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  • Today we are in the Holywood hills high above Belfast

  • Lots of nice tree subjects around

  • Still a little cold to paint outside but I'll take some photographs

  • And bring them back to the studio

  • Redburn Park was the family home of the Dunville Whiskey family

  • At the time they owned the biggest whiskey distillery in the world

  • They built a 70 room mansion here in 1866

  • But hardly any trace of it remains

  • This is the photograph I will use to paint from

  • It has a good strong foreground tree with a good group of background trees behind

  • That will help with creating a sense of depth

  • For this method, you need a paper that will allow you to lift paint

  • I'm using Bockingford

  • Other papers such as Arches are harder to lift from

  • I'm using Phthalo Blue with Cobalt blue for the sky

  • I use long strokes from left to right

  • Make sure your brush holds enough paint to make a full stroke

  • This brush is too small so I'll change to a large mop

  • Same mix,

  • And simply continue down the paper

  • When you come to the position of the distant trees

  • Add a little Alizarin Crimson to the mix

  • I'm painting over the foreground tree. This will be lifted out later

  • For this first wash I simply want and interesting array of colour

  • Vary the colour. Add any colour you like

  • I'll add some Aureolin with Ultramarine. this will give a good green for the foreground

  • Continue to paint down the paper. Don't leave any gaps

  • Because the wash is soft with no edges

  • Essentially I'm not actually painting anything specific

  • Only when you have a hard edge do you actually specify an object or shape

  • Some burnt sienna helps to suggest the dried bracken

  • A little more of the green mix finishes the first wash

  • When you reach the bottom of the paper, stop.

  • Don't be tempted to go back up or to change things.

  • The first wash has now dried

  • Now I'll add some extra strength for the background trees

  • Use the same Phthalo/Alizarin Crimson mix

  • Use the side of the brush to give a dragged edge

  • This is a good way to suggest the broken edge of the trees

  • The brush should be parallel to the paper

  • Make sure you vary the outline of the trees up and down

  • Change the mix slightly as you work down the trees

  • Varying the colour will make it more interesting

  • Strengthen the tone as you work towards the bottom of the trees

  • I'll finish off with a dark mix of Ultramarine and Burnt Sienna

  • Aim to get light, medium and dark tone in all parts of your picture

  • I am now going to use a swordliner brush

  • This has a very fine point and is excellent for twigs and branches

  • Use the same dark mix of Ultramarine and Burnt Sienna

  • and paint into the damp background wash

  • [music]

  • Time now to add some variation to the foreground

  • The mix is Aureolin and Ultramarine

  • Use rough simple strokes

  • Use the side of the brush again to get a "rough grass" look

  • Don't be tempted to get too complicated - trees are the main subject, not grass

  • Again, vary the colour for interest

  • Burnt Sienna helps to suggest the bracken.

  • Now the background has dried

  • I can start on the main tree

  • There are many ways to paint trees and this method works well

  • Start with a very dark mix for the trunk and branches

  • I will then lift out the light side of the trunk and branches

  • The light side is the right hand side

  • [music]

  • Where the paint has lifted off the paper can be quite white

  • It is good to stain this damp white area with some warm colour

  • Raw sienna or burnt sienna works well

  • Back to the swordliner for the side branches

  • Allow the swordliner to skip over the paper surface

  • These are very dark marks but parts can be lifted out for variety

  • Don't paint too many side branches. Too many will look cluttered

  • [music]

  • Back to the lifting out brush

  • Rinse it often and squeeze it dry

  • As you lift paint you will dirty the brush

  • Squeezing the brush avoids depositing water as you lift.

  • It also gives a good edge for lifting

  • [music]

  • Continue to vary the colour and tone

  • As we approach the end of the painting

  • It is time to add little dark accents

  • Adding darks will make the lights appear lighter (and vice versa)

  • Adding dark effectively adds light

  • Mixing some stronger green now

  • I'm using viridian which is a hideous green colour

  • But burnt sienna calms it down to a lovely rich green

  • I'm using this for some darker details

  • Here I'm using my finger to roughen the edge of the stroke

  • This gives a similar but more controllable effect to dry brush

  • It works well

  • It does however make your fingers very dirty!

  • I have gone for some purple grey to suggest shadow

  • Again I'm using my finger to soften the edge

  • Back to the background trees

  • I'm lifting out a few suggestions of trunks and branches

  • Silver birch trees have a very distinctive bark

  • I can use a very strong mix of ultramarine and burnt sienna to suggest the bark

  • Using the side of the rigger gives just a hint of the dark marks on the bark

  • I hope you have enjoyed this demo

  • If you visit my website you will find information

  • on workshops as well as a gallery and more demos

  • Come back soon. Thank you and goodbye.

  • [music]

Today we are in the Holywood hills high above Belfast

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B1 中級

水彩画で木を描く (Painting Trees in Watercolour)

  • 77 15
    Tsao Rudy に公開 2021 年 01 月 14 日
動画の中の単語