Steps of watercolor painting

1) When drawing, just like sketching, first determine the position and proportion with a pencil to avoid damaging the paper surface and affecting the coloring effect. Then shape it with color. According to the hue of still life, it can be shaped with ochre brown or ultramarine blue. The color line can be slightly heavier, and the final color can be used to show light and shade slightly, paving the way for the next coloring. If you have a strong modeling ability, you can also draw a draft directly with colored lines, without showing light and shade, and color directly. (2) After the large color tone is determined, quickly observe the relationship between the overall color tone and the large color block, so as to determine the Bo Tu as soon as possible. At this moment, regardless of the shape and brush strokes, boldly follow the fresh color impression, resulting in the color environment of the picture. Some people are eager to make a specific description after finishing the last color. The relationship between large color blocks should be further adjusted to make the relationship between colors and the overall tone consistent with the actual feeling. (3) On the basis of correct relationship, further concrete shaping is carried out, starting with the main objects of the picture and completing them one by one. It is easy to master the dry and wet changes of an object and shape the color changes of different sides of light and backlight. At this time, your eyes should always be swept around, starting from the local area but not falling into the local area. According to the relationship between objects, backgrounds and other objects, master proper limit, and the details can be further described. At this time, the color should be appropriately bold, which can keep the correct part of the background color and increase the color level of the picture. (4) The description of trivial and redundant details can be omitted, but the description of important details showing the characteristics and texture of objects should be strengthened and the finishing touch should be made. The details should be integrated into the whole. The last stroke is the most important, it will not be covered and revealed to the audience. (5) Adjust and complete a still life sketch outside the studio. As a basic exercise, eight hours is generally appropriate, and strive to be profound and accurate. After three or four hours of proficiency, you can also perform more fully. After painting for a long time, the eyes are easily tired, the color sense is easily weakened, and the specific description is easy to forget the whole. When the sketch is close to completion, restore the first impression and check the picture: whether there are some places that destroy the whole, whether the colors of parts and details "jump out" of the picture, and whether there are other problems. After inspection, adjust, modify and deal with it. Mistakes, such as painting too thick, should be washed away before painting until the painting is finished.

Coloring methods and steps. Judging from the coloring order, there are the following types: 1. From the whole to the part, gouache is a kind of color painting. Like watercolor and oil painting, they all start with drawing large blocks of color. It is our painting principle to focus on the whole and proceed from the general. Large color blocks and large colors play a decisive role in the tone of the picture. We should first draw the color relationship of the main color blocks that make up the picture, and then describe the modeling and details of each part. 2, from dark color to bright color, bright color is mostly strong, and it can't light up again and again. Draw a darker color first, which is easy to be covered by bright colors; On the contrary, it is generally to draw a large area of dark colors (including dark parts, bright parts and heavy colors) to determine the skeleton of the picture color. Gradually shift to intermediate and bright colors. For a picture dominated by bright colors, it is still necessary to paint a bright big color block first, and the color is slightly lighter, plus a small area of dark color. If the middle color is the main color, then draw the middle color first when painting, and draw the past to a small dark color and a bright color by juxtaposition. The method is not dead, so we should master it flexibly according to the situation. 3. From Bo Tu to Bo Tu, pigments are diluted with water, just like watercolors. According to the overall color feeling, Bo Tu is fast again, resulting in the overall color environment of the picture, and then it is gradually thickened and deeply expressed. Bo Tu should be good at keeping the right place, so that the color of the picture is thick and light, so as to increase the layering and heavy effect of color. Gouache paint is not as strong as oil painting and acrylic pigment, and can be applied very thick at will. Gouache painting should be appropriate in shades, too thick is easy to crack and fall off, so the thicker and inaccurate colors should be washed away before painting.

The specific coloring techniques should be mastered as follows: (1) Dry painting and wet painting In gouache painting, dry painting generally refers to the method of overlapping thick coatings. This method can be repeated, but it can't be finished at once. The performance object is full and profound, and it is also suitable for beginners to master. This heavy picture, similar to the effect of oil painting, has a strong feeling. Wet painting is mainly based on thin painting, giving full play to the effect of watercolor infiltration, and the number of coloring should not be too much, even the white part can be left blank, which has the interest of watercolor wet flow. Of course, it is also possible to thicken some parts, and the combination of dry and wet will enhance the expressive force. (2) juxtaposition and reset juxtaposition means that strokes are juxtaposed on the drawing paper, and the coloring times are less, and the coloring is thicker first. For example, emphasize two-dimensional pictures. First, check the outline and structure with rough colored lines. When adding color, put the color on it side by side and press the line. Reset is a method of overlapping colors, which uses color points, color lines and color blocks for overlapping coloring. Painting is mostly a combination of resetting and juxtaposition to fully express objects. (3) Mastering the change of dry and wet colors is one of the characteristics of gouache pigments. The color is painted on the drawing paper, which feels more suitable when it is wet, and becomes lighter and grayer when it is dry. I don't know that this feature often brings passivity to coloring. Mastering this characteristic and predicting the drying effect in advance can avoid the uncoordinated "patching" of later coloring. Paint from thin to thick when painting. Thick painting first, then Bo Tu's wet and dry changes greatly; Thin the painting first, and gradually reduce the thickness of the painting with water. The change of wet and dry is not obvious, so it is easier to master. It is also suitable for thick coating when modifying the picture. You can also apply a little water around the area to be modified, and the modified part will naturally be unified when it is dry. (4) Color connection pictures need two colors to be naturally connected, the transition from light to dark should be rounded and the color connection should be appropriate. There are three ways: a, draw with wet, bright and dark, this color and that color, because of the interaction of water, the effect will be naturally soft. Not once, you can draw it again like this. B, between the two colors, draw with the color of the middle lightness. Although there are obvious pen marks, it is natural to see the transition from a distance. C, where the two colors are hard, you can use one of them to dry sweep several times in the adjacent places to increase the transition color scale. You can also use a pen dipped in a small amount of water to sweep a few times in a blunt place, so that the junction of the two colors can be rubbed out from the brightness or color, and the transition will be natural. (5) Brush marks appear when the brush color moves on the paper, which is called brush strokes. Generally, through the brush strokes in the picture, we can see the painter's general painting order and how to shape objects with pens. Using a pen is not an end, but a means of expression. Many painters have different brushstrokes, some are big and some are small. Which brushwork is better? How to use a pen? It is necessary to focus on the purpose of the performance object, based on the different structure, different texture and different feelings of the author of different objects. Starting from the object of expression, in order to express the structure and color of the body, we should flexibly use a variety of strokes such as painting, pendulum, point, hook, pile and sweep to describe.