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Wednesday, October 8, 2008

The Combined Technique of Gouche and Airbrush =part 2=

13. Draw in the carpet's pattern. Draw the sketches directly onto the top of the actual picture with the use of a white pencil.
Ensure that the drawing is done neatly with the use of the perspective method. Each line should be drawn lightly to simplify the rubbing out with an eraser. ,
14. The completion of the carpet surface. The pattern emphasizes the feeling of distance. The pieces of masking film cut out earlier and carefully retained may now be stuck back into their original places without leaving any gaps, This same process should be continued throughout the painting.

15. Paint in the outside sky. As this drawing assumes the evening twighlight the lower part of the sky shuold be painted in purplish red turning into ultra-marine as it moves upwards. As this extreme change from light-red to dark-blue is a reverse hue translation, the colors shuold be merged where they meet. The thorough planning of color schemes must be carried out before-hand. The undercoat graduation should use lilac (T) and ultra-marine (W).
16. Lightly spray in the border of the lower and middle section of the sky. If it seems too dark it will get mixed with the ultramarine that will be sprayed on later. Pink (T) and lilac (T) should be used here. * Caution: Care should be taken to ensure that too much dark color is not sprayed on it one go. When using a dryer, the temperature should be set on cold air.

17. This down the ultra-marine (N) until it reaches a transparent ~ color and spray it onto the mid.dle sky in order to link it with the Iower sky. As you reach the upper area of sky add purple to make it darker. Black was used here to complete the topmost sky area.

18. Insert the stars. The stars are added by applying white course sand blasting to give it a random effect with the hand-piece held some distance above the surface to allow the drops of paint to drip on!9 the picture. Another method of using a net and brush and known as spattering may be utilized.
19. Drawing the trees. The outside trees are drawn as shadows againsf the skyline to produce the effect of a beautiful sunset. Black (T) and transparent carmine (H) are used here. The lighter blue-green is used for the bushes. In this case there is no necessity to distinguish them.

20. The completion of the outside view.
21. The undercoat of the wall. The wall is painted white with a touch of yellow. Darker colors will then be sprayed over. White (T), chartreus (N), burnt sienna (T) and jaune brilliant should be used for the colors ..

22. Coloring the granite pillar. The pattern should be painted on after the first coat of bright paint. Once the flow of the stone grain is painted on in a lighter color, the detail should be picked out in a darker color to increase the density. Attention should be paid to the metamorphic quality of the rock which has various colors and distinguishing patterns.
23. Drawing the quality. The solid look is added by the airbrush after the pattern of the granite is pained on. Be careful not to spoil the transparent look of the beautifully polished stone. Highlights should be added after having studied the whole balance and the direction of the light. Yellow ocre (N), burnt sienna (T)and transparent burnt umber should be used for the colors.

=to be continued=