1. For work took the sheet of water color FONTENAY paper of 300 g/m ², cotton
2. Brushes round колонок№6 — 2, and a flat little squirrel of the big size
3. A water color "White nights", I have a big set, we will use not all colors
It is better to do preliminary drawing on an additional sheet of paper (I used office leaf), and then to transfer not to injure a surface of a water color leaf.
This paper very dense and practically is not jarred on even from repeated smachivaniye at all by water therefore I did not fix a leaf at all.
After transfer of drawing, we apply water on a background by means of a soft flat brush, trying not to concern a bird and flowers (especially flowers — they surely have to remain white practically before completion of work).
Yet water did not dry, we apply color spots on a damp surface. We use mixes green, ochre, an ultramarine and a little violet-red. On cotton paper paint spreads surprisingly softly, without leaving spots and potyok. Our purpose — to achieve very indistinct and, at the same time, a background, various on color.
So far a paint layer fresh, we apply with a small brush alcohol drops on a background that will give us additional effect in the form of small round white specks — as spots of sunlight.
After a background we will undertake leaves. We will draw them on dry paper using an average brush and the same green, ochre, ultramarines and still we will add cobalt blue.
Let's not forget about the main hero of our drawing. For a bird we use ochre red, iron oxide light-red and again green, ochre and cobalt blue. If it is necessary to utemnit a background round a bird, previously we apply water on the right place, and only then we concern background paint — on cotton paper paint remarkably spreads, irrespective of when to you took in head to humidify a leaf. Also we do not forget about "spots of sunlight" — we put alcohol specks on a background that it beautifully flickered.
For an eye we use sepia. For a branch mix of sepia and violet-red.
For a beak and pads again we take sepia.
We start "strengthening" a background in some places, without forgetting to humidify a leaf surface thus. In parallel very carefully we concern also flowers — for them we use ochre mix from the violet-red.
Let's not forget about shadows on a birdie. Carefully we watch that the birdie in places was more dark than a background, and in places the background is more dark than a birdie.
And at the very end of work we will very carefully be engaged in flowers. We use ochre mix with violet-red and ochre with the ultramariny.
The photographer from me unimportant therefore I prefer to scan the works.
Author: kosharik Source: animalist.pro