Common techniques of gouache painting

Brush is the main tool for painting performance (there are other tools for painting knives and pursuing special effects). In China's traditional painting techniques, pen and ink are the core, and brushwork plays a more critical role. Then, the following are the common techniques of gouache painting that I have compiled for you. Welcome to read and browse.

First, thick painting and thin painting

In the process of gouache painting, most colors need to be mixed on the palette before entering the picture. The blending of colors and the amount of water and white powder are the problems that reflect the performance techniques and gouache characteristics. Watercolor painting simply uses water to control the thickness of pigment, thus resulting in the change of brightness, and uses the wet and dry color of water to obtain the special performance effect of watercolor painting through color infiltration or reset. Oil painting uses colored oil (turpentine or linseed oil) and white to control the thickness and lightness of color. Gouache painting is between the two. Water can make the pigment thin and translucent, and the brightness of white painting paper can also penetrate the excellent layer. Moisture makes the color thick, and the thickness changes in lightness, which will play the infiltration effect of wet painting like watercolor. This is the thin painting method in gouache painting.

If you use the thick painting method in oil painting to do gouache painting, you have to use less water and use more pigments and white to improve the thickness and brightness of colors. The thin gouache painting method, although using a lot of water, can not achieve the vivid, bright, smooth and moist artistic effect of watercolor painting. Thick painting can't be like oil painting, and a thick color layer can be firmly attached to the painting paper. We often see some gouache paintings, which are so thick that the color layer cracks and falls off and the picture is damaged.

In gouache painting, water has two purposes: one is to dilute the color and facilitate free painting; Secondly, moisture can make the color fade in different degrees, and make the bright paper color penetrate the excellent layer, showing the change of brightness. If you use a lot of water and let the colors flow on the paper, you can also have the effect of blending water and color. Generally, the Bo Tu method with plenty of water is often used in gouache painting for the first time, which can make the color layer soft and delicate and has the effect of receding. This method is often used to draw the shadow part and foreground of the scene. Thin painting can't give full play to the artistic characteristics of gouache because water is multicolored and thin, and the powder factor and hiding power will be weakened, so thin painting is often only suitable for partial or first color painting.

Thick gouache painting is easy to produce the artistic characteristics of gouache painting. Therefore, the amount of pigment in the color mixing box must be kept wet and dry, so as to ensure that enough pigment can be dipped when the brush is inserted into the pigment grid, and it can be very rich and full when colored or painted on paper, and it can be used freely. Sometimes you can dip in several different colors, and draw appropriate colors through brushstrokes while shaping objects, which can draw vivid effects of various colors competing for each other. Of course, without enough experience and basic ability, it will never be easy to do this. Because of many bright objects or scenery, such as sky, water, roads, houses and so on. It is necessary to fill a lot of white to meet the requirements of lightness, so when gouache painting needs to use white, it is necessary to boldly use white and ensure a certain thickness, which can make the modeling thick and powerful, and produce a strong and weak contrast effect with the thin painting part. Generally speaking, in terms of color thickness, thick painting is the main way to obtain better gouache painting effect.

Second, the cohesion of gouache painting

Gouache painting is easy to draw, with clear color blocks and distinct outlines, but it is difficult to draw naturally and softly. In realistic painting and sketch, it is often a difficult problem to express the relationship between reality and reality of objects. In sketching practice, it is common to draw the outline of an object as clearly as clipping. This shortcoming will separate the object from the surrounding environment and weaken the three-dimensional sense and space sense of the object. There are two reasons for this situation: first, the observation method, starting from the local, does not compare the virtual and real relationship of the object contour, which is a cognitive problem; Second, although we know the relationship between reality and reality through observation, we lack the method to express this relationship. The solution of the former is in chapter 3, section 5? Observation and blending of colors? It has been described in, and the solution of the latter needs to understand some basic laws of gouache connection.

The key to the effect of gouache painting by cohesion method is to control the change of color brightness correctly. Are you online? Observation and blending of colors? In the section, we have talked about how to use the palette to find the correct color relationship in the palette first, and then enter the screen. This is a good way to get the right color cohesion through the palette. Some gouache paintings are done in one go, when the color is not dry, by wet painting. When the colors are not dry, the colors are easier to connect. Cold and warm color blocks can also partially overlap where the two color blocks are connected when the colors are not dry, and a transitional intermediate color is produced after mixing, so that the connection is natural and soft, and there are no stiff marks. The outline of an object's backlight surface is always blurred, which is integrated with the background or projection. It is virtual in the contrast between reality and reality, and weak in the contrast between strength and weakness. This virtual color relationship is most suitable for wet painting to achieve ideal cohesion effect. However, in the process of painting a work, it is difficult to keep the color of the picture wet for a long time, and after the color dries, it loses the effect of wet painting. At this time, you can use a clean brush to coat a layer of water on the parts that need to be connected, so that the dry color condition can be restored to the wet color condition, and then adjust the color of the connection according to this color condition. In this case, the painter will be much more convenient and sure. This method is often used in gouache painting, because the color of gouache painting is obviously different from dry and wet. If you don't use the above method, continue to paint on the dry color layer. The connection between colors mainly depends on experience. What needs to be grasped is that the painted colors are basically the same in personality, and can be naturally connected after drying, and will not be stiff and disjointed. This can also use the first color left in the color mixing box as the basis for connection, or first call out the hue of the color to be connected with it as the standard for continuous connection. These are the methods adopted without experience. With experience, it is not difficult to judge how to allocate connecting colors. Another dry connection method is to connect two different color blocks naturally and softly by using flat cables and color dots, showing a rounded three-dimensional effect. You can use any color line or idea to draw a transitional middle color at the joint, and you can achieve the performance effect. This is the same as in printmaking, where the arrangement of cables is used to express the level of handover.

Third, brushwork.

Brush is the main tool for painting performance (there are other tools for painting knives and pursuing special effects). In China's traditional painting techniques, pen and ink are the core, and brushwork plays a more critical role. Chinese painting is a combination of brushwork and the characteristics of brush, ink, paper and inkstone. Through the means of point, line and surface, it plays a role in modeling, skeleton layout and even expressive charm.

Because of the different material selection and production methods, the brushwork of traditional Chinese painting has different performances, including center, side, forward stroke, reverse stroke and various strokes that are lighter than reality. Through the combination of various strokes and ink colors, the works are rich and varied, showing strong expressive force and appeal. Although western painting is not as important and effective as Chinese painting in terms of brushwork skills, brushwork can not be ignored in terms of expression skills. The brushwork skill of China's traditional painting can provide important enlightenment and is worth learning.

Gouache, like Chinese writing brush, has different functions determined by different materials and methods. In color painting, color is expressed through various strokes and techniques. Texture (soft and hard), modeling (size), modeling (flat, round, sharp), dipping color, water content, color thickness, wet and dry, and various brushstrokes and techniques truly and vividly represent complex and diverse images and scenery. Brush strokes can strengthen the atmosphere and artistic conception of the theme, express the passion of the author and the sense of movement of some themes, and also produce the rhythmic beauty of the picture. Many unique color effects are often obtained through brush strokes. The modern surrealist painting style is indifferent to the expressive force of brushwork, and even the whole picture has no traces of brushwork, which makes the image as neat as a photo. This is a painting style, and its purpose is to pursue a sense of reality that is no different from reality.

The brushwork in painting is closely related to the painter's style and personality. From the choice of subject matter, the treatment of art to the pursuit of expression method and emotional artistic conception, it is inseparable from brushwork. This kind of brushwork skill is difficult to introduce comprehensively, but it should be the basic knowledge and skill that must be mastered for some commonly used conventional brushwork.

What's the difference between a big pen and a small pen? The application of brushes with different sizes is related to observation methods and pen habits. At the beginning of painting, people generally used to use small pens. This is because when sketching at this stage, they often focus on the details and parts in the habit of observing the scenery, and pursue the description of the details they see clearly, so they choose a small pen. This kind of performance effect can be imagined, and it is difficult for the branches of the picture to form the center of the theme and produce touching charm. If you take landscape sketch as an example, you should at least know that using a lot of background color makes color important. For the sky, the ground, the hills and some parts that need to be concise and summarized, we should also use yamato; Small pens should be used to shape small images and depict details in depth. In the process of drawing an exercise problem, from beginning to end, many large and small brushes need to be separated and used alternately, so that the strokes will not be monotonous and lack of expressiveness. Brush strokes are artistic means to shape the body and express the theme. To shape the image of people or natural scenery, brushwork must be used in combination with the physical characteristics and structure of objects, and circular objects must be shaped with many arc brushwork. Vertical objects often need horizontal brushwork to shape, such as drawing the thick trunk or arms and legs of the human body, which can be thicker combined with horizontal brushwork; When drawing water or land, generally use long horizontal, which can show the profound sense of plane; When painting a large area of still life desktop, background, wall and sky in a landscape, the brushwork should avoid being monotonous and boring like that of a mason painting a wall, and the brushwork of horizontal, straight and oblique strokes should be used at will to increase the vividness. However, it should be noted that these color blocks are behind the main object and have a certain depth. They are foil objects, so you should be calm and calm with your pen. Use a brush of the right size. Due to the different themes of the picture, the required artistic conception and artistic conception are inevitably different, such as the peaceful artistic conception, which mostly adopts horizontal and soft brushwork; Use strong, lively, decisive and clear brushstrokes to express cheerful, turbulent and tense pictures; The calm and steady style is closely related to the serious and solemn artistic conception of the picture; Soft and casual brushwork can strengthen the artistic conception of beautiful lyricism; Bold brushstrokes can show the roughness, boldness and magnificence of the theme.

The effective use of formal factors such as point, line and surface in brush strokes is an important condition for making the picture produce rich and vivid performance effects. The combination of line and surface to express the body has a special painting effect. Dry, wet, thick and thin lines in brushwork, positive side, light and heavy, fast and slow, changes in the reality of the pen, etc. , can properly express various images and picture effects. Chinese brush has the characteristics of lively and smooth lines and easy use. Square-headed flat pen is suitable for representing scenes with heavy three-dimensional sense with block brushwork. Some novice gouache writers often have shortcomings in skills and methods, which can be summarized as follows:

(1) focuses on the local, devotes to the details of small strokes and loses the generality;

(2) Only one brushwork is used to describe objects with different shapes and textures, and there is no brushwork change, resulting in monotonous effect and loss of vitality;

(3) The pen can not be closely combined with the body structure, and the body shaping lacks rigor and heaviness;

(4) the pen is cumbersome and the writing has no sense of rhythm;

(5) the brushwork is weak, and there is no change in strength and realism, which makes the picture lose its look.

Fourth, the technique of drawing a knife.

Painting knife is a very common tool in oil painting. It has various shapes and different effects. Gouache painting knife is borrowed from oil painting, which is a kind of creation, and its special effect adds another style to gouache painting technique.

There is no fixed pattern for gouache painting with a painting knife. Some gouache painters use oil painting knives, or make them into various shapes and sizes according to their own painting requirements, such as sharp points, square heads and round heads, which can be decided at will. In any case, this kind of knife needs to be thin and elastic. As long as you have this characteristic, even if you use plastic or bamboo chips, it can be an economical and practical painting knife.

When drawing a knife, it is better to use a brush to be free. It can draw soft strokes or lines with different thicknesses, and it is difficult to express specific and detailed images. Only suitable for thick painting, not suitable for thin painting with much water, which is the limitation of painting knife. However, its application function is similar to the performance effect of painting knife in oil painting, and it is very suitable and has a unique effect on objects with rough shape and obvious appearance contrast, such as rocks and mud, generalized foreground or overgrown trees, building walls, bricks and tiles, and large-scale scenery such as sky, mountains and water.

Generally, you can't add water to dilute the pigment when using a painting knife. The amount of pigment to be matched should be correctly estimated. You can't scrape the paint onto the paper before coloring. But through the skill of painting knife changes, the color effect is shown. In fact, the color of the painting knife has the factors and effects of color juxtaposition, so it is more vivid, loud and tough than the color in painting, thus drawing subtle and unexpected colors. The painting knife can also scrape lines and surfaces with different shapes and textures on the wet background and the front of the knife through the weight of force and different speeds, and the effect is very wonderful. In addition, the painting knife can also dip the knife surface in a thin color, and gently smear a layer on the dried color surface, which is similar to the brush stroke effect of dry painting, which can enrich the color relationship, enhance the strong color sense, and can also be used to adjust the tone relationship. All the above are some practical experiences of painting knife in painting techniques. When using a painting knife, we should also pay attention to its adaptability. In some places where it is impossible to achieve technical results, we should not use painting knives. Painting knives generally need to be matched with brushes to obtain a complete artistic effect.

Verb (abbreviation for verb) line

Why should we focus on the lines in gouache technique? Lines, like light and shade, are a technique of modeling. Because from the perspective of painting practice, from the beginning of sketch training, the significance and expressive force of lines in modeling have been perceived, but their aesthetic value and influence on artistic style have not been fully realized. In China traditional painting, line drawing, as the modeling basis, has become a major feature of painting style. In western painting, some impressionist painters absorbed the charm of line expression because of the influence of oriental art, thus creating new forms and styles. The artistic characteristics of gouache meet the requirements of decorative form, and lines are naturally an important factor. From the works of Ding Shaoguang appreciated in this book, we can find that his decorative painting style combines the decorative interests of eastern and western classical art and modern art, and the lines not only enhance the gorgeous flashing effect of colors, but also are full of musical rhythm. The artistic function and characteristics of lines have a relationship of inheritance and development with the neat, rigorous and beautiful lines in traditional meticulous heavy color painting. Others, such as bright and vigorous lines in woodcut prints and elegant lines in folk New Year pictures, are all formal factors that gouache can learn from. In application, lines can be used as the basic skeleton of composition and image expression, and then colored. You can also spread colors first, and then use lines to enhance the image performance. Lines can be different in thickness and depth, moist and smooth, or dry and old-fashioned. The application of various lines in gouache painting should be flexible and creative according to different requirements, and its effect will be very rich and interesting.

"For example, the dark parts of apples are painted with pure blue, deep red, ripe brown and so on. The middle colors are red, dark red, white and a little orange, and the light receiving colors are red, vermilion, white and yellow. "

For projection, ultramarine, purple, khaki, white, etc. " ...

When drawing the dark part of an object, we should use the complementary color relationship. For example, a red apple should mix red and green in its dark part. (Red and green are complementary colors. Similarly, there are yellow and purple, blue and orange. However, according to the different tones of each apple, the selected red and green will also change accordingly.

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