Gouache brush strokes and how to deal with the picture

1.There is no need to deliberately pose brushstrokes, pay more attention to the shape at the beginning and the color in the later stage when painting gouache.

2.As the old saying goes, practicing sketching still life well will improve your brushwork and feeling on gouache, and it's best not to deliberately put some brushstrokes on it. The brushstrokes themselves have no meaning, just what the painter feels. You can't draw exactly like the author.

3.In gouache, the closer the subject is to you, the brighter and darker, the higher the purity. There is only one way to distinguish the object from the interlining: draw the main object in detail, and control the three elements (brightness, cold and warmth, and purity) at the same time.

4 The spatial perception of gouache is mainly determined by three points: cold and warm contrast, brightness contrast, and purity contrast. The near real and the far virtual are strengthened by the contrast between these three points of the subject object (the object that is closer to you). In addition, the use of complementary colors is important.

5.The reason why gouache has a color cast is because there is cold and warm, for example: yellow and orange are warm colors, and blue and green are cold colors.

All the warmth and cold are relative, tartrazine is colder than orange, sky blue is warmer than plain blue, and so on. Also, the gray tone is not fixed, there is no fixed color.

6.You still have to study hard and practice hard, and you have grown up in loneliness. There is a give-and-take. Just like a good painting, it is not good to be average, and it is attractive to have a focus. I wish you success in surpassing your opponents.

7.Although my gouache is well shaped, the color is simple and the color relationship is weak, but it's still okay to look at it, I hope it can help you.

Pictured: (Professional gouache, non-test gouache).

Liu Longfei] The color of the gouache bar sticks it.

2013 [He Yanjun] The new work was released, and all questions must be answered.

Oh, thank you.

An excellent gouache still life, the relationship between the shapes and colors of various objects in the painting is usually shaped by an expressive brush. Indeed, how to express the object with the pen has a very direct impact on the final effect of the picture and the infection knife. Different brushstrokes and different brushstroke characteristics are one of the main factors that form different picture styles.

There are many techniques and styles of brushes, such as the technique of using pointillism, the technique of using block surface pendulum, the rendering technique of dripping with water, the technique of using dry pen piles, the technique of using a scraper and so on. Each of these methods will be very different in the specific application of different candidates, which is due to personality and temperament. As a four-hour color still life sketch, it is generally impossible to express the color relationship of objects in the same way as classical oil paintings.

Moreover, the material characteristics of gouache tools are not suitable for repeatedly connecting subtle and delicate color relationships. Repeated use of the pen will bring up the background color in the painting. Therefore, the general expression of objects with gouache pigments is mainly based on a concise brushwork, and the treatment method of the block surface is simply and neatly expressed.

This requires a sense of shaping when using the pen to express it. The width of the brush, the size, weight and direction of the strokes are all expressions of the object, and strong and appropriate brushstrokes will add to the expressiveness and beauty of the object. In fact, the use of the pen is a process in which the author observes and compares objects in the process of sketching, so as to constantly think and recognize, and it is also a process of continuous correction and repetition.

The specific placement of brushes and brushstrokes is usually expressed in combination with the transition relationship between the shape and structure of the object.

At the same time, factors such as the shade and texture of different objects should also be considered. When coloring the pen, you should first combine the large shape structure to distinguish the relationship between the light, the backlight and the projection. With a pen, you can choose a wider gouache flat pen and put it on in an orderly manner.

In the overall painting process, it gradually deepens, and finally achieves the effect of strong and powerful, rich and vivid colors in the shape of the object. In addition, when expressing bright surfaces and highlights, the pen should be strong and crisp, and the color can be appropriately thick. The color in the highlight should be thick and dry, almost no water, and after the gouache is dipped in the highlight color, the pen should be accurate, fast and decisive, so as to draw the shimmering feeling of the highlight.

It is most forbidden to hesitate with a pen and use a pen to draw in the highlights in a daze, which is not expressive.

In addition, the teacher from the Beijing Lengwen Studio also told us that objects with heavier or lighter colors, objects with rough and thick textures, or smooth and brittle objects, should be different in the use of brushes. Finally, when representing each object, it is necessary to pay attention to the changes between the virtual and the real on the edges of the sides, both to draw it firmly and to make it turn around. Generally, the edges of the bright parts are more solid, and the edges of the dark parts are more indispensable.

Special attention should be paid to the contrast and harmony of adjacent colors, and the cohesion of the edges of the object should sometimes be patiently repeated several times, so that it can be organically linked with the background color.

In the process of using gouache brushes, it is necessary to practice and copy for a long time, and constantly ponder what kind of brush is the most appropriate, which requires long-term practice.

What your teacher said about the surface of the block gives people a stronger feeling, the brushstrokes are crisp, not muddy, maybe the color is loud, I see someone with handsome brushstrokes, usually those people have been painting for many years.

In fact, a person's good drawing and good brushstrokes are two different concepts.

And, for those who have been drawing for a long time, the brushstrokes are very good.

Since your brushstrokes are not very good, you simply use stippling.

Reduce the dependence on the imitation of brush stroke modeling, and increase the processing of color relationships.

No. 7 pen, wool, two best.

When the pen should have the taste of "throwing", it seems to be certain, there is strength, as much as possible to succeed at one time, when the color is deviated, either directly cover all of them, or a small area of the coating, rather than painting very incomparable, remember this point, otherwise it is very troublesome, and the mood will be depressed.

If you want to strengthen the training of brushstrokes, you can start by learning to generalize, and personality is also very important. But the purpose of learning to draw is the final picture effect, so don't care about the brushstrokes, you must know how to cultivate your own advantages, you must add first, use the method of cultivating your advantages to improve your shortcomings, and it is practical to learn to draw, and the others are not bad, for the teacher, you should have the attitude of a friend, not an order and acceptance, you must be good at absorbing, and you can stop in moderation).

1. There is no question of who is right and who is wrong, and personal appreciation is different. But after all, the teacher has led several generations of students to participate in the college entrance examination, and he is more experienced and knows what kind of paintings are suitable for the college entrance examination and can get high scores. It should be right to listen to the teacher dialectically!

If the brushstrokes are too broken, you can try to use a larger model of pen, with the color block as a unit, and the color of the color should not be placed too many brushstrokes in the same place of the picture, which will appear very flat, no three-dimensionality, and the brushstrokes are not obvious, 2-3 strokes will do! Although the brushstrokes are too fragmented, the colors are richer, but as far as I know, most of the teachers who mark the college entrance examination are like the overall sense, the sense of volume, and the painting of large strokes, because this kind of painting can reflect the student's ability to generalize and control the color, just like writing, the strokes are cumbersome and cautious, the words written are smaller, and it is nothing to write well, but the simpler it is, such as the capitalized "one" to "ten" is the most difficult to write! The principle is the same!

2. The problem of gray pictures is not necessarily a bad thing to pretend to be a letter search, and some grading teachers like gray tones. But that's a minority after all! You can also be appropriate and selective ash, for example, objects that are far behind and non-subject objects can be appropriately ashed!

This not only brings out a sense of space, but also highlights the subject! To solve the problem of gray tones in the picture, you can use less white powder, silver gray, pink green, etc., as well as especially the mix and match of dark and gray colors, and use less menstruation, which can not only reduce the gray gas of the picture, but also avoid the powder of the picture! I'm also an art student, but I'm about to graduate from college, so what I said is not very comprehensive after all, and for reference!

Yours is right, and sometimes the teacher is not so discerning. I think it's good to pursue a sense of authenticity!

There is a big no-no when painting gouache: use black with caution.

You can see by looking at it that you must have added a lot of black to your background, and it felt good when you painted it, and when the black dried, you would find that the black part would be a little white. So be careful with black in whatever you paint.

Looking at apples and pears again, you can see that black is used to deepen the shadows. Painting gouache, not the imaginary dark part plus black, the bright part plus white, gouache is a kind of, generalization, understanding and the like of painting, it has a very important place, that is, the harmony of the picture, can not say that the background is white, just directly a piece of titanium white smeared on, but there are cold and warm tones. Use some harmonious colors for the dark parts, for example, a very gray color and red can draw the line between light and dark in the apple, instead of red and black.

Then look at the background, it is not coordinated, it is not suitable for brightly colored fruits, and the background of painting apples can be highlighted with a contrasting color of red: green, with plain blue; But if you want to blend, use a more harmonious color, such as brown ochre.

Then the brushstrokes, gouache is actually a color block, but not like a puzzle, from the light to the dark, the bright part of the place to add more water, a layer of bottom, and then the dark part should also add water, and then you have to slowly use the excessive color block to slowly present the object. Note: The darker the place, you can add a little more water, and the bright part can be used to dry brush to highlight a sense of layering, pay attention to the use of the brush pen (that is, the front color is solid, and then "float" out, just like a car drifting, mostly used for highlights).

In fact, the brushstrokes are not the most important in gouache painting, but the color sense and warm and cold tones, and the harmony of the tones, are the most important things in gouache painting.

1. If you want to draw strokes, first of all, you can't have too much water on your gouache, and it's best not to dip it in water, because water can dissolve colors together, which must be noted.

2 It's not tuned with the intrinsic color, I want to draw a three-dimensional effect, try to minimize the transition, I looked at the apple and found that there are more transitions on the dark side, and there is no transition between the gray side and the bright side, which is the reason for the three-dimensional effect. For example, an apple, lemon yellow on the left, red on the right, if you want to transition, mix these two colors together, and tune out a color similar to gold, that is, the apple in the ** you sent is probably painted like this, there are dark colors, light colors, highlights, and projections, such a painting is not realistic.

3 To draw an object, you have to adjust more colors, I paint an apple, almost use up one-third of the color palette position, it can be said that in an object, there are almost no two pieces of color is exactly the same, you have to adjust a stroke, draw a stroke, the greater the color contrast, the more three-dimensional, of course, there must be a degree, this degree is determined by their usual experience.

In addition, you should usually take a good look at the master's paintings, figure out the master's brushstrokes, color adjustments, and why the things painted are very realistic.

The above is a bit messy, try to understand it, you are the first time to paint gouache, it doesn't matter, anyone is like this for the first time, just paint a few more times, don't be anxious, practice slowly.

If you don't understand anything, ask me again, gouache lovers will sincerely answer for you!

While painting and coloring, each stroke must have a change, try to use a large brush, and the next pen must not drag the mud and water, and modify less.

Seriously, the first time I painted gouache was the same painting you did. You put too much water in your painting, not enough color, you can see that you consciously brushstroke, bold color, the effect will be better, and also, you are too sloppy in color. There are a lot of details to deal with, the projection of the apple seems to be scribbled, the black whirring under the dish has not changed, and the dish has not been projected.

Now there's a gray tone that doesn't require too many brushstrokes.

In fact, the paintings are not too good, how can there be apples all the same? You should observe more, draw more sketches, look at the block surface and color of the object itself, adjust the color from heavy to light, the important thing is that you see the color of the object, as long as you observe the object well, you can know what color to tune, it is best to draw a piece of color to adjust once, otherwise the color is similar to the painting, of course, there is no three-dimensional sense, everything is flat, according to the actual situation to paint, there is no skill, draw more, it will be good.

Kiss, gouache painting common questions and solutions are as follows:1The colors are not bright enough:

This may be because the pigment is not thick enough or the pigment is too thin. The solution is to try adjusting the concentration of the pigment or applying a white undertone to the pigment. 2.

Uneven colour: This calendar may be due to the paint not mixing well or the picture not being evenly smeared. The solution is to apply a few more layers of paint to the screen, or use a clean brush to mix the paint evenly.

3.Speckles on the picture: This may be because the paint on the picture is not drying out, or there is dust or other impurities on the picture.

The solution is to wait for the paint to dry before applying, or use a clean brush to remove impurities. 4.The color is too dark:

This may be due to a high concentration of pigments or the use of too many pigments. The solution is to adjust the concentration of the pigment appropriately, or use a clean brush to wipe off the excess paint. 5.

Stains on the picture: This may be because the paint on the picture has not dried out, or too much water has been used. The solution is to wait for the paint to dry before applying, or to reduce the amount of water used.

6.Color fading: This may be due to the pigments used not being stable enough or being exposed to sunlight for too long.

The solution is to use pigments that are more stable, or to store the painting in a cool, dry place away from exposure to sunlight. In short, gouache painting requires careful patience, continuous trial and practice, in order to master the skills of the silver god and create better works.