Watercolour Techniques For Landscape Art-xxjjyy.com

Arts-and-Entertainment When painting a landscape, the first step is to create a sketch, which will help you maintain a clean painting and focusing on details. No matter if you inspire from a picture or if you are in front of the subject, you have choose what elements you should keep or ignore in your .position. A good .position is the key for a satisfactory result, and if you aim for perfection, learning how to use the elements in your .position is crucial. A landscape painting should contain a centre of interest, which can be enhanced by using value contrast or a touch of pure colour. The centre of interest should be painted with the strongest colours, better if they are .plementary so will make the area look vibrating. It should occupy a good portion in the working area, and will loosen from the detailing and colour intensity when connected with the background. The centre of interest in your landscape should be situated in the foreground, considering that the area distant from the viewer is cooler and less intense. Very skilled painters often use more than one centre of interest, which creates more effect to a landscape painting. When using two centres of interests, it is best to avoid to place them on top of the other one or vertically, and to place them diagonally or horizontally, and one of the two centres of interest should be of stronger interest. The centres of interest should be connected with the rest of the landscape and avoided the cropped effect. A landscape painting should attract the viewer, and should transmit a feeling, most .monly the painting express the emotional state of the artist in the moment of painting, so if you feel dynamic and exuberant then consider painting a rainy landscape, a waterfall, your painting would transmit some of your energy to the viewer and will have a greater impact. One other of the many watercolour techniques for landscape art is the lightning effect. Lightening is very important to brighten up your watercolour painting, and artists often exaggerate the brightness of an object or add their own imaginative touch even if it distorts the atmospheric perspective. To create a 3D effect landscape on a 2D surface you have to consider creating the atmospheric depth, which is the second step when starting a painting. After you have created the sketch, you have decided over your final .position, you should take a big watercolour brush and start with sketching the atmospheric depth, by painting a washed blue all over the page, to cool the lightened areas from the background. The lightening and the shadows in the foreground should be warmer and more intense and in the background, where painting the far away objects as mountains, the contrast should be low, there will be no details and the predominant colours are mixings of blue, a mixture of orange and blue results a grey Im personally very satisfied about. When painting a sun shine, the violets and oranges used should be cooled with blue. The elements represented far away should be smaller, should overlap with the objects situated in the middle ground. This is a painting Ive made inspired by Hala Sultan Tekke, a touristic church situated in the Salt Lake area in Cyprus. I started with a fast sketch in crayon, delimitating the shape of the building and the area around, to avoid making mistakes when working with watercolours. I prefer to express my own style when painting, so I let my hand draw freely inspired by my own emotions and even if sometimes my drawings are not perfect, the most important for me is to express my style and my emotions which I believe is the secret of creating an original art. I believe each painters work must be original, easy to identify so when watching a thousands of art pieces, you can recognise somebodys style because the artist uses specific colours, textures and details in a personal way, making easy for the viewers to recognise his signature art. The picture above it is a sketch of the Hala Sultan Tekke situated in Cyprus, I didnt want my painting to have a realistic look but a modern style so I didnt accentuated too many details, leaving myself free to decide at the end of the painting how I will transform it into a mysterious watercolour landscape. I added a blue wash on the background, with the intention to .e back and finish the background later, considering that the building has a light colour, and the vegetation around looks dark, I think a darker background and middle ground will put in value and create a contrast with the building, which is a centre of interest in my painting. You can observe that I left enough space in the upper part of the page, and that the building and the other elements occupy about a of the page, creating a weight in the lower part so I considered letting my painting to breath, to avoid making it too busy and too heavy looking. I preferred to draw the lake beneath the ground to create a equilibrium in my .position. If I would draw the building without a lake in the foreground, then I would create a light medium contrasting space, perhaps a grass or ground with a couple of details to be as an introduction of my painting, and to keep my centre of interest to attract the eyes of the viewer instead of the bottom of the page. Usually good watercolour techniques for landscape art are except the .position, and the lightening, the colouring techniques, which can create weight and attract the eyes of the viewers. The painting must create the feeling that stay in place and has equilibrium. I applied a mixture of washed greens as a start colour for the vegetation, and a first layer for the water beneath the building, but I avoided to paint anything on the building for the beginning. I started to mark the darkest areas of my painting and to create a balance between the contrasts. I dont want my painting to have equal values as it will create a monotonously effect. I like using pure colours when painting the foreground, creating a happier environment, higher impact on the viewers eyes and expressing this way my love for nature, I love fresh green grass and I always add strong highlights in the foreground. I have to consider that I dont want to repeat the highlights as well, so the same way I want different shadow values, I want different highlights values as well. I dont want to attract the attention on the water beneath the land, as it has a horizontal shape and I dont want create a cropped effect. The palm trees, the building and the grass in front is closer to my eyes and it will be more detailed, and the vegetation behind the palm trees and the building, and the mountain will be only suggested with colour. You can observe the vegetation behind the palm trees from the right side of the painting. The vegetation is placed to create a rhythmic effect and to distract the attention from the vertical trunks of the palm trees. I deepened the background colour preparing to create the mysterious effect Im interested in, but I have to avoid too dark accents or colours at the first layers as I cant regress my work and I prefer to darken the colours slowly and concordant. I work with .plementary accents of yellow-violet and orange-blue, but I will add some red-green as well, not too much so my painting will dont be.e over coloured. I prefer a cold gamma and warm accents in the foreground. The lake beneath the ground has highlightsfrom the main colours I used in all my painting. When considering watercolour techniques for landscape art it is very important to master the watercolour, the quantity of water used and the colours to circulate all over your painting. You dont want to isolate a colour, for example the red roof of the smaller building next to the church or the yellow grass. To create details, then using a smaller brush and a minimum amount of water needed, you contour slowly and carefully the details you need. It is re.mended to avoid using black in the shadows and using ultramarine and a seal brown or burnt umber mixture. About the Author: 相关的主题文章:

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