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Gouache color theory

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The expressive materials and painting tools of gouache painting (1)

First, the concept of gouache painting

Gouache painting is a kind of painting form in which powdered pigments are mixed with water.

Gouache painting takes water as the medium, just like watercolor painting. Therefore, gouache painting can also draw the same hearty effect as watercolor painting. But not as transparent as watercolor painting. It has something in common with oil painting, that is, it also has certain covering ability. Oil painting is different from oil painting. Oil painting is based on oil, and the dry and wet colors have hardly changed. But gouache painting is not, because gouache painting appears in the form of water and powder, and the wet and dry changes greatly. So its expressive force is between oil painting and watercolor painting. Watercolor painting is characterized by transparent colors, and objects are represented by the superposition of dark and light colors. But gouache is opaque and translucent. If it is covered or superimposed on the colored base layer, then this process is actually an addition, and the color of the bottom layer will affect the color of the surface layer to a certain extent, which is why it is difficult to master. But experienced painters often use this feature to express the unique artistic charm of gouache color itself.

Second, the limitations of gouache color purity and lightness

When gouache is wet, its color saturation is as high as that of oil painting, but when it is dry, it loses its luster and its saturation is greatly reduced because of the powder, which is the limit of its color purity.

The improvement of gouache brightness is achieved by diluting, adding powder or using more powdery pigments to lighten the color. Its wet and dry changes are very great, and often some colors only add a little powder. When wet and dry, its brightness shows a deep or shallow difference. Because the color of gouache is generally light after drying, it is the most difficult problem to solve in gouache technology to use gouache well. The color containing powder is the charm of gouache painting, which makes the color of the picture full of the unique "powder" quality of gouache painting, as well as a particularly rich intermediate color. Third, the personality differences of gouache pigments.

The colors of gouache pigments are mostly stable, such as khaki, khaki, ochre, orange, medium yellow, light yellow, olive green, pink green, ultramarine, cobalt blue and lake blue. The deep red, rose red, purple, purple and other colors in gouache pigment are extremely unstable, easy to turn over and difficult to cover. Gouache has only a few transparent colors, such as lemon yellow, rose red and violet. To draw gouache well, we must fully grasp the personality of each pigment and understand its color acceptance, hiding ability and color price. These problems should be solved through constant practice, so that practice makes perfect.

Fourth, the choice of painting tools

There are only three kinds of gouache popular on the market now-wool, wolf hair and nylon brush. Wool is characterized by high water content and many colors. The advantage is that one color painting has a large area. The disadvantage is that the painted strokes are easy to be turbid because of high water content, which is not suitable for detailed description. Langhao is characterized by less water content and better elasticity than Yang Hao, which is suitable for depicting local details. With the progress of modern industry, a large number of nylon brushes are popular in the market. When choosing a nylon brush, we should pay special attention to its texture, be soft and elastic, and avoid the pen tip being too strong. It is often difficult to draw a pen with a good nib, and it is easy to drag the following colors on the screen, which greatly reduces the coverage. When choosing the shape of the pen, choose different kinds of pens, such as flat head, pointed head, knife pen and so on. To meet the painting needs of different occasions and different themes.

It is best to use professional tin tube products produced by authentic art supplies manufacturers. Its paste is delicate and saturated in color. Don't be fooled by cheap and inferior products. In the choice of paper, we should choose high-quality watercolor paper with texture for painting, and the water absorption should not be too strong. Some inferior paper not only absorbs water but also absorbs color, and the color will turn black after drying. It is difficult to draw with such paper, and the colors drawn are bright and bright.

The expressive materials and painting tools of gouache painting (2)

About pure color

Inherent color is the inherent color of the object itself. Grasping the inherent color is mainly to accurately grasp the hue of the object. Because the inherent color occupies the largest area in an object, it is very important to study it. Generally speaking, the most obvious place where an object presents its inherent color is the middle part between the light receiving surface and the backlight surface, that is, the gray part in the sketch tone, which we call halftone or intermediate color. Because in this range, the object is less affected by the color of external conditions, and its change is mainly the change of lightness and hue itself, and its saturation is often the highest.

Example 1 apple and pear (single object practice demonstration)

A- 1 Usually, when I draw fruits, because lemon yellow has no hiding power, I make use of the transparency of lemon yellow color, and first use a layer of lemon yellow Bo Tu as the base to grasp the purity and brightness of fruit color.

A-2 starts from the dark part of the object, deepens the color with the intrinsic color, draws the dark part of the object first, and then draws the intrinsic color with the higher purity color.

A-3 adds some light yellow to the bright part to form the hue relationship of apple.

A-4 drew a projection to improve the brightness of the bright part of the apple. Note that the bright part should be cold.

A-5 draw the dark part and halftone of the pear.

A-6 scans the dark part with a pen tip and reflects the light. Add a little lemon yellow and lemon white to the bright part of the pear to make it cooler. Draw pears and apples with sharp strokes.

A-7 strengthened the black part of the pear. Further shape the bright part of the apple and make the bright part of the apple more colorful.

Apples and pears after A-8.

Coloring method of gouache painting

Gouache painting has a strong covering ability, but it can't be scribbled without consideration. It has its own coloring methods and steps. From the perspective of coloring order, there are the following:

1, from whole to part

Gouache painting is a kind of color painting, which, like watercolor painting and oil painting, starts with drawing large pieces of color. It is our painting principle to focus on the whole and proceed from the general. Large color blocks and large colors play a decisive role in the tone of the picture. We should first draw the color relationship of the main color blocks that make up the picture, and then describe the modeling and details of each part.

2. From dark to bright colors

Bright colors are mostly strong, and they can't be bright if they are light over and over again. Draw a darker color first, which is easy to be covered by bright colors; On the contrary, it is generally to draw a large area of dark colors (including dark parts, bright parts and heavy colors) to determine the skeleton of the picture color. Gradually shift to intermediate and bright colors. For a picture dominated by bright colors, it is still necessary to paint a bright big color block first, and the color is slightly lighter, plus a small area of dark color. If the middle color is the main color, then draw the middle color first when painting, and draw the past to a small dark color and a bright color by juxtaposition. The method is not dead, so we should master it flexibly according to the situation.

3. From Bo Tu to Thick Painting.

Bo Tu diluted the pigment with water, just like watercolor painting. According to the overall color feeling, he quickly Bo Tu again, resulting in the overall color environment of the picture, and then gradually thickened and expressed in depth. Bo Tu should be good at keeping the right place, so that the color of the picture is thick and light, so as to increase the layering and heavy effect of color.

Gouache paint is not as strong as oil painting and acrylic pigment, and can be applied very thick at will. Gouache painting should be thicker, too thick is easy to crack and fall off, so it should be thicker.

Basic techniques of watercolor painting

1, dry painting and wet painting

Dry painting is a multi-layer painting method. Using the method of layer coating to color the dry background color does not require infiltration effect, and it can be easily colored repeatedly, which is easier to master and suitable for beginners to practice. Clear physical structure and rich color levels are the specialties of dry painting.

Dry coating method can be layered coating, color masking, color collection, dry pen and other specific methods.

Coating:

That is, dry stacking, dry coloring, and colors are stacked one by one to express the object. There are different levels of coloring in the picture, some places can be done at once, and some places need to be done twice, three times or even more, but it is not advisable to count too many times to avoid losing the transparency of color. It can not be ignored that the layers of paint overlap after work, so as to predict the mixing effect of revealing the background color in advance.

Cover color:

In fact, it is also a dry stacking method, and the color area of the mask is larger. For example, several colors in the picture are not uniform enough, so we have to mask the colors once to make them uniform. If a piece of color is too warm, a layer of cool color will change its cold and warm properties. The color of the cover should be bright Bo Tu, and it should be re-paved. Generally don't write back, otherwise the color will be dirty with the background color. This method is often used in the process of coloring and the final adjustment of the picture.

Color matching:

Dry color matching means that adjacent colors are painted from their sides after drying, and there is no infiltration between color blocks. Each color itself can also be wet coated to increase variation. This method is characterized by clear outline and bright colors.

Dead pen:

Write less water and more colors, and it is easy to fly white when writing; Drawing quickly on rough paper full of water will also produce flying white. The method of dry pen is often used to show the effect of flash or softness.

Dry painting can't just write articles on the word "dry". The picture must still make people feel full of water and wet marks, so as to avoid the problem of dryness and boredom.

Wet painting can be divided into wet stacking and wet color collection.

Wet overlap:

Wet or partially brush the drawing paper, dry it and then color it, and dry it and then superimpose the color. Proper control of moisture and time will make the effect naturally mellow. Showing the rainy and foggy atmosphere and moist interest is its specialty, which is beyond the reach of some paintings.

Wet color matching:

This method is often used when the color is close to the dry end, the water color flows through, the boundary is blurred, and the transition soft color gradient is displayed. When collecting color, the water list should be used evenly, otherwise the water will rush to less places, which will easily lead to unnecessary water stains.

Watercolor painting is mostly a combination of dry painting and wet painting. The picture with wet painting as the main part is dry painting, and the picture with dry painting as the main part also has wet painting. The combination of dry and wet painting is expressive, dense and dry, and interesting.

2, the mastery of moisture

The application and mastery of water is one of the key points of watercolor techniques. Water has the characteristics of infiltration, flow and evaporation in the picture, so you should be familiar with "water-based" when painting watercolors. Giving full play to the role of water is an important factor in watercolor painting.

To master moisture, we should pay attention to time, air humidity and water absorption of drawing paper.

Time problem:

The time of wet coating should be well grasped. If the colors overlap too early and too wet, it is easy to lose their proper shape. If it is too late, the background color will be dry, watercolor will not penetrate easily, and the connection will be stiff. Generally, when overlapping colors, the water content of the pen should be less and the colors should be more, which is convenient to grasp the modeling and make it penetrate. If the overlapping color is light, wait until the background color is slightly dry before applying.

Dry humidity of air:

Draw a few watercolors, and you will realize that the water dries slowly indoors, and the water evaporates more slowly when painting outdoors in wet, rainy and foggy weather. In this case, draw less water; In a dry climate, water evaporates quickly, so use more water to speed up the painting of color matching.

Water absorption of drawing paper:

According to the water absorption speed of paper, master the water consumption accordingly. When the water absorption is slow, the water consumption can be less, the paper is softer and the water absorption is faster, so it is necessary to increase the water consumption. In addition, large-scale rendering of halo colors, such as sky, ground, still life, people background, etc., should use more water, and should use all water; Use less water to describe parts and details.

3. "Blank" method

Compared with the techniques of oil painting and gouache painting, the most prominent feature of watercolor technique is the method of "leaving blank". Some light and white parts need to be "left blank" when drawing dark colors. The transparency of watercolor pigments determines this painting technique. Light color cannot cover dark color, unlike gouache and oil painting, which can be covered with light color and white powder. Pay attention to watercolor works, and you will find that almost every one uses the technique of "leaving blank".

Proper and accurate blank or light color will enhance the vividness and expressiveness of the picture; On the other hand, improper blank space will easily lead to trivial and messy pictures. Mark the blank with a pencil before coloring. When coloring, you should skillfully omit the key details, that is, dots and faces. In addition, where the contrast colors are adjacent, the other side should be empty and colored separately to maintain their uniqueness. Some beginners leave unnecessary empty shapes and then paint colors along the outline. Some people leave empty places dead, too rigid, and lose vitality along the outline. Empty is accurate and vivid, and it is the embodiment of skilled skills. Repeated practice in practice makes perfect.

4, brushwork

The brushwork is the method of using a pen. The use of pens is closely related to the use of water and color. When painting, each stroke contains water and color, or water is less colorful, or color is more than water, or water color is moderate. When the pen moves on the paper, there will be traces, which is what we usually call "brush strokes" You can see the brushwork in painting from the brush strokes. The thickness of the drawing paper, the hardness of the brush and the speed of the brush strokes vary greatly according to the structure of the object, which is a bit wired, rigid and thirsty. Starting from the shape and color of the object, use the pen properly to enhance the plasticity and vividness of the picture. Watercolor painting has a large painting area, and the brush strokes are hidden by the infiltration of water. It feels subtle to reset the color strokes when wet, and the strokes are clearly visible when painting is dry. In the process of coloring, you can't leave the pen for a moment. The closer to the completion of the pen, the more important it is, and its brush strokes are no longer covered and exposed to the viewer.

Basic knowledge of gouache

At 22: 32 on July 8, 2009

Gouache painting has a strong covering ability, but it can't be scribbled without consideration. It has its own coloring methods and steps. From the perspective of coloring order, there are the following:

1, from whole to part

Gouache painting is a kind of color painting, which, like watercolor painting and oil painting, starts with drawing large pieces of color. It is our painting principle to focus on the whole and proceed from the general. Large color blocks and large colors play a decisive role in the tone of the picture. We should first draw the color relationship of the main color blocks that make up the picture, and then describe the modeling and details of each part.

2. From dark to bright colors

Bright colors are mostly strong, and they can't be bright if they are light over and over again. Draw a darker color first, which is easy to be covered by bright colors; On the contrary, it is generally to draw a large area of dark colors (including dark parts, bright parts and heavy colors) to determine the skeleton of the picture color. Gradually shift to intermediate and bright colors. For a picture dominated by bright colors, it is still necessary to paint a bright big color block first, and the color is slightly lighter, plus a small area of dark color. If the middle color is the main color, then draw the middle color first when painting, and draw the past to a small dark color and a bright color by juxtaposition. The method is not dead, so we should master it flexibly according to the situation.

3. From Bo Tu to Thick Painting.

Bo Tu diluted the pigment with water, just like watercolor painting. According to the overall color feeling, he quickly Bo Tu again, resulting in the overall color environment of the picture, and then gradually thickened and expressed in depth. Bo Tu should be good at keeping the right place, so that the color of the picture is thick and light, so as to increase the layering and heavy effect of color.

Gouache paint is not as strong as oil painting and acrylic pigment, and can be applied very thick at will. Gouache painting should be appropriate in shades, too thick is easy to crack and fall off, so the thicker and inaccurate colors should be washed away before painting.

Specific coloring skills should master the following points:

(1) Dry coating and wet coating

In gouache painting, dry painting generally refers to the method of overlapping thick coatings. This method can be repeated, but it can't be finished at once. The performance object is full and profound, and it is also suitable for beginners to master. This heavy picture, similar to the effect of oil painting, has a strong feeling. Wet painting is mainly based on thin painting, giving full play to the effect of watercolor infiltration, and the number of coloring should not be too much, even the white part can be left blank, which has the interest of watercolor wet flow. Of course, it is also possible to thicken some parts, and the combination of dry and wet will enhance the expressive force.

(2) juxtaposition and reset

The juxtaposition is strokes and placed on the drawing paper, with less coloring times and stronger colors at the beginning. For example, emphasize two-dimensional pictures. First, check the outline and structure with rough colored lines. When adding color, put the color on it side by side and press the line.

Reset is a method of overlapping colors, which uses color points, color lines and color blocks for overlapping coloring. Painting is mostly a combination of resetting and juxtaposition to fully express objects.

(3) master the change of dry and wet.

The wet and dry change of color is one of the characteristics of gouache pigment. The color is painted on the drawing paper, which feels more suitable when it is wet, and becomes lighter and grayer when it is dry. I don't know that this feature often brings passivity to coloring. Mastering this characteristic and predicting the drying effect in advance can avoid the uncoordinated "patching" of later coloring.

Paint from thin to thick when painting. Thick painting first, then Bo Tu's wet and dry changes greatly; Thin the painting first, and gradually reduce the thickness of the painting with water. The change of wet and dry is not obvious, so it is easier to master. It is also suitable for thick coating when modifying the picture. You can also apply a little water around the area to be modified, and the modified part will naturally be unified when it is dry.

(4) color cohesion

The picture needs two colors to connect naturally, from bright to dark to smooth, and the colors should be connected properly. There are three ways:

First, use wet painting to make the colors bright and dark. Because of the mutual penetration of water, this color and that color will naturally be soft. Not once, you can draw it again like this. B, between the two colors, draw with the color of the middle lightness. Although there are obvious pen marks, the transition is natural from a distance. C, where the two colors are hard, you can use one of them to dry sweep several times in the adjacent places to increase the transition color scale. You can also use a pen dipped in a small amount of water to sweep a few times in a blunt place, so that the junction of the two colors can be rubbed out from the brightness or color, and the transition will be natural.

(5) Use a pen

The color of the pen moves on the paper, and there are pen marks, which are called brush strokes. Generally, through the brush strokes in the picture, we can see the painter's general painting order and how to shape objects with pens. Using a pen is not an end, but a means of expression. Many painters have different brushstrokes, some are big and some are small. Which brushwork is better? How to use a pen? It is necessary to focus on the purpose of the performance object, based on the different structure, different texture and different feelings of the author of different objects. Starting from the object of expression, in order to express the structure and color of the body, we should flexibly use a variety of strokes such as painting, pendulum, point, hook, pile and sweep to describe.

Basic knowledge of gouache painting

colour

Contrast color:

Red and green

Yellow purple

Blue orange

The above three groups of colors are both contrast colors and complementary colors, which are widely used in color painting. In the application of these three groups of colors, it should be noted that you should not paint with solid colors (uncoordinated contrast colors), otherwise the picture will appear "fire", which is what people usually call "big red and big green"-particularly tacky. Beautiful colors are subtle changes and contrasts in gray tones. Contrast colors should be unified in the overall tone of a picture, and all contrast applications should not exceed the whole. That is, to seek the change of the whole (the unity of the picture).

Yellow+blue = green

Red+blue = purple

Red+yellow = orange

Red+blue+yellow = black (gray)

Both white and black are gray. White is the purer and brighter color in gray, while black is the darker and dirtier gray.

On color contrast

Color contrast: when two or more colors are compared in space or time, they can compare obvious differences and produce a contrast effect, which is called color contrast. Imagination can be divided into two categories: simultaneous contrast and continuous contrast.

Contrast caused by hue difference. When determining the main color, we must consider the relationship between other colors and the main color, what content and effect to show, and so on. , thus enhancing its expressive force. Put the same orange on the red or yellow, we will find that the orange on the red will have a yellowish feeling, because the orange is composed of red and yellow tones. When juxtaposed with red, the same components are harmonious and different parts are enhanced, so it looks more yellow than when it is alone. Compared with other colors, this phenomenon will also occur, which is called color name contrast. In addition to the color sense deviation, the two colors in contrast sometimes appear the phenomenon of color mutual penetration, which affects the visual effect of the separation boundary. When the two colors in contrast have the same chromaticity and lightness, the more obvious the contrast effect is, and the closer the two colors are to complementary colors, the stronger the contrast effect is.

Contrast caused by brightness difference. Lemon yellow has high brightness, blue-purple has low brightness, orange and green have medium brightness, and red and blue have medium and low brightness. Brightness contrast Put the same color on black and white, and compare the feeling of color, you will find that the color on black feels brighter, while the color on white feels darker. The contrast effect between light and dark is very strong and obvious, which has a great influence on the color matching result and makes people feel uneasy.

Purity comparison When one color is compared with another more vivid color, it will feel less vivid, but when compared with a less vivid color, it will look very vivid. This color contrast is called purity contrast.

Complementary color contrast juxtaposes red and green, yellow and purple, blue and orange with complementary colors, which makes the color feel more vivid and increases the purity, which is called complementary color contrast. (The phenomenon of visual afterimage is obvious).

Cold-warm contrast The color contrast caused by the cold-warm difference of color vision is called cold-warm contrast. Red, orange and yellow make people feel warm; Blue, blue-green, blue-purple make people feel cold; Green and purple are in between) In addition, the contrast between cool color and warm color is also affected by lightness and purity. High white light reflection, cold feeling, high black light absorption rate and warm feeling.

Correlation between environmental color and cold and warm color of color

"You have me and I have you" is a high generalization of the color correlation of objects. In color painting, we should exaggerate and affirm the influence of environmental color. As we all know, the color of an object is expressed by light. There is color only when there is light. Without light, the whole world is dark. Colors only appear under the influence of light. Light will shine on one object and another, so the light that shines on this object will be reflected on another object close to it, and that object will have the color of this object. This is the ambient color. That is, the color of an object affected by the environment at a specific time and place under the light source. It should also be noted that no matter how exaggerated the ambient color and contrast color are, the most important thing is not to let the audience feel that the inherent color of the object has been changed. This is a good environmental protection color treatment. As you can imagine, different light sources have different effects on objects, that is to say, the colors of objects are different under different light sources, which involves a problem of cold and warm. Generally speaking, under natural light, indoor objects are usually dark, warm and cold, which is influenced by light sources. Why? The light source is cold, the light source shines on the bright part, and the bright part of the object is naturally cold. Through the knowledge of color contrast, we know that the bright part is cold, so the dark part is just warmer than the bright part. This is why indoor objects are warm in the dark.

In a good color homework, we can find that in addition to the use of contrast colors, there are often bright-gray contrast and light-dark contrast, that is, the near objects are bright, the far objects are gray, the objects near the light source are bright, and the objects far away from the light source are dark. In order to open the space, express the feeling of mass. Many times, some people will look at the painting and say, "Where did you get such a color?" "Why can't I see this color?" This is to see that there is no contrast in colors. For example, if I put a red interlining on a white interlining, then I will definitely add a certain amount of green to the color of the white interlining, at least there should be a lot of red near the red interlining, instead of a lot of red for the sake of cohesion. Only in this way, the color will be beautiful, the final effect will not be "dull", and the picture will have color.

White problem

powder

Many people say there is too much white in the picture, that's right. We have talked about the role of light, and the light perception of objects is expressed in white. In gouache painting, white powder is weak, so we must dare to add white, but is the whole picture white, or the more white powder, the better? The answer is no, you can't add powder to the dark part of the object. If you add a lot of white in the dark, it is called "powder". If you want to get a strong sense of light in the picture, you can only add white in the right place, but you can't scribble everywhere on the picture.

Postscript:

In short, if you want to draw a good color, you must make full use of contrast and light and shadow, observe and compare more, and draw in the right way, instead of taking crooked ways (such as picking out parts and starting with dirty colors). Only in this way can we make progress. The method is fake, but it is true to practice more.