Urgently ask for written materials for the art grade examination (Grade B)

According to different classification methods, western paintings are divided into different categories. The most common ones are divided into oil painting, gouache painting, watercolor painting and printmaking according to practical tools and materials. Oil painting, the most important kind of painting in western painting, was produced in Europe in the 0/5th century A.D./KLOC, so it was named after its pigment was mixed with oil. It can be painted on canvases, boards and walls. Oil painting is rich in color, vigorous and powerful, can repeatedly alter the picture, has strong hiding power and plasticity, and can fully express the realism of objects. Gouache painting-a painting made of water mixed with powdery pigments, is a kind of painting between watercolor painting and oil painting, which can have both the rich and distinctive characteristics of watercolor painting. Gouache pigments are generally opaque and have strong hiding power, which can produce gorgeous, soft, bright and rich artistic effects on the screen. Watercolor-produced in Europe, once flourished in Britain in the18th century. Watercolor painting is to mix pigment with water, and water can dilute the color through paper, which can produce a transparent and moist artistic effect. Dry painting and wet painting are the two most important techniques in watercolor painting. (Dry painting: After the first color drying, continue to paint the color on it. There is no infiltration of water on it, which is relatively simple. Wet painting: when the color is not dry for the first time, painting another color or connecting it with another color can show a wet and transitional color effect. ) printmaking-a painting made on a specific board, slate or copper plate with a carving knife or pen, leaving traces on the board by the corrosion of chemicals, and then printing with ink is a printmaking. Prints are simple, simple and heavy, and are often used in illustrations and covers of books. Sketch: It is the basis of all kinds of western paintings, especially oil paintings, watercolors and prints, to shape the image of objects with monochromatic lines and fast faces. When sketching, a pencil is enough, and the big one can draw thick lines with charcoal bars. ) the relationship between an object's intrinsic color and light source color and environmental color (2009-05-0417:14:1) Label: color variegated classification: the relationship between an object's intrinsic color and light source color and environmental color refers to For example, the red flag is red, the grass is green, the skin color of China people is yellow, the skin color of westerners is white, and so on. From the optical principle of color, we know that an object has no fixed inherent color. The color of an object is closely related to light, which will change under certain conditions, and it is concrete, not a concept. People in China have a yellowish complexion, but it's actually impossible to tell what kind of yellow it is. However, although the color of an object is changeable and complicated, it still gives us a certain color impression. Therefore, we should not be bound by the concept of intrinsic color, nor should we completely ignore intrinsic color. The color of light source refers to the color of light emitted by luminous body. Such as sunlight, moonlight, firelight and the colors of various lights. Different colors of light sources will cause changes in the inherent colors of objects. For example, a piece of red cloth looks different in color under the light during the day and at night. Many lesbians know this. They avoid going to the store to buy clothes at night, because the colors they see in the light at night are different from those they see during the day. Even the same sunlight, its light color is different in the morning, noon and night, which will cause obvious changes in the tone of the same scene. Ambient color refers to the light color reflected by the objects around the object, which will also cause the inherent color change of the object. For example, put a piece of red cloth near the backlight of the white porcelain cup, and the side of the white porcelain cup near the red cloth will receive the reflection of the red cloth, which tends to be red and gray. If the red cloth is replaced by green cloth, this side of the white porcelain cup will turn green and gray again. It can be seen that the inherent color of an object actually changes under the influence of the color of the light source and the color of the environment. The color of an object under different light sources and environmental conditions is called "conditional color" in chromatics. The relationship among the intrinsic color, light source color and environmental color of an object is very important to the formation and change of the color relationship of the object. In different parts of the object, the relationship between them is also different. The general rule is as follows: the light-receiving part of an object is significantly influenced by the color of the light source, and its color tendency is the combination of the inherent color and the color of the light source. Highlight is almost a direct reflection of the color of the light source. The backlight part of the object is significantly influenced by the environmental color, and its color tendency is the combination of the inherent color and the environmental color. The influence of ambient color is more obvious in the reflective part of backlight. The semi-light-receiving part of the object is less affected by the light source color and environmental color, and the inherent color is more obvious. Generally speaking, the color relationship between the light-receiving part and the backlight part of an object is not only the relationship between light and shade, but also the relationship between cold and warm and the complementary color. However, this must be analyzed in connection with the specific inherent color, light source color and environmental color. For example, the light source color is weak warm color, and the environment color is strong warm color. At this time, the light receiving part and the backlight part of the object are not the usual cold and warm opposition. The degree of interaction among intrinsic color, light source color and environmental color has a great relationship with the texture of the object. Rough objects, such as woolen cloth, coarse cloth, pottery and so on. It is not easily influenced by light source color and environmental color, and its inherent color is more obvious. Smooth objects, such as metals, porcelain, silks and satins, are easily influenced by the color of light source and environment, and their inherent colors are not obvious. Knowing this is very helpful to express the texture of objects. The relationship between the inherent color of an object and the color of light source and environment is also related to the angle and intensity of light projection. In indirect light (such as indoors), the inherent color is more obvious. Under direct light, the stronger the light (or colored light), the weaker the inherent color. For example, the inherent color of the same object is more obvious on cloudy days, but it is obviously weakened in the sun. Beginners are often bound by the concept of the intrinsic color of an object when learning. They don't understand that the intrinsic color will change under the influence of light source color and environmental color, and they are not used to observing, analyzing and expressing the intrinsic color, light source color and environmental color as a whole. This needs to be overcome. However, we should not pay too much attention to the influence of light source color and environmental color on the inherent color of objects, but completely ignore the inherent color. For example, a white porcelain cup can become colorful under the influence of light source color and environmental color, but it always feels like a white cup. It is also wrong to draw a white cup into a flower cup only by paying attention to the change (it is not easy to see that it is a white cup only under strong color light). Color contrast Any color does not exist in isolation, it interacts with the surrounding colors to form a relationship of contrast and change. As mentioned above, when the magenta block and the vermilion block are juxtaposed, the magenta block appears cold and dark. When the magenta block and the rose block are juxtaposed, the magenta block appears warm and bright. For example, when we put a still life, we put an orange on the blue-purple interlining, which looks warm and bright. When we changed the blue-purple interlayer to the gold interlayer, the same orange poop turned gray, cold and dark. Any color not only affects the surrounding colors, but also changes the contrast (only the intensity) due to the influence of the surrounding colors. This is the ubiquitous phenomenon of color contrast. It is very important to realize this. When sketching, we observe and analyze the color relationship of objects. In addition to understanding the relationship between the inherent color of the object, the color of the light source and the color of the environment mentioned above, we should also consider the contrast relationship between colors (color blocks). This is an important aspect of the relationship between hue and color of sketching objects. Color contrast phenomenon increases the complexity of observing and analyzing the color relationship of objects in sketch, but it also enhances the ability of color expression. In addition to the commonly used color matching methods, we can also change the hue, lightness and purity of a color through color contrast to achieve the desired color effect. For example, if you need to brighten a color, you don't have to add white to it. You can darken the surrounding color blocks. For another example, I think one color on the picture is too warm when sketching. But it is not necessarily that the color itself is too warm, but that the surrounding color blocks are too cold. When modifying, it can be solved by changing the surrounding color blocks without moving this color. Therefore, knowing and being familiar with the contrast between colors can greatly enhance our ability to express colors. It is very important to describe the relationship among the intrinsic color, light source color and environmental color of an object in the practice of color sketch or in the works with general realistic style, but it is often not important in decorative paintings or works with non-verbal expression techniques, and even it is necessary to deliberately break the shackles of the relationship among the intrinsic color, light source color and environmental color. However, the contrast between colors is very important in realistic, decorative and non-realistic painting. The phenomenon of color contrast is infinitely rich and complex. If summarized, it can basically be summarized as the following nine contrast relationships: hue contrast; Brightness contrast; Purity comparison; Cold and warm contrast; Complementary color contrast; Simultaneous comparison; Continuous comparison; Boundary contrast; Area comparison;