I wish all readers a happy New Year and good luck in the Year of the Dragon
The clouds Gu Weijing painted this time include both, with the former being the main one, so he paid more attention to the practice of brushwork.
He lightly dipped the tip of the brush into some water.
This box of Rembrandt’s master watercolor paints in Teacher Wattel’s studio has just been opened.
Looking at the cobalt blue solid pigment in the box, which was like a small hard candy, being melted on the palette little by little.
Very decompressing.
After painting for a long time, these solid pigments, especially those light-colored paint columns that are white or yellow, may become smudged by the brush and may not be decompressed.
For this reason, every time Miss Mona finished painting, she had to take care of the various paint boxes and palettes very carefully and keep them spotless.
The dirty part should be wetted with a small spray bottle like an obsessive-compulsive disorder, and then wipe it off gently.
Every piece of paint and palette must be tidy, fresh and cute.
Or simply switch to tube paint specifically for this purpose, which consumes faster.
Gu Weijing does not have this habit.
He is certainly not sloppy if he is sloppy.
Gu Weijing also takes painting very seriously.
It is definitely not like some careless and rough classmates who do not wash the palette after using it. When they take watercolor class again after a week, they can remove the solidified and agglomerated paint from the palette with their fingernails. Snap it off, rinse it and use it again.
But girls are not as paranoid about caring for painting tools as they are about caring for beautiful dolls.
No matter how dirty the solid paint is, it will only stain the surface layer.
The next time you draw, just dip it in with the tip of your pen.
As he thought casually, a large brush stained with paint began to paint a large area on the canvas.
Draw clouds.
You definitely need to draw the sky background first.
And paint the sky.
You need to draw the sunshine first.
In all works with a daytime theme, sunlight is everywhere.
There is almost no pure blue or pure white sky in oil paintings and watercolors. When the teacher at Dewei used to explain the principles of painting, he repeatedly emphasized that one does not need to paint the sun at all, but he must have it on the picture. sun.
This emphasizes that changes in light must be reflected in the work.
Literary rhetoric often uses "the sky is blue like a royal blue precious brocade".
But in the world of art, the sky can never be smooth and flawless.
At least it cannot be expensive silk.
The precious silks and satins are dyed uniformly from head to toe. Instead, many impressionist masters would pursue the feeling of dyeing the sky in a messy way and making the sunlight fragmented.
While painting.
A printer that sprays colors mechanically and evenly loses its natural agility and falls into inferior quality.
It doesn't matter whether the sun is hanging on your painting.
Whether there is a color change is important.
It can be that the sun rises in the east and has not yet appeared above the sea, it can be that the sun has set in the west and has sunk below the mountain line, it can be cloudy and rainy, or it can be that a cloud just happens to cover the scorching sun
p>
In short.
You can have 10,000 reasons not to completely show the original appearance of the sun on the canvas. In fact, the sun itself is not easy to paint.
Canvas and watercolor paper are not ed displays that can stimulate brightness exceeding 1200 nits.
Restricted by physical properties, the maximum contrast between light and dark that can be displayed is limited to a certain range.
It is difficult for a painter to depict the dazzling feeling of the sun on canvas.
Everyone prefers to be half-covered and half-covered, showing off the sun’s rays through layers of veil.
Excellent works can freeze time and nature.
Viewers should be able to tell at a glance at your work what time of day the scenery in the picture was taken, what the season and weather are like.
Even the humidity of the air can be expressed by sophisticated painters using clouds and mist.
The expression of sunlight is generally relatively simple.
From early morning to dusk, the light is ever-changing, all following the same principle: the sun is the only source of light.
The color of the sky is always centered on it.
From far away from the sun to close to the sun, from cold to warm colors.
As long as this is grasped, the sunlight will not make the audience feel unnatural.
The existence of such simple principles actually reduces the difficulty of painting.
The performance of moonlight is more complex and subtle than that of sunlight. Whether it is a bright and white moon, or a cold and melting moon, it needs to be carefully considered, and it is very delicate.
The night sky without even moonlight and stars is a more complicated realm.
There are no fundamental principles.
If you are not good at painting and throw in a dead black screen, it can also be said to be the night.
Excellent painters can also paint gradation changes under the influence of multiple complex light sources under limited dark light conditions.
For example, Van Gogh used lights as the light source in his outdoor cafe at night.
Another example is the old church on a thunderstorm day by the female painter Carroll, which is a very flowing and colorful thundercloud on a rainy night.
After advanced training in copying old churches.
Gu Weijing is now equally comfortable expressing the agility of the daytime sky. In addition, he has learned from practicing watercolors for several days in a row
“Let gravity work its magic. . ”
The secret to flat painting with watercolors is always to let gravity and water do the work, not the painter.
Gu Weijing uses a large brush dipped in very thin and light paint for each stroke.
Move quickly and decisively.
In order to draw out long and broad strokes, he does not even mind letting the brush strokes exceed the boundaries of the blank space fixed by the tape.
Professor Vatel often blatantly engages in professional discrimination during class, satirizing oil painters as staid painters.
If you only look at flat painting.
In Gu Weijing’s personal experience, watercolor is more like a painter’s work than Impressionist copying with detailed and intricate brushwork.
But sometimes, the principle of painting is so simple and crude.
There are not so many fancy and complicated techniques.
One smooth step can break all laws.
The naturally flowing paint colors you can draw out with a large brush stroke in one second are actually twenty times longer than those you think you can draw with a small outline pen. Delicate lines make it more colorful and vivid.
Bravely subtracting in techniques is another way to add luster to the picture.
The shooting time in the photo is closer to morning.
The sun is very low and the color changes in the sky are very intense.
When Gu Weijing composed the picture, he divided the colors of the sky into three main colors from top to bottom, from cold to warm.
The top layer is dark cobalt blue.
In the middle two-thirds of the area, the color with the largest proportion becomes permanent rose red.
The closer you get to the sun below, the brighter the color will be.
The bottom layer of the painting.
The sunshine has turned into an Indian yellow with a bright yellow color. From the photo, the water vapor is heavier and the clouds are thicker and lower.
So Gu Weijing judged that it was not yet time to use more saturated lemon yellow.
The blooming sky curtain is just the lowest background of this painting.
If you feel it is not bright enough, after all the main scenery is painted, simply add a few strokes of lemon yellow as a modification in the sun area and the highlights of the clouds, and you are done.
Finish the canopy flatly.
Gu Weijing opened the system panel and found that the watercolor experience value had changed to v3 semi-professional 9561000.
Gu Weijing smiled and tilted his head.
On the one hand, it is because he is approaching the bottleneck period, and on the other hand, the flat painting method is too basic for him.
The experience value on the panel has only increased slightly.
"The experience value has been increased by 5 points, which is good."
His mentality is much better now than when he was painting wisteria flowers. He is calm and understands the painting process itself. is more important than the increase in experience points on the panel.
He just glanced at it and turned off the panel.
Drinking a few mouthfuls of water, I pondered the next composition and brushwork in my mind, and then casually picked up a thick volume of Japanese watercolor master Terumi Suzuki's "Watercolor Paintings" that Professor Vattle placed on the table. The ultimate color grading method continues from where we last saw it.Continuing to flip through.
Wait until the layer of sky paint is dry enough to paint on.
He cleaned the pen again and dipped it in paint.
Continue to outline the clouds on top of the base paint.
The general color tone of the clouds is the same as that of the background of the sky. The main difference is that with a layer of clouds and mist, the color becomes grayer and darker than the background.
Gu Weijing used cobalt blue and raw ocher to create a grayish color.
I smeared it twice on the palette and looked at how it felt. It felt dark again, so I added a little more blue paint to refine the coldness of the color.
Compared to the sky.
This time Gu Wei’s color was more viscous and oily, with a lower water content.
The paint is sticky.
The brushwork is crisp and clean.
It is still very clean to use one stroke to draw out the edges of the cloud folds.
When painting such a delicate border, you can use a flat brush or a round-head brush with artificial brushes, each has its own advantages and disadvantages.
Vatel actually recommends using a flat brush similar to an oil paint brush.
Round-head brushes are more delicate and obedient, but one disadvantage is that due to the brush configuration, round-head brushes are much more difficult to control the release of water than flat-head brushes.
Although this type of brush has the largest range of use and can display the most delicate color effects, many painters and art students are afraid of it.
Gu Weijing uses a brush that is almost the same length, which is a child's skill. The two methods of holding the brush and writing are slightly different.
Ke Gu Weijing still prefers to use a round-tipped pen.
On the difficulty of control.
No matter how good the water absorption performance of watercolor paper is, it is still not on the same level as raw rice paper, which has almost no water droplets flowing effect.
He used this as the bottom edge of the cloud, and began to use it as a boundary to blend upward.
Gu Weijing slowed down.
Blending the clouds is a delicate task. Even with a semi-professional level of technique, there is still a certain feeling of sluggishness when painting.
This is a painting technique unique to watercolor, neither oil painting nor Chinese painting.
The latter two are painted with paint, only watercolor becomes flowing paint.
The brush in Gu Weijing's hand is now clean and has no color on it.
Only clear water.
In addition to flowing downward from high to low, watercolor paint can also flow upward.
It seems a bit counterintuitive.
The principle is that pigments will diffuse in water, so they can spontaneously flow from drier areas with lower water content to moister areas before solidification.
Through this principle, you can skillfully draw clouds that are the thickest and solid at the bottom seen by the human eye, and become softer and fluffier as you go up, looking more like a thin layer of light mist. Effect.
He painted slowly one stroke at a time, feeling the paint spreading on the tip of the brush.
Gu Weijing is not in a hurry.
The goal he set for himself today was not to increase his watercolor experience by a few points, but to ask himself to do his best to draw a cloud.
Sand, sand, sand
Time passes minute by minute.
In the quiet office, the only sounds that could be heard were the almost imperceptible sound of brushes falling on watercolor paper, and the slight noise from the sports field coming from far away.
Gu Weijing’s painting was not very good at the beginning. For some reason, the clouds he painted were a little restless.
It is not the agitation that contains the energy of a moving thunderstorm like an old church on a thunderstorm day.
It’s just that the picture is a bit dirty and messy.
The clouds were not as fluffy and natural as he had hoped.
Gradually, he slowly combined the brush in his hand with the theoretical knowledge he had mastered, and figured out some flavors.
"The muscle memory is wrong."
He is too used to painting oil paintings and traditional Chinese paintings.
It is undeniable that this has helped him to rapidly improve his watercolor techniques in the past few days, and Gu Weijing has gained a lot.
But it also brings disadvantages.
He still followed some old muscular feelings and failed to fully bring out the unique strengths and properties of watercolor.
Gu Weijing's blending still involves inserting the brush into the old lines and "scooping" the paint out with the brush, rather than letting the paint flow out naturally.
That’s why he made the clouds very mottled.
The essence of the sfumato method is similar to flat painting, it is still the natural flow of paint.
His brushstrokes cannot be treated as painting and coloring like oil paintings, but rather construct a channel for the colors to flow naturally along the water traces and moisture.
Regardless of the direction of the strokes, the paint moves from thick to light, from dry to areas with high moisture.
He wanted to manipulate the paint too much, so the effect of blending became very deliberate.
Not flat and fluffy enough.
"Painting skills are as good as your heart, just let nature take its course."
Gu Weijing told himself in his heart.
He controlled the side edge of the pen tip and gently applied water to the area where the dry paint was in contact, so as not to let the writing go too deep into the "bottom" of the clouds.
Just rub the edge of the brush and the edge of the paint lightly.
Paint slowly, one stroke after another.
The marks of each stroke are pressed against the edge of the previous stroke, guiding the paint further and diluting it lighter.
Watercolor experience value 7
Watercolor experience value 12
Watercolor experience value 9
Gu Weijing felt the improvement of his technique, like Just like the paint that melts in water, the stagnant feeling on the pen tip also dissipates slightly.
He did not open the system panel specifically for this purpose.
Continue to draw clouds with peace of mind.
Finally.
In himAfter completing several layers of clouds on the upper and middle sky, I began to focus on sketching the lowest layer, the brightest and closest to the sun.
Gu Weijing heard a completely different notification sound from the system.
Watercolor experience value 3
Congratulations, your watercolor level has been improved.
The current watercolor level v4 professional painter first level is 15,000
Please remember to bookmark it after this chapter, the latest and fastest website is free to read without anti-theft