By David Riche, Visit Amazon's Anna Franklin Page, search results, Learn about Author Central, Anna Franklin,
;Watercolor Fairies: A step by step advisor to making the Fairy international КНИГИ ; ЖИВОПИСЬ и РИСОВАНИЕ название : Watercolor Fairies: A step by step advisor to making the Fairy Worldиздатель : Watson-Guptillавтор: David Riche and Anna Franklin год: September 1, 2004 формат: pdf страниц: 131Language: EnglishISBN :978-0823056408размер архива: 30,85 мбВдохновенный гид для рисунка и живописи волшебного царства, эта книга рассказывает о происхождение и развитие волшебного искусстваAn inspirational advisor to drawing and portray the fairy realm, this mesmerizing booklet appears to be like on the origins and improvement of fairy artwork, and attracts upon a variety of artwork, literature, mythology, and folklore surrounding fairies. Readers are proven how one can invoke the fairy spirit and produce to existence the nymphs, sprites, and sylphs of a fabled realm. Easy-to-follow, step by step illustrations and pictures let starting artists to recreate flower fairies, celestial spirits, and mischievous darkish fairies, in addition to the way to trap beautiful aspect similar to smooth wings and sheer robes. Artists the best way to flip their brush right into a wand and create a whole fairy nation in watercolor, the dreamiest medium with which to exhibit the spirit and nature of those fairy folk..com eighty five
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Extra info for Watercolor Fairies: A Step-by-Step Guide to Creating the Fairy World
Example text
This is especially true in the spacing and the rhythm of their is shadow into a vertical movements. Another important consideration may be warm or cool, de- pending on the object which of the trees, the variety of their scale, to provide an "optical pathway" for the area. this a brushful of pigment with little the glittering light passages. the woods looking out (as pictured in In this first illustration above) or, from the in first the background In the latter the close-up of the tree on the right; hill, I left cate the sunlit 24 first; the middleground; and finally, Returning to the picture, notice satura- the foreground were painted next, mean picture the darkest values illustration at the top of the next page.
A small round brush was used in the lower part of number stroke, lightly touching the surface with To model to indicate bare limbs. wet brush little birch the top stroke is shown very useful in in number 2 palm trees. square-end brush as smooth and beech or is tree to trunk like indicate its dipped into the pigment so that the stroke at look like the painting fine willow branches, hanging moss, and the foliage of a much pigment. three-dimensional forms, one end of the 1 The next wetness and first This gives the Working with the shown, and using tion from the one when applied will in plate number 5.
With age, its crown is broad and open with a few large limbs, and of the barn around the bases. many dry, again brushed horizontal branches and flexible twigs. Its paper-like bark has a chalk y- horizontal textures and dark scars. the opposite page, I have pictured the birch in several aspects, but in each case I have exploited its light I in I the dark background When painted the trunks individually by wetting each trunk area with water and modeling the rounded surface with a moist brush loaded with pigment — working first on the right or shadow- white surface, broken with irregular, On Details willow branches on page 31.