What is "decorative painting"?

1) oil painting decorative painting: is the most aristocratic decorative painting, it belongs to the pure handmade, according to the needs of consumers can copy or create, the style is more unique. Now the market is more popular oil painting subject for the landscape, people and still life.

2) Dynamic painting: is the newest in decorative painting, with beautiful patterns, bright colors, full of dynamic effect has won the favor of many consumers. Dynamic painting also focuses on scenery, mountains and rivers, simple and elegant. Due to the new technology used to produce excellent visual effects, the flowing water and white clouds in the painting will have a certain sense of motion.

3) Wooden paintings: wood as raw material, glued after a certain procedure. There are many varieties of wooden paintings: there is a fragment of wood patchwork into a landscape painting, its layers and color sense is relatively strong; there are wood carvings, such as figures, animals, African faces, etc.; there is also the choice of an uncarved material, such as wood with the bark of the wood, the original color of the twine, and so on.

4) Photographic paintings: mainly remakes of foreign works, with a strong sense of ornamental and contemporary.

5) Silk painting: more abstract, with novelty effect, can play a unique decorative effect.

6) woven paintings: the use of wool, fine linen and other raw materials, woven into a brightly colored patterns, the main theme is the ethnic minority customs, natural scenery, etc., there is a relatively strong ethnic minority colors, used to decorate the room, the style is more unique.

7) branding: branded on a wooden board by high temperature, the color is slightly darker than the original color of wood. The lines of the pattern are thinner, and the effect is more detailed. Most of the branding paintings use Chinese painting brushwork, usually traditional landscape or animal paintings, ancient colors.

In addition, there are a variety of other materials made of decorative paintings, such as bamboo, leather, glass, ceramics, etc., consumers can choose according to their own hobbies, aesthetic interests, so as to make the room more pleasing to the eye.

Watercolor Painting Techniques

Mastering the perfect technique of expression is a kind of ability to make the works reach a high artistic level. The techniques and methods of painting are directly related to the artistic expression, infectious power and aesthetic value. Therefore, there is not a single artist who does not attach great importance to the study and exploration of painting techniques. In fact, there is no fixed and unchanging program for all kinds of painting techniques; the continuous improvement of painting tools and materials, the updating of artistic concepts and aesthetic consciousness, as well as the emergence of various new styles of painting, all contribute to the continuous innovation and evolution of techniques. However, in their own professional practice, each type of painting has accumulated many experiences of techniques that can be universally applied, and these techniques are worth studying and learning from.

A Thick painting method and thin painting method

Watercolor gouache painting production process, the vast majority of colors need to be blended on the palette, and then into the picture. Blending colors, the amount of moisture and white powder color used is a matter of reflecting the expressive technique and the characteristics of gouache painting. In watercolor painting, purely using moisture to mix colors to control the thickness of the pigment, thus producing changes in brightness, and using the dryness and wetness of the water color to obtain the special expressive effect of watercolor painting through the bleed or reset of the color. Oil painting, on the other hand, uses toning oil (turpentine or linseed oil) and white to mix and control the thickness and brightness of the color changes. Gouache, somewhere in between, can use water to thin the pigments and make them translucent, allowing the brightness of the white paper to shine through the color layers as well. Moisture makes the color to produce thick and thin, thick and thin to produce brightness changes, that will play like watercolor like wet painting seepage effect, this is the gouache painting in the thin painting method.

If you use the thick painting method in oil painting to make gouache, you have to use less water and more pigment and white to increase the thickness and brightness of the color. However, the thin painting method of gouache, even though it uses more water, cannot achieve the lively, bright, smooth and watery artistic effect like watercolor painting. Thick painting method can not be like oil painting, can be very thick color layer firmly attached to the paper. We often see some gouache paintings, due to painting too thick, and make the color layer cracking and peeling, occurring picture damage.

Watercolor gouache painting, the use of moisture has two purposes: one is to dilute the color, so that it is easy to freely carry the brush coloring; the second is that the moisture can make the color thin to various degrees, so that the bright paper color can penetrate the color layer, showing changes in brightness. If the moisture is used more, let the color flow on the paper surface, can also produce the effect of water and color mingling. In general, the first coloring of gouache painting (or paving the base color), most of the thin painting method with more water, which can make the color layer soft and subtle with the effect of far back. Painting the shadow part of the scene and the distant landscape often use this method. Thin painting method due to the thin water and color, powder factor and covering power will be weakened, gouache painting art characteristics can not be fully developed, so thin painting method is often applied only in the local or painting the first color.

The thick painting method of gouache is easy to produce the artistic characteristics of gouache painting. Therefore, the amount of pigment in the color mixing box should be more, and it must be kept wet and not dry, to ensure that the brush can be dipped into the pigment grid to get enough pigment, and when mixing the color or painting on the paper, it can be very thick and full, and the brush can be used at will and at ease. Sometimes it is possible to dip several different colors into the paint, and at the same time shape the object on the painting through the brushwork to adjust the right color, which can create a vivid effect of all the colors competing for the glory of the painting. Of course, in the absence of sufficient experience and basic ability, it is by no means easy to do this. Because in the performance of many bright objects or scenery, such as the sky, water, road, house, etc., need to be adjusted into a large number of white to achieve the brightness of the requirements, so gouache paintings need to use white, should be bold to use white, and to ensure that there is a certain thickness, which can make the modeling of the thick, strong, and thin part of the paintings with the effect of the strong and weak contrast. Generally speaking, the thick and thin aspects of the color, thick painting is the main, in order to get a better gouache painting effect.

The articulation of gouache painting

It is easy to paint a clear color and outline with gouache paint, but it is difficult to paint a natural and soft articulation. In the realistic style of painting sketching, expressing the relationship between reality and reality of the object often becomes a difficult problem. In life drawing exercises, the drawings of objects with clear contour lines as if they were cut and pasted are common. This drawback can make the object detached from its surroundings, weakening the object's sense of three-dimensionality and spatiality. The reasons for this situation are twofold: first, the observation method, from the local starting point, did not go to compare the relationship between the object contour line of the virtual reality and the formation of a cognitive problem; the second is in the observation of the relationship between the realization of this virtual reality, but the lack of performance of the relationship between the method. The former solution in Chapter III, Section V, "color observation and mixing" has been told, the latter solution requires an understanding of some of the basic laws of gouache color articulation.

The gouache painting through the articulation method to achieve the effect of the key is to correctly control the color brightness changes. In the "color observation and mixing" section, has talked about how to use the palette, first in the palette to find the correct relationship between the color articulation, and then into the picture. This is a good way to rely on the palette to get the right color relationship. Some one-shot gouache paintings are done using the wet painting method while the colors are still wet. It is easier to articulate colors when they are not dry. Two color blocks, warm and cold, can also be partially overlapped in the place connecting the two blocks while the color is not dry, and mixed to produce a transitional intermediate color, so that the articulation is natural and soft, and there is no trace of hardness. The contour line of the backlit surface of an artifact is always blurred and fused with the background or projection, belonging to the virtual contrast in the virtual contrast, the strength of the weak contrast in the weak, this kind of relatively virtual color relations, the most appropriate use of wet painting method to obtain a more ideal articulation effect. However, in the process of depicting a piece of work, it is difficult to keep the color of the picture wet for a long time, and after the color dries, it loses the effect of wet painting. At this point you can articulate the parts that need to be articulated, with a clean brush brush on a layer of water, so that the color condition has been dry to restore the condition of the wet, and then according to the color condition to mix the articulation of the color. In this way the painter will be much more convenient and sure. This method is often employed in gouache painting, because there is a marked difference between the hue of gouache colors when dry and when wet. If you do not use the above approach, continue to paint on the already dry layer of color, color and color articulation is mainly based on experience, to grasp the color painted on the color personality is basically the same, after drying can be naturally articulated, will not be hard disconnect. This can also be used in the color box left in the first color as the basis for the articulation, or first adjusted with the articulation of the color of the color hue, as a standard for continued articulation. These are in the absence of experience in the case of the approach taken, with experience, it will not be difficult to judge how the articulation of color should be deployed. Another method of dry articulation, is the use of rows of lines and color points, the two differences in color, natural and soft articulation, showing a rounded three-dimensional effect, you can use any one of the two colors in the line or dot, in the connection with the painting of a transition in the middle of the color approach to deal with it, you can achieve the effect of the performance. This is the same as in printmaking, the use of rows of lines or dots to express the layers of the technique to the intersection of the reason is the same.

Three brushwork

The brush is the main tool of painting performance (other than the knife and the pursuit of special effects of the picture tools), traditional Chinese painting performance techniques, ink and brush as its core, the brushwork is more of a key role. Chinese painting is the combination of brushwork with ink and the characteristics of paper

The combination of brushwork with ink and the characteristics of paper

produces an effect, which plays an important role in modeling, laying out the skeleton as well as the chiaroscuro by means of dots, lines and surfaces.

The brushes of Chinese painting have different properties due to the differences in the selection of materials and production methods, and there are many kinds of brushes in the way of using brushes, such as medium brush, side brush, smooth brush, reverse brush, and a variety of brushes that change in the form of reality, lightness and heaviness, and by combining the various kinds of brushes with the ink and color, they make the works rich in various forms and show a strong expressive and infectious power. In Western painting, although the technique of brushwork is not as important as that of Chinese painting, the brushwork should not be neglected in the technique of expression. The brushwork techniques of traditional Chinese painting can provide important insights and are well worth learning from.

The gouache brush, it is also the same as the Chinese painting brush, the function of the different is determined by the production of materials and methods of each. In color painting, the color is through a variety of brushes, the way the brush and skills, to produce the effect of expression. The texture of the brush (soft and hard), the type (size), the shape (flat, round, pointed) and the dipping of the color, the amount of water, the thickness of the color, dryness and wetness, as well as the various ways of handling the brush and techniques, real and vivid expression of complex and varied images, landscapes. Brush strokes can enhance the atmosphere of the theme, mood, can express the author's passion and some of the theme of the sense of movement, but also can produce the rhythm of the picture. Many chic color effects often rely on brushwork to obtain. However, the modern emergence of the super-realist painting style, but do not care about the expressive power of the brush strokes, and even the whole picture without a trace of brushwork, image shaping neat and meticulous as a photo, this is a style of painting, the purpose of which is the extreme pursuit of a realistic sense of no different from reality.

The brushwork in painting is closely related to the painter's style and personality. From the choice of subject matter, artistic treatment to the method of expression and the mood of the pursuit of the mood, are inseparable from the brushwork. A comprehensive introduction to the techniques of this brushwork is difficult, but for some of the general application of the regularity of the brush method, should be the basic knowledge and skills must be mastered.

The difference between the application of large and small brushes - the application of different sizes of brushes is related to the observation method, the habit of using the brush. The beginning of the stage of learning to paint, generally accustomed to using a small brush, this is because this stage of sketching, in the habit of observing the scene, often focusing on the details and localized as much as the pursuit of the minutiae seen, are clearly depicted as a satisfaction, so the choice of a small brush. The effect of such a performance can be imagined, the picture of the branches and segments difficult to form the center of the theme, produce a touching charm. If you take a landscape sketch painting as an example, you should at least know how to use large brushstrokes to spread the base color, so that the color has a big relationship. The sky, the ground, the hills and some of the parts that need to be concise and generalized should also be used with a large brush; small strokes should be used to shape the smaller image, and in-depth portrayal of the details. The process of painting an exercise, from beginning to end, need more than one large and small brushes to divide and alternate, so that the strokes are not monotonous and lack of expressive power. Brushstrokes are the artistic means to shape the form and express the theme. Characters or natural scenery image shaping, must be combined with the object's physical characteristics and structure of the use of brushstrokes, round objects must be shaped with many curved brushstrokes. Straight objects often need horizontal strokes to shape, such as painting thick tree trunks or human arms, legs, etc., combined with horizontal strokes to paint, you can show more thickness; painting the water surface or the ground, the general use of horizontal long strokes, you can show the plane of the far-reaching sense of painting a large area of static tabletop, backgrounds, walls, and landscapes such as the sky and other relatively flat color blocks, the brush to avoid painting the wall as monotonous as masons Stagnant, need to be natural and random with horizontal, straight, diagonal and other changes in the brushwork, increase the vividness. But note that these color blocks are in the back of the main object, there is a certain depth, is a companion object, the brush should be smooth and calm. Use of the brush, the size should be appropriate. As the picture shows different themes, the mood of the requirements of the mood must be different, such as quiet, peaceful mood, more use of horizontal softer strokes; with a strong, lively, decisive, clear brush performance of joy, commotion, tension and other atmospheric picture; calm, steady strokes with the picture of serious, solemn mood closely related; soft and casual small strokes, you can strengthen the beautiful, lyrical mood; The big brushstrokes can show the roughness, boldness and beauty of the theme.

The effective application of formal factors such as dots, lines and surfaces in the brushwork is an important condition to produce a rich and vivid expression of the picture, and the method of combining lines and surfaces to express the form has a special painting effect. The combination of lines and surfaces to represent forms has a special painting effect. The dry, wet, thick and thin lines in the brushwork, the positive and negative strokes of the brush, the lightness and weight of the strokes, the speed and slowness of the strokes, the real and the imaginary and so on, can appropriately express a variety of images and picture effects. Chinese brushes are characterized by lively and smooth lines, and are used freely. The flat brush with square head is suitable for the use of block strokes to express the scenery with a heavy sense of three-dimensional space. Some beginners in gouache painting often suffer from the drawbacks of the technique, which can be summarized as follows:

(1) focusing on the local area, using small brushes to paint the details and losing the general body;

(2) using only one kind of brush, depicting objects with different shapes and textures, lack of changes in the brushwork, and the effect is monotonous, losing the sense of vividness;

(3) using the brush can't be tightly combined with the structure of forms, which lacks rigor and thickness in shaping forms. Form shaping lack of rigor, a sense of weight;

(4) cumbersome brushwork, the tone of the brush without a sense of rhythm of lightness and urgency;

(5) weak brushwork, no change in the strength of the weak and the real, so that the picture loses the spirit.

Four Techniques of Painting Knife

The painting knife is a very common tool for oil painting, and there are various knife shapes with different effects. The knife used in gouache painting is borrowed from oil painting, which is a creation, and the special effect it obtains adds another elegance to the technique of gouache painting.

There is no fixed type of knife for gouache painting. Some gouache painters use oil painting knife, or according to their own painting requirements, made into a variety of shapes and sizes, pointed, square, round, etc., can be arbitrary. In any case, this knife needs to be thin and flexible. As long as this characteristic, that is, the use of plastic or bamboo, can also become a good economic and practical painting knife.

Painting knife in the performance of the object, not as free as the use of paintbrushes, can draw soft strokes, or thick and thin changes in the line, in the performance of specific detailed image is also difficult. It is only suitable for thick painting, but not for thin painting method which contains more water, which is the limitation of the painting knife. However, its application function is similar to the performance effect of the painting knife in oil painting, and it is very suitable and unique for the performance of rough texture forms, objects with clear contrast of decency, such as mountain rocks, mud, generalized vistas or clumps of trees, walls of buildings, masonry, and large-scale scenery such as the sky, mountains, water, and so on.

The color mixing with the painting knife, generally can not add water to make the pigment thin, with the amount of pigment should be correctly estimated, before the color can not be too much pigment mixing on the paper surface. Instead, the color effect is revealed through the technique of changing the painting knife. In fact, the knife with color has color juxtaposition factors and effects, so it is more sharp and loud and hard than the color under the brush, so that it can paint subtle and unexpected colors. Painting knife can also be in the color base is not dry, with the side of the knife, through the force of light and heavy and different speeds, scraping out a variety of changes in the line, surface to express the different shapes and textures of the part, the effect is very wonderful. In addition, the knife can also be used to dip the knife surface into a thin color, in the dry color surface gently wiped a layer, like a dry brush stroke effect, can enrich the color relationship, enhance the sense of color thickness, you can also use this method to adjust the color tone relationship. These are some of the practical experience of the painting knife in painting techniques. The use of the knife, but also pay attention to its adaptability, in some can not use the knife to achieve the effect of the technique, do not use the knife. Painting knife also generally have to be used in conjunction with the brush, in order to obtain the complete artistic effect.

Five lines

Why do we need to talk about lines in gouache painting technique? Line is originally a technical means of modeling, as is chiaroscuro. Because from the practice of painting, the significance and expressive power of line in modeling is perceived from the beginning of the training of sketching, but its aesthetic value and influence on the artistic style have not been fully recognized. In traditional Chinese painting, the use of line drawing as a means of modeling foundation has become a major feature of painting style. In Western painting, some impressionist painters, influenced by this formal characteristic of Oriental art, absorbed the charm of line expression, thus creating new forms and styles. The artistic characteristics of gouache painting are very much in line with the requirements of decorative forms, and line is naturally one of the important factors. We can find from Ding Shaoguang's works in this book's work appreciation that his decorative painting style combines the decorative interests of classical and modern art from the East and the West. Lines not only enhance the magnificent and sparkling effect of colors, but also the lines themselves are full of musical rhythm. The artistic function and characteristics of the line have a relationship of inheritance and development with the neat, rigorous and beautiful lines in traditional brushwork and heavy color painting. Other lines such as the sharp, strong, beautiful and elegant, rough and simple lines in woodcut prints and the simple, ancient and elegant lines in folk New Year's paintings are all formal factors that gouache painting can learn from. Line in application can be used as the basic skeleton of composition and image expression, and then color. It is also possible to lay down the color first and then use the line to strengthen the image. Lines can be of different thicknesses, different shades, moist and smooth, or dry and old. The application of various lines in gouache painting should be flexibly and creatively used according to different requirements, and the effect will be very rich and interesting.