Through the creation of "Field Ridge in the Suburb", this paper expounds my thinking and understanding of oil painting composition and color. In the process of creation, my thesis always takes creation as the center, and records in detail all kinds of problems encountered in the process of creation and my real thoughts and feelings, so that the thesis and creation can finally achieve the effect of graphic integration.

Keywords: oil painting composition, color, graphic integration

First, the topic selection in the early stage of creation

By chance, when I saw the farmhouse garden behind the building in the department office building, the surprise it immediately gave me was still fresh in my memory. The scenery is very good, and it looks like a natural oil painting. So I had the impulse to paint my feelings about it in oil painting.

The scenery in this suburb reminds me of some feelings in Van Gogh's landscape oil paintings, because I love the composition and color of Van Gogh's paintings and the oil painting language he used. The vitality of brush strokes, the thickness of oil painting pigments, obviously separated lines and strong color contrast express the infinite vitality of nature. So I decided to learn from the composition and color techniques in Van Gogh's oil paintings in my own creation to complete my graduation creation.

Second, the setting of picture composition and the use of color in the middle stage of creation

1. Composition Settings in Creation

Composition is an important part of the picture, and whether its setting is reasonable or not is related to the effect of the whole picture. I use the square composition method, which is simple and ordinary, but I try not to lose interest, because I divide the picture into simple geometric figures, and with the curved strokes, the picture effect will not be dull. For example, the performance of trees is based on the growth trend of trees, expressed by lines, highlighting their lush spiritual outlook. The ground plants planned by geometric figures express their overall tendency with winding lines. Therefore, the strokes of trees are in contrast with those of plants on the ground. In the farthest angle of composition, that is, the connection between heaven and earth, houses with different heights are set up, and their curves break the straight horizon and increase the depth of the picture.

2. Problems and solutions in color application in creation.

At the beginning of my creation, facing the field in the suburbs, I gradually entered the state of painting, but in the process of painting, I gradually felt that I didn't know where I was going. Maybe it's because my passion for painting has run out as time goes by. At present, the painting is far from my original passionate thoughts, and the color is gray and dim, which is not what I originally wanted. Moreover, I found that the colors used in the process of painting involuntarily went to the road where I was used to using gray. When the instructor pointed out to me that the color tendency was not obvious and was limited to the usual colors, I decided to temporarily stop writing to calm myself down, re-examine my original motivation and purpose of painting, and find a way out from this gloomy color.

Next, I gave up facing the suburbs directly, that is, I put it in my heart to impress it, and painted it with strong color contrast and natural and comfortable brushwork with my memory. With the vitality of brush strokes, the thickness of the oil painting pigments used and the bright or dark lines, the whole painting was immersed in my subjective tone, which changed the gloomy and dim colors before and finally made it bright and beautiful. And I found that I didn't often use plain blue and dark brown pigments to make the picture more mature and deeper, such as using blue colors such as trunk and slope in my creation; In addition, I mixed a pigment with violets or other purples. As long as there is a little yellow in that color, it will produce a stronger yellow effect, such as using Huang Tiao in the nearest line of sight in the picture. In this way, the whole picture began to become clear, and the range of color expression also expanded. The colors are bright, and the echo relationship between them is gradually delicate.

3. Description of details in creation

Once, in my paintings, I always tried to use color to express the meaning of my so-called principles of space and perspective, because for me, only by expressing the charm of color incisively and vividly can I convey my inner emotions. The greatest charm of color lies in contrast, not the contrast between black and white, but the true inner feelings of color. Because I want to draw what I really have "feeling" eyes see, and even I may forget everything I know when I show it, so that I can truly and truly show the nature in my heart. For example, in the detailed description of trees in my paintings, I use the dynamic situation of brush strokes and combine the growth trend of trees' own structure to draw a black flame-like sense of branch strength. The leaves that express the green texture with big strokes are curly, and the outermost leaves are directly described with high-tone pink green, which feels like bathing in the sunshine zone. The heavy feeling formed by the white clouds and blue sky in spring is oppressed from the sky to strengthen the depth of the picture, highlight the fluidity of the air, and make the plane space deeper under their expressive force. The undulating golden yellow and pink green plants on the ground show swaying and curling growth characteristics through the vitality of the brush strokes themselves. The contrast between warm colors and cool colors, and the contrast between weight and shape not only make my picture form a three-dimensional composition, but also unify the whole picture, thus making things in the whole picture present a vibrant feeling. I have been thinking deeply about what kind of mood I want to express the things in my picture. After all, people's emotions are not always so stable for a period of time, and they are easy to be controlled by reason. After this meditation, I found that letting myself really enter the picture is a good way to solve this problem, that is, the fusion of mind and matter to achieve real emotion. This is related to the structure and color expression of things in the picture, not the expression of emotions.

Third, the income in the later period of creation.

There are two important things in painting: one is vision and the other is mind. But the two must be reconciled in painting, so as a painter, on the one hand, he should observe nature with his own eyes, on the other hand, he should control his personal feelings with his own spiritual logic. Only in this way can the two be displayed harmoniously, so as to achieve the purpose of expressing themselves. I elaborated my thinking and understanding of the composition and color of oil painting through the creation of Field in the Suburb. In the process of creation, my thesis always takes creation as the center, and records in detail all kinds of problems encountered in the process of creation and my real thoughts and feelings, so that the thesis and creation can finally achieve the effect of graphic integration.

The creative process is over, but the happiness brought by this process is lingering. The following is a passage I personally like, which is the best interpretation of the problems I face when I create and their solutions. Van Gogh's words about "the fate of artists": "It is not a simple thing for man to fight against nature. Although I can't know my future success, the only thing I can be sure of is that some people succeed and some people fail. If a blank canvas laughs at your lack of energy, run up and paint boldly. A blank canvas seems to say to you: you know nothing. You have no idea how frustrating a blank canvas is. Many painters are afraid of a blank canvas, but on the one hand, a blank canvas is afraid that a truly enthusiastic painter will resolutely face the canvas. " Perhaps it is because of this that I have great courage and belief in the lifeless picture I face when I have no choice. Through the graduation work "Field Ridge in the Suburb", I gradually realized that at first, all my efforts to depict nature were in vain, and everything I drew was wrong. When I calmed down and used my palette to draw creatively, I naturally obeyed and gradually appeared on my canvas with my brush strokes. My classmates saw my creative drawing and thought it was my imagination. I could only answer, "No, it was based on my memory." This kind of conscious composition and color pleasure in oil painting is really unprecedented to me.