Name: 水彩畫中的樹木 (Painting Trees in Watercolour)
Uploaded: 2021-01-14T05:47:44.000Z
Duration: 15 min 13 s
Description: 【看影片學英語】數萬部 YouTube 影片，搭配英漢字典即點即查，輕鬆掌握單字發音與用法，長久累積看電影不必再看字幕。

Today we are in the Holywood hills high above Belfast

Still a little cold to paint outside but I'll take some photographs

Redburn Park was the family home of the Dunville Whiskey family

At the time they owned the biggest whiskey distillery in the world

They built a 70 room mansion here in 1866

This is the photograph I will use to paint from

It has a good strong foreground tree with a good group of background trees behind

That will help with creating a sense of depth

For this method, you need a paper that will allow you to lift paint

Other papers such as Arches are harder to lift from

I'm using Phthalo Blue with Cobalt blue for the sky

Make sure your brush holds enough paint to make a full stroke

This brush is too small so I'll change to a large mop

When you come to the position of the distant trees

I'm painting over the foreground tree. This will be lifted out later

For this first wash I simply want and interesting array of colour

I'll add some Aureolin with Ultramarine. this will give a good green for the foreground

Continue to paint down the paper. Don't leave any gaps

Essentially I'm not actually painting anything specific

Only when you have a hard edge do you actually specify an object or shape

Some burnt sienna helps to suggest the dried bracken

A little more of the green mix finishes the first wash

When you reach the bottom of the paper, stop.

Don't be tempted to go back up or to change things.

Now I'll add some extra strength for the background trees

Use the same Phthalo/Alizarin Crimson mix

Use the side of the brush to give a dragged edge

This is a good way to suggest the broken edge of the trees

The brush should be parallel to the paper

Make sure you vary the outline of the trees up and down

Change the mix slightly as you work down the trees

Varying the colour will make it more interesting

Strengthen the tone as you work towards the bottom of the trees

I'll finish off with a dark mix of Ultramarine and Burnt Sienna

Aim to get light, medium and dark tone in all parts of your picture

This has a very fine point and is excellent for twigs and branches

Use the same dark mix of Ultramarine and Burnt Sienna

Time now to add some variation to the foreground

Use the side of the brush again to get a "rough grass" look

Don't be tempted to get too complicated - trees are the main subject, not grass

Burnt Sienna helps to suggest the bracken.

There are many ways to paint trees and this method works well

Start with a very dark mix for the trunk and branches

I will then lift out the light side of the trunk and branches

Where the paint has lifted off the paper can be quite white

It is good to stain this damp white area with some warm colour

Back to the swordliner for the side branches

Allow the swordliner to skip over the paper surface

These are very dark marks but parts can be lifted out for variety

Don't paint too many side branches. Too many will look cluttered

As you lift paint you will dirty the brush

Squeezing the brush avoids depositing water as you lift.

Adding darks will make the lights appear lighter (and vice versa)

I'm using viridian which is a hideous green colour

But burnt sienna calms it down to a lovely rich green

Here I'm using my finger to roughen the edge of the stroke

This gives a similar but more controllable effect to dry brush

It does however make your fingers very dirty!

I have gone for some purple grey to suggest shadow

Again I'm using my finger to soften the edge

I'm lifting out a few suggestions of trunks and branches

Silver birch trees have a very distinctive bark

I can use a very strong mix of ultramarine and burnt sienna to suggest the bark

Using the side of the rigger gives just a hint of the dark marks on the bark