推荐回答(5个)
水粉画的性质和技法,与油画和水彩画有着紧密的联系。是介于油画和水彩之间的一种画种,它与水彩画一样都使用水溶性颜料,颜料成分和透明水彩颜料相同。如用不透明的水粉颜料以较多的水分调配时,也会产生不同程度的水彩效果,但在水色的活动性与透明性方面,则无法与水彩画相比拟。
如果在有颜色的底子上覆盖或叠加,那么这个过程,实际上是一个加法,底层的色彩多少都会对表层的颜色产生影响,这也就是它较难掌握的地方。但是,有经验的画家往往就是利用它的这种特性来表达水粉色彩自身的和特有的艺术魅力。
扩展资料:
基本技法
写生时调配色彩,是建立在正确观察和理解对象的色彩关系的基础上。调配颜色不能孤立的看一块,调一块,画一块。而要考虑整个的色调和色彩关系,从整体中去决定每一块颜色。水粉画写生色彩不易衔接,也应该在明确色彩的大关系的基础上,把几个大色块的颜色加以试调,准备好再往上画。
颜料选择
水粉颜料中的深红、玫瑰红、青莲、紫罗兰等颜色就极不稳定,容易出现翻色,不易覆盖。水粉颜色的透明色彩种类较少,只有柠檬黄、玫瑰红、青莲等少数几种颜色,要画好水粉画就必须充分掌握水粉各颜料的个性,了解它的受色能力的强弱、覆盖能力的大小、色价的高低。这些问题都要通过不断实践,做到熟能生巧。
参考资料来源:百度百科——水粉画
一、粉
色彩在调合时的倾向性 不够明确,含糊的色彩太多,也会造成画面色彩的粉气。北京画室在绘画过程中要注意色彩的明度对比,物体暗部的色彩要调出色彩的倾向性,把色彩间的关系找正确,这样 画出来的物体即使有少量的白色也不会使人感觉到粉气。
二、花
花的主要原因是在绘画的过程中缺少整体意识,使画面物体与色块间的色彩关系显得零乱,色彩的纯度与明度关系处理不当,主次不分,虚实不分。出现这些问题的 主要原因是在绘画过程中缺少统一的组织安排。
三、脏
由于色彩混合的种类很多而使其色性减弱,尤其是补色间的混合,更会使画面变脏。画面的改动次数不宜过 多,否则会使画面的底色泛上来,失去色彩的明亮效果。另外,画笔、水和调色板不干净,造成调色时色彩混乱,这也是造成画面脏的原因。
四、灰
画面上没有最亮和最深的颜色,缺少冷暖对比和明暗对比,整个画面看上去没有生气、不生动。灰的原因与用色的脏和粉有关系。要改变灰的特点,应明确灰与灰色调是两回事,灰色调是画家主观要求的,而绘画的灰要靠加强冷暖和明暗对比来解决。
五、火
画面中大面积运用原色和纯度高的色彩作画,不经过任何的调配,会使整个色调显得生硬,不符合色彩变化规律
水粉画颜料有一定的覆盖能力,色彩纯度较高,色彩效果浑厚、柔润、鲜明、艳丽,作画工具比较简便。从某种意义讲,它用途较广,比较普及,容易为更多的人接受。水粉画的缺点是缺少光泽,不易衔接,较难表现微妙的色彩变化,掌握不好,容易产生平淡、脏、灰、暗的缺点。所以,要根据这些特点,扬长避短,以求在写生和创作中充分表现对象
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