By David Riche, Anna Franklin
An inspirational consultant to drawing and portray the fairy realm, this spell binding publication appears on the origins and improvement of fairy artwork, and attracts upon a variety of artwork, literature, mythology, and folklore surrounding fairies. Readers are proven the best way to invoke the fairy spirit and convey to existence the nymphs, sprites, and sylphs of a fabled realm. Easy-to-follow, step by step illustrations and images allow starting artists to recreate flower fairies, celestial spirits, and mischievous darkish fairies, in addition to the best way to seize beautiful aspect comparable to soft wings and sheer robes. Artists find out how to flip their brush right into a wand and create a whole fairy country in watercolor, the dreamiest medium with which to show the spirit and nature of those fairy folks.
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Extra info for Watercolor Fairies: A Step-by-Step Guide to Creating the Fairy World
Example 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.