When painting gouache, how to reduce the purity of the color and increase the brightness? Don t say

For example, oranges. A: Brightness:

In sketching, it refers to the gradual change of shade of tone, and in gouache painting, there must be not only a simple change of light and shade, but also a change of color, in other words, it is necessary to attach the colors of the various yellow series on the orange according to the change of light and shade, and at the same time pay attention to the contrast, if the orange.

The bright side is cold, the dark side is warm, you can add a little yellow contrast color to the projection Purple On the contrary, you can draw a lot of colors on oranges, but don't destroy its light and shade B: Purity in color, finger.

The amount of pure color contained in a color, if the more pure color is added to a color, the purity is high, and the more vivid and conspicuous it is in the picture, then it jumps forward, and vice versa About the change in the purity of a color: 1 Big red Lake Blue Cobalt Blue A gray.

Then gradually add yellow to this color to get the different purity of yellow 2 You can also directly use an existing gray color to tone the above as long as you do it, then this orange.

The volume will come out naturally, and the color is rich, and the sense of space is strong Remember: in the color painting, don't paint the space volume for the sake of painting the space volume, but through the change of color to make it naturally form the space volume There is a feeling of natural success, that's right The volume of color is expressed by the change of color, not only by light and shade, as long as you draw the color relationship correctly, then its volume, the space will come out naturally

So there are a lot of color paintings that are full of color blocks when you look closely, and these color blocks have changes in cold and warm, light and shade, and you basically can't see what is being painted, but when you look at it from a distance, the picture has everything, and it's very beautiful, and that's the reason

In fact, whitening is the most effective way to brighten and reduce purity.

In addition to white, you can also add light colors of the same color, such as yellow + lemon yellow, green + light green, red + orange.

Gouache color purity and brightness.

When gouache pigment is wet, the saturation of its color is as high as that of oil paint, and after drying, due to the action of powder and the loss of color luster, 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, when wet and dry, its brightness shows a difference of depth or light, which is the dry and wet reaction of gouache pigment.

Since the color of gouache generally becomes lighter after drying, the use of good powder is the most difficult problem to solve in gouache painting technique. The color of the powder makes the color of the picture full of the unique "powder" quality of gouache painting, and there is a particularly rich intermediate color, but the color delicacy of gouache painting is still far lower than that of oil painting.

Due to the limitations of gouache pigments, there are very few large-scale works with high specifications that use gouache pigments for creation.

Personality differences. Most of the colors of gouache pigments are relatively stable, such as earth yellow, earth red, ochre, orange yellow, medium yellow, light yellow, olive green, pink green, ultramarine, cobalt blue, lake blue and so on. However, the colors of deep red, rose red, blue lotus, violet and other colors in gouache paint are extremely unstable, easy to turn color, and not easy to cover. There are few types of transparent colors in gouache color, only a few colors such as lemon yellow, rose red, and blue lotus, so to paint gouache well, it is necessary to fully grasp the personality of each gouache pigment, and understand the strength of its color receiving ability, the size of its covering ability, and the level of color valence.

These problems must be practiced continuously, so that practice makes perfect.

The purity is contrasted, and the subject and the subject scene are expressed on the basis of uniform tones. Upstairs said that adding less water and less white is too one-sided. Water can be omitted, but white is indispensable, and it is a matter of quantity.

In the process of painting, it is necessary to constantly compare, not only the contrast of lightness, but also the hue, cold and warm, and the square and circle of shape. Once it's taken care of, then your purity, that is, the brightness you want, comes out. If your whole picture is of high purity, then the whole picture will also be gray, and there must be gray and relatively high purity so that the picture will be active.

。。。Don't add water and add less white, compared with the surrounding still life.

To put it simply, it is to control the color to two or three colors.

For example, orange (or orange red) is used in the dark part of the orange with pink and green. The dark parts of the apple are made of vermilion (or other red used in the bright parts) with pink and green.

Pink green is a very good color, the dark part of the painting is more transparent, it will not be very boring, you can also use olive green, dark green (dark green should be a little less), but note, do not use grass green, grass green can basically not be added to the color box, too jumpy, not easy to control. The dark part of the black jar is dark red in koran, don't use black, black is too heavy in the picture, there is no sense of change, and the most outstanding thing about gouache is the change of color. If the dark part is drawn thoroughly, the picture will be clean.

Highlights: Try to paint in one or two colors, add a little ambient color to the side where the highlights are close to the highlights, and add an ambient color to the dark parts near the shadows.

The interlining is foiled, but it is actually the most difficult to draw (I personally think), so you should use contrasting colors, pink green, olive green, and rose red, all of which can be added to enrich the dark part of the interlining.

A lot of details can be bought in a few books for reference, in fact, if you copy more, you will know how to grasp and control the color--

Not dirty·· There are fewer shades, and there are tones to be clear, and that's pretty much it

Reddish-brown: crimson, bright red, vermilion, rose red, purple red, flesh color, orange red, earth red, brown red, ochre, ripe brown.

Yellow: orange yellow, earth yellow, dark yellow, medium yellow, light yellow, lemon yellow.

Green: dark green, dark green, olive green, medium green, pink green, light green, yellow-green, emerald green, grass green, light grass green, dark grass green.

Blue-violet series: blue, ultramarine, sky blue, lake blue, cobalt blue, bright blue, phthalocyanine blue, violet, blue lotus.

High-grade gray (eight grays): blue lotus, bud yellow gray, light crab gray, red bean paste, gray bean green, moon gray, rice camel, light green gray.

Grayscale: Coal Black, Titanium Dioxide, Payne Gray.

Special colors: fluorescent pink, fluorescent orange, fluorescent yellow, fluorescent green, gold, silver, copper.

Note: The pigments use authentic art supplies manufacturers produced in tubes or canned professional products, high-quality gouache pigments should be delicate paste, saturated and bright colors, not dirty or gray, moderate consistency, no agglomeration, no glue seepage. Never be fooled by cheap and low-quality products.

Intrinsic color. It is the inherent color of the object itself. The grasp of intrinsic color is mainly to accurately grasp the hue of an object.

Because of the area that intrinsic color occupies in an object, it is important to study it. Generally speaking, the most obvious place for an object to show its intrinsic color is the middle part between the light-receiving surface and the backlit surface, that is, the gray part of the sketch tone, which we call the half-tone or intermediate color of the color. Because in this range, the object is less affected by the external conditions of color, and its changes are mainly the changes in lightness and the changes in the hue itself, and its saturation is also often.

Red: Vermilion (warm) rose red (cold).

Yellow: Medium yellow (warm) earthy yellow (cold).

Blue: Cobalt orchid (warm) Ultramarine (cold).

Multicolor: Violet (medium), emerald green (medium).

No color: black (medium) white (medium).

Just 10 kinds.

Toning: Three primary colors: red, yellow, blue.

Intercolor: Orange (red plus yellow) Green (yellow plus cyan) Purple (blue plus red).

Note that even the lab color gamut in the computer cannot represent all the colors in the world, and some colors cannot be adjusted or are difficult to adjust.

How to tone some metallic colors such as gold and silver, you can only buy ready-made.

Red and yellow = red orange (more red and less yellow, commonly known as orange).

Orange (mixed in equal amounts, commonly known as orange).

Yellow, blue, yellow-green (more yellow, less blue), grass green.

Green (equal parts mixed) medium green.

Blue-green (more blue, less yellow) dark green.

Blue, red, red, purple (more red, less blue).

Purple (mix in equal amounts).

Summary. Hello dear and happy to serve you. In color, lightness refers to the brightness of the color, which can be presented separately through the relationship between black, white and gray, the closer to white, the higher the brightness, and the closer to black, the lower the brightness.

Then in gouache pigments, if you want to change the brightness of the color in the pigment, you can change it by adding white and black pigments, the more white pigments are mixed, the higher the brightness, and the more black pigments are mixed, the lower the brightness. However, it should be noted that while adding black and white pigments to change the brightness, the purity of the colors in the pigments also changes, for example, we add white to the pure blue pigments to improve the brightness of the color, although it is still blue, but after adding white, it becomes light blue, and the purity is reduced. In addition to adding white pigments to enhance the brightness, we can also dilute the pigment by adding water to improve the brightness of the pigment, not enough This method is not suitable for reducing the brightness of gouache pigments, the more water, the brightness of the pigment is high, and the opacity of the pigment has also changed, and the coverage of the color will become worse.

Hello dear and happy to serve you. In color, lightness refers to the brightness of the color, which can be presented separately through the relationship between black, white and gray, the closer to white, the higher the brightness, and the closer to black, the lower the brightness. Then in gouache pigments, if you want to change the brightness of the color in the pigment, you can change it by adding white and black pigments, the more white pigments are mixed, the higher the brightness, and the more black pigments are mixed, the lower the brightness.

However, it should be noted that while adding black and white pigments to change the brightness, the purity of the colors in the pigments also changes, for example, we add white to the pure blue pigments to improve the brightness of the color, although it is still blue, but after adding white, it becomes light blue, and the purity is reduced. In addition to adding white pigments to enhance the brightness, we can also dilute the pigment by adding water to improve the brightness of the pigment, not enough This method is not suitable for reducing the brightness of gouache pigments, the more water, the brightness of the pigment is high, and the opacity of the pigment has also changed, and the coverage of the color will become worse.

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