Read e-book online 600 Watercolour Mixes PDF


By Sharon Finmark

Colour is prime to portray and the facility to combine and reproduce particular colorings is an paintings in itself. color concept could be uninteresting and intricate, yet during this e-book, skilled artist and instructor, Sharon Finmark, demonstrates color blending in a pragmatic and easy-to-follow manner. as well as being an in depth visible sourcebook to almost six hundred color mixes, there are work featured all through with all of the varied shades and mixes in every one portray analysed and annotated. during this approach, watercolour painters study via program how one can get the easiest out in their paints.

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Extra info for 600 Watercolour Mixes

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By overlaying one glaze of colour over another, the representational aspects of this painting are skewed to create a painting that is more than just a list of objects. Some of the objects apear to float away while other parts emerge more distinctly – again, the areas of depth and shadow have been achieved by using overlaying techniques. Prussian Blue is a very intense colour and tends to stain the paper, so I used the other colours equally intensely by using a lot of paint and plenty of water to make strong, flowing colours.

Light plays an important role; applying the paint in intense, smaller brushstrokes, letting the white of the paper show in between marks, creates more contrast and thus stronger ‘pings’ of colour. If you want to express a mood of tranquillity, go for a subtle painting with low-key mixes such as a misty autumn landscape or a corner of a lamp-lit room, painted in washes and glazes. Let the colours flow and mingle by painting wet-into-wet for a range of modified colour and diffused edges. MOUNTAIN SKY Skies are difficult to capture but perfect for the speed and fluidity of watercolour.

When you mix two primary colours together the resulting mix is a secondary (see here). 2. OVERLAYING In this method of mixing, a glaze of one colour is laid over a dry area of another colour to produce the new colour. 3. WET-INTO-WET The third way of mixing is also on the paper, but on damp or wet paper so that one colour merges into the other. Where they meet they produce a new colour. 1 YOUR BASIC PALETTE The key to handling colour well is to begin by exploring a basic range of colours to see what they offer you in various mixes and dilutions – there is no better way to gain the confidence that will help you to paint with fluency right from the early stages of learning.

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