Watercolor painting: Woods in the sun (including decomposition steps)

I have always liked the transparency of the grove in the sun. I learned relevant skills from teacher Hang Ling and drew a small forest to share with you.

Drawing paper: Humboldt 8 has a thick pattern in the middle.

Brush: Alvaro Red Grease No.4, aged to keep out the cold, Huahong No.797 No.8, bristle fan pen medium.

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Molding. When modeling, we should pay attention to the perspective relationship of trees, pay attention to the thick bottom and thin top, thick near thin far, big near small far, and the spacing between trees should be dense. Don't be too specific in shape, and don't draw the tree straight.

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Brush water. Wet the paper completely.

Draw the background. Use a yellow brush to draw the top and bottom edges of the paper and other surrounding areas. Draw blue-gray light with ultramarine, magenta, green and a little black. Pay attention to the heavy color at the bottom of the lamp. The water around the lamp is too natural. Wipe the white light with a paper towel. The bottom of the picture is connected in green, and the light is weak.

After the background painting is finished, adjust black+green to splash on the screen when it is wet, avoid light, and sprinkle more points on the lower part of the screen. When the background is dry, wax it. Wax coating is equivalent to white glue, leaving a layered feeling of leaves. Wax is more natural than white glue. Wax is applied to places with many leaves and places with fallen leaves at the bottom, and it is applied evenly. Be careful not to paint it on the trunk.

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Dip the bristle pen in grass green and draw leaves from the edge of the tree. The leaves in the distance are cold and faint colors. Pay attention to the relationship between reality and reality. The edge of the tree is solid, the middle is empty, the strokes of the edge are obvious, and the middle is blurred by adding more water. When drawing leaves, we should pay attention to the change of hue, and use different green colors to express the cascading relationship of leaves. The tree on the left is cold, add some blue. The fallen leaves and grass at the bottom should be painted with ultramarine+ochre at will, and the light should be lighter.

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Add a little red or purple to the pigment and sprinkle it on the bottom and leaves when it is wet. Draw the trunk (with a bristle pen or toothbrush).

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Draw the trunk with ultramarine+brown, and pay attention to the part covered by leaves intermittently at the bottom. The light comes from the left, so the trunk on the right is deeper. The light comes from above, so the trunk above is warmer and greener, and the trunk below is colder and bluer. Pay attention to the change of color depth on the same trunk, and don't paint the trunk black and white. The dark trunk is dark and cold, and the bright trunk is warm. Pay attention to the difference. Draw the distant trunk with warm gray, draw it down one by one, and stick it under the lamp with a paper towel while it is still wet.

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Draw leaves. Pay attention to the truth. A painting has three realities and seven vacuities, so don't draw it all. Draw grass and leaves under it. The edge should be soft and good, and there should be no obvious handover. You can use a small spray bottle to spray water for fusion.

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Make final adjustments and complete the framework.

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