SUBTITLE: The One thing leads to another opening a contrast. As with the extension of a watercolor You start with your experienced still life. MY WEBSITE kunstarena.com/ - 1000 Photos, and MORE TEXTS ABOUT ART You rub the image structure into the painting surface and yield movements of your hands into a permanent form. The canvas is still paved by you, expanded to its confines, and gaining height. Your thought motive flows as a result of your movement Now the given thought process , (the actual idea of a picture ) is setting in ... actually merging with the emerging act of art. Practiced experiences skeched as flecks of light. The painting background prepared here now reproduces the basic forms of the following picture. To contribute oneself to the art-work and increasingly disappear from the picture. Your own deed becomes a symbolizing form. The watercolor will be the prepared canvas for the painting. Following the given path ... Wiping and dabbing filling the background of the painting ... ... Light and motif, (structure and reflections) become tinted spots and they are created with the same shade of color. ... because the viewer himself accomplishes the separation into object and light reflection. You fill in the gaps in the picture simply with the already aligned color mixtures of the introductory picture installation. Your "finished" palette of color gradients You can create the picture composition as a scumbled color gradient. (same as translucent layers) The sensitivity for the span of the current Color composition continues to develop. It is now possible "to blend in" the light foreground "out of" the background transparency. Attention is drawn to the begun shadow sequences consistently continued in the observed image development. Lights, like already the shadows, are inserted through you into the respectively opened motif level. The dark depth is "added later" and thus the protruding brightness is enhanced. - Watch your own order of observations - The filigree sound of your thought-space you can perform with your "jingling brush drawing". The overall impression, which leads to the selection of motifs, is broken down into ever finer observation steps and implemented into the drawing The bright subtleties are sustained and supported by dark fabrics. The cognitive vision is now getting finer and finer through your practice. You wander through the chosen motif repeatedly and now again based on your implementation. And following a detail of a brushstroke, how it is "pulled out of the already given" into the foreground. By the way, You can also create an original structured shadow. "The masking shrub template" - Airbrush on whisked background - Even a root stalk is pressed firmly on the ground of canvas. Here is the char-coal study and the painting. Together presented as an overview, ... they show that you have gone to work in preparation. Genauso wie Schatten können helle, freie Flächen angedeutet werden. Again, the brush-wood stencil allows masking the clear areas with original contours. Applying a "medium hue" brings the painting back to an entire painting level. The painting ground is raised again to a concertedly color level ... Now you flare up again "light sparks" through the background. Brightly lit lancet dots are "put on" like lighted leaves. The newly opened background and the middle layer become now in turn gradually matched to each other in color. Filling the background with hard high-contrast contours: The dark depth is initially created with partially transparent wiping technique ... and rich shady contours are applied with a brush. You will put bright light on top of the perspective side of the dark contours. The light effect can now sprout "from behind" from the inside. Painting is an implementation process; Therefore, permit yourself breaks to charge you with the admitted inspiration. What flows into you through your proficient knowledge is what you transform into the deed of art. Die Freiheit während des Malens The freedom of painting is to enjoy this receiving and sharing as an experience. Die Figur des Malers getrennt vom Gemälde, weicht dem Weg der Erfahrung, den das Werk wiedergeben kann. A well-executed painting will, in a trained observer, trigger this very path, in a single magical moment, as a YES of affirmation. Now a new step of the procedure can follow. "Light behind the motif": The light coming from the off-center back side ... ... to connect to the foreground. The elaboration of the illusionary detail: A cinematic forest scene as a template for light reflections. Brightness "pushed out, forwarded" from the background and brihgtness shiny in the foreground: "Light grows" brightly glowing out of the background. (And, light is reflected in bright spots.) Light in painting is always a bright reflection, a "throwing back into the foreground of the action". Here Now: The Little Elf. The fingertip sponge and the flicker of its wing shape. The drop technique: Dabbing with a cut-sized sponge. Shaped with your fingers. - Stamp padded, or pulled with the cut edge. A whirring "wind-whiff" of color-bow polka dots. In the shirred jumps it can be seen that several colors can be picked up together from the auxiliary palette. Fuzzy Feather Patches Shapes fake Spruce Needle Fronds (fan) ... Just Like Background Lights. - - fin - -
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SUBTITLE:
The One thing leads to another opening a contrast.
As with the extension of a watercolor
You start with your experienced still life.
MY WEBSITE kunstarena.com/ - 1000 Photos, and MORE TEXTS ABOUT ART
You rub the image structure into the painting surface
and yield movements of your hands into a permanent form.
The canvas is still paved by you,
expanded to its confines, and gaining height.
Your thought motive flows as a result of your movement
Now the given thought process ,
(the actual idea of a picture ) is setting in
... actually merging with the emerging act of art.
Practiced experiences skeched as flecks of light.
The painting background prepared here
now reproduces the basic forms of the following picture.
To contribute oneself to the art-work
and increasingly disappear from the picture.
Your own deed becomes a symbolizing form.
The watercolor will be the prepared canvas for the painting.
Following the given path ... Wiping and dabbing
filling the background of the painting ...
... Light and motif, (structure and reflections) become tinted
spots and they are created with the same shade of color.
... because the viewer himself
accomplishes the separation into object and light reflection.
You fill in the gaps in the picture simply
with the already aligned color mixtures
of the introductory picture installation.
Your "finished" palette of color gradients
You can create the picture composition as a
scumbled color gradient. (same as translucent layers)
The sensitivity for the span of the current
Color composition continues to develop.
It is now possible "to blend in" the light foreground
"out of" the background transparency.
Attention is drawn to the begun shadow sequences
consistently continued in the observed image development.
Lights, like already the shadows, are inserted through
you into the respectively opened motif level.
The dark depth is "added later"
and thus the protruding brightness is enhanced.
- Watch your own order of observations -
The filigree sound of your thought-space
you can perform with your "jingling brush drawing".
The overall impression, which leads to the selection of motifs,
is broken down into ever finer observation
steps and implemented into the drawing
The bright subtleties are sustained
and supported by dark fabrics.
The cognitive vision is now getting
finer and finer through your practice.
You wander through the chosen motif repeatedly
and now again based on your implementation.
And following a detail of a brushstroke,
how it is "pulled out of the
already given" into the foreground.
By the way, You can also create an original structured shadow.
"The masking shrub template"
- Airbrush on whisked background -
Even a root stalk is pressed firmly on the ground of canvas.
Here is the char-coal study and the painting.
Together presented as an overview, ...
they show that you have
gone to work in preparation.
Genauso wie Schatten können helle,
freie Flächen angedeutet werden.
Again, the brush-wood stencil allows masking
the clear areas with original contours.
Applying a "medium hue" brings the
painting back to an entire painting level.
The painting ground is raised again
to a concertedly color level ...
Now you flare up again "light
sparks" through the background.
Brightly lit lancet dots are
"put on" like lighted leaves.
The newly opened background and the middle layer
become now in turn gradually
matched to each other in color.
Filling the background with
hard high-contrast contours:
The dark depth is initially created with
partially transparent wiping technique ...
and rich shady contours are applied with a brush.
You will put bright light on top of the
perspective side of the dark contours.
The light effect can now sprout
"from behind" from the inside.
Painting is an implementation process; Therefore, permit
yourself breaks to charge you with the admitted inspiration.
What flows into you through your proficient knowledge
is what you transform into the deed of art.
Die Freiheit während des Malens
The freedom of painting is to enjoy this
receiving and sharing as an experience.
Die Figur des Malers getrennt vom Gemälde, weicht dem
Weg der Erfahrung, den das Werk wiedergeben kann.
A well-executed painting will, in a trained observer, trigger this very path,
in a single magical moment, as a YES of affirmation.
Now a new step of the procedure can follow.
"Light behind the motif":
The light coming from the off-center back side ...
... to connect to the foreground.
The elaboration of the illusionary detail:
A cinematic forest scene
as a template for light reflections.
Brightness "pushed out, forwarded" from the background
and brihgtness shiny in the foreground:
"Light grows" brightly glowing out of the background.
(And, light is reflected in bright spots.)
Light in painting is always a bright reflection,
a "throwing back into the foreground of the action".
Here Now: The Little Elf.
The fingertip sponge
and the flicker of its wing shape.
The drop technique:
Dabbing with a cut-sized sponge.
Shaped with your fingers. - Stamp padded,
or pulled with the cut edge.
A whirring "wind-whiff"
of color-bow polka dots.
In the shirred jumps it can be seen
that several colors can be picked up together from the auxiliary palette.
Fuzzy Feather Patches Shapes fake Spruce Needle Fronds (fan) ...
Just Like Background Lights.
- - fin - -
👏👏👏👏👏
Wonderful