色彩训练的法则(二)——美术培训班知识

  • 要使画面的局部与整体、物体与环境有对比而又和谐统一

画画时要处理好局部与整体的关系。初学者往往喜欢局部的塑造,不知道如何把握整体效果。
首先要明白我们画的静物画是一组物体,它们之间是有联系的,而不是几个互不相关的单独的物体。要明白每一个物体都是重要的,但是整幅画的画面效果更重要。在开始学习绘画时就应该理解“虚实对比”“主实客虚”“疏密对比”等艺术规律,这些艺术规律都有助于我们提高作品的“绘画性”。作画时我们应该养成分析的习惯:一幅作品哪里需要深入表现,哪些应该高度概括,要做到局部与整体既对立又统一。

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With more than 20 canvases painted between the end of summer 1890 and the following winter, the stacks of wheat which were already present in his earlier works had grown to become truly imposing and, more importantly, the main motif of Monet抯 paintings. The series is composed of several sub-series which feature one or two stacks which are sometimes separate, sometimes close together, depending on the vantage point. The painter chose this theme principally because a piece of land near his house was used every year by an important farmer in Giverny as a storage area for his stacks. With the Haystacks, Monet抯 series became a deliberate choice rather than simply being what he observed: 慖 am working hard, persisting with a series of different effects (on stacks), but the sun goes down so quickly at this time of year that I cannot keep up with it.?The stacks became his motif of choice for studying forms of light. The painter was 憀ooking for immediacy, especially in the 揺nvelope? the same light diffused everywhere? For this he turned his attention to fleeting effects, variations created by the light at different times of day, as well as the season. The paintings reflect the position of the sun at the given moment through the lengthening of the shadows on the ground and the play of backlit effects. Fifteen or so Haystacks were presented at the exhibition 慠ecent Works of Claude Monet?at the Durand-Ruel gallery in 1891.

有三种方法可以使画面和谐统一:
1.画面物体的造型应该生动,一组物体之间要互相呼应,局部要服从整体。物体轮廓线的处理要注意变化,受光部分比较光滑,而背光部分则往往显得粗糙。而且受光部分通常是轮廓清晰的,而背光部分则轮廓较为模糊。有的物体受环境影响较大,尤其是质地光滑的物体甚至和环境融为一体,如玻璃和瓷器等。
2.处理好色调。我们应该使物体的颜色和环境既有对比,而又相协调,要使物体的颜色与环境相统一。在平时就要注意练习整体观察色彩,绘画时要巧妙地处理好物体的色彩表现,要重视光源色的统一、环境色的表现等。
3.处理好明暗关系。特别是暗部的处理要自然,环境会使物体的暗部产生丰富而微的变化,暗部是连接固有色和环境色之间的“接合部”。所以,画好暗部是让物体和整体画面相融合的重要方法。

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  • 要用色彩体现景物的“空间感”和“质感”
    在绘画中,“空间感”和“质感”是非常重要的。绘画有了“空间感”才会有景物的立体感,才会使人真实地感受到景物的存在。写实绘画的基本要求就是画面所表现的景物要酷似对象。“空间感”需要通过景物的虚实对比、冷暖变化、物体的大小等因素来表现。
    首先构图要注意体现空间,运用透视规律表现物体的大小关系,透视要准确。其次就是对结构的理解,要很好地表现景物的硫密关系、黑白灰关系等,最后要注意边缘线的刻画要用色彩体现景物的“空间感”和“质感”,就要大色调明确,好好分析色彩相互之间的关系。要能够突出主体,注意用色彩冷暖变化表现物体不同的前后空间和转折朝向。笔法及色彩厚薄的运用以及富有表现力的笔触,对于“质感”的表现都是十分重要的。

 

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