( 그림공부 ) How to Keep Your Watercolors Fresh and Loose

“Morning in Paris” (watercolor, 15 x 22 in.)

 

 

Kelly Kane 이 American Watercolor mail 에 쓴 흥미있는 글이 있어 옮긴다

(번역은 또 구글 번역 그대로, 번역이 어설픈 부분은 맨 뒤의 원문 참조 )

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전설적인 예술가이자 스승인 에드가 휘트니(1891-1987)의 말을 빌리자면, 

아마추어는 대담함을 두려워하고, 프로는 소심함을 두려워합니다. 

Mick McAndrews는 풍경의 정체성과 에너지를 모두 포착하려고 노력하면서 

이를 염두에 두고 있습니다. 그는 연구와 실천을 통해 이러한 이해에 이르렀습니다.
작가가 대담함을 강조하는 이유는 수채화의 재료와 기법에 대한 이해뿐만 아니라,

이를 “느슨하고 juicy하다”고 표현하는 작가만의 표현 방식에서 비롯된다.

자발적인 것은 McAndrews의 본성이며 이는 매체의 본질적인 경이로움과

아름다움을 훌륭하게 보완합니다.

그는 첫 스트로크가 가장 좋은 경우가 많다고 굳게 믿으며,

특히 스트로크를 그대로 두면 더욱 그렇습니다.

소심한 스트로크나 반복적인 색상 세척은 밋밋하고 탁한 그림으로 

이어질 수 있습니다. 이를 방지하기 위해 작가는 색 이론, 자신감 있는 

색 혼합의 기술, 제한된 수의 붓놀림으로 색을 적용하는 방법, 

빛의 느낌을 높이기 위한 계획과 백지 절약의 중요성을 이해해야 합니다.

 

“Downtown Downingtown” (watercolor, 11 x 15 in.)

 

 

McAndrews는 수채화의 성공은 예술가와 매체 간의 파트너십에서 

비롯된다고 믿습니다. 화가의 지식, 기술, 기술 내에서 균형을 찾는 것; 

수채화를 독특하게 만드는 마법의 여지를 남겨두세요. 

McAndrews는 신중하게 계획하고, 더 많이 생각하고, 덜 칠하고, 

활발한 페인트 적용을 강조함으로써 원하는 결과를 달성합니다.

“Beachcomber” (watercolor, 15 x 22 in.)

 

 

저는 밝은 색에서 어두운 색으로, 투명에서 불투명한 색상 응용 프로그램으로 

작업하는 전통적인 접근 방식을 따르며, 가능한 가장 큰 브러시를 사용하여 

2~3개의 잘 계산된 밝은, 중간, 어두운 값의 세척을 적용하여 장면을 캡처하는 

것을 목표로 합니다.”라고 McAndrews는 설명합니다. 

“문제는 순수한 흰색 종이를 붙잡고 그 예약된 모양이 그림에 초점, 명확성 및 

정의를 가져오도록 하는 것입니다. 페인트를 얼룩지게 하거나 문지르려는 시도는 

결코 손대지 않은 종이의 광채를 되살릴 수 없기 때문에 네거티브 모양은 

처음부터 계획되어야 합니다.

"저는 학생들에게 저장된 공백과 가장 중요한 모양 및 값을 명확하게 

정의하는 썸네일 값 스케치를 만들어 장면의 복잡성을 가장 중요한 

요소까지 줄이는 데 도움이 되도록 권장합니다."

“Falling Water” (watercolor, 22 x 15 in.)

 

작가는 계속해서 말합니다. “저는 종이 표면을 적셔서 첫 번째 색의 흐름이 

흐르고 유동적이고 추상적인 형태의 흥미로운 패턴을 확립합니다. 

스프레이 병은 임의의 색상 패턴을 어느 정도 제어하는 ​​데 필수적입니다. 

물감은 초기 단계에서 종이 위에서 움직이고 섞이고 섞일 수 있으므로 

팔레트보다는 종이 위에 색을 섞는 것이 유리한 경우가 많습니다.

“수채화 그림의 핵심 측면은 종이의 습기에 민감하고 매우 젖은 표면에서 

안료가 자유롭게 혼합될 때를 아는 것과 각 획이 정의된 가장자리를 

유지할 수 있을 만큼 표면이 충분히 건조될 때까지 기다려야 할 때를 

아는 것입니다. 그런 종류의 통제는 경험에서 나옵니다.

“Dry Dock” (watercolor, 15 x 22 in.)

 

 

본능과 통제

습기의 양을 측정하는 몇 가지 방법이 있습니다. 

McAndrews는 "수채화를 제어하는 ​​한, 젖은 종이의 반짝이고 반사되는 

표면은 습기의 정도에 대한 단서를 제공할 수 있지만 학생들이 

많은 그림을 그릴 때까지는 본능적으로 습기의 정도를 파악하지 못할 것입니다."라고 말합니다. 

페인트는 젖거나 마른 종이 위에서 움직이고, 섞이고, 건조됩니다. 

더욱이 수채화는 완전히 말랐을 때보다 젖었을 때 더 강렬하고 

생동감있게 보인다는 것을 이해하는 데 시간이 걸립니다. 

처음에 학생들은 풍부하고 강렬하다고 생각했던 혼합 색상이 더 밝고 연한 마무리로 건조되어 실망했습니다.

 

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To paraphrase the legendary artist and teacher Edgar Whitney (1891-1987), the amateur is afraid of boldness while the professional is afraid of timidity. Mick McAndrews keeps that in mind as he strives to capture both the identity and the energy of a landscape. He came to this understanding through study and practice.

The artist’s emphasis on boldness comes from his understanding of the materials and techniques involved in watercolor painting, as well as from his personal style of expression, which he refers to as “loose and juicy.” It is in McAndrews’ nature to be spontaneous, and that nicely complements the intrinsic wonder and beauty of the medium. He firmly believes that one’s first stroke is often the best, and that’s especially true if it is left intact.

 

Timid strokes or repeated washes of color can lead to a flat and muddy painting. To avoid this, the artist must understand color theory, the art of confident color mixing, how to apply color with a limited number of brushstrokes, and the importance of planning and of saving white paper to enhance the feeling of light.

 

McAndrews believes that success in watercolor results from the partnership between artist and medium; finding a balance within the knowledge, technique, and skill of the painter; and leaving room for the magic that makes watercolor so distinctive. McAndrews achieves his desired results by carefully planning, thinking more and painting less, and emphasizing energetic paint application.

 

“I follow a traditional approach, working from light to dark and transparent to opaque color applications, aiming to capture a scene with two or three well-calculated washes of light, medium, and dark values applied with the biggest brushes possible,” McAndrews explains. “The challenge is to hold on to the pure white paper so those reserved shapes bring focus, clarity, and definition to the painting. The negative shapes have to be planned from the beginning because any attempt to blot or rub paint off can never bring back the brilliance of untouched paper.

 

“I encourage students to make thumbnail value sketches that clearly define saved white space, as well as the most important shapes and values, to help reduce the complexity of a scene down to its most essential elements.”

 

The artist continues, “I dampen the surface of the paper so the first wash of color will flow and establish an interesting pattern of fluid, abstract shapes. A spray bottle is indispensable for exercising some control over the otherwise random patterns of color. Paint can move, mingle, and mix on the paper in the early stages, and often it is advantageous to let the colors mix on the paper rather than on the palette.

 

“A key aspect of watercolor painting is being sensitive to the dampness of the paper and knowing when to let pigments blend freely on a very wet surface, and when to hold back until the surface is dry enough to let each stroke maintain defined edges. That kind of control comes from experience.

 

Instinct & Control

 

There are some methods for gauging the amount of dampness. “As far as controlling watercolor,” McAndrews says, “the glistening, reflective surface of the wet paper may give a clue to the degree of dampness, but until students do a lot of painting, they won’t have an instinctive sense of how paint will move, intermix, and dry on wet or dry paper. Moreover, it takes time to understand that watercolors look more intense and vibrant when they are wet than when they are completely dry. Initially students are disappointed that the mixed colors they thought were rich and intense have dried to a lighter, paler finish.