By Brenda Lyons
Create fable creatures in watercolor!
Mythology, folklore and delusion fiction are jam-packed with fantastical winged creatures just like the fiery phoenix, a roaring dragon retaining his hoard, a fierce gryphon warrior and extra. Winged myth will train you every little thing you want to find out about drawing and portray those and plenty of different creatures. From head to tail and toe to wing, you'll be portray winged creatures in no time!
More than 30 step by step demonstrations and lovely full-color artwork assist you illustrate a number of fable creatures.
Simple directions and transparent diagrams train the anatomy of those creatures. You won't ask yourself find out how to draw feathers or the place to place wings anymore!
Easy-to-follow watercolor guide will consultant you thru every thing from opting for and utilizing simple fabrics to making attractive watercolor work. no matter if it's in a wooded area, an underwater scene or the ruins of an historical urban, you'll how to deliver those creatures and their environments to life.
In the realm of delusion, there are not any limits! simply choose up your brush and set your mind's eye unfastened!
Read Online or Download Winged Fantasy: Draw and Paint Magical and Mythical Creatures PDF
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Extra info for Winged Fantasy: Draw and Paint Magical and Mythical Creatures
Sample text
As I add more color to the water, I lighten the values near the horizon to bring out more contrast in the foreground. Then I develop the clouds by adding more lights (white, cadmium yellow pale, cadmium red light, and a touch of viridian green) and darks (white, quinacridone rose, cobalt blue). Step Six Step Seven I break down the shapes in the main rock by building up the texture with more light and dark values. I create highlights with a mix of white, transparent oxide red, viridian green, yellow ochre, and cadmium red light.
Then I cover the distant mountain range with a mix of white, ultramarine blue, quinacridone rose, and a touch of yellow ochre. I carry the color through the trees to the right of the canvas, so the mountains don’t seem to drop off into space somewhere in the middle of the painting. Sky Step Two I create the dark foliage with a mix of ultramarine blue, viridian green, burnt sienna, and a little yellow ochre. I block in the center of interest (the large tree), warming the upper left where the light falls with more yellow ochre and a touch of cadmium red light.
With the same small brushes, I continue developing details on the bridge, the curbs, and the flowers. I include a little more detail on and under the arch of the bridge, keeping the edges sharp to draw some attention there. I place the signpost and refine the tree trunks, but I try not to overwork any one area of the painting and avoid putting in too much detail. I step back to assess my work again and decide that the contrast between the sunlit patches and the cool shadows is well balanced; my painting is done!