How to learn art gouache well

First, the composition is accurate.

Second, the color is accurate.

Third, proficient in writing.

1. Composition is not only an integral part of painting skills, but also a link in the creative process, and it is also a form of combining all parts of a work into a whole. The form of the composition should obey the content of the work and the author's inner feelings, and be decided according to the law of formal beauty of the composition. The concept and law of composition are closely related to aesthetic consciousness, artistic concept, theory and style. Learning to master the principles and laws of composition can help artists choose life phenomena, use, organize and handle materials, and even achieve formal perfection, thus strengthening artistic appeal. However, it is difficult to create a viable artistic work only by relying on the rules of composition. Therefore, the theory and law of composition is not a static procedure, it will be constantly denied in artistic practice and developed in change. S composition: more visual impact than diagonal lines.

2. Basic rules of composition (whether it is creation or practice, the content is people, scenery or still life, and composition generally follows the following rules):

Everything in a work of art should be subordinate to the expression of the basic content of the work.

All the formal factors in a work of art should keep in touch.

The composition of a work should form a visual center to attract the audience's greatest attention.

The composition structure of a painting should be a whole with both changes and unity. It should make use of the contrast and harmonious law of modeling, light and shade, lines, colors and other factors, as well as the means of space processing, volume combination, rhythm and rhythm, so as to make the form of the work novel and vivid and have the strongest artistic expression.

When arranging screen objects and dealing with details, we should avoid all contingency and pay attention to the close connection with the theme performance.

Use balance in composition to show stability and stillness; Use the imbalance of composition to express instability and movement.

The size of the work should match its content; The length-width ratio of a frame should obey the needs of composition.

3. Balance composition

Balance is the basic law of painting composition. Balance produces formal beauty through vision. Balance is different from symmetry. Symmetry is the most stable and simple balance, and symmetry is a form of beauty, which is mainly used in decoration and patterns. China's traditional buildings and monasteries all adopt symmetrical format. The physiological structure of human body and some beautiful insects is also symmetrical. The law of symmetrical composition is also applied in painting, but it is not absolutely symmetrical in form. Symmetry presents a highly neat state, which has the effect of perfection, solemnity, harmony and stillness, but it also has the disadvantages of monotony and lack of interest.

The principle of balanced composition is widely and permanently applied in painting, and the balanced form can show its own composition beauty. The principle of balance is developed according to people's visual image and psychological reaction that produces weight. The size and shape of the color blocks in the picture, the personality of the color, the movement of the scene with or without life, or the static state can all produce different sense of weight visually. If animals are heavier than plants, people are heavier than animals; On the basis of light color, dark color is heavier than light color; On the contrary, on a dark background, light color is heavier than dark color; Thick strips are heavier than thin strips; The big one is heavier than the small one; Stereo is heavier than plane; A straight line is heavier than a curve; The purity of strong color is heavier than that of weak color; Dense objects are heavier than loose objects; Strong contrast between light and shade and color is heavier than weak contrast, and so on. In composition, if the weight inclines to a corner or a side of the frame, it will lead to visual instability. The principle of this balance can be illustrated by the simple principle of weighing a catty of cotton and a catty of iron on the balance.

Change and unity in composition can also be called contrast and harmony. Because in painting, change is always pursued in comparison, and unity is achieved in harmony.

4. Light and dark composition

Light and shade is one of the important factors in composition and layout. Light and shade refers to various levels of light and shade between the deepest dark color and the lightest bright color. The level of light and shade is not only used to express the physical structure of the object, but also used to express the light and shade in the picture composition.

The alternation of dark tones can obtain the change and balance of the picture and produce a sense of rhythm. It is generally believed that light and shade are the unique artistic language of western painting; China's traditional Chinese painting seems indifferent to light and shade. For example, line drawing works do not need light and dark tones in terms of formal concepts and expression techniques. It only uses pure lines to express the shape and structure of objects, and compares the density of lines in composition and layout. In fact, this reflects the contrast between light and dark, that is, where the lines are dense, the tone is deep, and the lines are sparse, and the tone is light. It can be seen that the density of lines also contains the meaning of light and dark tones. The contrast of line density is the contrast of light and shade. In addition, although there is only one kind of black in black-and-white prints, in fact, through the processing and application of points, lines and surfaces, the changes of light and dark levels in the picture are very rich, which has played a strong artistic expression in composition. Therefore, the formal factors of light and shade are widely used in various paintings in different degrees and in different ways. Now explain it from the following aspects:

(1) The category of picture tone. When expressing various themes and emotional appeal in painting, there are many classifications of light and shade, which can be roughly summarized into the following three categories:

Bright hue-Most of the colors used in the picture are bright and bright. This tone is suitable for expressing cheerful, stretched, quiet, bright and simple feelings, and can also be used for sad and tragic themes. Bright tones are more powerful than dark tones.

Dark tones-As opposed to bright tones, the picture is composed of darker colors. Deep, solemn, rich, quiet, mysterious, scary and other emotional themes often use dark tones. In color matching, dark color is much used, white color is little used, and black color is much used.

Intermediate tones-various intermediate warm and cold tones between light and dark tones are the most varied and widely used tones. Under ordinary light, people's living and activity environment is generally in the middle tone. Therefore, in the expression of various life painting themes, more intermediate tones are used.

(2) Several forms of contrast treatment between light and shade:

The dark background sets off the bright subject-various forms are very effective in highlighting the subject and are often used, especially in many classical still life paintings and portraits. Bright characters are set off by dark background, and the effect is simple, concentrated and strong.

The bright background (or environment) sets off the darker subject-/kloc-Many portraits of Lie Bin, a Russian itinerant painter in the 9th century, often adopt this form of light and shade. The bright background makes the picture bright and the main objects stand out.

Midtones set off the main object with bright contrast-according to people's experience of observing daily life, nearby objects always feel that the image is concrete and prominent, the color is bright, and the contrast between black and white tones is strong. Compared with the nearby scenery, the distant scenery always appears blurred, and the contrast between black and white is weakened. Therefore, in painting, the use of this form of contrast between light and dark is very common, with a sense of reality, and it is easier to show the spatial effect, making people feel immersive.

The treatment of light and dark forms of composition must obey the need of expressing the theme. At the same time, we should also use the contrast between light and shade to show the correct relationship between the main part and the foil part of the composition. In a painting, you can also use a variety of light and dark contrast factors to deal with complex themes and express important themes.

(3) In terms of composition, changes in the shape and area of light and dark blocks can have different performance effects. The area change of various tones in the picture can be large or small, that is, only large dark tones or bright tones; It can also be small and many, that is, many dark or bright patches; Fiona Fang's straight, well-defined and vague timbre modeling can express different feelings and produce different playing effects: the timbre area is large, the contrast between them is obvious, and the boundaries are clear, which can produce dynamic, active and moving effects. Large dark tones and small bright tones have solemn, tragic, deep and mysterious effects. A large area of bright colors and a small amount of dark colors are configured, which has the effects of comfort, lightness and smoothness. Pale tones have a beautiful and pure mood; Soft tones have the expressive effect of suggestion, lyricism, beauty and tranquility.

(4) Line is an important formal factor in composition. China's prehistoric paintings began with lines, and so did children's paintings. Line drawing in China's traditional painting is the basis of modeling, and line has become one of the artistic features of traditional painting, which mainly refers to the application of line in modeling. As for the role of lines in picture composition, it is more extensive. Lines can guide the audience to focus on the theme center of the work, and lines themselves have their own expressive force and aesthetic feeling. Organizational lines can have a sense of rhythm and rhythm in composition form. Lines can be divided into many categories:

The solid line, that is, the line with its own existence value.

The outline of an object's shape, such as a straight line, a curve or a combination of the two. The simpler and clearer the outline, the more striking and strong it is. Such as black and white woodcuts in prints.

Some very narrow objects also have linear effects. Such as ground, sea surface, roads, telephone poles, tree trunks, etc. When the viewpoint is very low.

Horizontal line, vertical line, diagonal line.

Undulating lines, such as: the outline of the building and the background, the intersection of trees and the sky, etc.

Curves: horizontal curves, vertical curves and other curves.

Horizon (the horizon is very important in the picture and closely related to composition).

Line of motion and line showing force.

These distinctive lines are closely related to the artistic effect of composition. In online application, the most important things are curves, straight lines and diagonals.

There are vertical curves, horizontal curves and irregular curves. The curve is soft, soft, beautiful and smooth. Improper use of curves will make the composition appear unstable, weak and lacking in strength. Vertical curves, such as flames, indicate a kind of vitality; Horizontal curves, such as water waves or the ups and downs of distant mountains, have a graceful and slow sense of movement.

5. Advantages of various compositions: S composition has more visual impact than diagonal lines. Vertical line composition makes the picture have a sense of stability, excellent static and elegant beauty; Triangles are all used for creative design (inverted triangles are unstable); Cross-shaped stable balance; Diagonal composition has dynamic elements; Prismatic composition gives people a strong sense of influence and peace; X-shaped composition is stable (mostly used for street and waterway landscape composition).

6, the use of color

(1) color matching is the most commonly used method, which is to mix two or more pigments to make another color. It is different from the primary color in hue, chroma and chroma, but it still contains the personality factors of the primary color and has a harmonious relationship with the primary color. For example, red and blue are harmonious with purple, and purple is harmonious with red or blue, which has the personality factors of red and blue. In this case, the color purity can be quickly weakened to different degrees according to the composition of the two colors when they are mixed, and even become a weak color containing gray. For example, when red and green are in harmony, if you add a little green to red, a gray and steady red will appear. If the two components are mixed closely, it may appear gray-black with unclear tone, low purity and lightness.

The purpose of color matching is to enrich, contrast and harmonize colors. The relationship between colors can meet the requirements of the performance object. The method of mixing colors will always reduce the purity of colors, and it is easy to appear the disadvantages of making the color of the picture gloomy and lack of vitality. Color matching is a complicated and important process. For a color work, most colors are mixed in a color mixing box and then painted on the frame. Therefore, to master the skills of color matching, in addition to understanding some basic knowledge of color, we mainly gain experience from sketching practice. In some paintings, the color relationship is chaotic, lacking a sense of harmony, or the colors are gloomy and lifeless, which has something to do with color matching. When you start to learn color, you will always feel that the color of the objects you observe and understand is difficult to adjust, especially gray, which is an inevitable process. Because finding a gray color is very complicated, which colors need to be mixed, how much should be added, how much white should be added, and so on. The hybrid method can approximate the color effect of the object and has a strong sense of reality. However, the mixing method is often easy to make the color lose its purity, lacking the bright feeling and intensity of the color. There are some rules in color matching, but there is no formula. We can only master them step by step through constant practice.

(2) color reset

The method of overlapping two or more colors to produce another color is the color resetting method. Resetting the hue of the resulting color is roughly similar to the effect of blending. This method is widely used in watercolor painting. This is because watercolor pigments are transparent, which is also a condition for using the reset method. If you draw a yellow first, and then cover it with a layer of blue after drying, the yellow will appear through the surface and combine with the blue layer to form green. If you cover it with a contrasting brown, it will produce a greenish taupe. Some deep and figurative watercolor paintings must be completed by color resetting. Due to the opacity of water pink, the application of reset method is not universal. If gouache is mixed with a lot of water to make the pigment transparent, it can also achieve the resetting effect like watercolor. You can adjust the color relationship by resetting, such as resetting with cold transparent color to draw the shadow of the sun. Water pink reset, the pen should be decisive and quick, and it can't be rubbed repeatedly, because the underlying color is easy to be destroyed. Another resetting technique of gouache painting is to dip the dry opaque color on the first layer of color with a dry pen or other tools, and reset the second layer of color, which cannot completely cover the background color. This method has a parallel color effect. It can not only adjust the color relationship, but also make the color more varied and subtle, resulting in complex color effects with thickness.

(3) Color juxtaposition

The juxtaposition method is to connect and juxtapose two or more colors with brush strokes, which visually produces the mixed effect of color space. If the color points of yellow and blue are juxtaposed, a kind of spatially mixed green will be produced, which can be more vivid than the green obtained by mixing the two colors. This juxtaposition method is the application of optical principle in color method, which comes from the color practice of some impressionist and post-impressionist painters in19th century.

Among the above three methods, the most commonly used is color mixing. Reset and juxtaposition are color mixtures of different ways and effects. If used properly, they can also achieve good performance.

7, color contrast

Contrast means different colors. The greater the difference, the stronger the contrast, and the weaker the contrast. Therefore, there are strong contrast and weak contrast in the color relationship. Such as red and green, blue and orange, yellow and purple, are the strongest contrasting colors. Among them, gradually adding the same amount of white will improve their brightness and weaken their purity, turning them into pink, green, Rayna Sue, orange and blue, forming a weak contrast. If the same amount of black is added, its brightness and purity will be weakened, forming a weak contrast. In contrast, if the purity or lightness of a color is weakened, it will lose its original hue, and the degree of contrast between the two colors will be weakened and even tend to be harmonious. Color contrast factors mainly include the following aspects.

(1) Hue contrast-From the color in the color circle, there can be many relationships such as adjacent color, similar color, moderate color, contrasting color and complementary color. Color circle 180. The two colors of the corner are complementary colors, which are the strongest contrast colors (greater than 120 in the color circle). The two colors of the corner are in contrast). Color circle 90. The two colors of the corner are in contrast (such as red and yellow, red and blue, orange and yellow-green, etc.). There are similar colors (such as deep red, bright red, rose red, etc.). ) and adjacent colors (such as red and red orange, red and red purple, yellow and yellow-green, etc.). ). Among them, the similar pigments are dominant, and the hue, color and lightness are similar, but the contrast factors are not obvious and slightly different, which belongs to a harmonious color relationship. If the similar pigments between two adjacent colors gradually decrease, there will be different contrasts (such as red and yellow-green, red and green, yellow and green, etc.). ). Similar colors have stronger contrast than adjacent colors, which is about 600 degrees in the color circle. Red, yellow and blue-green pigments are called the same color.

(2) brightness contrast-that is, the contrast of color depth, and the relationship between color depth is the sketch relationship. Every color we squeeze out of the paint tube has its own lightness. There is a difference in lightness between colors. If arranged from deep to shallow, the following order can be obtained: black, blue, cyan, dark green, dark brown, emerald green, crimson, red, ochre, grass green, cobalt blue, vermilion, orange yellow, khaki, medium yellow, lemon yellow and white. If each pigment is mixed with black or white, it will produce brightness difference of the same color property; If you add other colors that are darker or lighter than this color, the brightness of different colors will be different. It can be seen that the contrast of color lightness contains quite rich and complicated factors. It is easy to distinguish monochrome brightness from brightness contrast, but it is not easy to correctly distinguish brightness contrast including color purity, cold and warm and other factors.

(3) purity contrast-the effect of color is shown by mutual contrast. Purity contrast refers to the contrast between bright and turbid colors. Use dim low-purity color as background color, and bright color will appear more intense and eye-catching. If two contrasting colors, red and green, with the same purity and similar color areas are juxtaposed together, they will not enhance their color effects, but will weaken each other. If the purity is weakened by transferring green to gray, red will be more vivid in the contrast between gray and green. We observed colorful ponchos and umbrellas used by people on rainy days. The bright and pure colors are very striking and beautiful, because they are set off by the deep cold gray tone of the surrounding environment. High-purity color has the visual characteristics of protruding forward, while low-purity color is the opposite. The same color, at different spatial distances, will produce differences and contrasts in purity. If you observe three red flags at different distances near, middle and far, the near red flag is distinct; Compared with the red flag in the close shot, the red flag in the middle shot is grayish purple; In contrast, the purity and gray of the red flag in the foreground are worse. This is the change of color due to spatial relationship, which reflects the change of color purity and produces a sense of spatial distance. In a picture, the tone dominated by pure weak contrast is elegant, and the emotional effect expressed is basically quiet; On the contrary, the strong contrast of purity has exciting and active emotional effects.

(4) Cold and warm contrast-the cold and warm feeling of color is a kind of life experience from people's physiological and psychological feelings. Therefore, the contrast between cold and warm in color elements can especially exert the appeal of color. The cold and warm tendency of colors is relative, which should be shown when the two colors are relatively compared. In the process of color sketching, we mainly rely on the method of mutual comparison to understand the contrast change of color temperature. Observing the sky on a sunny day, if it is purple-gray, the sky on the ground or in a distant mountain will appear warmer, and the sky above will tend to be cold, with a slight difference between cold and warm; When an object is exposed to direct sunlight, the light receiving surface is warmer, the backlight surface is colder, and the strong light part of the light receiving part is colder. The part of the backlight surface that is reflected by the blue sky light appears cold, while the part that is reflected by the ground sunlight is covered with a layer of warm color. Starting from the understanding of the natural law of color light, we can realize the law of color contrast between cold and warm through observation, which is very important in color learning; If you can't understand and express this contrast between cold and warm colors, the color of the picture may tend to be monotonous.

(5) Area contrast-the area, shape and position of color have been mentioned in the section of color elements. This is one of the factors related to composition in art design or layout structure in painting. The so-called color zone is generally clear in design or decorative painting, because most of them use flat color blocks with simple colors, combined with the shape of the color blocks, and form a rhythmic effect of ups and downs through interspersed arrangement. In realistic painting, there is basically no simple plane color block. In a color zone, there must be many color changes at the same time, but there are still formal factors such as color zone, shape and position contrast. The size of color zone is related to the formation of hue. Its role in artistic expression is to obtain color effects through comparison. Considering that the shape of color block refers to the aesthetic feeling of appearance, it also includes the contrast relationship between lines and shapes. There are incongruous factors in the contrast between a square and a circle, which is different from that of a straight line.

8. Color matching

(1) Contrast and harmony are interdependent and contradictory aspects, both of which are important means to obtain color beauty and express theme thoughts and feelings. In a painting, according to the different requirements of the theme, the tone can be dominated by contrast factors or harmonic factors. Emotional reactions, generally positive, pleasant, excited, excited, lively, brilliant, rich, etc., are mainly expressed in the tone of contrast. Comfortable, quiet, subtle, soft, simple, light, elegant, quiet and other emotional appeal, should be expressed in harmony-oriented colors. If two contrasting colors are mixed with the same complex color, that is, gray, then the contrasting colors are close to the mixed complex color, and the hue, lightness, purity and warmth are also close, and the stimulating factors of contrast will be weakened or disappeared. The enhancement of harmonic effect is proportional to the amount of color mixing. Contrast color, if one party mixes the color of the other party, or both parties mix the color of the other party, can narrow the difference, weaken and tend to be harmonious.

(2) Homotonal harmony refers to a series of tones in which any basic color gradually transitions to white or black, which can produce simple brightness changes. This is often different levels of bright or dark colors, which can be called the same color or the same color, with extremely harmonious nature. If a group of contrast colors are mixed with white or black at the same time, the purity will be reduced, the hue personality will be weakened and the sense of harmony will be strengthened.

(3) Harmony between adjacent colors and similar colors means that the similar colors contained in the colors are dominant, the color factors such as hue, purity and lightness are very similar, and the contrast characteristics are not obvious, which belongs to a harmonious color relationship. Such as red and red orange, red and red purple, yellow and yellow-green; Similar colors such as crimson, scarlet, rose, vermilion, etc. The color contrast of similar colors is slightly stronger than that of adjacent colors. No matter what color, when it is matched with black, white and gray in achromatic color, it can produce a harmonious effect. Between two incongruous contrast colors, one color that can be coordinated with the two contrast colors can be coordinated. For example, in the contrast color of red and green, the contrast intensity of red and green will weaken and tend to be harmonious. When decorating a sketch still life, if there are contrasting and incongruous colors in the main body, the appropriate color of the interlining will often be considered according to the above laws, so that the still life has a contrasting and harmonious overall color effect.

9. Pen method

(1) Pencil with shape layout

Representing objects by changing the law of light and shade-five tones, with the turning point of physical layout, light and shade and color will change. The direction, starting and setting of the pen should follow the turning point of the physical layout, which can also be understood as using the pen according to the relationship between light and shade and color. Because the change of physical layout is closely related to the change of light and shade and color. The size of the pen should change with the size of the shape, and the layout should be simple; Most parts and shapes are represented by big numbers, such as scenery. Small messy layout, small parts, small shapes and small details are all shown with small pens. For example, goblets, the mouth of porcelain, the thickness of plates and so on. Using large strokes alone will definitely be free and elegant. Using small strokes alone is easy to be trivial and difficult to let go. The two should be interrelated.

(2) The pen should be decisive, accurate and concise.

Every painting should be kind and have various colors. Don't think about it, don't write at will. Once you start writing, you should be decisive, accurate and crisp. Once the strokes fall on the paper, don't simply erase or change them. Try to draw it at once. In addition, the pen should be concise and clear, and a block, a turning point and so on should be properly handled. That is, one task or multiple tasks can be completed at one time. Such as lightness, purity, hue, block surface, authenticity and so on. To ensure a good stroke, you don't need two strokes, and try to draw objects with fewer strokes. In order to prevent trivial and deliberate repetitive description, painting and wiping with a pen is a taboo of gouache painting. Due to the limitation of gouache pigment, repeated alteration will make the background color flush, especially purple (rose red, violet) is the easiest to turn out and dirty the picture. Painting, painting and wiping will make people feel stiff, mechanical, not easy and not straightforward. So the beauty of painting is lost. Use a pen to be vivid and natural.

(3) the pen should be vivid and natural.

Vivid painting is vivid, delicate and changeable. Too regular and the same brush strokes will make the picture look stiff and dull. * * * is the manipulation of change, and it is * * * in brushwork. Change and * * * are dialectical, and only the change of brush strokes will appear messy. Chaos means change, chaos means * * *, and change and * * * are hostile. Need to find a balance between the two sides. In the demand of Chinese painting, we should do: "there is no chaos in chaos, there is chaos in chaos", "there is a slight lack of rules in rules, and there is freedom in rules" and "it is impossible to unify." This is an excellent argument in this respect. "No chaos in chaos" makes it clear that this kind of chaos should be controlled. Without control, it is real chaos, not the need for vividness. "There is chaos without chaos" means trying to make changes under the control of one degree.

10, summary

(1) In gouache painting, water has two purposes: one is to dilute the color and facilitate free painting; Secondly, moisture can make the color fade in different degrees, and make the bright paper color penetrate the excellent layer, showing the change of brightness. If you use a lot of water and let the colors flow on the paper, you can also have the effect of blending water and color. Generally, the Bo Tu method with plenty of water is often used in gouache painting for the first time, which can make the color layer soft and delicate and has the effect of receding. This method is often used to draw the shadow part and foreground of the scene. Thin painting can't give full play to the artistic characteristics of gouache because water is multicolored and thin, and the powder factor and hiding power will be weakened, so thin painting is often only suitable for partial or first color painting.

(2) Thick gouache painting is easy to produce the artistic characteristics of gouache painting. Therefore, the amount of pigment in the color mixing box must be kept wet and dry, so as to ensure that enough pigment can be dipped when the brush is inserted into the pigment grid, and it can be very rich and full when colored or painted on paper, and it can be used freely. Sometimes you can dip in several different colors, and draw appropriate colors through brushstrokes while shaping objects, which can draw vivid effects of various colors competing for each other. Of course, without enough experience and basic ability, it will never be easy to do this. Because of many bright objects or scenery, such as sky, water, roads, houses and so on. It is necessary to fill a lot of white to meet the requirements of lightness, so when gouache painting needs to use white, it is necessary to boldly use white and ensure a certain thickness, which can make the modeling thick and powerful, and produce a strong and weak contrast effect with the thin painting part. Generally speaking, in terms of color thickness, thick painting is the main way to obtain better gouache painting effect.