( 그림 공부 ) 수채화로 물을 그리는 방법

 

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

 

American Watercolor E mail 에 실린 수채화가 Geoff Allen이 물은 그리는 방법에

대한 기사를 옮긴다.  

(번역은 구글, 영어 원문은 맨 뒤에 )

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제프 앨런은 "물은 포착하기 어려운 소재입니다. 추상적인 형태들이 신비롭고 

움직이는 배열이죠."라고 말합니다. "물이 우리에게 어떻게 보이는지는 여러 변수가 있습니다. 

얕은지 깊은지, 잔잔한지 유리처럼 투명한지, 날씨가 흐린지 화창한지 등입니다. 

이러한 복잡성에 더해 우리가 물의 표면을 바라보는 각도도 영향을 미칩니다. 

저는 그림을 그리기 시작할 때 한 장면에 대한 관찰과 인상을 바탕으로 작업합니다. 

물의 모습이 변할 것을 알고 있기에, 처음의 경험을 기억 속에 간직하려고 노력합니다.

하지만 실제로 어떻게 보이든, 매력적인 작품을 만들기 위해 변화를 줄 것입니다. 

궁극적으로 제 그림은 물뿐만 아니라 물 주변의 분위기, 항구, 그리고 사람들에 

대한 것입니다. 특히 저는 항구를 그리는 것을 좋아하고, 그 작품들에 담긴 물에 대한 

묘사는 제가 축적한 야외 작업에서 얻은 관찰과 경험에서 비롯됩니다.

Geoff Allen

 

수채화는 물을 칠할 때 가장 큰 장점을 발휘합니다. 부드럽고 매끄럽고 투명한 

그라데이션 워시와 '한 번에', 생동감 넘치고 서예적인 문양을 그리는 패턴이죠. 

야외에서는 마스킹 액을 사용하지 않습니다. 

시간이 더 많이 걸리고, 마음과 손을 마스킹 없이 연습하는 것을 선호하기 때문입니다. 

하지만 시각적으로 돋보이게 하고 싶은 부분은 가볍게 칠하는 데 신경 씁니다.

THREE-STEP PROCESS

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

 

"물을 그릴 때 수채화를 세 가지 방법으로 바릅니다. 

첫 번째는 그라데이션 워시(젖은 상태에서 마른 상태로)입니다. 

몇 가지 색을 섞어 채운 큰 걸레 붓을 사용합니다. 저는 걸레를 "물삽"이라고 부르는데, 

물감과 물을 많이 섞을수록 그라데이션이 더 부드러워집니다. 또한 붓놀림 속도도 조절합니다. 

거친 종이에 부드럽고 빠르게 붓놀림을 더해 "조각", 즉 흰 종이의 작은 점들을 만들어냅니다. 

이 "조각"들은 마치 반짝이는 것과 같습니다. 일반적으로 이 워시는 물 표면의 반사 상태를 

나타내며, 많은 경우 수평선에 가까울수록 명도를 밝게 하고, 

제 시점에 가까울수록 명도를 어둡게 합니다. 워시에 복잡한 색상 조합을 만들기 위해, 

물감이 젖은 표면에 남은 하늘색을 추가합니다. 물이 얕아지거나 투명해지는 부분에서는 

해변 모래, 강바닥, 또는 해저의 색이 영향을 미치게 되는데, 이것도 추가합니다.

"두 번째 워시는 첫 번째 워시가 촉촉할 때 해야 하므로 빠르게 작업하거나 팔레트 위에 

미리 섞어 놓은 무언가가 있습니다. 저는 이 자국들을 "소프트 웨이브"라고 부릅니다. 

작은 붓으로 처음 섞은 것을 두껍고 어둡게 만들고 종이의 수분 함량에 맞추려고 노력합니다. 

타이밍과 혼합을 잘 맞추면, 제가 그린 자국이 물감에 흡수되어 부드러운 웨이브가 생깁니다. 

또한 작은 붓 끝으로 깨끗한 물을 살짝 묻혀 표면에 하이라이트를 만듭니다. 

이 모든 작업을 할 수 있는 시간은 금방 지나가고, 경험에 따라 언제 멈춰야 할지 알게 됩니다.

 

Value sketch for “Color for Nothing”

 

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

물감을 뿌연 혼합물로 파도의 반사와 그림자를 그립니다. 

이러한 반사 형태는 다른 많은 자연물과 마찬가지로 구도를 연결하는 장치가 

될 수 있습니다. 모양과 위치를 과장하거나, 늘리거나, 변경함으로써 같은 평평한 

수면을 공유하는 다양한 물체들을 연결하고 복잡한 장면을 단순화하는 데 도움이 됩니다. 

반사의 연결 패턴을 파악하기 위해, 저는 종종 대략적인 명도 스케치를 먼저 만듭니다.

"반사에 필요한 것보다 더 많은 색을 미리 혼합합니다. 중간에 멈추어 더 많은 색을 

만들고 싶지 않기 때문입니다. 종이의 윗부분에서 시작하여 아래로 작업하면서, 

마치 물감을 흘려보내듯 표시를 연결할 만큼 충분한 혼합물을 계속 추가합니다. 

구름처럼, 파도의 반사는 지평선에 가까워질수록 점점 작아지고 명도는 더 밝아지며 

평평해집니다. 물결을 그리면서, 물체가 반사되거나 종이를 따라 흘러내릴 때 보이는 

색깔을 나타내기 위해 색조를 바꿉니다. 어떤 색깔을 더하든 처음 섞은 색이 아래로 

흘러내리면서 섞입니다. 이 과정에서 너무 과하게 칠하거나 무심코 너무 많은 선을 긋기 쉽습니다. 

이를 방지하기 위해, 저는 그림을 그릴 때 눈을 가늘게 뜨고 그려서 개별적인 물결이 아니라, 

제가 덮고 있는 구성적 공간의 크기를 보고, 무엇보다도 무작위적인 형태의 패턴을 만듭니다. 

제 목표는 너무 비슷한 자국이나 부정적인 형태를 피하는 것입니다.

 

Amit Kapoor water and architecture painting

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“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.”