On several abilities of color still life sketch

This article comes from the color test of www.zzqzg.com Art College Entrance Examination, Baijiahao, paper net. Generally speaking, gouache still life sketch or gouache still life dictation is the main method. Art college entrance examination is generally based on sketch and color, and color examination mainly examines students' ability in the following aspects: the ability to control the layout of a painting, that is, the ability to compose. The first thing that enters the viewer's eyes is the overall composition and spatial layout of the picture. How to make the color picture more beautiful and visually pleasing is particularly important. Accurately speaking, composition layout is the most critical and important step, and reasonable and beautiful composition is the premise for a work of art to achieve good results. But some students often ignore this point, thinking that it doesn't seem to matter whether the composition is good or not, as long as it is well drawn. This is a completely wrong idea. In the color professional examination of art colleges, the first item in the grading standard is often to put forward the specific requirements of composition, and it occupies a considerable proportion. Still life color sketch should first examine students' ability to master and control the overall layout of the picture, which is a basic ability that painters need to learn. Second, the ability to grasp the overall tone and atmosphere of the picture. Tone is a color tendency endowed by the whole picture. An excellent color still life sketch must have its own unique tone tendency, and a messy, fragmented color work without color and tone will not arouse people's aesthetic feeling. Sometimes when we look at objects, we feel that the tendency of hue is not obvious. At this time, it is necessary to adopt the method of overall observation and classified positioning, and at the same time "compare" the colors of a group of static objects, so as to grasp the basic colors of this group of objects. For example, we first feel the background of still life, which color accounts for a large proportion between interlining and objects, and whether the color tendency of interlining is coordinated or compared with the colors of main still lives. If the colors of the interlining and the main still life belong to the same color system, it basically determines the tone tendency of this group of still lives, and the color of the interlining occupying a large area in the main position of the picture constitutes the main color of the picture. The processing and organization of still life usually takes a large area of interlining or objects with a certain color tendency to occupy the main control position, and uses some small areas of interlining with other colors to produce a contrast relationship with the objects, thus activating the picture. It can be seen that the distribution and proportion of color areas of objects can determine the tone of the whole group of still life. So, what other factors restrict the tone of a group of still life? In order to define the specific positioning of hue, we should learn to distinguish its characteristics from the following aspects: (1) lightness can be divided into high-key, middle-key and low-key; Purity can be divided into fresh tone, intermediate tone and gray tone; Colors can be divided into cool colors, middle colors, warm colors and similar colors, adjacent colors and contrast colors composed of different colors. In the process of sketching homework, students should be clear-headed and coherent in thinking in view of various complex color factors. They should not only grasp the big color relations in the picture, including cold and warm relations, pure gray relations and spatial relations, but also pay attention to the color contrast and unity between objects. Third, the ability to shape the picture form with color as the main modeling language. Although modeling is similar to sketch painting, fundamentally speaking, it has its own unique place, that is, modeling elements must use color, and modeling training mainly focuses on color relationship and sketch relationship. Therefore, the color still life sketch exam and the usual long-term practice must first make such a goal clear. In the study of color still life, students use color elements for modeling. The strength of this ability depends largely on their sketching level. If the students' sketching level is not high, the ability to shape the body will not be too high, which is the inevitable result. However, on the other hand, if a student's modeling ability is not strong, but his color feels good, the color picture is beautiful, the color tone is beautiful, and the expression method is also very distinctive, then his modeling is a little weak, and his strong points can also be used to make up for his weak modeling. Judging from the comprehensive art evaluation criteria, it seems that this is not impossible. In the color scoring system of the entrance examination of art colleges, this form of works is often generous, and sometimes even gives a high score to express its affirmation. In the last part, the artistic expression ability of the four pictures in the painting grading standard is generally the same, that is, the pictures are required to have certain artistic expression ability. The so-called artistic expression ability, in different art categories, will have its own way of understanding, in the basic training of painting, generally refers to the artistic expression of works. Painting is different from photography. It is impossible to list all the objects recorded in the picture evenly. Such works will only be lifeless and boring, not to mention artistic appeal. In the process of color sketch, students should carefully and scientifically observe this group of objects and learn to use the overall observation method. In the spatial manipulation of still life, because the position of the object is not on a plane, there is a front-back occlusion relationship, so the picture should have a certain virtual-real relationship and a primary-secondary relationship. In the color teaching system, this artistic expression ability is not achieved overnight, and it needs long-term training, observation, perception and experience to master it, and this ability to handle the picture effect is a yardstick to measure students' artistic accomplishment. For example, in the theme of a group of still life combinations of ceramic utensils and fruits, adding two interlayers, we must first make clear which is the central object of the picture, which is the less important part, which needs detailed description and which needs simple treatment. In terms of spatial layout, because the sketch relationship is clear, the objects in front of the screen should be drawn in detail and realistically, while the objects in the distance or at the edge of the screen should be briefly summarized, which is the virtual processing method. Interlining is used to set off objects. Therefore, when displaying the interlining, don't draw it too brightly and excitingly, otherwise it will weaken the expressive force of the subject and object, resulting in a presumptuous guest usurping the host's role. When appreciating the content of a finished color work, the visual order is generally the overall spatial relationship first, then the main objects in the picture, the objects near the main objects, and finally the distant objects and backgrounds. According to this observation order, the picture processing will feel scientific and reasonable, and visually it will produce a sense of rhythm and a sense of beauty. Only when the picture is clear and the reality is proper can it have a strong artistic appeal. In addition, the author can master the ability of color tools skillfully, and can also integrate perceptual and rational knowledge in the picture, and the expression technique is rigorous, smooth and natural, which will also make the picture effect more vivid. This article comes from www.zzqzg.com, Baijia Paper Network.