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431
/ customarily test color mixtures on a
separate piece of paper, or in the margins
of the painting itself, as you will see I am
doing in fig. 436.
for the sky wash to dry completely, I rapidly meled palette, but before ac-
tually painting check the col-
it I
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WATERCOLOR PAINTING IN PRACTICE
fences, and yards of the village, with different I paint with this technique in the areas men-
nuances and with similar but diverse colors. I tioned above (testing it on a separate piece
continue to use dark sepia mixed with ultra- of paper order to know how much to
first, in
marine blue as the base, varying the amounts dampen or dry the brush), controlling the dry
and proportions to obtain grays which are either brushstrokes with light and precise dabs of the
bluer, darker, or more neutral, without forget- paper towel, pressing and absorbing color,
ting the possibility— the necessity— of bringing blending more or less, etc. Then I use the
into play the ochre, carmine, Prussian and blue-gray mixture to paint the shadows of the
cobalt blue tones. I paint the doors and win- trees and the graduation of this same color
dows of the houses without outlining, without which appears on the right hand side, as well
too much fuss, and call this second stage over. as the shadow of the ridge, always using the
dry brush technique (fig. 441).
181
WATERCOLOR PAINTING IN PRACTICE
'•';•
441
Fourth stage: finishing the gulley and resolving First I wrap the eraser end of a pencil with a
the foreground (Fig. 447) piece of sandpaper, then I energetically rub
To finish off the middleground of the gulley, the area just above and beyond the limit of the
I paint in the interior with grays, Siennas, and area mentioned above, in a movement parallel
blues corresponding to the rocks and clods of to that area. This "opens" and widens the
earth not covered with snow, the bushes and white area. Afterward I clean the area with my
clumps of grass, etc. This is a laborious task eraser (fig. 442, 443). Then I touch up this new,
1
calling for a fine brush, but there is still room "open '
area and blend it in.
narrow. It would be better if I could extend it, with the dry brush technique. Attention should
and I will, using the sandpaper technique. be paid to the direction of the brushstrokes
182