How can I paint "gouache" pinch?

About painting gouache need to pay attention to the following three major aspects, detailed as follows:

A, texture performance:

Color training in each stage has different requirements. In a better grasp of tonal relationships and have the ability to shape the form with color, you can turn the focus of training to a variety of objects on the texture of the performance. In fact, this step should be included in this part of the in-depth carving, because of its different foundation, the requirements will not be the same, so here in a separate expression, provided that the sketch training has a certain foundation.

In the still life sketching training, both smooth texture of various types of porcelain, stainless steel products, gold, silver, copper and other metal utensils, but also the surface of the rough ceramic pots, bamboo and wood products, as well as transparent colors of various types of vegetables and fruits, soft lining, fur, etc., all of which are due to the texture of the texture is different, the absorption of light and the reflection of different and the formation of the respective intrinsic color, but also due to the color of the light source with the impact of the environmental colors The color of the light source and the influence of the environment will also form a unique color relationship. Carefully analyze the characteristics of various types of objects, looking for their ****, you can better express their texture.

Gold, silver, copper and other metal utensils, has a more strict shape, strong contrast between dark and light under normal light, with strong highlights and reflections, the dark part is susceptible to the influence of the surrounding environment, the color changes are complex, painting such objects, to be able to show a sudden turn of dark and light, that is, the structure of the form and the color transformation of the place to use the color of a clear explanation, and at the same time, the metal objects are the most likely to reflect the qualities of its reflective At the same time, metal objects are most likely to reflect the qualities of the reflective part of the environment by the color of the influence of the obvious, the dark reflections of its hue, brightness, purity should be painted correctly.

Terra cotta and porcelain are two different objects. Pottery bottles and jars have no luster on the surface, the apparent roughness is not smooth, and the dark reflections are weak. Painting pottery and porcelain items, its **** nature is to pay attention to the symmetry of the modeling. And then from the shape of the mouth and the bottom of the formation of an ellipse arc shape, and the ellipse upward and downward changes in the width of the different positions, the neck and the connection between the bottle, the degree of light and darkness, shape and color differences.

In painting pottery, porcelain bottles and jars and other objects, pay attention to the cylinder will understand the neck, with a sphere to understand the curved bottle belly, the formation of the dark and light of the more complex perspective, such as turning, real and virtual, to depict the whole and draw a sense of volume.

Two, rendering:

Watercolor rendering has a relatively short history, other countries have decades of history, while in China only started around the 1970s. Chinese architects in school have been trained in watercolor rendering, the past architectural perspective drawings are also mostly expressed in watercolor rendering. Due to the small range of variation in the color brightness of watercolor rendering, the effect of the drawing is not eye-catching enough, and the drawing speed is slow, in the 70s, some Chinese architects began to try to use watercolor paint to express buildings. Due to the influence of watercolor rendering technique, although the pigment has changed, the principle of dealing with the color of the picture is still largely similar to watercolor rendering. For example, the coloring of large color blocks such as sky, wall, shadow, etc., require to do uniform receding halo, the picture is all full, the picture is all painted with gouache materials, and other pigments are not allowed to be mixed, and so on. The emergence of this gouache rendering technique for watercolor rendering is obviously an improvement, so that the picture becomes much more eye-catching, drawing speed has also been improved, but there are still some shortcomings. For example, to meet the requirements of the full picture need to paint a large area of the sky, white clouds, ground and landscape, which takes a lot of time, but also need to have a high level of painting skills; to meet the uniform receding halo, for gouache rendering, it is not easy to do well, which affects the further improvement of the speed of the drawing; in addition, a single gouache pigment is difficult to more effective expression of the texture of certain materials, and so on.

The modern gouache rendering technique developed in other countries in recent years avoids the above shortcomings and takes a step forward. This technique is eclectic, combining the use of a variety of tools and materials, to play their respective strengths, strengthening the expressive power of gouache rendering, further shortening the time to draw the rendering, and improving the efficiency of the work. In order to distinguish it from the former, we call this rendering technique the modern gouache rendering technique.

Modern gouache rendering works are generally painted on colored paper or cardboard, this color paper or cardboard is available abroad, with different tones, but mostly more subtle gray tones of different tendencies. The brushes used for painting are mainly watercolor brushes, makeup brushes, board brushes and so on. This rendering technique uses paints not limited by type, gouache paints, watercolors, color pencils, pencils, etc. and use. Specifically, the glass coloring with watercolor paint in general, sometimes with a small amount of local gouache paint; landscape with gouache paint, vistas can also be used with watercolor or very thin gouache coloring; the ground with watercolor coloring; the sky is generally not coloring, but with the color of the color of the paper itself; go to the gouache or white pencil coloring; the texture of the material with gouache, color pencils, pencils and other pencils to express, and so on. Of course, the individual conditions required by this rendering technique are not yet fully available in China, such as a very small variety of color paper, which is also not applicable. However, according to the specific circumstances of the above rendering techniques slightly modified, can also draw the same effect of the rendering of the map.

Three, coloring techniques

Dry painting and wet painting

In gouache painting, dry painting generally refers to the method of thick painting overlap. This method can be painted over and over again, once failed to paint again, the performance of the object is more adequate, deep, and also suitable for beginners to master. This kind of thick picture is similar to the effect of oil painting, with a thick feeling. Wet painting method is mainly thin painting, play the effect of water color seepage, coloring should not be more than the number of times, and even the white part of the white paper can be empty, with watercolor painting wet flow of interest. Of course, some local thickening is also possible, wet and dry combination will enhance the expressive power.

Juxtaposition and reset

Juxtaposition is a juxtaposition of brushstrokes on the paper, coloring less, the beginning of the color that is thicker. Such as emphasizing the picture of two-dimensional space. First use the gross rough color line outline and structure, add color with the juxtaposition of the method to put the color up, press the outstanding line. Reset is a method of overlapping colors, using color dots, lines, and blocks for overlapping coloring. Most paintings use a combination of reset and juxtaposition to fully express the object.

Mastering wet and dry changes

Wet and dry changes in color are one of the characteristics of gouache. When you put the color on the paper, it feels more appropriate when it is wet, and you will find that it becomes lighter and grayer when it is dry. Not knowing this characteristic often brings passive coloring. Mastering this characteristic and anticipating the effect after drying in advance can prevent the added color from becoming an incongruous "patch". Painting, from thin to thick coloring. Thick painting first and then thin paint wet and dry changes; first thin painting, gradually reduce the water painting thick, wet and dry changes are not obvious, easier to master. Thick paint is also suitable for modifying the picture. Can also be modified around the application of a little water, modified part of the dry will be naturally uniform.

Color articulation

The picture needs two pieces of color articulation should be natural, from light to dark transition should be rounded, the color should be properly articulated. Methods are three: a, the use of wet painting, so that the bright colors and dark colors, this color and the other color, due to the role of the water interacting with the seepage, so that the effect will be natural and soft. Once can not, according to this method to paint again. b, between the two colors with the middle brightness of the color painted on, although there are obvious pen marks, the transition is natural from a distance. c, the two colors of the articulation of the hard place, can be used in one of the colors in the neighboring dry swept a few times to increase the transition of the color gradient. Can also use a pen dipped in a small amount of water in the hard place to sweep a few times, so that the two colors from the brightness or color of the articulation rub out the transition level, the transition will be natural. (5) with the pen Pen color movement on the paper, the emergence of pen marks, known as brush strokes. Generally through the picture of the brush strokes can be seen in the general order of the painter and how to use the brush to shape the object, the brush is not the purpose, is a means of expression, many painters of the brush method is different, some big brush vertical and horizontal, there are small brush point drawing. Which brushwork is good? How to use the pen is right? Should focus on the purpose of the object from the performance, according to the different structure of different objects, different texture and the author's different feelings, based on the performance. To start from the performance of the object, in order to show the structure of the form and color, the flexible use of paint, swing, point, hook, pile, sweep and other various strokes to depict.