By John Lowry
Presenting a practical method for portray abstracts, this exam additionally explains how you can process and comprehend summary artwork. It strikes the instructing of artwork from a doing point of portray a undeniable topic in a specific medium to a pondering point of What am I doing while I paint? and What am I attempting to say during this painting? utilizing acceptable workouts with explanatory textual content, John Lowry develops the pondering and doing procedures jointly, top the reader to a better realizing and appreciation of this most fun paintings style.
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Sample text
Trees overwork- of the water IN 6 for WATERCOLORS The shadows cast more uniform that the trees themselves. the foliage, on The watercolor we can see the progress advanced have made on the is stage. at an Here we in the reflections water. Light grays have been to added to har- monize the dark areas of the shadows lights. with They the are high- painted using the lines of the original drawing as a guide. by the shadows are homogeneous, and the brushstrokes are 7 When the first color has dried, trees are The much colors used suggesting the just careful and even.
We snow on the much the texture of the grain of the paper visible. The 11 softness of the tonality does not mean we do use a wealth of color. This detail shows how not a variety of very different tones can be brought together in a single harmony. The pure sienna a snowless peak that is that can be seen on the far left is brightened by reflected sunlight. 1 A I Ml water, blending colors and softening forms, we have Although we have been working with abundant not lost the underlying structure. The washes are used to represent the volume of the contrasts of the dark umber faces of the mountain; the sharp reinforce this effect.
28 PAINTING LANDSCAPES IN WATERCOLORS 1 P We I W their darken some of the mountain faces to intensify volume. This darkening a thin layer of sienna on synthetic brush. BRUSHWORK In addition 10 the color, brushstroke width, its Brushstrokes its capac- suggest a shape, to ity direction, its the important: is can construct etc. the composition and recreate the Each atmosphere. requires soft strokes, etc. subject individual treatment: energetic strokes, strokes careful for detailing, You can practice these by painting strokes different abstract lines on a sheet of paper.