Download 600 Watercolour Mixes by Sharon Finmark PDF

By Sharon Finmark

Colour is key to portray and the power to combine and reproduce particular colorings is an artwork in itself. color concept might be boring and complex, yet during this ebook, skilled artist and instructor, Sharon Finmark, demonstrates color blending in a pragmatic and easy-to-follow approach. as well as being an in depth visible sourcebook to almost six hundred color mixes, there are work featured all through with the entire assorted colours and mixes in each one portray analysed and annotated. during this manner, watercolour painters examine through software tips on how to get the simplest out in their paints.

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Prussian Blue is cool in comparison to Ultramarine, which has a touch of red. The clearest purple comes from a mix of Ultramarine and Alizarin Crimson. If you mix Cadmium Red with either of the blues you will get a slightly off-purple bordering on grey. This is because Cadmium Red has that bit of yellow, so in fact you are mixing the three primaries. That type of colour, described as neutralized, is a subtle mix that is extremely useful in shadows. While watercolour is known for its transparency, some pigments are less transparent than others.

This could be a still life composed of brightly patterned textiles and exotic plants or a beach scene with umbrellas, towels and people in typical primary colours. In garden scenes, pattern and shape can be exploited in deckchairs and flowers. Light plays an important role; applying the paint in intense, smaller brushstrokes, letting the white of the paper show in between marks, creates more contrast and thus stronger ‘pings’ of colour. If you want to express a mood of tranquillity, go for a subtle painting with low-key mixes such as a misty autumn landscape or a corner of a lamp-lit room, painted in washes and glazes.

Sometimes there is more of one colour in the mix than the other, indicating whether a limb is behind or in front of another limb. EGYPTIAN MAN A passing figure is a challenge to capture. A swift wet-into-wet approach does the trick, using violets and blues against a warm yellow-brown wall. NUDE MAN A strong muscular figure needs to be painted using several layers of colour to emphasize the way the limbs twist and turn. DEMURE WOMAN NUDE This figure was painted in a combination of wet-into-wet and clear overlaid glazes to indicate shadows on the limbs of the body.

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