Color is a very important and charming artistic language in painting. Color sketch is to reproduce nature and life artistically with color language. In the process of painting, correctly observing and mastering the color law of objective objects can improve the ability of color discrimination and color modeling, which is the key to color sketch. Therefore, to improve the painter's color sketch level, we should not only strengthen the color consciousness, but also master the overall observation method and expression method of color sketch.
First, strengthen color awareness.
The color of the object comes from the color of the light source and the selective absorption and reflection of light by heterogeneous objects. For the color of an object, different people or the same person have different understandings and feelings about its color at different times and places. Therefore, in order to better understand and use color, we must have a comprehensive understanding of color.
1. Know colors
Scientific practice has proved that the color of an object is formed by the irradiation of light, and there is no color without light. Color is the visual effect produced by the stimulation of light, light is the cause of it, and color is the result of its feeling. Colors in painting can be divided into sketch colors and decorative colors. Decorative color pays attention to the contrast and coordination of the inherent color, TINT and hue of the object, and is more subjective in color application than the sketch color with simple color and large color gamut contrast. Sketch color also takes into account the inherent color factors and color coordination of objects, but pays more attention to the objective color changes of objects under different lighting conditions and the various color relationships caused by the interaction of colors. They are different, complementary and interrelated. Sketch color and decorative color have their own advantages and limitations. They can't be separated from each other in color training, but should penetrate each other to understand and appreciate color.
Step 2 know your body color
Color and form are important factors in painting. They are interdependent and inseparable unity. It is the image produced by shape and color that enables us to enjoy art. The color of the body mainly comes from three aspects that constitute the color relationship, namely, light source color, environmental color and inherent color.
Light source color is the light of different colors due to the different lengths of light waves, which is called light source color in painting. The light emitted by different light sources has different light source colors due to the different length, intensity and proportion of light waves. The color of light source is the color tendency of light itself, which affects the color of objects. The color phenomenon in nature is precisely because of the difference and change of light source color that the color of the object becomes rich and colorful.
Inherent color is formed by the color absorption and reflection of light source color by light-receiving objects. Because of the different properties of absorbing and reflecting colored light by various objects, different colors are formed in people's vision, so we call the colors presented on objects intrinsic colors. "Inherent color" is an inaccurate concept, and there is no "inherent color" in the world. Because the color of an object is limited by light, the object itself does not present a constant color. What people call intrinsic color is a kind of color impression presented in soft sunlight, which changes with the color of light source and the color of surrounding objects. Therefore, the "inherent color" will not remain unchanged. Although modern physics has repeatedly proved that intrinsic color does not exist, in order to study the convenience and observation habits of ordinary people, we still study the color of light source and the intrinsic color of objects as separate concepts. As a hypothesis, intrinsic color is necessary and valuable. It not only adapts to people's intuition and habits, but also facilitates people's observation, analysis and research on the color of objects. Without this assumption, it is difficult to describe the color of an object.
Everything in the world exists in a specific environment rather than in isolation, and color is no exception. Environmental color is formed by the mutual influence of the colors of objects in the same space due to the reflection of colors. This is a very important concept, which emphasizes that the depicted object is influenced by the reflected light of the surrounding color, and the color presented can not be separated from the illumination of the light source, which has an objective and true visual experience. Therefore, different objects in the same scene will be influenced by different degrees of colored light through absorption and reflection, and the light source color, inherent color and environmental color will restrict each other once and for all, forming a harmonious and unified color whole. In color sketch, we should strengthen the changeable consciousness of color, correctly understand and grasp the relationship between the three in depicting objects and images, and prevent overemphasis on color changes of objects and neglect of modeling.
3. Grasp the color of space
Grasping color depends on feeling. Only by correctly understanding and understanding the relationship between color and space can we solve the essential problem. Because the scattering degree of color light waves is different, the wavelength of light waves is also different, and the color also changes in spatial transmission. If the spatial distance is close, the outline of the object is clear, and the difference between light and dark tones is large; If the spatial distance is far away, the outline of the object is blurred, the difference between light and dark tones is small, the levels of light and dark sides of the object are unclear, and the tones are unified. At the same time, due to the influence of space factors such as air, the color purity and warm color of objects at different distances will also change, and the colors far away from the painter will be grayer or colder. It is concluded that the basic laws of spatial color are near warm and far cold, near pure and far gray, near bright and far fuzzy, near strong contrast and far weak contrast. Using the relationship between color and space, we can express three-dimensional space with length, width and depth in two-dimensional space.
Second, emphasize the overall observation and performance of color sketch.
1. Overall observation
The color of any object does not exist in isolation. The only correct way to understand the observation of colors is to observe, compare, analyze and discover the relationship between colors as a whole. Overall observation is a comprehensive observation of the whole object to grasp and control the basic tone and big color relationship of the picture. Comparison is the deepening of overall observation and the first element of understanding objective objects. Only by comparison can we tell. Only by repeatedly comparing hue, lightness, purity, temperature, etc. between objects, distinguishing color tendency and looking for subtle changes and differences between colors can we grasp the correct relationship between various factors of objects.
A. Contrast tone: Tone refers to the general trend of colors formed by objects with different colors in lightness, warmth, hue and purity. It also refers to the main characteristics of a painting, and its huge color effect is the overall appearance of a painting. The purpose of tone contrast is to determine the lightness, warmth and hue tendency of tone, so that the description content has certain atmospheric characteristics and unify the originally incompatible colors. Tone plays a leading role in color, and the picture will be disordered if the tone is not uniform. So first of all, we should see the overall tonal characteristics of the overall harmonious large and small color blocks. Secondly, we should regard objects, light sources and environment as a unified whole, observe and compare them comprehensively, and capture colors in the overall comparison. For example, in the morning scene, the light receiving side is in the warm color of sunshine, and the dark side is influenced by the skylight and unified in the cold color. When the cold and warm sounds are unclear or confused, the tones are not uniform.
B. lightness: the difference between light and shade of color, that is, the change of depth is lightness. The color difference includes the depth change of a certain color and the brightness difference between different colors. When comparing lightness, we must find out the important colors, then find out the bright colors, and then arrange them from deep to light to establish an order in the painting. At the same time, according to the knowledge and understanding of objective objects, grasp the relationship between black, white and gray, summarize and compare the levels of objects, and make the picture effect rich and colorful. The lack of dark or light color in the picture will cause the picture to be "gloomy", and if the level is not summarized or too much, it will lose the sense of reality to the essence of the object.
C. Cold and warm contrast: Cold and warm colors are people's physiological feelings and emotional associations. The warmth and coldness of colors are mutually conditional and interdependent, and the contrast between the two colors is the main basis for determining the warmth and coldness. Without the contrast of warm colors, cool colors cannot exist alone. They are two aspects of the unity of opposites. The feeling of cold and warm colors is obtained through overall analysis and comparison. Generally speaking, warm color light warms the color of the light-receiving part of the object, while the backlight part shows its complementary color and cool color tendency; Cold light makes the color of the light-receiving part of the object cooler, while the backlight part presents its complementary warm color tendency. It is reddish warmth and blue coolness.
D. Hue: Hue is the appearance of color. Only when the same lightness and cold and warm are indistinguishable can we compare them with hue.
2. Overall performance
A basic principle of correct expression is: whole-part-whole. Whether it is the establishment of method steps or the shaping process in performance, this principle is strictly observed. The painting steps should start from the whole to the end, and the local adjustment should be deepened repeatedly. First of all, control the basic tone of the picture, summarize the background and subject of a group of still life, the sky foreground and close-up of a landscape into several large color blocks, grasp the overall feeling of the object, form the color factors of the tone, and quickly draw a large color relationship from shallow to deep with a large sum of money. Secondly, adjust and modify, describe in depth, find out the subtle changes through comparison, find out the position where the part should be in the whole, always check the influence of reflection and ambient light on the tone with the relationship between the whole tone and cold and warm, light and dark, measure the accuracy of local details with the big color relationship, and then refine and summarize. The overall observation and performance runs through the whole process of painting. Whenever you stop your homework, the overall relationship of the picture should be complete, and you can't let some parts jump out of the picture obviously and in isolation. From beginning to end, you should express the object in the overall relationship until it is completed.
A. Color before shape: This expression is conducive to improving the ability to summarize colors. On the basis of understanding the color light, after determining the outline, we can quickly grasp the color relationship and tone characteristics of an object or a scene in a short time, completely exclude the detailed description, sum up the complex colors and shapes of the object into color blocks, and form the tone by comparing the brightness, temperature and area of different color blocks. And deal with the relationship between lust and other colors, form a unified tone to express certain content and theme.
B. contrast and harmony: contrast is a means of expression in painting. Without contrast, there is no expressiveness. In sketch, contrast is used to highlight the image and enhance the expression effect of the picture theme. At the same time, using various color contrast, the color of the picture is activated irregularly, and the picture effects such as space, distance and volume are enhanced. Commonly used comparison methods are cold and warm, lightness, purity and so on. Harmony and contrast are just contradictions. The adjustment methods include the adjustment of main color, adjacent color, light source color and contrast color. Contrast gives people a strong feeling, and harmony gives people a sense of coordination and unity, which is the unity of opposites. When using, we should focus on the theme, content and picture effect. In color sketch, we should pay attention to harmony while emphasizing contrast, and vice versa. Because color has a certain tendency in space, a simple intermediate state is impossible. Using this contradiction can make the picture have vivid and real changes and unified effects.
Color sketch is a powerful means to create images and convey feelings. Color sketch teaching should use the knowledge of color theory to guide, observe and analyze color phenomena, cultivate the overall observation and expression ability, and exert the charm of color, so as to obtain vivid and rich picture effects and successfully use color. At the same time, we should learn from other people's experience in order to constantly enrich and improve ourselves.
References:
[1] Yang Yunlong. Watercolor. Higher Education Press,1989-10-p7-1. [2] Liu Shuguang. Color still life. Southwest normal university press, 1997-6-P
[3] Chang Ruilun. Art (Teacher's Reference 2). People's Fine Arts Publishing House,1996-5-p138-139.
[4] Yuan Liming, Rebecca, Dong Xichun. Gouache watercolor. Liaoning Fine Arts Publishing House,1997-8-p10-1.