Creative Woodworks & Crafts-050-1998-winter, страница 46

BASIC PAINTING TERMS mm TECHNIQUES

Transferring the Pattern. Place tracing tissue over the painting worksheet and trace the pattern lines. Next, choose one of the following two methods to transfer the design:

Method No. 1: Place graphite paper under the tracing tissue. Line up the edges with your wood piece and, using a stylus, trace over the lines, transferring them to your wood.

Method No. 2: Make your own graphite paper by lightly rubbing a pencil over the back of the tracing tissue on which you have traced your pattern. Next, use a facial tissue to lightly buff the excess graphite off the back. This helps eliminate smearing and also evenly distributes the graphite to places you may have missed. Line up the edges with the wood piece as in Method No. 1 and use a stylus to trace over the lines and transfer them to your wood.

Basseoatihg. Blocking in a color. Fill in the entire indicated area with paint. Wrap this color around the edges, too. Certain colors may require more than one coat.

Float Shading. Use of an angular brush will make this step much easier. Wet your brush with clean water. Touch the very tip of the brush to a paper towel to pull the excess water from the brush, then touch only the very tip of the brush into the paint. Go back to the water, then touch once again to the paper towel. Note: do not wipe the brush on the paper towel—just allow the excess water to be drawn from the brush. Now you are ready to apply the paint to your surface. The result should be a graduation of color, with one side deep in color, fading to almost no color at all on the other side. In no time at all, you will be able to give depth and a three-dimensional look to your paintings with this technique.

Stippling. Use an old, worn brush and no water. Touch the brush to the paint, working it up the bristles. Scrub the excess paint into a paper towel until almost all of the paint is off of the brush. Tap the brush in a straight up and down motion to gradually add highlights. Build the color as needed, but only ao it a little at a time.

Dry brushing, This is like stippling, only with less paint. This method is used for very subtle shading and changes in color, such as in animals ana birds. Use a dry brush, but instead of tapping the brush up and down as in stippling, rub the paint in a circular motion to softly blend the color into the surrounding colors. Remember, it is easier to add more paint than to correct errors resulting from using too much paint.

Linework. Most linework is done with paint thinned to the consistency of ink. Use a very small brush, such as a No. 10/0 or 18/0 liner, for this step. Note: be careful not to add too much water. Test paint consistency on a palette or a wood scrap so the color will not bleed on your design. If bleeding does occur, immediately blot the area with a paper towel—do not rub. This will take most or all of the excess paint off. If the excess does not come off, be patient and let it dry completely before repairing the area by repainting.

photograph as a guide.

Basecoat the eye with Burnt Sienna and the No. 5 round.

Dry brush the top back of the fish with Dark Chocolate, painting very heavily on the top of the fish and gradually fading into the Light Timberline about two thirds down the top of the body.

Float shade Dark Chocolate along the top of the body, where the body meets the tail and fins, around the gill, around the outside of the mouth, lightly around the eye, and inside the mouth with the 3/8" angular shader. Paint the inside of the mouth very lightly, allowing a bit of Sandstone to show through in the middle.

Float shade Dark Chocolate on the ribs of the fins and the tail, and lightly under the belly of the fish.

Stipple Dark Chocolate along the center body and head to form stripes down the middle of the bass.

With the No. 5 round, basecoat the pupil of the eye with Black, then refloat the inner mouth with Black.

Dry brush the belly and underside of the fish and lower gills with White. Next, float shade White around the mouth, on the ribs of the fins and tail, on the inner gill line, and as a highlight on the top of the body with the 3/8" angular shader.

With the No. 2/0 liner, paint White highlights on the eye.

Lightly float shade Burnt Sienna around the fins and tail where they meet the body. Float shade a line on the lower lip as well.

Using the stylus, paint dots on the underside of the body, as shown in the photograph.

Paint the rocks

Basecoat the rocks in Stonewedge with the 3/4" wash. Float shade the rocks in Dark Chocolate, using the photograph as a guide.

Paint the weeds

Basecoat weeds No. 1, 2, 3, 4, and 5 in Light Timberline and float shade the undersides in English Yew. Basccoat weed No. 6 in Timberline and float shade the underside in Black Green.

Assembly

Referring to Figs. 1, 2, and 3, glue the pieces and spacers to the backer board as shown.

Attach a sawtooth hanger to the back, and enjoy a bass filet for dinner-it's nature's way, after all. ||g

Scroti Wor