수채화 기법 (퍼옴)

[노지영]

선생님께 배웠던 것 더듬어 보다가 찾아 올려봅니다.

느낌, 굵고 과감한 터치, 틀에 박히지않은 자유로운 색깔과 색감등의 표현과 같이 평소에 말씀해주셨던 이론을 떠올려 보았읍니다. 하지만 너무 오랫동안 그림을 그리지 않아서 기초를 리뷰하는 차원으로 기본적인 붓 터치 방식은을 몇개 찾았읍니다. 도움이 되었으면 좋겠읍니다.

 출처: 난 아티스트 닷컴  http://www.nanartist.com/xe/?document_srl=181

<수채화 기법>

1. Flat Wash

가장 기본이 되는 기법으로 한면이 동일한 명도와 채도  그리고 같은 농도로 칠해 나가는 기법 입니다.

2. Graded Wash

점차로 붓의 습기를 없애가면서 농담을 변화시켜가는  기법 입니다.

3. Dry Brush

붓의 압력을 보통정도로 하고 물을 너무많지 않게해서 빠르게 붓질을 합니다.  흔히 '갈필' 이라고도 불리우기도 합니다.

4. Wet-into-Wet

첫번째 물기가 있는 Strock후에 두번째 Strock을 얹어줌으로써  두 Strock간에 자연스럽게 번지는 효과를 유발하는 기법 입니다.

5. Wet-on-Wet

수채화 용지에 물을 먼저 발라놓고서 그위에 물감을 얹음으로서  자연스럽고 부드럽게 Blending 되게 하는 기법 입니다.

6. Calligraphy

붓질의 자연스러운 멋을 강조하는 기법 입니다.  수채화 에서 붓이 지나가면서 만들어 내는 수채화 특유의 모양새들을 극대화 시킨 기법 입니다.

7. Splatter

붓을 털어서 뿌리는 기법	칫솔에다 무감을 뭍혀 긁어내는 기법	마르지 않은 바탕에 소금이나            알콜을 떨어뜨림으로서 환상적인            효과를 내는 기법

8. Masking

칠하지 않고 남겨두어야 할 부분을 채색을 하기전에 Masking용액으로   덮은후  나중에 떼어내는 기법 입니다.

두번째는 외국사이트에서 가져 온 것 입니다.

출처: 존로벳 닷컴 http://www.johnlovett.com/techniq.htm

WATERCOLOR - TECHNIQUE


                   This section looks at the various techniques peculiar to watercolor. 
                          It shows examples of different watercolor techniques used in the painting below. 

                           More examples of watercolor techniques can be found in painting lessons

                

Washes --위에서 설명 되었읍니다. The most basic watercolor technique is the flat wash. It is produced by first wetting the area of paper to be covered by the wash, then mixing sufficient pigment to easily fill the entire area. The pigment is applied to a sloping surface in slightly overlapping horizontal bands from the top down. Once complete the wash should be left to dry and even itself out - don't be tempted to work back into a drying wash, the results are usually disastrous! A variation on the basic wash is the graded wash. This technique requires the pigment to be diluted slightly with more water for each horizontal stroke. The result is a wash that fades out gradually and evenly		Graded wash through the sky
Glazing Glazing is a similar watercolor technique to a wash, but uses a thin, transparent pigment applied over dry existing washes. Its purpose is to adjust the color and tone of the underlying wash. Non staining, transparent pigments such as Rose Madder (or Permanent Rose), Cobalt Blue and Auroline are ideal for glazing as they can be applied layer after layer to achieve the desired effect. Be sure each layer is thoroughly dry before applying the next. (wash 랑 비슷하지만 Glaze 는 얇고 투명한 물감을 wash로 처리한곳이  마르면 그위에 칠하는 것입니다.  목적은 wash의  컬러나 톤을 보정하는 것입니다. ---> 옆그림의 지붕 위를 보면 차가운 톤의 회색 glaze 가 (원근감을 줘서) 건물끝이 저 뒷쪽으로 밀려나 보이게 처리해줍니다.		A cool Gray glaze pushes back the end of the buildings
Wet in Wet Wet in wet is simply the process of applying pigment to wet paper. The results vary from soft undefined shapes to slightly blurred marks, depending on how wet the paper is. The wet in wet technique can be applied over existing washes provided the are thoroughly dry. Simply wet the paper with a large brush and paint into the dampness. The soft marks made by painting wet in wet are great for subtle background regions of your painting.		Wet in wet push the bushes into the distance.
Dry Brush Dry brush is the almost the opposite watercolor technique to wet in wet. Here a brush loaded with pigment (and not too much water) is dragged over completely dry paper. The marks produced by this technique are very crisp and hard edged. They will tend to come forward in your painting and so are best applied around the centre of interest		Dry brush gives crisp, sharp details
Lifting Off Most watercolor pigment can be dissolved and lifted off after it has dried. Staining colors such as Phthalo or Prussian Blue, Alizarin, Windsor Red, Yellow or Blue are difficult to remove and are best avoided for this technique. The process for lifting off is simple - wet the area to be removed with a brush and clean water then blot the pigment away with a tissue. Using strips of paper to mask areas of pigment will produce interesting hard edged lines and shapes		The foreground shadow was lifted off so as not to draw too much attention
Dropping in Color This technique is simply the process of introducing a color to a wet region of the painting and allowing it to blend bleed and feather without interruption. The result is sometimes unpredictable but yields interesting and vibrant color gradations that cant be achieved by mixing the pigment on the palette.		The soft Burnt Sienna suggestion of a bush was dropped in while this area was still very wet