Basic techniques of gouache painting
Mixed color
Color matching in sketch is based on correct observation and understanding of the color relationship of objects. When mixing colors, you can't look at one piece in isolation, adjust one piece and draw one piece. We should consider the overall hue and color relationship, and decide each color from the whole. The colors of gouache sketch are not easy to connect. On the basis of clarifying the relationship between colors, try to adjust the colors of several large color blocks and prepare for redrawing. Don't be divorced from the whole, look at one piece, adjust one piece, draw one piece, and adjust one piece for another. The color of gouache painting is dark when wet, light after dry, and the wet and dry changes obviously. If more powder (white) is used in color matching, or if a thicker color layer has been drawn, and then colored for painting, the dry and wet changes of the pigment will be more significant with paper with strong water absorption. It is difficult to make a correct estimate of gouache color matching. It is difficult to connect, cover and modify colors. This is an obvious feature and difficulty of gouache painting. Pay special attention to this problem when you are a beginner. So we should draw heavy colors at the beginning. Generally speaking, when painting is wet, the color is wet. After painting in one breath, the color relationship is easy to master. If the color is dry, connect the colors and cover them. Pay attention to the wet and dry changes of the colors.
Use of water
Gouache painting is not as important to the use of water as watercolor painting, but it cannot be ignored. Water mainly plays the role of dilution and medium. Color matching, pen use and the change of color layer thickness are all closely related to the use of water. Generally speaking, proper use of water can make the picture smooth, moist and rich. Too much water will reduce the chromaticity, resulting in water stains, stains and water color deposition. Moreover, insufficient water will make the color dry and sticky, making it difficult to use a pen. Usually it is better to use a pen smoothly and cover the background with water. Generally, you can use more water in dark places, imaginary places and distant places to enhance your empty inspiration and transparency. In terms of painting steps. Use more water when laying on a large scale, so that the color layer is thinner and easier to color. In the process of painting, the water is too dirty to be replaced in time. Especially when painting brightly colored parts, the water for color matching should be clean.
The use of white
The use of white in gouache painting is similar to that in oil painting, with more colors than usual. The main function of calling white is to enhance the brightness of color and reduce the purity of color. When it is close, three-dimensional, and prominent, more white is helpful to shape the figure and make it bright, solid, and prominent. The use of color, water and white needs to be considered in combination with the pen and the dry and wet shades of the whole picture. We should proceed from the needs of expressing different objects and achieve change and unity. Generally speaking, beginners should pay attention to two tendencies: one is to use too much water and dare not use bright and heavy colors to shape their images, resulting in insufficient color contrast and thin images. The other is that too much white is used, and I don't know the benefits of rational water use, which makes the picture "pink" and boring. Some of these two problems are related to beginners' first contact with watercolor painting or oil painting. Those who have painted watercolors first should prevent the first question from using too much water. Those who have painted oil paintings first should avoid the second problem called too much white. As for the use of water and white after a certain foundation, it is often related to the author's personal hobbies and technical characteristics. People who like to paint with thin paintings and wet paintings generally use more water. Like thick painting and dry painting, use less water and use more white.
Use a pen
Because gouache can use all kinds of pens, the techniques of gouache are extremely rich. And it's based on oil painting. In the development process of Chinese painting and watercolor painting, it has been continuously developed. Common brushwork in gouache painting.
"Flat brushwork"-the handwriting is hidden. The color layer of the picture is flat;
"Scattering"-the handwriting is exposed, but the thickness of the color layer has no obvious change;
"Thick points"-the color levels are mixed and overlapped, and the colors are thick and light;
"stippling"-using the principle of mixing light and color, using dense small strokes (color dots) to shape the image. This kind of brushwork is rarely used and difficult to master, so beginners should not imitate it too early. )
In addition, gouache also absorbed the knife painting technique of oil painting. You can use an oil painting knife or a homemade bamboo knife to draw. When gouache absorbs the brushwork techniques of other paintings, it must start from the characteristics and performance of gouache, so as to enrich the techniques of gouache and enhance the expressive force of gouache. Generally, when drawing virtual places, distant places, dark places and shadows, the strokes should be blurred and the colors should be flat and thin to increase the sense of virtual distance. When drawing near, solid and bright parts, the brush strokes should be exposed and the color should be thicker to enhance its solid, prominent and clear effect. Of course, these all need to use different brushwork from the processing intention of the whole painting. Brush strokes also have a holistic problem. The brushwork of a painting should also be changed and unified to form a sense of rhythm. It is necessary to prevent the indiscriminate use of pens that lack the overall handling intention.
connect
Gouache painting is characterized by fast color drying and significant changes in wet and dry conditions. Using water makes the color flow and seep on the picture, which is easy to produce water stains. Therefore, mastering cohesion skills is very important for gouache painting. The connection of gouache painting is mainly divided into three ways: wet connection, dry connection and pressure connection.
The so-called wet paste means that the adjacent color blocks are connected with the second and third colors when the former color is not dry. Or two adjacent colors meet. Or when a piece of color is wet, add other colors and let it penetrate. Or dip several different colors in different parts of the pen, and use the moisture in the pen belly to make it naturally connected when drawing on paper.
The so-called dry connection means that when the previous color has dried up, adjacent color blocks are connected with the second and third colors.
The so-called pressure welding is the adjacent color block (the turning point of shape or different objects). The first color block is slightly larger than the appropriate shape, and the second and third color blocks form a sense of rhythm. It is necessary to prevent the indiscriminate use of pens that lack the overall handling intention. When connecting, press on the previous color and press out the shape that the previous color should have. Pay attention to the hiding power and adhesion of color (color pressing) when pressing color. Generally speaking, the pressed color is slightly thicker than the painted color block.
involve
The so-called covering is to draw one or more colors on the painted color layer. The main function of covering can be summarized as two points: first, it makes the color levels of the picture overlap and the thickness changes, which is a way to shape the image; The second is the modification method. The hiding power of gouache color is strong, but there are differences. In addition, when using clear water in painting, it is easy to make the background color (covering color layer) rise if you don't master it well, resulting in water stains and dirty colors. Sometimes it is deliberately covered with a very thin color to reveal the underlying color. These specific effects are difficult to estimate, and it is not easy to master the covering skills, so you have to ponder it slowly.
The expressive materials and painting tools of gouache painting
On inherent 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 A "Apples and Pears" (single product practice demonstration) A- 1 Usually when I draw fruits, because lemon yellow has no hiding power, I first use a layer of lemon yellow Bo Tu as a 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.
Example 2 "Apple, pear, orange" (single product practice demonstration) (explanation) Different fruits present different inherent colors.
[Hint] The inherent color is placed in the middle tone. [Wonderful idea] The cool color floats on the inherent color, which is very subtle. Don't be too cold, and keep in touch with the inherent color of apples. The coloring steps of gouache still life sketch are easy to modify, and beginners are often lax in thinking and lack strict methods and steps. Every step should not be sloppy. Through strict training, we can make rapid progress, otherwise haste makes waste.
(1) When drawing a manuscript, just like sketching, first determine the position and proportion with a pencil to avoid damaging the paper surface and affecting the coloring effect. Then shape it with color. According to the hue of still life, it can be shaped with ochre brown or ultramarine blue. The color line can be a little heavier and can be shaped.
The color is slightly bright and dark, paving the way for the next coloring. If you have a strong modeling ability, you can also draw a draft directly with colored lines, without showing light and shade, and color directly.
(2) After the large color tone is determined, quickly observe the relationship between the overall color tone and the large color block, so as to determine the Bo Tu as soon as possible. At this moment, regardless of the shape and brush strokes, boldly follow the fresh color impression, resulting in the color environment of the picture. Some people are eager to make a specific description after finishing the last color. The relationship between large color blocks should be further adjusted to make the relationship between colors and the overall tone consistent with the actual feeling.
(3) On the basis of correct relationship, further concrete shaping is carried out, starting with the main objects of the picture and completing them one by one. It is easy to master the dry and wet changes of an object and shape the color changes of different sides of light and backlight. At this time, your eyes should always be swept around, starting from the local area but not falling into the local area. According to the relationship between objects, backgrounds and other objects, master proper limit, and the details can be further described. At this time, the color should be appropriately bold, which can keep the correct part of the background color and increase the color level of the picture.
(4) The description of trivial and redundant details can be omitted, but the description of important details showing the characteristics and texture of objects should be strengthened and the finishing touch should be made. The details should be integrated into the whole. The last stroke is the most important, it will not be covered and revealed to the audience.
(5) Adjust and complete a still life sketch outside the studio. As a basic exercise, eight hours is generally appropriate, and strive to be profound and accurate. After three or four hours of proficiency, you can also perform more fully. After painting for a long time, the eyes are easily tired, the color sense is easily weakened, and the specific description is easy to forget the whole. When the sketch is close to completion, restore the first impression and check the picture: whether there are some places that destroy the whole, whether the colors of parts and details "jump out" of the picture, and whether there are other problems. After inspection, adjust, modify and deal with it. Mistakes, such as painting too thick, should be washed away before painting until the painting is finished. To what extent should wet and dry techniques be controlled in gouache painting? What are the application fields? The wet and dry techniques used in gouache painting mainly refer to the amount of water and white powder used in color matching.
Dry painting: that is to say, less water and more powder. This kind of painting mostly uses squeezing out the water contained in the pen tip, and does not add water or less water when coloring, so that the pigment becomes paste, which is covered and deepened over and over again from the general surface to the details, and more and more white powder is continuously transferred to brighten the picture with the progress from deep to shallow. Dry painting is dull and dry, but it is more concrete and three-dimensional, which is convenient to show certain shapes and colors, such as clear concave and convex parts of objects, bright parts of main objects in the painting, wonderful details and so on. This kind of painting pays great attention to writing, and strives for accurate observation and affirmation. Each stroke represents a certain relationship. Dry painting also has shortcomings. Too much use of this method in the picture, coupled with improper application skills, will cause the picture to be dry and dull. However, the color of dry painting does not change much after drying, which has a great effect on color training and is easy to master.
Wet painting: This method is contrary to dry painting, which uses more water and less powder. It absorbs the splash-ink technique of watercolor painting and traditional Chinese painting, and can also give full play to the benefits of "water" in gouache painting, and dilute the pigment with water for rendering. Wet painting can also use the transparency of paper and color to achieve watercolor-like lightness and freshness. However, the wet technique it uses is more demanding than watercolor painting. Because gouache pigment particles are coarse, it is required to look at the picture when painting wet. The wet painting part is successfully rendered at one time, and too much or too many smears will inevitably cause the picture to be dark and greasy. However, this painting method is smooth and comfortable, and the effect is moist and soft, especially suitable for painting objects with loose structure, weak background and blurred dark side. If played properly, it can show seamless vivid charm. With the help of the flow and mutual penetration of water, its color sometimes has unexpected effects. In order to create this wetting effect, not only the pigment should be diluted with water, but also the drawing paper should be wetted with water according to the local and overall needs to ensure the natural connection between wetting time and color. Regarding the control and actual operation of wet coating, the above coating steps have been talked about a lot, so I won't elaborate on them one by one.
The characteristics and application scope of gouache dry and wet painting are basically as mentioned above. Especially, the boundary between dry painting and wet painting is determined by the water content of the brush. It is generally believed that if you use too much powder and color, the painting will be thick, which is inaccurate, because it must be more powder, more colors and less water to become a dry painting. Some people think that a painting with little powder and thin paint is a wet painting, which is not accurate. Pigments can only be painted wet if they are diluted with more water. Therefore, it can be said that there are dry painting methods with more powder and dry painting methods with less powder. On the contrary, wet painting also includes wet painting with more powder and wet painting with less powder. But whether it is dry or wet, it is better to use powder properly, so as not to lose the characteristics of gouache painting. Dry painting and wet painting should be used alternately, but according to the actual needs of the picture, more wet painting and dry painting should be used. If a painting uses too much water, if all the paintings are treated with wet paintings, it is easy to get out of control and make the objects loose and lose their luster. Similarly, all dry painting methods are used, and the picture is constantly thickened by accumulated colors and white powder, which will lead to stiffness, dryness and fading, and it is difficult to preserve the picture for a long time.
In a word, only by following the reasonable sequence of painting steps from wet to dry, from thin to thick, can the dry-wet method play its best role. This is the principle that the general painting process abides by, and it should be mastered flexibly according to the requirements of the picture in practical application. The first step of gouache still life painting technique: this flat composition gives people a natural feeling and is also a form of composition. Monochrome substrate. Pay attention to the accurate color and shape. Step 2: This is a purple picture, and purple is not easy to draw repeatedly. Try to draw the color correctly the first time, so that you can have a good foundation for the next step. Yellow and purple are contrasting colors, passing through the gray-purple of the glass plate; Connect the two contrasting colors and draw the dark colors of pears and oranges on the pink-purple interlining, which are warmer than oranges and form a contrast. Strong sense of color, porcelain bottles and bowls have stronger reflection ability. Adding purple to the warm color of backlight makes the whole color in a uniform color atmosphere, which is very loud and vivid. Step 3: Use dry painting to express the texture of shaping peaches. Adjust the yellow-green color with a small brush to draw the subtle changes of peaches; Such as backlight, reflection, reflection, gaps between peaches. The yellow pear on the pink-purple interlining is saturated in color and suitable in moisture. For example, the transition from light yellow to white, to medium yellow and then to orange green, when the color is wet, the strokes are delicate, showing the luster, texture and charm of pears. The pattern of the light-receiving part of the vase can be painted in white, with a blue-purple flavor. The turning point is more real and the backlight is green. In this step, we should pay attention to the actual situation, strength, cold and warm changes of the picture. Step 4: This step is the final work, which requires accuracy and precision, and must be observed as a whole. Do not hesitate to change the places that affect the overall relationship, such as the adjustment of the vase backlight. Draw the pattern changes in the backlight by adjusting plain blue and ripe brown, and adjust the edge to purple, so that the brightness is close to the back lining, and the edge line is included in the backlight, and the sense of space is much better than the original. The relationship between peaches is a bit too solid, and the gap is too heavy. It needs to be a little warmer. Carefully draw a thin line on the edge of the glass with a small pen to put forward the texture. Some places in the powder interlining have added some cold gray. There are also some pens beside the pears in the white bowl. The perspective change of color and the overall coordination of the picture are formed before and after. Make the picture more complete. Step 5: Adjust the picture and details, roughly handle the picture and remove the clutter.
The coloring method of gouache painting: gouache painting has a strong hiding ability, but it can't be scribbled casually without heart. It has its own coloring methods and steps.
From the perspective of coloring order, there are the following:
1. Gouache painting is a kind of color painting from the whole to the part. Like watercolor painting and oil painting, they all start with drawing large blocks 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 color to bright color, bright color is mostly strong, and it can't light up again and 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 Bo Tu, pigments are diluted with water, just like watercolors. According to the overall color feeling, Bo Tu is fast again, resulting in the overall color environment of the picture, and then it is gradually thickened and deeply expressed. 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 painting and wet painting 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 juxtaposition means that strokes are juxtaposed on the drawing paper, and the coloring times are less, and the coloring is thicker first. 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) Mastering the change of dry and wet colors is one of the characteristics of gouache pigments. 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 connection pictures need two colors to be naturally connected, and the transition from light to dark should be rounded and the color connection should be appropriate. There are three ways: a, draw with wet, bright and dark, this color and that color, because of the interaction of water, the effect will be naturally 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 two colors can be wiped out from brightness or color, and the transition will be natural.
(5) Brush marks appear when the brush color moves on the paper, which is 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.
Limitations of pink purity and lightness of water
When gouache painting 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.
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.
Selection 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 tubes produced by authentic art supplies manufacturers. The product has fine paste and saturated 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.