( 그림 공부 ) Reflections on Painting Water

“Closed on Mondays” (watercolor, 12 x 16 in.)

일전에도 수면에 비친 그림자를 수채화로 표현하는 방법에 대해서 한번 글을

올린 적이 있었는데 Geoff Allen이란 미국화가가 자기만의 방법을 설명하는 글이

있어 여기 옮긴다 ( 원문은 맨 뒤에, 번역을 구글 번역 그대로 )

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"물은 주제로서 이해하기 어렵습니다. 추상적 모양의 신비롭고 움직이는 배열이죠." 

제프 앨런이 말했습니다. "물이 우리에게 어떻게 보이는지에 영향을 미치는 변수는 

많습니다. 얕거나 깊거나, 울퉁불퉁하거나 유리처럼 맑은지, 날씨가 흐리거나 맑습니다. 

이러한 복잡성에 더해 물 표면을 보는 각도도 있습니다. 저는 그림을 그리기 시작할 때 

장면에 대한 관찰과 인상을 바탕으로 작업합니다. 

물의 모습이 바뀔 것이라는 것을 알고 있기 때문에 처음의 경험을 기억에 담으려고 노력합니다.

"하지만 실제로 어떻게 보이든 매력적인 작품을 만들기 위해 수정을 가할 겁니다. 

궁극적으로 제 그림은 물뿐만 아니라 물 주변 환경, 즉 분위기, 선착장, 

사람들에 대한 것입니다. 특히 항구를 그리는 것을 좋아하고, 그 작품에서 물에 대한 

묘사는 축적된 야외 관찰과 경험에서 비롯됩니다.

"물을 그리는 데 사용하면 수채화는 가장 큰 특징을 보여줍니다. 

부드럽고 매끄럽고 투명한 그라데이션 워시와 "한 번", 활기찬 서예적 마크 패턴이 있습니다. 

야외에서는 마스킹 액을 사용하지 않습니다. 시간이 더 걸리고 마음과 손을 훈련하여 

사용하지 않는 것을 선호하기 때문입니다. 그렇긴 하지만 시각적으로 돋보이게 하고 싶은 

부분은 가볍게 하려고 조심합니다.

THREE-STEP PROCESS

“Color for Nothing” (watercolor, 11 x 15 in.)

 

 

"물을 그릴 때 수채화를 세 가지 방법으로 적용합니다. 

첫 번째 적용은 그라데이션 워시(젖은 상태에서 마른 상태)입니다. 몇 가지 색상을 섞은 

큰 모프 브러시를 사용합니다. 모프를 "물삽"이라고 부르고 페인트와 물을 많이 섞을수록 

그라데이션이 더 부드러워집니다. 또한 스트로크 속도도 다양하게 합니다. 

거친 종이를 부드럽고 빠르게 스트로크하여 "조각"을 만들려고 합니다. 

흰색 종이의 작은 점입니다. "조각"은 반짝임과 같습니다. 

일반적으로 이 워시는 물 표면의 반사 상태를 나타내며 많은 경우 수평선에 가까운 값은 

밝게 하고 내 관점에 가까운 값은 어둡게 합니다. 워시에서 복잡한 색상 혼합을 얻기 위해 

남은 하늘 색상을 습한 워시 표면에 추가합니다. 물이 얕아지거나 투명해지는 곳에서는 

해변 모래, 강바닥 또는 바다 바닥의 색상이 작용하고 이것도 추가합니다.

"두 번째 도포는 첫 번째 워시가 촉촉할 때 해야 하므로 재빨리 하거나 팔레트에 미리 

섞어 두는 것이 좋습니다. 저는 이런 자국을 "소프트 웨이브"라고 부릅니다. 

저는 작은 브러시로 초기 혼합물을 두껍고 어둡게 만들고 종이의 수분 수준을 맞추려고 

노력합니다. 타이밍과 혼합이 맞으면 제 자국이 워시에 흡수되어 부드러운 웨이브가 생깁니다. 

또한 작은 브러시 끝에서 깨끗한 물을 살짝 뿌려 표면에 하이라이트를 만듭니다. 

이 모든 작업을 할 수 있는 시간적 여유가 빠르게 줄어들고 경험에 따라 언제 멈춰야 할지 알 수 있습니다.

Value sketch for “Color for Nothing”

 

 

 

"마지막으로 반사 레이어를 추가합니다. 특히 항구에서는 중간 크기의 뾰족한 붓과 

물과 페인트의 우유빛 혼합물로 파도 반사와 그림자를 그립니다. 

이러한 반사 모양은 다른 많은 자연적 형태와 마찬가지로 구성적 연결 장치가 

될 수 있습니다. 모양과 위치를 과장하거나 확장하거나 변경하여 동일한 평평한 

수면을 공유하는 다양한 객체를 연결하고 복잡한 장면을 단순화하는 

데 도움이 될 수 있습니다. 반사의 연결 패턴을 식별하기 위해 종종 대략적인 명암 스케치를 만들어 시작합니다.

"반사에 필요한 것보다 더 많은 색상을 미리 혼합합니다. 더 많은 색상을 만들기 위해 

작업 중간에 멈추고 싶지 않기 때문입니다. 종이의 상단에서 그리기 시작하여 

아래로 작업하면서 표시를 연결할 만큼 충분한 혼합물을 계속 추가합니다. 

마치 워시처럼요. 구름과 마찬가지로 파도 반사는 수평선에 가까워질수록 점점 작아지고 

값이 더 밝아지고 평평해집니다. 파도를 그리면서, 반사되는 물체나 종이를 따라 

아래로 움직일 때 보이는 색상을 나타내기 위해 색조를 바꿉니다. 

내가 더하는 색상은 아래로 흘러내리면서 내 초기 혼합물과 섞입니다. 

이 과정에서 너무 멀리 가서 무심코 너무 많은 선을 그리기 쉽습니다. 

이를 피하기 위해, 나는 개별 파도가 아니라 얼마나 많은 구성 공간을 덮고 있는지, 

그리고 가장 중요한 것은 무작위적인 모양 패턴을 만드는지 보기 위해 

그림을 그릴 때 눈을 가늘게 뜨고 봅니다. 

내 목표는 너무 비슷한 표시와 부정적인 모양을 피하는 것입니다."

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이 작가의 그림 몇 점 ( 작가의 홈피에서 )

 

“As a subject, water is elusive — a mysterious, moving arrangement of abstract shapes,” says Geoff Allen. “There are many variables that affect how water appears to us — whether it’s shallow or deep, choppy or glassy, and whether the day is overcast or sunny. Adding to this complexity is the angle at which we view the water’s surface. I work from my observations and impressions of a scene at the beginning of a painting session. Knowing that the appearance of the water will change, I try to lock the initial experience into my memory.

 

“Regardless of how it actually looks, however, I’ll make alterations for the purpose of creating a compelling artwork. Ultimately, my paintings are not only about water but also what surrounds it — the atmosphere, marinas, and people. In particular, I love to paint harbors, and my description of water in those pieces comes from my accumulated plein air observations and experiences. 

 

“When used to paint water, watercolor showcases its greatest attributes — soft, silky smooth, transparent gradient washes and “one go,” brisk, calligraphic patterns of mark making. En plein air, I avoid using masking fluid because it would take more time and I prefer the idea of training my mind and hand to do without. That said, I’m careful to go light in areas I want to pop visually.

 

“I apply watercolor in three ways when painting water. The first application is a gradient wash (wet on dry). I use a big mop brush loaded with a mixture of a few colors. I call my mops “water shovels” and the more mixture of paint and water I apply, the smoother the gradient will be. I also vary the speed of my strokes. By softly and quickly stroking across rough paper, I try to create the “bits” — tiny dots of white paper. The “bits” are like sparkle. In general, this wash represents the reflective state of the water’s surface and in many cases I lighten values closer to the horizon and darken values closer to my point of view. To make sure I get a complex mix of color in my wash, I add some leftover sky colors to my moist wash surface. Where the water becomes shallow (or transparent), the color of the beach sand, river bottom, or ocean floor comes into play, and I’ll add that as well.

 

“My second application needs to happen while the first wash is moist so it helps to be quick about it or have something on the palette premixed. I call these marks “soft waves.” I thicken and darken my initial mixture with a smaller brush and attempt to match the moisture level in the paper. If I get my timing and mixture right, my mark will be absorbed into the wash, creating a soft wave. I also apply a small line of clean water from the tip of a small brush to create highlights on the surface. The window of time to do all of this closes quickly and experience tells me when to stop.

 

“Finally, I add the layer of reflections. In harbors specifically, I’m painting wave reflections as well as shadows with a middle-size pointy brush and a milky mixture of water and paint. These reflection shapes, like many other natural forms, can be a compositional connecting device. By exaggerating, extending, or altering their shape and location, I can connect various objects that share the same flat water plane and help simplify a complex scene. To identify the connecting patterns of reflections, I often make a rough value sketch to start.

 

“I premix more color than I’ll need for my reflections because I don’t want to stop in the middle of what I’m doing to make more. I start painting at the top of the paper and work downward, continually adding enough mixture to connect my marks, like a wash. Just like clouds, wave reflections will become smaller and smaller, as well as lighter in value, and flatter, as they approach the horizon. As I paint the waves, I’ll shift hues to refer to objects being reflected or colors I see as I move down the paper. Whatever color I add mingles with my initial mixture as it flows downward. In this process, it’s easy to go too far and mindlessly make too many strokes. To avoid this, I squint as I paint so that I’m seeing not the individual wave, but how much compositional space I’m covering and, most importantly, creating a random pattern of shapes. My goal is to avoid marks and negative shapes that are too similar.”