( 그림 공부 ) The Value of Value Sketches

“The Pigeonnier” (watercolor, 7 x 10 in.)

 

American Watercolor에서 보낸 메일에서 Andy Evanson 이란 화가가 그림을

그리는 방법에 대해서 Kelly Kane 이란 분이 쓴 좋은 강의내용이 있어 옮긴다.

(번역은 또 구글 번역, 원문은 맨 마지막으로 옮긴다) 

그림에서 소위 Value( 우리말로는 명암 정도에 해당하나 정확히 명암이라기

보다는 각 색깔의 명암값 정도로 매우 중요한 개념이다 )

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“나는 의료 일러스트레이터로 훈련했고 촘촘하고 세밀한 일러스트레이션을

만드는 데 많은 시간을 보냈기 때문에 Sargent, Trevor Chamberlain과 같은

화가들이 존경하는 느슨하고 표현력이 풍부한 수채화를 그리기 위해

의식적인 노력을 기울여야 합니다. Alvaro Castagnet과 Eric Wiegardt입니다.

” 미네소타 예술가 Andy Evansen이 말했습니다.

“어떤 주제에 대해 작은 예비 value 연구를 하는 것이 정말 도움이 되어서

현장에 더 자유롭게 반응할 수 있습니다. 나는 연구를 통해 잠재적인 구성을

평가하고 세 가지 기본 값, 즉 예약된 종이의 밝은 흰색, 큰 중간 값 모양,

초점을 정의하는 어두운 붓글씨 선을 정의합니다.

The Payne’s gray value study Evansen created in preparation for “The Pigeonnier”

 

 

“저는 항상 가치 스케치를 작성하지는 않지만, 그렇게 하면 그림의 필수 요소에 

집중하고 관련 없는 세부 사항을 제거하는 데 도움이 됩니다. 

스케치를 만드는 연습을 통해 올바른 값을 혼합하고 이를 의도적이고 순차적인 

방식으로 적용하는 것에 대한 모든 주요 결정을 내렸기 때문에 자신감과 

방향성을 가지고 더 큰 수채화를 그릴 수 있게 준비됩니다. 

유화가는 문제가 해결될 때까지 계속해서 그림을 다시 작업할 수 있지만, 

수채화가가 그렇게 하면 색상이 짙어지고 탁해지며 그림이 혼란스러워질 

가능성이 높습니다. 적절한 색조와 강도를 지닌 한 획의 수채화 물감은 

10개의 망설임 자국보다 낫습니다. 

훌륭한 수채화 그림의 특징인 광채와 신선함이 있기 때문입니다.”

Evansen은 이렇게 설명합니다. “학생들은 연결된 모양을 사용할 가능성을 

보는 대신 고립된 개체를 그리는 경향이 있습니다. 거의 사진만으로 작업했기 

때문에 너무 많은 정보로 수채화 그림을 과부하할 수 있습니다. 

이것이 바로 연결이 끊긴 야외사생  페인팅을 위한 레시피입니다.

학생들은 고립된 세부 사항을 그리는 것보다 자신의 관찰에 대해 하나의

광범위한 진술을 하는 데 더 성공적일 것입니다. 이런 식으로 보는 법을 배우려면

규율이 필요합니다.”

Evansen은 예술가가 더 큰 풀 컬러 수채화를 그리기 전에 5분 이내에 value 연구를 

완료할 수 있으며 Arches 수채화 용지의 7 x 10인치 블록에 연구를 만들 것을 권장합니다. 

“저는 오른쪽에 부착된 확장 부분에 John Pike 플라스틱 팔레트를 고정하는 

Joe Miller Signature Field Easel을 사용합니다.”라고 그는 말합니다. 

“서 있는 자세로 작업하면서 흑연으로 주요 형상의 윤곽을 빠르게 그립니다. 

그런 다음 둥근 Silver Black Velvet 브러시와 Winsor & Newton Payne의 회색을 

사용하여 중간 값 워시로 넓은 영역을 페인트하여 종이의 흰색이 구성의 밝은 값 모양을 

나타낼 수 있도록 합니다. 마지막으로 브러시에 더 어두운 회색 혼합을 로드하고 

끝을 사용하여 선형 윤곽선, 그림자 드리우기 및 크고 어두운 덩어리를 칠합니다.”

 

A Payne’s gray value study of a waterside scene (7 x 10 in.)

 

 

 

팔레트의 칸에 압착된 다음 색상을 사용하여 주제에 대한 풀 컬러 수채화를 

개발하기 시작합니다: 페인 그레이, 프렌치 울트라마린 블루, 코발트 블루, 

세룰리안 블루, 수액 그린, 생 시에나, 번트 시에나, 알리자린 크림슨, 카드뮴 레드 , 

뉴 갬보지, 카드뮴 레몬. 그는 9 x 12인치 크기의 Arches 워터 컬러 용지 또는 1/4장 

분량의 300파운드 냉압착 수채화 용지에 그림을 그리기 시작하기 전에 표면을 적시고 

약간 높게 유지하여 중력으로 인해 유체 페인트가 생성되도록 합니다. 

달리지 않고 아래로 이동합니다.

Evansen은 현장에서 큰 세척 브러시 1개와 둥근 브러시 3개를 사용하며 

스튜디오에서 그림을 그릴 때 소모품에 브러시 2개를 추가합니다. 

“Value 연구의 또 다른 장점은 구성을 세 가지 주요 가치로 분류하여 페인팅 과정을

단순화하는 데 도움이 된다는 것입니다. 정확하게 혼합된 색상을 폭넓게 사용하여

풍경을 묘사하는 것이 더 쉽고 색조나 세부 사항의 미묘한 변화를 모두 칠하는 경향을

피하는 것이 좋습니다. 스케치는 모양을 연결해야 한다는 것을 상기시켜 주기도 하는데,

이는 조화로운 색상과 패턴으로 그림을 통일하는 데 매우 중요합니다.”

수채화 강의: Vlaue 스케치로 시작하기

STEP 1: Andy Evansen sets up to paint a barn in rural Minnesota near his home.

STEP 2: The scene Evansen paints in this demonstration

STEP 3: The completed 7 x 10-inch Payne’s gray value study

STEP 4: After completing the value study, Evansen draws the outlines of the shapes on another sheet of 300-pound Arches cold-pressed watercolor paper.

STEP 5: With his paper clipped to the easel, the artist applies broad washes of transparent local colors throughout the landscape.

STEP 6: Using thicker mixtures of paint and more calligraphic strokes of the round brush, Evansen marks the case shadows on the barn and across the land.

STEP 7: With a dry-brush technique, the artist paints the leaves of the trees and bushes and adds texture to the buildings in his painting.

STEP 8: With his paper clipped to the easel, the artist applies broad washes of transparent local colors throughout the landscape

The completed painting: “The Schaffer Farm” (watercolor, 10 x 14 in.)

 

 

 

“I trained as a medical illustrator and spend much of my time creating tight, detailed illustrations, so I have to make a conscious effort to break from that to paint the kinds of loose, expressive watercolors I admire by painters like Sargent, Trevor Chamberlain, Alvaro Castagnet, and Eric Wiegardt,” say Minnesota artist Andy Evansen. “It really helps to make small preliminary value studies of a subject so I can then be freer with my response to the scene. I use the studies to evaluate potential compositions and define three basic values — the bright white of the reserved paper, a large medium-value shape, and the dark calligraphic lines that define the focal point.

 

“I don’t always make value sketches, but when I do, they help me focus on the essential elements of a picture and eliminate extraneous details. Going through the exercise of making the sketch prepares me to paint larger watercolors with confidence and direction because I’ve made all the key decisions about mixing the right values and applying them in a deliberate, sequential manner. Oil painters may be able to keep reworking a painting until they get it resolved, but when a watercolorist does that, it’s likely the colors will become dense and muddy and the picture will be confusing. One stroke of watercolor paint that has the right hue and intensity is better than 10 hesitant marks because it has the kind of brilliance and freshness that is the hallmark of a great watercolor painting.”

 

Evansen explains, “Students have a tendency to paint isolated objects instead of seeing the possibilities of using connected shapes. They can overload a watercolor painting with too much information because they’ve worked almost exclusively from photographs. That’s a recipe for a disconnected plein air painting. The students would be more successful making one broad statement about their observations rather than painting isolated details. It takes discipline to learn to see this way.”

 

Evansen says a value study can be completed in five minutes or less before an artist commits to painting a larger, full-color watercolor, and recommends creating studies on 7 x 10-inch blocks of Arches watercolor paper. “I use a Joe Miller Signature Field Easel, which holds my John Pike plastic palette on the extension attached to the right side,” he says. “Working in a standing position, I quickly draw the outlines of the main shapes in graphite. I then use a round Silver Black Velvet brush and Winsor & Newton Payne’s gray to paint big areas with a medium-value wash, allowing the white of the paper to indicate the light-value shapes in the composition. Finally, I load the brush with a darker mixture of gray and use the tip to paint linear outlines, cast shadows, and large dark masses.”

begins to develop a full-color watercolor of the subject using the following colors squeezed into the compartments of a palette: Payne’s gray, French ultramarine blue, cobalt blue, cerulean blue, sap green, raw sienna, burnt sienna, alizarin crimson, cadmium red, new gamboge, and cadmium lemon. He paints on a 9 x 12-inch block of Arches water – color paper or on quarter-sheets of 300-pound cold-pressed watercolor paper, dampening the surface before he begins painting and keeping it slightly elevated so gravity will cause the fluid paint to move down without running.

 

Evansen uses one big wash brush and three round brushes on location, and he adds two additional brushes to his supplies when painting in his studio. “Another advantage of doing the value study,” he says, “is that it helps me break the composition into three dominant values and thereby simplifies the painting process. It’s easier to describe the landscape with broad strokes of accurately mixed colors and avoid the tendency to paint every subtle shift in hue or detail. The sketch also reminds me to connect the shapes, and that’s extremely important in unifying a painting with harmonious colors and patterns.”

 

Watercolor Tutorial: Starting with a Value Sketch