( 그림공부 ) 물에 반사된 수채화 그리기

 

몬트리얼 거주하는 Shari Blaukopf라는 여류화가가  Artists Magazine 2024년 9/10월호에쓴 글이 있어 여기 옮긴다.

그녀의 수채화 그림은 대담하고 시원시원해서 배울 점이 많다.

( 번역은 구글 번역, 영어 원문은 맨 뒤에 )

=======================

색상과 반사를 포착하기 위한 8가지 팁을 따르세요.

저는 스케치북을 손에 들고 붓을 준비하고 호수, 연못 또는 개울가에 앉아 있거나 

해변이나 폭포 근처에 앉아 있을 때 가장 행복하다고 생각합니다. 

각 수역은 고유한 스케치 기회를 제공합니다. 예를 들어 바람이 없는 날에는 

거울처럼 고요한 호수에 반사된 모습이 조용하고 고요합니다. 

눈이 녹은 이른 봄에는 흐르는 물의 움직임을 포착하는 것보다 더 몰입할 만한 일은 

없습니다. 그리고 몇 번의 전략적 획으로 떨어지는 물의 모양을 단순화하려는 

도전을 좋아합니다.

이런 장면을 그릴 때 제가 가장 먼저 하는 일은 물의 색을 관찰하는 것입니다. 

물의 색에는 종종 약간 더 어두운 반사 하늘이 포함됩니다. 

그런 경우, 가능한 가장 젖은 붓을 사용하여 물과 하늘을 동시에 칠합니다. 

페이지에 수분이 많은 워시를 하면 여전히 젖은 표면에 더 많은 색상과 다른 색상을 

추가할 수 있기 때문입니다.
그 외에 제가 할 수 있는 가장 좋은 조언은 단순화하고 빠르게 작업하는 것입니다.

가능한 한 적은 획을 사용하십시오. 과도한 물은 신선함을 잃게 됩니다. 그리고 움직임을

표현하는 데는 몇 개의 적절한 파도나 잔물결만 있으면 됩니다.

1. 물은 고유한 색상을 가지고 있습니다.
우리는 종종 물은 거울과 같다고 말하지만, 그것은 전적으로 정확하지 않습니다. 

물의 색상은 항상 반사의 색상에 영향을 미치기 때문입니다. 매사추세츠 주 록포트의 

작은 마을에서 그린 이 예에서 흰색 보트의 선체는 물 속에서 더 어둡게 보였기 때문에 

따뜻한 녹회색 물의 더 밝은 버전을 사용하여 그렸습니다. 마찬가지로 다채로운 물체를 

스케치할 때는 반사된 이미지를 흐리게 만듭니다. 물의 색상 특성을 일부 띠기 때문입니다.

 

 

2,붓을 젖게 두세요.
적절하게도, 젖은 붓은 물을 가장 잘 전달합니다. 저는 종종 선착장을 마주보고 

있는 지역 공원에서 이 범선을 그립니다. 고요한 아침, 돛대와 조작 장치의 덜커덕거리는 

소리가 나를 따라다니며, 호수에 정박한 복잡한 보트의 혼란을 단순화하는 것으로 시작합니다. 

선체를 그린 후, 가장 뾰족한 붓에 물이 흠뻑한  색을 채우고, 좌우로 움직이면서

색조를 바꾸면서 모든 흔들리는 반사를 한꺼번에 그립니다.

 

 

3. 단순화, 단순화, 단순화.
흰 돛을 초점으로 삼고 싶어서 반사된 모양을 더욱 단순화했습니다. 

먼저 물을 칠하고 반사된 돛을 위해 종이의 흰색을 남겨 두었습니다. 

그런 다음 반사된 흰색을 가로지르는 수평선을 끌어서 움직임의 느낌을 만들었습니다.

 

 

4.유리한 위치를 활용하세요.
저는 고요한 날에 물 반사를 그리려고 했지만 바람이 불기 시작했습니다. 

저는 매우 높은 수평선에 매우 낮게 앉아 있었기 때문에 방향을 바꾸어 전경의 

잔물결과 물결을 초점으로 삼았습니다. 물 속의 타원형이 시청자에게서 멀어지면서 

평평해지고 좁아져서 거리감을 만들어내는 것을 주목하세요.

 

 

 

5.물감을 칠하기 전에 연필로 그립니다.
반사를 그릴 때 모양들 사이에서 길을 잃기 쉽습니다. 보트를 그릴 때, 저는 종종 돛대에서 

물속으로 수직 연필 선을 그립니다. 그렇게 하면 페인트브러시를 꺼낼 때 반사를 어디에 

놓아야 할지 정확히 알 수 있습니다. 

마찬가지로, 저는 대략적으로 부표와 다른 다채로운 반사를 표시하여 안내합니다.

 

 

6.큰 모양부터 시작하세요.
저는 뉴욕 주 애디론댁에서 두 호수를 연결하는 수로에서 이 장면을 그렸습니다. 

이곳은 제가 아는 가장 평화로운 장소 중 하나이며, 특히 물이 거울처럼 고요하고

loon(새의 일종)이 우는 이른 아침에 그렇습니다. 저는 처음에는 큰 모양에 끌렸기 때문에

먼저 밝은 하늘과 물을 그렸습니다. 물감이 마르자 넓고 평평한 붓을 꺼내 짙은 녹색 안료

웅덩이를 섞어 나무와 그 반사를 하나의 거대한 모양으로 그렸습니다.

 

7.수평과 수직을 모두 표시하세요.
물 속의 반사를 그릴 때는 수평과 수직을 포함하도록 합니다. 옐로스톤 강을 따라 있는 

키 큰 나무의 예처럼 육지 기반 모양이 수직을 제공합니다. 

하지만 물의 평평함을 나타내려면 수평선도 필요합니다. 

고요한 날에는 표면을 스치며 지나가는 몇 마리의 도움이 되는 파리가 수평을 제공합니다.

 

8. 반사는 때때로 거울입니다.
몬트리올의 완벽한 여름날, 호수는 정말 거울 같았고 반사를 관찰하기에 이상적인 

기회를 제공했습니다. 보트의 메인 돛대는 수직으로 반사되고 지브와 

채널 마커(오른쪽 바위에 있음)는 모두 대각선으로 반사됩니다. 

육지의 모양이 한 방향으로 기울어져 있으면 반사도 같은 방향으로 기울어진다는 것을 기억하세요.

 

 

 그녀의 그림 몇 점 더.........

 

Follow these 8 tips for capturing color and reflections. 

by Shari Blaukopf

 

I think I’m happiest when I’m sitting alongside a lake, pond or stream, or on a beach or near a waterfall, sketchbook in hand and brushes at the ready. Each body of water offers its own unique sketching opportunities. On a windless day, for example, there’s a quiet serenity to the reflections in a mirror-still lake. In early spring, after the snow melts, there’s nothing more absorbing than trying to capture the movement of rushing water. And I love the challenge of trying to simplify the shapes of falling water with just a few strategic strokes.

The first thing I do when painting scenes like these is to observe the color of the water, which often includes a slightly darker reflected sky. In that case, I’ll paint water and sky simultaneously using the wettest brush possible, because a juicy wash on the page enables me to add more color—as well as different colors—to the still-wet surface.

Apart from that, my best advice is to simplify and work fast. Use as few strokes as possible; overworked water will drain away the freshness. And remember, a few well-placed waves or ripples is all you need to express movement.

Water has its own color.

We often say that water is like a mirror, but that’s not entirely accurate, because the color of the water always affects the color of the reflection. In this example, painted in the tiny town of Rockport, Mass., the hulls of the white boats looked darker in the water, so I used a lighter version of the warm greenish-gray water to paint them. Similarly, when I sketch a colorful object, I dull its reflected image, as it takes on some of the characteristics of the color of the water.

 

Keep the brush wet.

Fittingly, a wet brush conveys water best. I often paint these sailboats from a local park facing the marina. On a calm morning, with the clanking sound of masts and rigging to keep me company, I begin by simplifying the complex jumble of boats docked in the lake. After I’ve painted the hulls, I load up my pointiest brush with a juicy wash of color and, moving left to right while also varying the hue as I go, I paint all the wiggly reflections at once.

 

Simplify, simplify, simplify.

I wanted to make the white sails the focal point, so I further simplified their reflected shapes.I painted the water first, making sure to leave the white of the paper for the reflected sails.I then dragged horizontal lines through the reflected whites to create a sense of movement.

 

Take advantage of the vantage point.

I had set out to paint watery reflections on a calm day, but then the wind picked up. Because I was sitting quite low, with a very high horizon line, I changed tack and chose to make the foreground ripples and waves the focus. Note how the ellipses in the water flatten and narrow as they recede from the viewer, creating a sense of distance.

 

Pencil before paint.

It’s easy to get lost among the shapes when painting reflections. When I’m painting boats, I’ll often draw a vertical pencil line from the mast straight down into the water. That way I know exactly where to place the reflections when I get out my paintbrushes. Similarly, I roughly indicate buoys and other colorful reflections for guidance.

 

Start with the big shapes.

I painted this scene in the Adirondacks, in New York State, from a channel connecting two lakes. This is one of the most peaceful spots I know, especially in the early morning when the water is mirror still and the loons are calling. I was initially drawn to the big shapes, so I painted the light sky and water first. When the paint dried, I pulled out a wide, flat brush and mixed up a dark–green puddle of pigment to paint the trees and their reflection in one massive shape.

 

Show both horizontal and vertical.

When painting reflections in water, I make sure to include horizontals and verticals. Land-based shapes supply the verticals, as in this example of tall trees along Yellowstone River. But, you also need horizontal lines to suggest the water’s flatness. On a calm day, a few helpful flies skimming the surface will provide those horizontals.

 

Reflections are sometimes mirrors.

On a perfect summer day in Montreal, the lake was truly mirror-like—and offered an ideal opportunity to observe reflections. Notice that the main mast of the boat is reflected vertically while the jib and channel marker (on the rocks, at right) are both reflected diagonally. Remember that if a shape on land is leaning in one direction, its reflection will also lean the same way.