تعرفوا على .. التصوير المائي Acquerello ٢_a , كتاب تكنولوجيا التصوير ، د.م محمد حماد

First- A little bit of sarcolina resin is dissolved in alcohol at 578 degrees Celsius. Second: When the solution cools down, it is filtered, then mixed with the charred bone, and then exposed to a strong light. Third: It is filtered again after a short period of time, then kept in bottles that are always exposed to light. (H) Al-Mughaleb, which is a gel product used by painters in Watercolor Megilp, and this product has a property that allows the colors, if mixed with it, to change and form like oil colors, and in this way impressive results can be obtained for the colors. The same goal can be achieved by using rice water and ox gall. The preparation is extracted from Al-Mughlab gum (Drajan), and it is also used in the manufacture of pastel colors. La mucillaggine d'adragante Gomma adragante (i) Rice water, starch and flour glue are all materials used in watercolors as gelatinous intermediates to give watercolors strength and cohesion. (j) La destrina, which is a type of grade material that was extracted from starch. The colors through it gain a lot of vitality and brilliance, but it is better to avoid this material, as it is almost not used now in watercolor photography. It was prepared as follows: 100 grams of white Destrina was dissolved in 100 grams of pure alcohol, then a small amount of gum arabic 68 (K) wax was added to it, even though it was a fatty substance, but some artists used it in watercolors by preparing it in a solution of glycerin. Provider of ammonia. This solution must be kept in a tightly closed bottle. After preparing the wax in this way, it can be mixed with colors when drawing, and it is better to make a layer of it before drawing to draw on it. In order for the wax to be mixed with water in watercolor and tempera, this can be done as follows: First - 10 grams of wax, crumbled into small pieces, are placed in 100 grams of water and 100 grams of glycerin, and heated over a fire at a suitable temperature. Secondly, a few drops of ammonia are added to the molten wax, and it is stirred vigorously in a quick movement. Thus, we find that the wax has melted in the liquid and can be kept in this state for a long time in a closed bottle. After preparing the wax in this way, it can be mixed with watercolors and tempera while executing the work 00. However, it is better to put a layer of it on the surface to be painted on before drawing on it.

Watercolor painting style: Watercolor painting has principles that approximate the principles that usually regulate drawing, in addition to some experiments that work to gain the necessary experience for the photographer in his work, especially in watercolor photography that requires boldness and speed. And if we suppose, for example, that we want to depict a group or formations of several materials from nature, cloth, and other materials, then we follow the following steps: A - Before we start drawing and applying watercolors, it must be noted that the general subject and composition that must be drawn are determined with the utmost precision, in terms of lines, masses, and shadows. And the light. In many cases, the subject itself is trivial, but the artist's eye and his beautiful sense can give the subject a touch of beauty, and the opposite often happens. Negligence may lead to an unsatisfactory result in the end for the artwork •. 2- After taking the first look and deep observations, a quick experimental drawing (sketch) can be done in watercolors as an experiment for the initial effects and personal impressions of what the drawing should be like in the end. 3 - A light drawing is made in pencil... What is supposed in this frame is composition and not showing the details, because it is a first illustration that shows the outlines (profile)... As for the details, they come automatically while placing the color. Here we must remember the words of the philosopher Plato that a good foundation or beginning leads to a good end or result. Therefore, this initial drawing must be a good drawing in order to lead to a good result in the end. He also notices that the lines are relatively light so that they do not appear on the drawing and weaken the beauty of the transparent watercolors. This thin drawing in general can be illustrative of the general proportions in shade and light. Black and lacquer and those initial effects in drawing and color formations are very important to the progress of the workflow. It may work directly or at the end... But in any case, work and ability must always be trusted, and then boldness. It is also possible for it to be indirectly... This means that the drawing should be worked on another paper with all the power of drawing, light and shadow... as it can be transferred or transliterated carefully in the final paper to take care of the value of the lines as a whole and the basis for them of light and shadow. . Lacca followed this principle in the works of Tranquillo Cremona in some of his watercolors, such as those that were transcribed with a red pen and are now in the Gallery of Modern Art in Milan, and we see in them that drawing with water maintains its deep base for drawing and paper preserves the flourishing of its surface and its transparent colors. Thus, we see that this rule can be applied in watercolor painting to any drawing, light and shadow

4- To determine the drawing as a whole and to determine proportions and proportionality in shadows and light in the previous way, the work can proceed in two ways: (1) Different colors are used with their gradations that are obtained and weighted with a general gradation by means of colors, with strong shadows placed last..or in other words, progress in work is done by coloring A face of light color gradually gradient in depth (b) and the second method is to work in it first-hand in the group without walking in the middle stages, in the sense of placing the visible colors from nature, including the current values ​​required on the basis of the first sketch that we talked about. However, the shadow and light that show mass and depth must be respected. Therefore, the shadow must be put in quick touches and never touched so as not to lose its strength and freshness. E - In the case of direct use of the colors without avoiding the properties that affect the watercolors, after drying, the degrees of concentration in them decrease, so they appear as if they are cold in sensitivity. These properties occur either from the natural effect or from the yellowing of the paper little by little, or from the aniline dyes that are often used in the preparation of watercolors. Because of these properties, the necessary work should be done towards increasing the color pigment intensity a little instead of putting it in the correct color as possible. As quickly as those bright, mature, imaginative effects, and have a temporary or rapid effectual vitality, most of the famous watercolor painters illustrate their work with spontaneous artistic expression without resorting to any artistic tricks, by suggesting the effect of quick visions from nature. 70 “Kourou” Rakan, the famous French photographer “De la Croix”, uses watercolors to make quick sketches. As for the French photographer, he uses water photography in his quick researches to investigate the value of the effect of light in his artworks that he photographed. We can also say that the famous Italian photographer Mancini, who was famous for his boldness in his artistic touches, was right when he indicated that shyness is a divine gift that God singled out for pigeons and peaceful people. Its owner and lead him to death artistically, and therefore it is preferable in the artistic style to be categorical and without twisting .. that is, decisive, bold and fast, and with that emphasis, it cannot be said that a great drawing in its base can reduce its value of retouching shadows and light or its accurate and detailed study. In general, we see that it is necessary to know the touches of the brush and its advantages in painting with watercolors, as it is very precious and important if it is placed in Anilina Corot .. Delacroix

The correct placement, and it is also advisable to leave some small white spaces that keep boredom away from drawing in a group and increase the value of light in it. Other technical notes: In addition to the above, we present here some notes that the watercolor photographer should pay attention to and be aware of: 1- Watercolors are the only colors that must be painted in one color, and therefore many teachers are interested in training students to Drawing with one color of watercolor to obtain a correct knowledge of the method of implementing shadow and light, which confirms the depth in the painting and highlights the third dimension of the artwork. 2- As it is used to prepare a drawing in one color in oil, it is also used in watercolors, with a base of gray, brown or blue as a preliminary preparation or preparation that can be painted after that with all watercolors that are characterized by their transparency, for example if the painting tends to color Red can be equipped with shading in the color used by some old photographers and they call it Indaco, and it is a color close to the violet color, as it is found in the prism of light refraction between the two colors violet and blue. If the painting tends to be green, then the shade can be in the color of terra d'ombra. If the painting tends to be blue, the shade can be defined as red or brown. In these cases, the white paper must be left as it is in the light areas in its white color, and the basic technical principle must be applied that if the lighted parts of anything are cold, then its shadow is in a warm and vivid color. When the painting has dried from the colors of the first preparation, it is possible to paint over it with the true colors required, whether in the shaded parts or the light parts. 3- When applying different colors, boring shades should be avoided and avoided. For example, if a depth or a gray background must be drawn, the degree of gray intensity must be changed according to its different colors from light to dark, in order to avoid equal degrees in any situation or space. Cassagne, in the twelfth volume of his book on watercolors, Traité d'aquarelle, printed in Paris in 1875, says the following: “The shades of color must be numbered, and there can never be two unified numbers if they are not placed in the same circumstances.” He also says, “In drawing, try to get the value in the color tones and not in the difference in colors, and in this way you can make your works have value.”