约翰·费舍尔水彩绘画演示核心提要：步骤1这里是另一个一步一步的水彩绘画示范我建立我的中级学生为2011年秋季和冬季。这个引人注目的照片被刊登在Mashon嘉莉莱恩Www Paintmyphoto聽9月,2010年,这里使用的是和她那样的许可。图像尺寸是9 3 4x 13在步骤1
这里是另一个一步一步的水彩绘画示范我建立我的中级学生为2011年秋季和冬季。这个引人注目的照片被刊登在Mashon嘉莉莱恩Www.Paintmyphoto聽9月,2010年,这里使用的是和她那样的许可。图像尺寸是9 3/4“X 13”在300磅。拱门冷压纸,使用温莎&牛顿艺术家质量颜色。看到我的网站聽也Www.Watercloursforfun.Com聽更多技术和绘画。 聽步骤2
像往常一样,我开始仔细地画的主要元素。在这个实例中我试图预测混乱的线条在谷物纹理通过填写最黑暗的地区的光束。虽然我们不会试图复制参考照片到底,这有助于指导方针。 步骤3
我尽量避免使用掩蔽流体每当我可以,但在这种情况下,我想把在一个蓝天来补充和饱经风霜的锈迹斑斑的帖子,所以我保护线在中心。这将允许我继续谷物在铁丝网后与多个洗。聽我通常在一个废弃的实验300磅纸如果我不确定一个特定的技术。在这里我决定有相当多的蓝色在这个帖子里,所以我画一些纯净深蓝色与1/2平刷,留下一些白皮书显示通过。 聽步骤4
我通常在一个废弃的实验300磅纸如果我不确定一个特定的技术。在这里我决定有相当多的蓝色在这个帖子里,所以我画一些纯净深蓝色与1/2平刷,留下一些白皮书显示通过。 聽步骤5
同时仍然潮湿我申请一些棕色茜草,带着些许的我最喜欢的阴影颜色由蓝色和棕色茜草安特卫普。 步骤6
然后我申请一些更强的色彩和离开粗糙补丁之间。 步骤7
接下来我申请一些条纹晶粒由深褐色与触摸我的阴影颜色。在这里你可以实验与任意数量的谷物的颜色适合你的风格。如果文章是新的和由压力处理的木材将趋向于绿色一边。这是一个好风化后。 步骤8
这里我用一个硬鬃刷、水和面部组织解除和软化硬边沿着这沿着这粗粒结构。 步骤9
退一步我放在第一部分的LH的影子,使用洗的安特卫普蓝色和棕色茜草、软化边缘和考虑到投影将遵循粗糙度的帖子。 第十步
现在我要回去与# 4平刷填写区域导致任何提高边缘。这将强调光线从黑暗分裂。 步骤11
这个极端特写镜头显示了使这些裂缝来活着。 步骤12
现在的线。另一个极端的特写镜头显示了在绘画使用纯深蓝色。 步骤13
我开始油漆在生锈的短纤维混合使用深褐色和触摸我的影子色彩、软化的边缘如需要。 步骤14
接下来建立生锈的主要与我们的影子颜色,根据需要软化边缘 步骤15
你会注意到我已经掩盖了我剩下的画当我开始在生锈的主食。因为我喜欢细节我的水彩画往往是在我的艺术表为漫长的时期,总是有危险我的纸变得脏或油漆弄脏了,所以我常常掩盖部分。我已经把一些很小的斑点掩蔽流体在钢丝这将使我删除它之后,创建一个提高颠簸的看我的生锈的区域。这个映射是由通常的混合物的深褐色和一点阴影颜色。 步骤16
黑暗的边缘是应用和软化的要求。 步骤17
接下来我软化和混合这些光补丁用硬毛刷擦。这也拖一些周围的颜色到这些地方,给人的印象粗糙度。 步骤18
最后我在最黑暗的阴影映射完成的。 步骤19
这是在这个阶段完成的结果。我已经映射在铁丝网段和放在黑暗的阴影,建立是我最黑暗的元素将。我将完成剩下的电线使用同样的技术,然后把最后最黑暗的阴影。我的画经常只一起在最后的会议上最黑暗的阴影是必要的。 一步20
这是完成的绘画。相同的技术也用于剩余的线和一些影子已被添加到提高深度。 原文如下： Step 1 Here Is Another Step By Step Watercolour Painting Demonstration I Set Up For My Intermediate Students For The Fall And Winter Of 2011. This Striking Photograph By Carrie Layne Mashon Was Posted Onwww.Paintmyphoto In September, 2010, And Is Used Here With Her Kind Permission. Image Size Is 9 3/4″ X 13″ On 300 Lb. Arches Cold Pressed Paper, Using Winsor & Newton Artist Quality Colours. See Also My Site Www.Watercloursforfun.Com For More Techniques And Paintings. Step 2 As Usual, I Start With A Careful Drawing Of The Main Elements. In This Instance I’ve Tried To Anticipate The Confusion Of Lines In The Grain Texture By Filling In The Darkest Areas With A Light Pencil. Although We Will Not Attempt To Copy The Reference Photograph Exactly, It Helps To Have Guidelines. Step 3 I Try To Avoid Using Masking Fluid Whenever I Can But In This Case I Wanted To Put In A Blue Sky To Complement The Rusty Wire And Weathered Post, So I Protected The Wire Across The Centre. This Will Allow Me To Continue The Grain Behind The Wire With Multiple Washes. I Usually Experiment On A Scrap Of 300 Lb Paper If I’m Not Sure Of A Particular Technique. Here I Decide There Is Quite A Bit Of Blue In This Post, So I’m Painting In Some Pure Ultramarine Blue With A 1/2 Flat Brush, Leaving Some White Paper Showing Through. Step 4 I Usually Experiment On A Scrap Of 300 Lb Paper If I’m Not Sure Of A Particular Technique. Here I Decide There Is Quite A Bit Of Blue In This Post, So I’m Painting In Some Pure Ultramarine Blue With A 1/2 Flat Brush, Leaving Some White Paper Showing Through. Step 5 While Still Damp I Apply Some Brown Madder With A Touch Of My Favourite Shadow Colour Made From Antwerp Blue And Brown Madder. Step 6 Then I Apply Some Stronger Colour And Leave Rough Patches In Between. Step 7 Next I Apply Some Streaks Of Grain Made From Burnt Sienna With A Touch Of My Shadow Colour. You Can Experiment Here With Any Number Of Grain Colours To Suit Your Style. If The Post Is New And Made From Pressure Treated Lumber It Would Tend To Be On The Green Side. This Is A Well Weathered Post. Step 8 Here I’m Using A Stiff Bristle Brush, Water And Facial Tissue To Lift And Soften The Hard Edges Along This Along This Rough Grain Texture. Step 9 Stepping Back A Bit I’ve Put In The First Part Of The LH Shadow, Using A Wash Of Antwerp Blue And Brown Madder, Softening The Edge And Taking Into Account The Cast Shadow Will Follow The Roughness Of The Post. Step 10 Now I’m Going Back In With A #4 Flat Brush To Fill In Areas Leading Up To Any Raised Edges. This Will Emphasize The Light Bouncing From The Darker Splits. Step 11 This Extreme Close-Up Shows How To Make These Cracks Come Alive. Step 12 Now For The Wire. Another Extreme Close-Up Shows The Under-Painting Using Pure Ultramarine Blue. Step 13 I Start To Paint In The Rusty Staple Using A Mixture Of Burnt Sienna And A Touch Of My Shadow Colour, Softening The Edges As Needed. Step 14 Next Build Up The Rusty Staple With Our Shadow Colour, Softening Edges As Needed Step 15 You Will Notice I’ve Covered Up The Rest Of My Painting As I Start On The Rusty Staple. Because I Enjoy Detail My Watercolours Tend To Be On My Art Table For Lengthy Periods And There Is Always The Danger Of My Paper Becoming Dirty Or Paint Stained, So I Often Cover Up Sections. I Have Put In Some Small Flecks Of Masking Fluid On The Wire Which Will Enable Me To Remove It Later And Create A Raised Bumpy Look To My Rusting Areas. This Mapping In Was Done With The Usual Mixture Of Burnt Sienna And A Touch Of Shadow Colour. Step 16 The Darker Edge Is Applied And Softened As Required. Step 17 Next I Soften And Blend Those Light Patches With A Stiff Bristle Brush. This Also Drags Some Of The Surrounding Colour Into Those Areas And Gives The Impression Of Roughness. Step 18 Finally I Map In The Darkest Shadows To Complete The Illusion Of Depth. Step 19 Here Is The Finished Result At This Stage. I’ve Mapped In The Barbed Wire Segment And Put In That Dark Shadow To Establish Were My Darkest Elements Will Be. I Will Complete The Rest Of The Wire Using Much The Same Techniques, And Then Put In The Final Darkest Shadows. Quite Often My Paintings Only Come Together In The Final Session Where The Darkest Shadows Are Needed. Step 20 Here Is The Completed Painting. The Same Techniques Were Used On The Remaining Wire And Some Shadows Were Added To Enhance Depth.
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