The Artist’s Watercolour Problem Solver
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Оглавление
The Magazine Artist. The Artist’s Watercolour Problem Solver
LANDSCAPES
STREET SCENES
INTERIORS
THE STILL LIFE
MANY POSSIBILITIES
PRE-PLAN YOUR PAINTING
LIMIT YOUR COLOURS
LIMIT TEXTURES AND TIME
USE CLEAN WATER!
FROM SKETCH TO PAINTING
WHICH SKETCHES SHOULD I USE?
HOW TO KEEP THE SKETCHBOOK FEELING’
CHOOSING THE SIZE OF THE FINISHED PAINTING
USING THE SKETCHBOOK
ACCURACY AND MOVING SUBJECTS
DO I NEED A SKETCH?
OVERALL VIEW
HEIGHTENING COLOUR
COLOUR MECHANICS
COMPLEMENTARY COLOURS
COLOUR SCHEMING
VIBRANT NEUTRALS
DRAWING BOATS
COMPOSITION
PORTRAIT FORMAT
LANDSCAPE FORMAT
SQUARE FORMAT
YOUR WATERCOLOUR BOX
REDS
USING COLOUR CHARTS
REDS AND PINKS ‘COOLED DOWN’
PINKS – DARK TO PALE
BRICK AND AUTUMNAL REDS
HOW BRIGHT OR PALE?
PRACTISE MIXING YOUR REDS
A STILL LIFE WITH PEARS
INDIVIDUAL STUDIES
BOLD EXPERIMENTS
ABSTRACT SEEING
LINE
TONE
COLOUR DYNAMICS
MOOD AND ATMOSPHERE
MIXING COLOURS
SKIES AND SEAS
RECORDING THE SCENE
LIMITED COLOURS
A BASIC SELECTION
COLOUR AND SUBJECT MATTER
PAINTING WITH FOUR COLOURS
PAINTING WITH THREE COLOURS
ONE-COLOUR WATERCOLOUR
RICH WARMTH
MIXED BROWNS
THE ‘DIRECT’ METHOD
THE ‘WASH’ METHOD
WHICH METHOD SHOULD I USE?
SETTING UP
DRAWING
ANOTHER VIEW
THE PAINTING
ASSESSMENT
ADDING A SPARKLE
COLLAGE
COLOURS AND SHAPES
PAINTING WITH PAPER
THE SUPPORT
ORANGE AND YELLOW COLOUR PALETTE
COLOUR MIXES
FIGURE DRAWING
PAINT
A MORE TRADITIONAL RESULT
BRUSHES
‘LOST AND FOUND’ EDGES IN WATERCOLOUR
‘LOST AND FOUND’ WITH HARD EDGES
ARCHITECTURAL SUBJECTS
‘LOST AND FOUND’ WITH SOFT EDGES
HARD EDGE OR SOFT EDGE?
UNDERLYING STRUCTURE
FIENDISH FOLDS
TELLING TEXTURES
COMPOSITIONAL CONUNDRUMS
Fold strokes
HOW MANY GREENS CAN YOU SEE?
USING CHARTS
HOW BRIGHT SHOULD MY GREEN BE?
TESTING
MIXING YOUR OWN DARKS
LIGHT INTO DARK
BEWARE OF OVERMIXING
MIXED MEDIA
DOUBLE GLAZING
PREPARATORY STEPS
COLOUR APPLICATION
COLOUR CHOICE
LIFE IN THE SHADE
UNDERSTATING THE FORMS
STARTING POINTS
FURTHER DEVELOPMENTS
MOVING TOWARDS ABSTRACTION
THE ARTIST’S CHOICE
UNPAINTED PAPER
OVERFINISHED PAINTINGS
REASSESSMENT
Отрывок из книги
Cover
Title Page
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51 × 30 cm (20 × 13 in)
A figure sitting against a window makes an excellent subject. A semi-silhouette like this can be easier to work on than a figure illuminated from the front or side. Here I used limited colours: mainly Yellow Ochre, French Ultramarine and Indigo. For the highlights I used white gouache.
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