Question 2 about gouache grading, question about gouache grading

When gouache is wet, the saturation of its color is as high as that of oil painting, but after drying, due to the action of powder and the loss of luster of the color, the saturation is greatly reduced, which is the limitation of its color purity. The brightness of gouache is improved by diluting, adding powder, or light colors with more powdery pigments. Its dry and wet changes are very large, often some colors only add a little powder, wet and dry, its brightness shows a difference of depth or light.

Since the color of gouache painting generally becomes lighter after drying, the use of good powder is the most difficult problem to solve in gouache painting technique. The color of gouache is precisely the charm of gouache painting, which makes the color of the picture full of the unique "powder" quality of gouache painting, and the appearance of particularly rich intermediate colors.

Master the blending ratio of gouache and water, according to the overall tone of the color of the painted item to reconcile, if the painting is a slightly bright item, need less water, really use the primary color pigment Moreover, in the composite color of the pigment, try to use less white powder and do not use coal black, less to create some gray pigments, that is to say, two or three are the best, do not use too many colors, if you accidentally tune out the unsatisfactory color, do not add other colors to the vain attempt to change it Don't be afraid of reluctant pigments

There are many colors that can be lightened (brighter colors), and they can't all be white:

For example, green, adding white will turn pink green, it will not look good, if you want to brighten or brighten the color, you can add lemon yellow (orange can also be used):

There is also one of the most noteworthy, that is, black, if you light it up, it is gray, gray can't be directly black and white, black and white jump out of the gray is ugly, you can use the three primary colors to add white, and the gray out is good-looking.

Also, if you want your painting to be brighter, you can make it a little whiter and pure where you think it's reasonably reflective.

You can also show that your painting has bright places through contrast, and dark places should be darkened to highlight your brightness.

The light and dark of the colors are contrasted. If it is not bright enough, in addition to adding white, you can also add yellow and other colors with high brightness. Or the shadows must be darkened.

The color can be adjusted to be pure, the saturation is a little higher, the moisture is moderate, don't be reluctant to paint, don't rely on whitening, and then pay attention to the contrast and highlight the bright part.

Use the color in the paint box directly, if you want to be bright, try to add as little other color as possible, adding white will make the color gray and the picture pink.

Add the tartrazine. Or just use bright colors.

If there is pink, add a little more color to compare it to. Just practice slowly.

I did the same when I started studying.

The gouache toning techniques are: to paint boldly, not partially; Deal with the relationship between light and dark and the relationship between environmental color; The colors should be rich, and what you can't see green is green, and what is red is red; Gouache cannot be painted in solid colors; Grasp the dryness and wetness of the water.

Method of observation: When it comes to the method of observation, we have to say two cases.

The first is to draw **, the general exam will give a still life **, and it cannot be changed, so in this case, it will be drawn directly, without too much observation.

The second is that in our usual sketching process, when we see a group of still lifes, we must first distinguish the subject object and other still lifes, and then immediately conceive the color matching of the painting.

Whether the composition is reasonable:

The second point is the problem of composition, after we fully observe the still life, in the composition, we can follow the principle of what you see and what you paint, you can also make some changes, if your angle is not good enough, you must make adjustments in time, instead of following the painting.

If your angle is very good and the still life does not need to be adjusted, then you need to think about how to make the composition more perfect, you can add some countertops or appropriately pull the sense of space a little more, so that your picture will be more competitive.

Be bold in drawing, not partial; Deal with the relationship between light and dark and the relationship between environmental color; The colors should be rich, and what you can't see green is green, and what is red is red; Gouache cannot be painted in solid colors; Grasp the dryness and wetness of the water.

Observation method: When it comes to observation methods, we have to say that there are two situations, the first is to draw **, the general exam will give a still life **, and it cannot be changed, so that the situation is directly drawn, without too much observation. The second is that in our usual sketching process, when we see a group of still lifes, we must first distinguish the subject object and other still lifes, and then immediately conceive the color matching of the painting.

Whether the composition is reasonable: the second point is the problem of composition, after we fully observe the still life, in the composition, one can follow the principle of what to see and what to paint, you can also make some changes, if your angle is not good enough, you must make adjustments in time, instead of following the painting, if your angle is very good, the still life does not need to adjust the position, then you have to consider how to make the composition more perfect, you can add some countertops or appropriately pull the sense of space a little, This way your picture will be more competitive.

The gouache toning technique is generally that the nib is mainly colored, and a small amount of water can be dipped in water, and the nib should be washed with water after using up a color. The gouache toning technique is generally that the nib is mainly colored, a small amount of water can be dipped in water, and after using up a color, the nib should be washed with water, and the nib should be dried with an absorbent cloth and then colored. If the color is unclear or the gap with the adjacent brushstrokes is too large, the tip of the brush should be washed and re-colored.

There are many gouache mixing techniques, such as complementary color intermodulation, similar hue modulation, gray modulation, etc., and complementary color intermodulation often uses red and green, yellow and purple contrasting colors to harmonize colors; The homogeneous hue blending method can be used to harmonize with each other using homogeneous colors; The gray blending method is commonly used to use gray pigments and tend colors. There are many gouache mixing techniques, such as complementary color intermodulation, similar hue modulation, gray modulation, etc., and complementary color intermodulation often uses red and green, yellow and purple contrasting colors to harmonize colors; The homogeneous hue blending method can be used to harmonize with each other using homogeneous colors; Commonly used in the gray blending method. It is to use gray pigment to add a tendency color.

1. Complementary color intermodulation method: The commonly used modulation methods commonly known as high-grade gray are red, green, yellow, purple, and intermodulation. Note that the amount should not be equal, and it should not be over-mixed, otherwise it will be easy to turn gray and dirty.

2. The same kind of hue blending method: it can not only change the brightness, but also enrich the color, and it is not easy to get dirty.

3. Gray blending method: directly use ready-made gray plus inclined color, such as lake blue (cobalt blue) + earth yellow + violet + white (gray) + tendency color, grass green (or medium green, pink green) + ochre (or cooked brown) + white + tendency color, earth yellow + green lotus (or violet) + white + tendency color.

In addition, if it is a bright color, the basic color + the same color with higher brightness or the adjacent color + white. For example, the glossy side of a red apple can be blended as follows: red (basic color) + lime yellow or medium yellow (adjacent color) + white.

If the dark side color, the basic color + the complementary color of the basic color or the basic color + the same color or adjacent color with low brightness (mainly used for objects with a lighter basic color), the basic color + blue category + red category (mainly used for objects with a darker and heavier basic color).