一张26 x 40拱门冷压纸把它在一个叠层绘图板。因为它太大我结合使用的方法取决于哪一部分的画我正在努力。下面是我的可调绘图板,右边是我遗传了我的导师画架罗伯特牧羊犬。
“在Sinawava安慰”
由罗兰·李
介质:透明的水彩
图片:24“×39”
框架:34 * 49”
原文如下：
Step by Step Watercolor Painting Lessons
Zion National Park- Watercolor Painting Techniques by Roland Lee
Once again, Zion National Park is my subject.
In late November 2008 Emmy award winning producer Phil Tuckett and a film crew from Dixie State College shot one of my outdoor watercolor classes as we worked in this spot along the North Fork of the Virgin River in Zion. The weather was gorgeous as they shot footage for a new documentary on the centennial of Zion National Park.
This scene is where the river turns at the foot of the Temple of Sinawava, which is actually behind me in the picture. The Virgin River at this time of the year is very placid and peaceful and the brilliant yellows of the Cottonwoods add a dramatic touch to the scene.
As you follow the painting sequence below, you can compare each step to the finished painting which appears next to it on the right.
Learn more about this painting
See over 40 more watercolor painting demonstrations by Roland Lee
1. I begin this painting by painting the sky using a wet-in-wet technique. Then move quickly to broad loose washes of color on the remainder of the painting.
2. The shadows on the distant cliffs are an imoortant part of this image, so I try to establish the darks and lights there first.
3. Now I move down and cut in the foliage against the shadows using negative painting on the edges, and letting the pigments mingle naturally for the leaves and branches.
4. I continue to bring the middle ground into focus being careful not to get the values too dark. The darkest darks are always in the foreground so I need to leave some room go darker when I get to the rocks and foreground foliage.
5. Here I start to rough in the darks of the foliage in the foreground mainly painting dark over light using the drybrush technique.
6. The river and the foreground received a lot of time and attention since this is where we can really see the detail in nature.
Painting this large does pose some problems for the watercolorist. I am using a sheet of 26 x 40 Arches cold press paper stretched on a laminated drawing board. Because it's so large I use a combination of methods depending on which part of the painting I'm working on. Below is my adjustable drawing board, at right is the easel I inherited from my mentor Robert Shepherd.
"Solace at Sinawava "
by Roland Lee
Medium: Transparent Watercolor
Image: 24" x 39"
Frame: 34" x 49"
