Collage of mixed media with drawing ideas
Collage of mixed media with drawing ideas The water is Brenda Swenson shakes creative boredom by establishing colorful multimedia collages. Here she shares her step-by-step process.
Step 1: Draw the image on watercolor paper
Consult my reference photo. I’m sketching with black waterproof ink on a sheet of 11 x 15-inch 300-lb sheets. Plain watercolor paper is resistant to different collage layers and takes a nice tooth for college documents to be grabbed.
Only drawing ideas the main elements in the scene to determine their positioning and overall design. Because most of these lines disappear under collage, making the original dark line is essential. Most pieces use a Pitt Pen, size M (Medium); I will pass with a broader brush tip to a pen for the largest collagen. If I do some details later, I can easily pull back with a pencil.
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Step 2: Add the first collage elements
I started college while tearing the paper to get the desired shapes and blocks in the main conditions. If I work around a complex element needs, like the bell tower, I put the Japanese sheet on my ink design and use a wet brush to outline the shape; the paper tears are more controlled in the wet line.
To adhere to the collagen paper on the surface, use a pretty rigid, pretty rigid fi bristle brush to be fixed paper firmly on the surface, but not so tricky that tears tender documents to the watercolor paper section with non-diluted material to Mattes Medium coat. Then I put the stained collage paper and applied just average opaque to fix it near the borders. The collagen card should overlap at the edges of the watercolor card.
Step 3: covering the surface
The entire surface must be watercolor paper with a covered college for this process. In this case, even if the building is white, I have to cover the area with collagen documents. I use the Japanese Masa card with two sides:
I prefer to work with a soft side and the smooth side down. In the foreground, I put together a warmer card with some purple sky colors. The color of the sky in the landscape and the colors of the landscape in the atmosphere help maintain the uniform collage.
Step 4: Definition of the whole design template
At this point, I’m not interested in details; I want to masturbate only the primary forms. I use transparent and opaque collage documents and cover the surface with various large, medium, and small pieces. The smaller pieces are used primarily for the area I want to develop my interest as a center. doug wright hklaw
I used a relatively limited color palette consisting of double supplements (red and green, purple and yellow) and neutral drawing ideas. Although the college is still an incomplete, incomplete appearance, the form format in the shape of a cross is now clearly evident, and the general composition is prepared.
Step 5: Make adjustments.
The ability to make changes is one of the advantages of watercolor collage. When you check the way to work, I change the shaft shape on the left side. Or do this, I add more purple paper on the top of the tree drawing ideas. Although I like the appearance of the vortex model in the sky, the purple sky appears a bit monotonous.
To resolve this, add yellow, complementary color up. Now I like how the colors in the foreground refer to colors in the sky and vice versa. To offer additional flowers, little pieces of orange and red cards, and collar lets in the foreground. Other parts of purple are also added to strengthen the vertical band on the first floor on the left side.
Step 6: Paint to unify the composition.
Before starting painting, I sealed the surface of the collage with a mixture of 50-50 opaque water and water and let it dry. Since this process reduces the absorbency of Japanese documents, I use less water when my colors mix.
I start painting by violating the right and left sides of the sky with a Purple Quince Cridon. I use a mix of burnt and fails-blue sienna for the intense green in the tree behind the suitable building; the dark green against white creates the contrast of the value and the sharp edges necessary in my center of interest.
With the same green mixture in the foliage on the tree on the first floor of the left, I add the module and define the trunk. We also describe the Rood tile with China Siena and orange transparent pyrrole. To remove yellow in the sky only a little, use a durable white gouache pad near the building and amaze it with the colors of my pallet. Watercolor paint mixes perfectly and alloy together and alloy together.
Step 7: Add details
Only at this point do we start thinking about the details. To create, paint the shadow of the casting on the building with a cobalt blue glaze, then before it dried, I will fall to China Cridon Sienna. I also paint a darker value than the Siena of Quinacridone and Orange Pyrrole transparent under the roof protrusion. To highlight some red roof tiles, I use some permanent white gouache.
Step 8: Conclusion of the painting
Carefully control the painting and create the color and value settings. In the foreground, use negative images to make flowers, a technique that does not seem to be occupied the area. To compensate for the large white shape of the building, I add some white flowers with permanent white gouache.
The flowers also serve as a passage of white, which leads the eye through the first floor in the center of interest, the old mission. The last thing I do is frost the two lower corners; the corners’ darkening moves the spectator’s eye in the middle and far from the edges.
Although there are similarities with the reference image, as regards the architectural style of the mission, my collage expresses the unmistakable joy that I heard in the scene, and this could not do it.