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Thread: Watercolor / Acuarela

  1. #1
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    Watercolor / Acuarela

    Dibujamos a lápiz la silueta de la imagen de referencia. Capa A
    Draw with a pencil the outline of the reference image. Layer A.


    1. Vamos creando sucesivas capas, pero manteniendo la Layer A arriba, es decir, como si fuese la última capa creada.-

    Keep Layer A on the top, ALWAYS. And continue creating other layers. Keep Layer A on top, just as if Layer A was the last layer created.



    2. Redimensionamos (resize painting) la pintura: si mide 1000 x 800, la ampliamos a 2000 x 1600 (200 %).-


    REsize the painting: if the dimensions are 1000 x 800, then amplify it to 2000 x 1600 (200%) En realidad es 100 por ciento, creo, no...

    3. En la capa del fondo (background), esbozamos los tonos con el lápiz: Presión 80 % á 100 %. Tilt Angle: 100 %. Estos ajustes dependen de lo tonos que se le quiera dar.-

    Now we'll work on the layer at the bottom. The background. Create the tonalities using the penciel, as follows: pressure: 80% to 100%, Tilt Angle: 100%. These adjustements depends on what kind of tonalitities you have in mind.

    4. En la capa siguiente Layer B: damos las tonalidades de los detalles. En este caso, pétalos y ramas. Lápiz: 3, ó 4 %.- Tilt Angle: 50 % o menos.

    Now we work on the next layer, say Layer B. We work on the details tonalities, i mean, the tonalities of the detalis. In this case, the details are: petals and sticks. We use in this case: Pencil: 3, or 4%.- Tilt angle: 50% or less.

    5. En la siguiente capa Layer C, agregamos otros detalles de las flores, destacando la principal sobre el resto.

    On the next layer, say Layer C, we add other details, in this case,the details of the flowers. We want to work on the principal flower, so it can be more destacated than the rest.


    6. Volvemos a redimensionar la pintura (resize painting) a las capas B y C. Disminuimos su tamaño de 2000 x 1600, a alrededor de 500 x 400, o aún menos.

    Now we resize the painting again to the layers B and C. We make them smaller, for instance from 2000 x 6000 to about 500 x 400 or less yet.

    7. Sobre las capas B y C, aplicamos la espátula (knife) al 80 % / 98 %, presionando los bordes de los pétalos y de las ramas. Los colores se difuminan y ya aparece cierta textura de acuarela.

    Now we'll work on layers B and C. Apply the knife , 80% - 98%, pressing the edges of the petals and the sticks. By doing this, we'll get the colours difuminated and we'll soon see a kind of aquarele texture.


    8. Según el logro alcanzado, las capas B y C ya se pueden fundir en una sola.

    Depending on the achivement of the overall effect, you can merge layers B and C, into a single layer.


    9. Se vuelve a redimensionar la pintura, ahora a 2000 x 1600, y dibujamos los detalles con lapíz: Tilt angle 1 %, presión 90 %.-

    We resize the painting once again. Now to 2000 x 1600, and draw the details with a pencil: Tilt angle 1% and pressure: 90%.

    10.-Aplicamos suavemente la knife sobre estos detalles, pero con un tamaño 30 % o menos.

    We apply the knife on the details, but using a measure of 30% or less.

    11.- Redimensionamos nuevamente a aproximadamente 500 x 400.-

    REsize the paing one more time, to 500 x 400 approximately.

    12.- En la capa A: opacidad a 50% o menos.-

    Layer A: oppacity to 50% or less.

    13.- Fundir todas las capas.

    Merge all the layers.

    14.- Aplicar espátula al 100 % o algo menos, sobre toda la pintura. Ahora tenemos una textura de acuarela casi real.-

    Apply the knife to 100% or a little less, all over the painting. Now we really have an aquarele texture.

    Capa de fondo usando lápiz.

    Layer backgorund using pencil.

    Capa del fondo a lápiz y aplicación de espátula.

    Layer background using pencil and applying the knife next.

    Petalos y flor principal usando lápiz.

    Petals and principal flower using pencil.

    Pétalos y flor principal a lápiz y aplicación de espátula.

    Petals and principal flower using pencil and applying the knife next.

    I want to remark this: The overall effect was achieved just experimenting with the knife over the pencil.
    Is important choosing carefully the roughness of the canvas.

    I hope you can understand this Tutorial, but secret is: knife on pencil, when painting it´s too small.
    Attached Images Attached Images      
    Regards from Chile
    "El arte no reproduce lo visible. Lo hace visible" Paul Klee

  2. #2
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    !Gracias por compartir este tutorial! Lo imprimí para referencia en el futuro. Parece muy bien explicado y debe ser útil. Gracias otra vez.

    (Thanks for sharing this tutorial. I printed if for future reference. It seems very well explained and should be useful. Thanks again.)
    The only problem with humor is that no one takes it seriously.

  3. #3
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    More layers explanation

    Here I add layers with a small comment.
    I hope you can understand me.
    Attached Images Attached Images      
    Regards from Chile
    "El arte no reproduce lo visible. Lo hace visible" Paul Klee

  4. #4
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    When I suggested that you do this, I never expected something so wonderful as this. You've done an incredible job on this Damaso. On behalf of the community, muchos gracias mi amigo.

  5. #5
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    De nada, mi amigo!
    You are welcome, my friend!
    It was a pleasure to share this tutorial with Artrageanos...
    (BTW: it´s my first tutorial, and my daughter wrote translation to english)
    Regards from Chile
    "El arte no reproduce lo visible. Lo hace visible" Paul Klee

  6. #6
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    Esto es muy innovador! Maravilloso tutorial!

    I hope that translated correctly. Thank you for posting!
    Dave
    Resident Bug-Hunter
    Ambient Design

  7. #7
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    Wow and thank you very much Damasocl!!!

  8. #8
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    Hi everybody

    a little embarrases for speaking for my father, but i'm afraid he'll never tell this for himself, so i will.
    This explanations comes from his natural talent for TEACHING. My father is over all things, a teacher.
    i was very very very young when i discover what was called, in spanish, "la mayéutica".

    his profession was teacher of arts (Profesor de Artes Plásticas, del Instituto Pedagógico de la Universidad de Chile), i don not know the exact name in english. but, actually, he can teach everything he likes.
    he had a fat anecdotary from his times he teaches at Santiago de Chile, to very young children. It was a brief time, but his ability for teach is part of him.
    nowadays he teaches plumbering and gasfitería (i don't know how this activity is called in english), and he has to deal with pupils of all ages and most of all, people who has a wide range of levels of previous education: there was for instance a nun, or some women, or a lot of men of very but really very poor education on elementary mathematics and so on. But, only a real teacher can achieve successfully the challenge of reaching so diverse "minds" and make them aprehend the knowledge they were ther to.
    "It seems that perfection is reached not when there is nothing left to add, but when there is nothing left to take away." (Antoine de Saint-Exupéry, Terre des hommes, 1939)

  9. #9
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    Dear Marumaar, many appologies to you, just realized that Mr. Damascol is your father, you must be very proud of him and he of you

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