When using watercolors, it is important to use the full range of paint consistency. The densest possible color is obtained by using the paint as it comes from the tube. The lightest color is obtained by using paint heavily diluted with water, or applied to the paper and then blotted away with a paper towel. Generally, paint directly from the tube should be used only with drybrush application: if the paint is used to completely cover the paper it typically dries to a dull, leathery appearance (called bronzing). Usually one part tube paint must be diluted with 2 to 3 parts water to eliminate bronzing in paint applied with a large brush to dry paper; with 4 to 6 parts water to produce the most saturated color; and with still more water to produce delicate tints of color and to enhance pigment textures (granulation or flocculation). The main point is to take advantage of the complete range of paint effects that are produced at different paint consistencies.
Tube paints are normally used with a flat palette that provides compartmentalized paint wells (for holding separate paint colors) and a large mixing area for mixing or diluting paints; pan paints are arrayed in enameled metal paint boxes that provide shallow mixing areas in the folding cover or in a fold out faceted tray. With tube paints, the excess paint remaining in the palette paint wells should be cleaned out only if the paint has become dirtied with another paint; otherwise the paints should be allowed to dry out promptly and completely, as this prevents mold from forming. Despite the common misconception, there is no visual difference between the viscous paint packaged in tubes and the dried paints in pans. Tube paints left to dry in paint wells are used in exactly the same way as pan paints -- the painter simply drips or sprays water over the paint a few minutes before starting work. The only notable difference is that some tube paints, such as viridian or cerulean blue, produce a gritty, uneven paint mixture when left to dry and then rewetted.
There are three finesses to color mixtures with watercolors. First, the raw or "pure" paint in the paint wells should never be discolored with any other paint. To ensure this, colors are mixed by picking up the desired quantity of dissolved paint from the prewetted paint well, using a moist, clean brush, then applying the paint onto the flat mixing area of the palette. Then the brush is rinsed before picking up any other paint. Once all paints are on the mixing area, they are mixed and/or applied to the painting.
Second, colors can be mixed in at least four ways: (1) by completely mixing together on the palette the paints that exactly match a desired color; (2) by loading together in a large brush the separate paints that approximately match the desired color, then letting these partially mix as the paint is applied to the paper; (3) by laying down first a single paint color, then "dropping in" the remaining paint colors with the brush while the painted area is still wet; (4) by glazing the paints as separate layers, one over another. Each technique has its purpose -- the first provides color accuracy (for photorealist painting), the second provides color variety (especially in dark colors), the third produces many "wet in wet" effects between wetter and drier paint areas (for greater color expressiveness), the fourth can produce a variety of luminous, iridescent or "broken color" effects, similar to mixtures with pastel chalks.
Third, watercolors should be used confidently: applied with a single stroke or joined strokes, then left alone to dry. Color muddiness or dullness typically comes from excessively brushing wet paint after it has been applied to the paper, or adding new layers of paint onto paper that has soaked water into its pulp (capillary action draws the paint inside the paper, dulling the color, rather than letting it dry on the surface). Overbrushing and "color soaking" are the most common flaws of novice watercolor paintings.
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