How to display black, white and gray pictures

In painting composition, the distribution of black, white and gray is very important for all kinds of paintings, and it is the key link for the success of the works. We can even say that as long as the layout of black, white and gray is not chaotic, the picture will not be chaotic. Some works should be very successful, but because the relationship between black and white is not handled well, the overall structure is chaotic. Therefore, the layout and treatment of the relationship between black, white and gray is an important part of the study of painting formal language. After the large structural lines or basic composition forms are determined, black, white, gray and small color maps should be designed immediately. Sometimes the structural forms of black, white, gray and color are considered at the beginning of composition. This has a direct and positive effect on expressing the theme of the work, expressing the characteristics of the idea, strengthening the appeal of the image and enhancing the artistic effect. We sometimes say that a painting is "gray" or "flower", and the relationship between black, white and gray is often not handled well. Generally speaking, there are three factors to form black, white and gray lumps. One is light irradiation, the light receiving surface is bright, forming white, the backlight part is dark, forming black, and the rest is transitional gray. The second is the relationship between black, white and gray formed by the inherent hue itself, such as black hair, white cheeks, clear sky, deep mountains and so on. Third, subjective arrangement, the painter assigns and designs black, white and gray according to his own creative intention, and consciously organizes the picture layout, which is in line with aesthetic principles. This is widely used in decorative paintings and abstract works. The general rule of black, white and ash treatment is: it turns white when it meets black, black when it meets white, white in black and black in white; The forms are black, light and white, black and white, gray connection, big black and big white, gray transition, perceptual shot and rational convergence. Make the main part of the picture eye-catching, the secondary part generalized and the trivial part generalized and unified. In short, when considering the layout of black and white gray blocks, we should not only respect the natural order of objective objects, but also need the painter's intentional arrangement and subjective emphasis, and also carefully consider the black, white and gray structure of the picture. First, the different feelings of the color of the picture. The content of the work is cheerful and gloomy, and the movement is different. We should coordinate with it when establishing the tone of black, white and gray pictures. If black, white and gray are compared to the low, high and middle notes in music, the three contrast and set each other off, but there must be a main tendency, that is timbre. The black-and-white composition and area of the picture determine the black-and-white tone of the picture, and different tones can produce different feelings. More black and white, less gray, strong effect, less black and white, more gray, soft and beautiful tone. Generally speaking, dark pictures give people a deep, tragic, serious and sad feeling; Often with a feeling of terror, depression and mystery, and sometimes surprisingly quiet. The tone of the picture is mainly light, which brings people brighter, brighter, more lively, more comfortable and more pleasant psychological feelings. The gray tone gives people a soft, lingering, pleasant and rich impression. It seems that there is no clear emotional tendency, but it can achieve a strong effect if handled properly, and the emotion is transferred to the content of the picture, which has great initiative. Even the same amount of black and white, due to the different combination and arrangement of pictures, will also produce different tones and feelings. When we consider the picture structure, we should use the concepts of black, white and gray to summarize the tone of the object, and grasp the harmony and contrast of black and white to deal with it. Such as black and white, white and black, black on the top and white on the bottom, black and white interspersed, black and white alternated, black and white created momentum and so on. That is, black and gray are used to set off bright subjects, gray or deep subjects are set off with bright backgrounds, and bright subjects are set off with deep backgrounds; Set off a black subject with a bright background, etc. The higher the degree of generalization, the louder the picture effect and the greater the attraction to the audience. It should be noted that no matter which tone is adopted, it must have its own contrast between black, white and gray, but the degree is different, so that the bright tone does not float, the dark tone is not stuffy, and the gray tone is not gray. Knowing white and keeping black, this is the composition theory of Chinese painting, in fact, the relationship between black and white. We should pay attention to the black and white parts of the picture. Black and white should be carefully arranged, paying special attention to the generalization of black, white and gray. The size and shape of the blank space are different, and there cannot be completely regular equilateral triangles, squares, circles, diamonds, etc. The general requirement is to widen the distance between the three major relationships of black, white and gray, weaken the small contrast, and let all small changes obey the contrast of the big relationship. Second, there must be rhythm and contrast. The repetition of black and white contrast produces black and white rhythm, which is an important part of black and white formal beauty. The lack of black and white rhythm in the picture will lead to monotonous and disorderly picture. Whether the picture is bright or not depends on the establishment of black and white. Whether it is a picture dominated by bright colors or a picture dominated by dark colors, there must be the brightest and deepest "poles". Absolutely speaking, there can only be one place with the strongest contrast in a picture, and the rest should be subordinate to the strongest. Avoid the confusion of big relations, which is like a timpani in music, giving people an exciting and strong feeling, otherwise it is "gray". The melody of music is the life of music, and the melody of black and white is also the soul of the picture. A piece of music has a climax, and the black and white of a picture also has a center. The center of this black-and-white melody is the strongest contrast between black and white, and it is also the most "jumping" part of the picture. Gray is a mild tone, easy to get along with people, and plays a role in adjusting and enriching the picture. In order to obtain the richness, strength, rhythm and rhythm of composition, it is often black, white and gray, and you have me. Of course, this kind of interleaving is different in area, and the color blocks with high stimulation intensity are relatively concentrated. Otherwise, it will appear mediocre and the picture will be chaotic because there is no gathering and dispersion. Let's look at such an example. See the schematic diagram made by Jiang Yue. Black and white have the same color blocks and positions, which easily leads to a dull picture. A large area of black should leave some small area of white inside to make it vivid and breathable; Similarly, a large area of white should also add some black to make it colorful and weighty. Black and white modeling should be scattered, pay attention to the location of density, and pay attention to convergence and dispersion of the gray surface, so as not to appear unremarkable. Objects should revolve around black-and-white graphics, which can be folded, broken, wound and rotated to set off the black-and-white graphics. Third, the black-and-white composition of the black-and-white gray balance picture should also consider the balance relationship between black and white. Even if the border of the picture is balanced, the treatment of black, white and gray is unbalanced and will be unbalanced. As mentioned earlier, black, white and gray give people different sense of quantity, and black is the most important and has a sense of contraction; Gray is second, with a sense of stability; White is lighter and has a sense of swelling. Various color blocks in the composition have played a role in calming down the overall situation. The area, position and figure of black, white and gray play a vital role in the balance, change and unity of the picture. Therefore, in the layout, we must consider the balance between them. This balance is similar to the picture layout, which requires the concept of central axis and the proportional relationship of quantity. Fourth, the unity and harmony of black and white, the ever-changing black and white, must be harmonious, and unity has beautiful value. Without harmony, contrast and rich artistic effects, the picture is chaotic. The unity and harmony of black and white refers to the unity of black and white artistic form and black and white expression in a painting, and the picture must conform to a certain artistic form. To coordinate, it is necessary to make the black and white shape changes of the picture not chaotic. If the two largest black areas in the picture are the same, it must be dull; If these two pieces of black have not changed shape, it will be even uglier. But the juxtaposition of black and white blocks is in strong contrast. So don't be too confused, otherwise it will lead to flowers scattered. In fact, the arrangement of black, white and gray is not always fixed in the form of black, white and gray in advance, and then make do. Instead, while arranging various objects and images, it naturally forms a tone, and then adjusts it on this basis to make it more in line with visual aesthetics. The specific processing method is to summarize all the images, characters and props on the screen and treat them as several color units. When composing a composition, arrange them on the corresponding black, white and gray labels, on the one hand, according to the hue required by the image and background; On the other hand, according to the black and white rhythm and rhythm of the whole picture, the two are closely combined. Overall design, seek harmony in comparison and change in harmony. There is unity in the change, and the artistic effect with formal aesthetic feeling is achieved.