You can begin to see how the multiple layers of transparent paint produce complex and interesting textures. I used a very diluted mixture of neutral orange to add more shadow shapes to the undersides, to give more definition to the fins and add a few details. Next I turned my attention back to the orange fish. I used a lifting technique to blot up some of the wet paint and lighten the upper half of the fish shape. Paint the whole of the koi fish in blue, but leave the upper sides slightly lighter toned where they’re turned towards the light. Complementary colors are opposite each other on the color wheel and they tend to create a lively, dynamic appearance. Secondly the two colors, orange and blue, set up a complementary color harmony. This trick helps give an impression of depth as if the koi fish are at different heights. This helps the viewer distinguish between the top level of fish and the ones that are swimming at a lower level. I think these blue fish help the composition in a couple of ways.įor a start the blue color is in contrast with the orange fish on top. I decided to make the two underlying fish a different color. When you’ve finished painting the last fish at the bottom, leave the paint to dry again before moving on to the next stage. Vary the color intensity of the orange shapes by charging in some stronger paint here and there to create a bit of variety. The advantage with organic forms like this is that you don’t have to be very accurate. Use the reference photo as a guide for the pattern shapes. For example you can see me dropping in some stronger paint while the shape is still damp to create a variety of color intensity to the patterns.Ĭontinue painting the orange markings on the top three fish in the composition. This doesn’t mean that each new layer has to be a flat uniform color. The method when applying a glazing technique is that you paint subsequent layers of color, each time leaving the previous layer to dry. Remember to let the first layer of paint dry completely before adding this new color. Next I made a diluted mixture of orange to fill in the pattern shapes on the fish. This will gradually increase the intensity and values of your painting. This might look like a very diluted layer of paint, but remember the objective with a glazing technique is to build up transparent layers of color a bit at a time. I’m imagining the light coming from above, so I add shading to the underside of the fish to begin establishing the three-dimensional forms.įrom time to time you can see me blending edges, but mostly I’m painting wet on dry and leaving the sharp edges to my brush strokes. ![]() I began by painting the shadow shapes using a diluted mix of gray paint. This helps to keep the paper flat during the painting process. Start by transferring the outlines of the fish to a sheet of watercolor paper then tape it down onto a board.
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