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WATERCOLOR & ACRYL TECHNIQUE
For explanation of technique I used book cover for LEGENDS of FANTASY,
czech short story compilation. It's not my current technique but I decieded
to use this example because it's shows main steps more clearly than
my new way which is based on colored cartoons.
1/ STEP - Drawing and transfering sketch
Classical. I do drawing, when I am satisfy I go to copyshop,
than do 2 copies of drawing. One I use as carbon paper, on other
side I do layer of black by soft black pencil and than I simply
transfer it to board. I do it that way, because it's much softer
than carbon paper which is hard to remove.
2/ STEP - outlining drawing.
I repair or do more exact lines of drawing by pencil and than I
take sepia ink or light brown acryl color and outline or shape
some shades of painting. Ink is sometimes problematic because
some kinds of ink spread through layers of watercolor and eat color, so I prefer
brown acryl. You can do whole basic undepainting with that as it
will help you than
3/ UNDERPAINTING
This stage I hate, because I have to destroy all I did so lovely
by layer of acryl. This is because I will use sharp brush and very
agresive work which will demage unprotected paper. Light layer of
acryl will help me protect paper, but it must be so light that
paper surface stay o.k. for watercolor. If you put too heavy layer
watercolor will not hold on. On places where should be light I keep
white paper, sometimes I just left it and go round and sometimes I
use masking fluid for watercolors. As for color of underpainting,
choose shade of color in which will be rest of picture.
4/B ACKGROUND
Here I take sharp round brush for oils and cut it to 0,5 cm, so I
have round flat area which I use as a stamp. I take cheap school
watercolors. I found that master quality watercolors dont work good
as they are too smooth. I need more rough color with grains and btw
I dont wont to destroy my good expensive watercolors by such a agressive way.
O.k.
I put brush to water and let them nearly dry than mix half-dray
color which I use as a base and than stamp ... step by step by flat
area of brush to paper, .... It will create air-brush effect.
You can
add other layers of lighter or darker color.... but you have to have
under control amount of water (try it on "test" paper) and if you add another layer, first must
be completly dry. For this stage you have to have God's patience,
... stamp gently and slowly ... only this way you will get smoot
shades of very intensive color on background and you can do also
shading from one color to another this way.
5/ ROUGH COLOR
In this stage I put rough layers of watercolors. Mostly shades and I
built base of object in color. If I
forgot some lights or need more light area - I clear it with water
away. Sometimes I find that I did mistake or that I want to add
something, so I simply take white acryl and clear area ... but again
layer must be very gentle or I sometimes mixed it with watercolor,
it's because I want to have it tonned and keep watercolor surface
which will still drink water. This stage is hard work, I start from
most difficult places as faces and hands and work normal watercolor
way. I use UMTON watercolors (www.umton.cz), which is czech brand product.
BUT you must know which color works with other more than during classical
work with watercolors. In this technique if you are not carefull to pigments's
alechemy ... you very easily get moody effect. Try you pigments first, look
what it do with others pigments, with acryl or sometimes I use 3 pigments
from anilin colors. (It's a kind of briliant watercolors which were used
in past for coloring Black and white photograps :-) - their colors are VERY INTENSIVE,
UNREAL and SHARP. In fact they were poisonous, but today they are safe, but
you still have to be carefull when you work with them. They havent good
light stability. When I paint some ART picture, which will hang on wall,
I never use them. It's not fair to person who buy it. But when I do something
only for print, I use them gently and carefully as they do very intensive
color and only rarely turn to gray.
6/ COLOR BALLANCE and DETAILS
This time I look at picture generaly and I try to tone colors to unity
so objects dont look cut and have shades and all toned right to base color and is
in balance. (Not always, I still sometimes fights with color, because
my pallete is still too stright and contain only few pastel tones,
it's too poisonous and intensive so
In last year I tried to change my
pallete a bit and do it more natural.)
I also do shadows and create some structures or surfaces of materials,
repair mistakes. Sometimes I use white acryl again when I need to do
something more light and than again paint over that layer. And
sometimes take sharp round brush again ... but smaller size or rather
flat brush (also cutted to short hair) and with dry dark color I do
gentle misty shadows which looks like darker airbrush over painting.
7/ LIGHTS
I do lights last. Some of them I do during painting, but at the end I
go generaly across all picture, take white acryl (mostly tonned by
watercolor to some shade or if I need sharp light I do stronger dot
of heavy color so it remain sharply white) But when I need just only
lighter effect I sometimes use milky light watercolors who stay light
even on darker surfaces (I use this watercolors when I work on colored
paper - so I am more true to medium of watercolor and I dont need
to escape to help of white acryl) From my experience this watercolors work
nice on darker surfaces (Umton brand): Permanent yellow light, cadmium
yellow light, Neapol yellow (my favorite - you can substitute white -
because if you use white it often turn to gray, but this is shaded to
yellow, so it works nice), good is also some skin shades of pink and
salmon, permanent green and I have 4 strange pigments from old times,
which are not in offer of Umton now. - very light ocre, light blue and
violet, light purple - this color have heavy milky base and stay light
on darker background.
8/ FINAL RESULT
Final result is in fantasy gallery
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Technika
Maluji poněkud zvláštní kombinovanou technikou akvarelu na tmavém
tónovaném podkladě. Pro své demo jsem si však vybrala starší
variantu, kde si malbu podkládam slabou vrstvou akrylu a umožnuje
mi to pracovat jak na zatónovaném papíru, tak si nechat bílá
místa a pracovat klasickou akvarelovou technikou.
Podmalba
Pro podmalbu použivám akrylovou pálenou umbru
hodně naředěnou vodou. Nerozmyvá se a chytá na ní barva. Podmalbu
můžete udělat jen konturovou a nebo velmi detailní i se všemi stíny, což vám pak
dá jistotu a pomůže v modelaci vlastního motivu.
Akrylová imprimatura
Akrylovou podmalbu jsem začala použivat abych ochránila křehký
papír před zníčením pokud používám poměrně agresivní techniku
tupování a suché barvy. Vrstva akrylu je velmi slabá, aby pokryla
papír tenkým filmem ale neomezila jeho strukturu a savost.
Zaroven slouží jako imprimatura při olejomalbě. Je vždy
v základním tónu, který bude v celé malbě převládat.
Barevné papíry
Barevně tónované papíry jsem začala používat až v poslední době
a jsou báječné v tom, že vám sjednotí tonalitu celého obrazku,
udají základní střední tón a vy můžete modelovat buď do tmava
nebo do světla. Mají však mnoho uskálí, s nimiž je třeba počítat.
Nemáte možnost pracovat se základní bílou
Barva je vždy ovlivněna pozadím a s tím musíte počítat při výběru tónu podkladu
Celkově je malba tmavá a působí spíše jako olejomalba
Pro praci se světly musíte používat velmi krycí mléčné barvy.
Akryl
Dříve jsem si světlé tóny podkládala slabou vrstvou bílého akrylu
či jsem ho přímíchavala rovnou do barvy. Zde pozor - v kombinaci
s některými pigmenty šedne a uplně nejlépe si rozumí s anilinkami,
kde mužete dosáhnout úžasných efektů, ale za cenu špatné materiálové
kvality vyslédného obrazu. Tj. tímto způsobem nikdy nenamalujete obraz,
který si někdo pověsí na zeď. Anilinky jsou tragicky nestale na světle.
Já tak maluji obrazy, které jsou určené pro tisk.
Barvy
Základem mé palety je krabička českých a ruských akvarelů
v pánvičkách. Na tupovaní velkých ploch a pozadí používám
školní barvy, protože mají hrubou zrnitost a dobře se chytaji a potom,
kdo by chtěl zničit mistrovskou barvu agresivním tupovacím
štetcem.
Občas, když už neni vyhnutí, použiji anilinku a bilý akryl, ale
v poslední době se tomu čím dál více vyhybám a raději používám
mléčné odstíny akvarelů - jako různé bílé, paynovu šeď, žlutá
cadmia, okry, neapolskou žluť, tělovku a pod.
Tupování
Tupování může do jisté míry nahradit americkou retuš, ale jen pokud
máte obrovskou tpělivost. Jde o techniku, během níž se kulatým štětinovým štětcem
zastřiženým, tak aby měl rovnou plochu, nanáší "ťupkáním" téměř suchá barva.
Dají se takto i snadno upravovat chyby a skvrny, ale dají se natupovat
i obrovské plochy. Jen je potřeba mít ruku ze železa, zkušnosti a neustále
kontrolovat aby štětec nebyl příliš mokrý. Dobře zatupovaná plocha je pak pravidelně barevná a sametová.
Kdyz tupuji, mam kolem spoustu zkušebních papírů a ubrousků, které odsávají vlhkost.
Tupováním se dají dělat i mraky a barevné přechody.
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