The relationship between warm and cold gouache colors. Urgent!!

This is in my space, and the time relationship has to be replicated, and you will definitely use it in the future, and if there is any problem, 919587770

Analyze the "fire", "ash", "dirt" and "flower" in gouache still life sketching

Fire", the main reason is that the color purity is too high, and almost the primary color of the pigment in a tube or bottle is painted directly without blending, giving people a feeling of fire, life and flute. In addition, the use of too thick colors, especially the use of very thick colors on the picture "dry dragging" and "dry pulling" will cause the picture to be scorched and angry. All this shows that beginners lack experience in mixing and brushing gouache.

"Gray" refers to the lack of color contrast between the dark and bright parts of the object in the whole picture, including the contrast of brightness and the contrast between warm and cold colors. In addition, some of the bright, bright colors in the still life are not pure enough to produce a gray feeling. Another common reason is that when using color to express a certain object, there are too many types of colors, and the blending of complex colors will inevitably produce a gray and stuffy feeling.

In addition, it should be pointed out that gouache sketches use too much water to adjust a small amount of color, and the painted works will also have a gray and dirty feeling. This is due to the characteristics of gouache pigments, because gouache pigments are mainly made of a mixture of fillers and colorants, and when diluted with water, the saturation will be reduced and the color will become gray. It differs from the properties of watercolor paints, where thin watercolors produce a transparent, soft subtle effect, while gouache colors can become pale when too much water is toned.

Therefore, it is necessary to control the water consumption when mixing colors to ensure the vividness of the color. Promote its strengths and avoid its shortcomings, so as to maximize the advantages of gouache.

There are two main reasons for the dirty color of the picture: first, when expressing a certain color, there are too many types of colors, and finally the color tendency is unclear and becomes a dirty color. Another typical reason is that many novice or inexperienced candidates often brush, rub and modify the thicker base colors with water or very thin colors in gouache still lifes, in order to harmonize the soft transition colors.

The colors of the objects drawn in this way will feel dirty and gray when they are dry. To coordinate adjacent colors and transitional colors, it is necessary to bring out a clear tendency of colors, put them on or paint them while they are wet, so that the color connection is real and beautiful.

The reason for the emergence of "flowers" is the lack of ability to grasp the relationship between the large colors and the large brightness of the whole group of still lifes. Candidates with this problem often have a weak sketching foundation, and it is easy to delve into the details of the relationship when painting, blindly picking out small color changes, thus losing the large color cold and warm relationship and tonal tendency of the object, especially the large light and dark level relationship. To overcome this problem, it is necessary to look at the big picture when observing and coloring.

It is recommended that candidates use a wide flat pen to pave the color at the beginning, pay attention to the color changes of the dark side, the middle side and the bright side, temporarily ignore the subtle fluctuations and subtle color changes, grasp and control the large decent color relationship, and then carry out in-depth performance on this basis, which is relatively easy to overcome trivial problems. But fundamentally, holistic observation and overall performance are effective ways to overcome trivial problems.

Of course not, if it's cold, it's still warm? Cold and warm are relative.,If the light side is cold light,,Of course, the backlight side is warm.。。 For example, if the light-receiving side of a plaster statue is blue light, you can add some warm colors to the backlight side, such as purple or yellow, etc., and then you should have an appropriate amount.

It doesn't have to be a warm color to receive light, it depends on what kind of light source (sunlight, fluorescent lamp, etc.) is, and what the object is. At the projection of the object, the relationship between the color of the object and the color of the light source is also considered. The backlight is not necessarily a cool color, for example, a red apple is still a little warm in the backlight.

In fact, you will experience this by yourself in your future paintings, you have to explore by yourself, you don't necessarily understand what you are talking about, you have to read more of the master's models, you have to copy more, and when copying, you have to use your heart to understand why you paint like that.

Divided into cold light and warm light, according to your own feelings, there is no fixed, if the bright part is cold, then the dark part is warm, the bias is different, how to behave? Warm is a warm color, such as yellow, red, etc., through the contrast of cold and warm... The cool color is blue, green and purple, read more books, copy more paintings, and you will understand if you draw more...

It's up to your own feelings to tell.

You can start by looking for a color spectrum or color ring on which the yellow (lemon yellow) at the top of the center and the purple (violet) at the bottom of the center are the baselines, with the warm color on the left and the cool color on the right.

Cool and warm tones are tones that are dominated by cool or warm colors. It is easy to understand: if a picture is mostly red, orange, lavender and other colors, it is a warm tone; On the contrary, the main colors of blue, emerald green, and lime yellow are cool colors; Medium yellow, brick red, olive green, cobalt blue and other main tones, neutral tones.

If you want to paint a painting with warm colors, use more warm colors, and only use cool colors if necessary (note that warm pictures should be circled with cold colors to reflect the light), and in the same way, cold colors should be used to supplement cold colors and warm colors.

If you do this at the beginning, it is not easy to grasp the tone of the overall picture, you can paint the background color first, the cold color picture, and simply use the blue + water for the background color painting, the color must be thin (add more water, rely on the color concentration to distinguish the object, not rely on the inherent color of the object). Warm tones with ochre + water. Neutral colors use olive green + medium yellow + water.

These blending methods are universal, and it is not necessarily necessary to do so, but as a basis, practicing these three background colors can make it easier to control the tone of the picture.

The contrast between the warm and cold colors is obvious, and the contrast between the light and the dark parts is obvious, and I study art, so I recommend you to look at Monet's paintings, which may help you.

In the color, on the color wheel, the smaller the angle between the 2 colors, the weaker the contrast, that is, the softer the larger the angle, the stronger the contrast, that is, 180 degrees. Of course, it is also very beautiful, such as the contrast between red and green, the contrast between purple and yellow, etc.

If the color and color articulation are not natural, you can add a little gray to make it comfortable for the eyes.

Of course, there is also chiaroscuro in the color, such as classical painting, the masters like to use the monochrome on one side of the complete light and shade first, and then add color on top of this, the disadvantage is that it is time-consuming, and now they don't use this method, they are all painted directly.

Red, orange, yellow – are warm colors.

Green, blue, black - cool colors.

The brighter the cool tones – the warmer they are, and the warmer the brighter the warmer tones.

The colors mentioned above are basically distinguished from the overall color system.

But it should be noted that the color tones are cool in tone.

Warm colors don't exist alone.

The difference between warm and cold tones is produced in contrast, which is a subjective feeling. Therefore, there is also a distinction between warm and cold in red, which is defined as warm, such as the ratio of dark red to orange.

Deep red is a cool color, and orange is a warm color. Crimson and purple put together, it's warm again.

Color science is three-dimensional and cannot be seen in isolation.

There must be a contrast between cool and warm colors on an object, for example, if the dark part is a cold color, then the bright part should use a warm color, and if the dark part is a warm color, then the bright part should use a cool color. However, in the case of seeking contrast, we must pay attention to the unity of the overall tone, and not let the picture change. At the beginning of the drawing, you can remember to focus on the color contrast, such as warm yellow and cool purple.

Red and blue, and so on, and so on, and these color contrasts are mechanically added when painting. On the premise of being able to grasp the picture, start the training of sketching, and slowly do not use such a rigid contrasting color, you can use some contrast between warm gray and cold gray, so that the picture will be softer and more comfortable than the previous stiff picture.

Cold and warm are relative, generally red, yellow, orange is warm, purple, blue, green is cold, blue is the coldest, purple and green are slightly secondary, orange is the warmest, red and yellow are secondary. When the picture is a cool light source, the cold color of the item is mostly a cool color, and vice versa. In fact, the boundary between cold and warm is blurred, but it is relative, and a painting can be said to be different tones relative to different works.

Sketch more and write down the colors in the work, including the position of the ambient color, the position of the intrinsic color, and the color under the influence of the light source. Unless the cold and warmth are specified, you can draw whatever you want, and you don't have to care much about this kind of thing.

Cold and warm are relative, warm colors are warm colors account for more proportions, just use more warm colors, pay attention to the complementary color relationship.

Orange is the warmest and blue is the coldest. In the hue ring, those near orange are warmer, and those near blue are colder.

You see: blue-green and basket purple are as close as blue, and the cold and warm should be the same. Red oranges are closer to oranges than yellow, so red oranges are warmer than yellow. Green is closer to blue than yellow-green, so green is cooler than yellow-green.

If there is a large proportion of white in the red system, such as light pink, it is not as warm as orange in the yellow system. The different shades of the same color system are also very harmonious.

The orange ones in the same color will be warmer, and the blue ones will be colder. Looking at the color map upstairs, in the red, the orange red is warm, and the purple is cold. The orange yellow is cold, and the greenish yellow is warm; The yellowish green is warm, and the blueish green is cold; The bluish purple is cold, and the reddish purple is warm.

Orange is a very warm color, but at low purity, it becomes a brown color, a reddish coffee is cold, and a yellowish coffee is a warm color. Blue is also extremely cold, greenish blue is warmer, and blueish is colder. Hue is a mixture of lightness and purity, and when lightness (i.e., the depth of a color) and purity (the vividness of a color) are in the same range, the hue is unified.

Here's a breakdown of each shade, if you look at it, it's clearer.

The warmth and coldness of color are relative, not absolute.

As far as the order of the colors you give is warm and cold, it is a bit messy, from lemon yellow to red, from cold to warm, red to violet, from warm to cold (red gradually + blue). The ochre and ripe brown hues are difficult to grasp, and can be classified as intermediate colors without distinction. The division between green and blue in the back is also a bit chaotic, olive green should belong to the warmest of green, the coldest is emerald green, and inside the blue, it should be cobalt blue (higher brightness, relatively weak hue), lake blue, ultramarine, and puran.

Qinglian has a purple (blue + red) tendency, so it is the warmest among the blues.

If you arrange them from cold to warm, they can be divided into the following groups.

1.Lemon yellow, light yellow, medium yellow, orange yellow, orange red, vermilion, bright red.

2.Blue lotus, violet, rose red, crimson and red.

3.Puran ultramarine lake blue, emerald green, dark green, pale green, pink green, olive green.

Where you need to explain, you can continue to ask me.

In fact, the order of the colors you arrange is not according to the cold and warm, but according to the change of hue. You already know that from yellow to red, from red to purple, from purple to blue, from blue to green, and even from green to yellow. It's a cycle.

Therefore, according to the cold and warm rows, there is indeed a small problem. But by the hue variation, you're basically right.

It seems that you haven't distinguished hue from warm and cold.

I won't say much about apples, just look at what others have drawn. Guo Zhenshan's gouache color can be learned, and the brushwork is exempt.

I think when you say color vision, you mean the method of observation. Two words: contrast.

As I said at the beginning, color is relative, not isolated. When you look at two different colors together, you can tell their hue, warmth, brightness, and so on.

My girlfriend called me to dinner. So much for now.

Warmth and coldness are to look at your light, not at objects. If the apple is exposed to cold light, then the bright side is cold, and the dark side is naturally warmer. In other words, the bright side is colder red (with a purple tendency) and the darker side is warmer yellow (with an orange tendency).

If the apple is exposed to warm light, the red will be redder and the yellow will be greener.

The interior is generally warm white cloth with strong reflection and slight powder in the dark.

Warm and cold colors can be judged according to the light source, which refers to the color of the light source, not the bright surface in the sketch.

If the color of the light source is cold (white light, sky light), then the light-receiving side of the object is the bright side of the object will be cold, and the middle surface of the gray surface is generally the inherent color of the object, the dark side of the backlight side is warmer, the cold and warm of the reflection is judged according to the environment color of the interlining, and the highlight should also be drawn according to the color of the light source to draw the cold and warm, if the color of the light source is warm (sunlight, yellow light) is the opposite.

The color of the gray surface is generally the inherent color of the object reflected, and the rich variation of color can be expressed by the change of lightness.

Take the pear in the picture as an example, the light source is the sky light, it is a cold light source, then the bright part of the pear is cold, when painting is to add white and a little green, the highlight is also cold, and the middle part is the gray surface on the sketch, which is the inherent color of the pear, through the subtle brightness change to draw several levels, and the dark part of the pear is obviously warm, with earthy yellow, purple, orange changes.

The lining is the same, the place near the light source is blue and blue, and the place far away from the light source is purple, warmer. The lining of the whole color is cold, and the warmth here is also a little warm in the cold, so you should control the degree when painting, and pay attention to the overall color comparison.