Who can watercolor?
Because the combination of heaven and earth is a vision, the vision is virtual, and the color is close to the sky. It is suitable for painting the vision when the color of the sky is about to dry up, and it is easy to get a sense of harmony and far-reaching feeling.
Of course, if the scenery is holistic, the color of the sky has little influence, and it is urgent to grasp the rhythm of light and shade and the color of time, then it is no harm to draw the scenery first and then the sky. This requires flexibility.
1, from far to near, division
Watercolor landscape painting is often rendered and depicted from far and near, from shallow to deep, from virtual to real, so it is easy to master the levels of dry and wet, color and light and shade, and the transition of color levels is more natural and soft than the actual situation, and it is easier for beginners to master. But we must pay attention to mastering the time, otherwise the time difference between before and after is too big, the color tone and light and shade will be unified, and it is easy to be out of balance. Especially in the morning and evening, before sunrise, we must first set the contrast and position of light and dark, otherwise it will be difficult to accurately show the specific effect.
This division method can't be looked at little by little, but must have a whole concept. Don't pick parts in isolation, try to shorten the gap of "time color" and strengthen color memory for supplement and adjustment.
2, from near to far, layered method.
In some special circumstances, such as the time is extremely short, or the orange-red sunlight shines on steep cliffs and ancient temples in the morning and evening, and a mysterious and wonderful color and composition appear, then of course, we must grasp this fleeting scene with a pen, first set the position of light perception and color on the scene, compare the intensity and the relationship between cold and warm, then adjust the shape, and then go from the middle scene to the distant view and the sky, so as to reverse it. Obviously, this method is very sketchy and needs a certain painting foundation to master. This or any other method is essential for capturing pictures and grasping colors. Otherwise, the occasional scenery will be completely different if it is drawn step by step.
3. A comprehensive and balanced approach.
This kind of painting is to seek "* * *" first, and then to seek image, which requires a strong overall concept and foresight; It seems that the picture is a bit messy in the process, but in fact, the steps are the strongest and most scientific, and it takes some ability and experience to master them.
The so-called "* * *" first grasps the basic tone from shallow to deep (including the relationship between light and shade and color tendency from shallow to deep), that is, first paving the brightest part of the light receiving surface with light color, leaving highlights, and then using the light color with the most tonal tendency from bright to dark, that is, from highlights, bright parts, sub-bright parts, sub-dark parts and dark parts, and then from shallow to deep, that is. Another example is the color from light yellow, medium yellow, orange yellow, orange red, scarlet, purple, purple ..... until it is unified and rich, showing a harmonious and rhythmic relationship between color and light and shade. In this way, the general relationship of the picture is basically completed.
The so-called post-image is to avoid paying attention to the specific details of the body structure from the beginning.
However, it downplays the observation and feeling of color, and requires first to concentrate on spreading the most prominent color feeling in an all-round way with the most decisive brushwork, then to grasp the subtle color effect in an instant, and then to describe the physical structure and image characteristics of the main scenery in detail under the unity of hue and rhythm, and finally to complete it through adjustment.
This kind of painting needs a certain foundation, careful planning before painting, flexible ability to adapt and control color changes, and foresight of the effect and difficulty of the picture. Otherwise, if you lose your initiative and confidence in painting, you may give up halfway.
The most common disadvantages in watercolor painting practice and their correction
The most common disadvantages in watercolor painting practice and their correction
The material characteristics of watercolor painting determine the unique expression and aesthetic taste that distinguishes watercolor painting from other paintings. In teaching, guiding students to correct and overcome all kinds of disadvantages in watercolor painting is an important link to learn color knowledge and master watercolor performance skills.
One of the disadvantages: dirty. The characteristics of watercolor determine its "clean" essence. Dirty colors produce dim and unclean pictures, which will lose the most touching part of watercolor painting. "Dirty" is a common problem in watercolor painting, and its causes are as follows: ① The relationship between cold and warm colors and purity is not clear, and there is a lack of contrast; 2 indiscriminate use of black, resulting in dirty color; (3) Too many times of scanning, brushing and coloring. To correct the disadvantages of "dirty", we must first avoid equal-phase modulation of contrast color and complementary color. Secondly, we should use black with caution or infiltrate low-purity and low-brightness colors into high-purity and high-brightness color blocks. In particular, the black produced by color mixing not only has obvious color tendency, but also can effectively avoid the feeling of "dirty" when it is coordinated with other colors. In addition, the color of the pen used for painting should be accurate and definite, and too much overlapping, washing, brushing and decoration should be avoided as far as possible, otherwise it is easy to lose the moist and transparent characteristics of watercolor painting and the color is turbid.
The second shortcoming: gray. A "gray" watercolor painting can make people dull. One of the main reasons for the "gray" picture is that the contrast of color brightness is too weak and there is no strong and heavy color; Second, the contrast of color purity is not enough, lacking bright and pure colors. Therefore, to solve the problem of "grey", we should start from two aspects: sketch and color. Objects in nature, due to their different spatial positions, different inherent color shades and the influence of light, air and other factors, will change the relationship between color brightness, cold and warm, purity and so on. Generally speaking, the objects nearby in a painting are real and concrete, with strong contrast between light and shade and bright colors. Objects in the distance are relatively empty and fuzzy, with weak contrast between light and shade and gray and cold tones. Cultivating correct observation and understanding methods, enhancing keen color perception, mastering the law of color change, and dealing with the relationship between light and shade, primary and secondary, virtual and real, cold and warm, and the purity of the object are the fundamental points to overcome the "gray" of the picture.
The third shortcoming: flowers. The disadvantages of "flower" are mainly that the primary and secondary are not divided, the colors are messy, fragmented and lack of integrity. In the face of natural scenery, the author should boldly select, summarize and refine according to the needs of the theme of the picture, and delete some details unrelated to the theme, so as to make the guest and the host clear and the theme prominent. This is one of the ways to correct the picture "flower". In order to form the main color on the screen, it is not advisable to make too much and too strong contrast in hue, lightness and purity. This is the second way to correct "flowers". In addition, when the picture is half dry and half wet, don't repeat it too much, which can also effectively avoid the disadvantages of leaving obvious marks and producing too many splash marks.
The fourth drawback: coke. Transparency and brightness are one of the characteristics of watercolor painting. Too strong color, improper color matching and too many dry methods are the direct reasons for the "focus" of the picture. Painting with watercolor is the basic feature of watercolor painting, and the flowing, transparent and penetrating characteristics of water give watercolor painting a dripping, moist and lively charm. In color matching, besides relying on the lightness of the color itself, water is also used as the medium to melt and dilute the color, and the relationship between lightness and purity changes, forming the mutual penetration, fusion and natural rich color effect of water and color, which is the key link to overcome the color over water, too thick color and "burnt" picture. If ochre, ripe brown and other colors in watercolor pigments are mixed with transparent colors such as ultramarine and violet, and appropriate water is used, color precipitation will occur and wonderful and rich texture effects will appear. On the contrary, avoid mixing ochre with other colors with poor transparency, and avoid the feeling of dry "scorch" in the picture color, so be careful when mixing colors, and try to use it alone or not more than three colors when mixing colors. Using wet painting can greatly enhance the transparency of picture color and avoid the problem of "focus". In addition, careful use of khaki, flesh color, pink green and other colors is also an important aspect to prevent the picture from losing color transparency.
The fifth drawback: powder. The main reason why the picture is "pink" is that the color is unclear. Taking water as the medium to adjust the brightness and purity of color is one of the methods of watercolor color matching. It is necessary to clarify and strengthen the relationship between cool colors and warm colors, and avoid painting cool colors or warm colors as medium gray. Secondly, where the color of the picture is deeper and heavier, the relationship between color lightness should be more clearly determined, which are all effective methods to avoid the "powder gas" of the picture.
The sixth shortcoming: looseness. "Loose" is a picture defect directly caused by improper water control in watercolor painting. In watercolor painting, we should master the characteristics of water and use it flexibly. Water can determine the shade, light and shade, wet and dry colors of the picture, determine the virtual, solid, hard, soft, sticky and scattered shapes, produce rich expression skills, and make the picture full of vitality and charm. If you can't master water skillfully, it will make your body messy, pale and loose. Therefore, paying attention to wet and dry sides, grasping the overlapping time of wet and the amount of water in color are the key and difficult points in watercolor painting, and also the key link to avoid watercolor flooding. When painting, the summary should be bold and cautious, the details should overlap, it should be clear and affirmative, and it should be full of strength. In addition, overcoming the blind pursuit of wet painting is also an effective way to correct and avoid the looseness of watercolor painting.
There are six common shortcomings in watercolor painting, including color problem, technique problem and sketch problem. One thing is certain, that is, observe more, feel more, discover the rules, and practice frequently.
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 penetration 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 painting watercolors.
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 can be less, the paper is softer and absorbs water faster, so it is necessary to increase the water. 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. When appreciating watercolor works, you will find that almost every painting 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 you get to finishing using the pen, the more important it is, and its brushstrokes are no longer covered and exposed to the viewer.
What are the color matching methods of watercolor painting?
General watercolor color deployment can take the following:
(1) mixing method: mix pigments of different hues with water in the color wheel, but not completely, and apply them on the screen, so that they can be mixed under wet conditions to form the required color. However, it must be noted that there should not be too many kinds of color matching, otherwise the color and chromaticity will be weakened and turbid, and the color will be warm and warm; When the contrasting colors are in harmony with each other, don't have equal phase (see Figure 35).
(2) Fusion method: colors are directly fused on the screen, so that they penetrate or fuse with each other to get the desired color. This kind of mixed color is vivid and vivid, and is generally suitable for drawing large areas of color blocks, such as the sky and background.
(3) Reset method: After drawing the background color on the picture, add other colors on it. The first color can be consciously painted a little warmer, and then gently covered with a layer of cold color after drying, revealing some warm colors in its cold color. You can also draw cool colors first and then cover them with warm colors, depending on the actual situation, so that the colors can be rich and varied. In order to show a certain sense of sunshine and air and avoid painting the sky as monotonous blue, we might as well use this method. This method can also be used to draw human skin.
(4) juxtaposition method: mix the colors with different hues with water, and put them directly on the screen by using color dots and small color blocks. On the whole, you can get another color, such as the juxtaposition of yellow and blue, and you can get green visually. This method can make the color of the picture more vivid and produce the feeling of flickering and jumping.