( 그림 공부 ) 수채화가 Yong Hong Zhong 의 demo

 

화려한 칼라로 수채화의 진수를 보여주고 있는 Yong Hong Zhong이란 화가는 중국에서 태어나서 12살 때 미국으로

부모님과 함께 이민을 왔다고 한다. 애니메이션을 전공하여 디즈니사에서 많은 프로젝트에 참여하였으며 나중에

독립하여 전문화가의 캐리어를 쌓고 있는데 아무래도 애니메이션 전공을 했다보니  강렬한 대비가 특징인

그림이 아주 특징이 있다.

일전에 "내가 좋아하는 화가 " 카테고리에 그의 그림을 몇 점 올린 적이 있는데 이번에는 그가 그림을 그리는 시범을

보여주는 글과 사진이 있어 여기 옮긴다.

그가 초기에는 중국식의 callagraphy 를 많이해서 그런지사용하는 붓들도 서양식의 수채화 붓이 아니고

동양식의 붓들이다.

 

1 단계:

Largely because it was a demonstration, Zhong spent little time on the graphite drawing. He quickly moved on to wetting the entire paper and washing in the background using the wet-into-wet method. He carefully brushed around some areas to retain the white of the paper in key spots.

2단계:

The artist waited for the wash to dry completely, as the edges going forward needed to be sharp. His marks at this point were immediately bold, with crisp lines and angles. He did this using a rather large round brush — a Chinese calligraphy brush that allows him to flatten it for such effects.

“It’s similar to a round brush but allows you to get a more chiseled edge,” he says. This inexpensive brush also allows him to mix colors on the brush, so two colors go on the paper at the same time, in the same stroke. He was going for expressive strokes and colors here. “I wanted to make sure that I was capturing the experience I had in that specific moment — the engulfing smoke,” he says.

3단계:

That bit of white near the center of the composition was then put to use. “This was a resort lake where you can rent kayaks, so I put in the table that the people renting kayaks used,” says Zhong. “The kayaks and the table provided scale, dark shadow, and intense color to create the focal point.” Some of the warm ground color was dragged up into the trunk of the primary tree to connect it with the earth.

4 단계:

Zhong’s bold strokes mark this stage, with the dark of the foliage created with strong, sure brushstrokes. A mistake at this stage would be devastating. “Watercolor is about taking a chance,” he says. “I understand the risks of watercolor. All of the work I have done prior to this stage hinges on how the darks work out in this step. I can ruin the painting, but I just have to trust my pencil drawing and not worry about matching the scene too much. I have to believe it will work out fine, or that I can get out another piece of paper and try again.”

최종 단계:

Next, Zhong pushed back against the predominance of cool colors in the scene, taking advantage of the early morning sun to provide some warmth. “The warmth in the smoke enhanced the warmth of the morning light,” he says. “It was actually a choking smoke, and some of the artists were wearing masks. I focused on getting the feeling down, accurately depicting the atmosphere and the values. When I was finished, I felt that I was able to capture the mood and condition of the scene.”

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