Using the colors from previous steps, mix in permanent alizarin crimson as needed to deepen the color, and finish the glass with a No. Note that at this point, the unmasked whites stand out too much. Rub off these last bits of dried masking fluid. Run a dry palm across the area to feel for sticky spots, which indicate that masking still remains on the paper. Remove the dried masking with a rubber cement pickup. Because of the mask, you can still easily apply color without worrying about saving the white of the paper. 8 round, glaze Prussian blue, aureolin and Hooker’s green section by section on the glass, alternating the colors. ![]() ![]() The bluish and purplish colors of the glass will take on a mellow, earthy appearance after the application of yellow. Let the paint dry.Īpply diluted aureolin with a No. The masking fluid allows you to apply the colors freely and quickly. As you move to other parts of the glass, adjust the color by varying the amount of each hue in the mixture. Apply a uniform mixture of the two to part of the glass, using a No. Squeeze Prussian blue on your palette, a few inches away from permanent magenta. This light wash will become the light-to-midtone value of the glass. Next, using a 3½-inch hake, apply a very light wash of Prussian blue on the glass for the first of many layers of different colors. After the masking fluid dries, wet the surface of the paper. Use the tip of a plastic brush handle (cut at a slant) to apply masking fluid on what will be the highlights of the glass. Find the large patterns first, working toward the smaller patterns. This is a time-consuming process, but it will be very helpful for later steps. The surrounding colors within the composition define the shadow and color of the glass.ĭefine the details of the cut crystal and the shape of the glass. In order to show the sparkle of glass, preserve the white of the paper for the highlights using masking fluid. Creating a painting that has such detail requires both patience and time however, when you start to break down the large shapes and define each element with light and dark, eventually you’ll define the overall shape and convey the transparency of the glass. Portraying cut crystal looks complicated and difficult at first glance. ![]() Splendor in the Glass The keys to painting cut crystal in watercolor are a detailed drawing, masking fluid and patient glazing.
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