Different flowers have different painting methods. For beginners to understand easily, the following examples illustrate the relationship between various painting methods and performance effects:

White roses in the sun. Although white flowers are not as gorgeous as red flowers and yellow flowers, they have the richest color changes. Lighting, projection, reflection and light transmission complement each other, and the color is elegant and bright, which is more gorgeous and flawless against the dark background. This is the intention of this painting. The drawing steps are as follows.

(1) After the rough outline is drawn, paint a dark background to leave flowers. At this time, the white flowers came out without painting, forming a distinct contrast color relationship.

(2) According to the color conversion law of light and backlight with hemispherical structure, the approximate face relationship is generally distinguished. On the one hand, it is to show the basic volume and structure of flowers, and at the same time, it is to seek the change of intermediate tone in the strong black-and-white contrast, strengthen the connection between the subject and the background, and make them blend into one. Attention should be paid to the following problems: first, we should dare to draw the dark parts of white flowers to match the background; At the same time, we should fully reflect the transparency of flowers. The second is to grasp several typical petals that have a decisive role in expressing volume and dynamics, draw their basic shapes accurately and definitely, and do not describe the general petals one by one for the time being.

③ Adjust the overall relationship, further enrich the body structure and color changes of the bright, gray and dark parts, depict the details of key petals, and make the picture more perfect.

The peony flowers in bud are beginning to look the same as before. The spherical characteristics of this flower are obvious, so draw the main part according to the sphere first, and then draw the petals overlapping between layers from outside to inside or from inside to outside in turn on the upper part of the sphere.

Yao Huang peony. This peony is composed of many petals, the big petals at the root are like a tray, and many small petals at the top gather into a sphere. Because the petals are thin and transparent, the deep layer of the petals reflects the light-transmitting effect of warm colors, and the brightness of the colors exceeds that of the light-receiving parts. When expressing the varieties of this petal, it is not necessary to describe them one by one, but to emphasize the overall feeling. In order to grasp the basic color relationship and the change of reality and reality, except for a few large petals and a few small petals at the junction of light and shade, most petals do not pay much attention to their edge contour. It is enough to change the color and use a pen slightly according to the shape and direction of the petals. In this way, due to the weakening of the light and shade changes of petals, the transparency is enhanced. When dealing with the petals in the dark, first draw them in with the dark color of the background, and then press out the edges with the powder gray brighter than this background, so that the background color is consciously exposed, making them more moist, light and transparent.

Spherical chrysanthemum petals are numerous and finely divided, and the sketch will be trivial one by one. It's just painted with large color blocks, lacking necessary details, unlike chrysanthemums. The key is to grasp the unity of the whole and the part. This painting method is: first draw the basic volume of the sphere from the overall relationship, and then add some small dark sides to the bright side of the big side after the petals protrude; Draw some bright petals in the dark part of the big face, mainly alternating light and shade or reflecting light. Of course, we should pay attention to distinguish the light and shade of every detail, and we can change the method of using a pen with the change of volume, so that the feeling of small petals seems to be absent. It is necessary to carefully draw the structural changes of key places, so that the reality is appropriate and all points echo each other, so that the picture is rich, substantial, harmonious and unified.

Chinese rose in the backlight. Although the flowers under strong light are bright and bright, the flowers under backlight or shadow have another taste: soft and elegant, with subtle and subtle contrast between cold and warm in the gray tone of medium brightness. In order to set off the charm and cleanliness of the flowers, the background adopts rough texture changes. When painting flowers, the pen is soft, the color is full, and the central part is done in one go. Stamens are put on when they are wet, so they are one. Then the turning point of the petal edge and the front and back layers are modified to make it more abundant.

3. Composition of flower sketch

The beauty of flowers lies not only in their gorgeous colors and attractive fragrance, but also in the natural harmony between flowers and branches and leaves. Dealing with the situation and dynamics of branches and leaves and the whole is also a subject of flower sketch. Some flowers actually bloom very generally or rarely, such as bamboo, asparagus, pine bonsai and so on. It belongs to foliage plants in flowers, so it is important to draw branches and leaves well and describe a corner of garden flowers, which is a very common corner. The stout cactus produces white and beautiful flowers, and the orchid leaves beside it are in harmony with the drooping stems and graceful curves of the cactus, forming a poetic and picturesque light music. The frame adopts neutral gray tone, and the white stamens are light yellow-green. Against the background of low-purity colors, it is fresh, delicate and full of vitality. The mood of the whole picture can not be separated from the configuration of points, lines and surfaces in the composition, as well as the treatment of light, shadow and tone. The environment sets off the beauty of flowers, and flowers also embellish the elegance of the environment.

When sketching in a flower garden, selection and organization are very important. Not only choose typical flowers, but also try to have an ideal background. The backward, gathering and scattering of flowers and the dynamic trend of branches and leaves are all important factors in composition. It is difficult to find a ready-made and perfect composition among naturally growing flowers. In most cases, it is necessary to reprocess according to the needs of the picture, or choose the leaves on this plant and the flowers on that plant; Or strengthen a certain part, weaken a certain part, as long as the arrangement is reasonable, it is helpful to the performance of the picture.

If conditions permit, you can also sketch by arranging flowers, choose and match the collected flowers, put them in bottles, and manually adjust the size, illumination, color, density and distribution of flowers, which will be more conducive to the detailed study of the structure and expression of flowers. Flower arrangement is an art and a favorite subject in painting.

Appreciation of works:

Some Summaries on Landscape Painting

1 in the morning, before the sun came out, the earth just woke up from the darkness. Due to a lot of dew and fog, the whole object looks cold and fuzzy. After the sun comes out, the light-receiving part of the scene is relatively light warm colors such as rose red and light yellow, the backlight part is relatively purple, and the blue-green color is relatively cold.

In the evening, when the sun sets, all the mountains and rivers are covered with a layer of gold, and the light-receiving part of the scenery is light orange and orange, while the sky often presents bright Rayna Sue gray, yellow-green gray and other complementary colors. After sunset, all the scenery gradually turned purple, blue and blue-black, until night fell.

On sunny days, under the reflection of sunlight, the shape and outline of the scene become clear and definite. The stronger the light, the more obvious the reflection of the object. There is a difference between sunshine in the morning, sunshine in the middle and sunshine at night. The sunshine in the morning is around 10 am, which is warmer than the sunshine after 4 pm, and it is bright white at noon with strong reflection. The shadow is blue-purple, and the tone mainly tends to be yellow-white or bright yellow.

On cloudy days, because there is no sunlight on cloudy days, the light sources are scattered, and the light receiving surface of the scene is cold colors such as silver gray and blue gray, while the backlight and facade are relatively heavy, mostly warm colors such as purple brown, brown green and ochre green, and the reflection is not obvious.

Snow scene, the color of snow on the ground, in the Woods and on the mountains is particularly bright, and the sky is often in the middle color range. If snow is warmed by light when there is sunshine, the projection is a little blue because of the influence of skylight. When drawing snow, try to draw its sense of volume and softness.

Matters needing attention in other places:

The generalization, conciseness, mediocrity and closeness of mountains and distant mountains should be drawn according to the ups and downs and shapes of mountains. When painting mountains, we should pay attention to conform to the laws of nature and pay attention to cutting and choosing. When the sun shines, the mountains are generally warm and the background is cold.

Stone, we should pay attention to the feeling of volume, the light surface is bright and cold, and the backlight is warm colors such as ochre brown and purple brown.

Trees, the colors of trees are mainly blue, ultramarine, orange and light yellow to bring out different greens. The light receiving surface is pink green, purple and cobalt blue. Lake blue is a mixture of other colors.

Water, which generally represents still water and moving water, can be distinguished by different strokes. Water is often influenced by the skylight, and the dark part of the waves is warm. When the sun shines horizontally in the morning or afternoon, the water surface tends to be dark blue purple and blue gray at noon.

God, the sky should not be flat, it should be changing, and it should show a deep sense of space. Sometimes the upper color is dark and the lower color is light, and sometimes the upper color is light and the lower color is dark, so you can't draw it flat, but the difference won't be too big.

Clouds, pay attention to the relationship between clouds and the sky when drawing clouds. Clouds can be divided into thick, thin, large, small, virtual and real.

When drawing a house, we should pay attention to the proportional structure, perspective relationship and overall coordination relationship of the house.

In short, when painting a scene, try not to be too single in color. It is better to paint the tree green than flat. Trees have light and backlight. The light receiving surface can be yellow-green, and the backlight can be dark, with blue and purple in green. There is also an inherent color between light and backlight, which is the true color of trees. From these, the branches of the tree are subdivided. In some places, leaves are scarce and lush, and the greener the better.

Finally, the key point is that the projection of things, that is, shadows, is very important in a picture. Sometimes the picture feels a little floating, and dark projection can enhance the sense of space and depth of the picture.

Let me introduce what I learned at school. Everything has a bright part, a dark part, the boundary between light and darkness, reflection and projection. Grasping these points and paying attention to the use of colors can draw a good landscape painting.

Law of objects under light irradiation;

Bright color = light source color+intrinsic color+ambient color

Intermediate color = intrinsic color+light source color

Dark color = intrinsic color+ambient color