| 我整理了一系列構(gòu)圖“規(guī)則”(我更傾向稱它們?yōu)?/font>“技巧”)，合理地使用這些規(guī)則可以減少風(fēng)景畫的缺憾。這些規(guī)則經(jīng)常出現(xiàn)在論構(gòu)圖的書藉中，這里我融入自已的觀點(diǎn)并將它們整理成篇。值得提醒的是：別讓規(guī)則妨礙你的工作。規(guī)則是注定要被打破的，但前題是您至少知道：您正在打破什么規(guī)則、為什么要打破它？您不是因知識(shí)的欠缺而犯錯(cuò)。這里共有23頁，坐下來上點(diǎn)咖啡慢慢看吧。
I have put together a series of " rules" (I'd prefer the word, tips) of composition that when used properly should reduce the flaws in your landscape paintings. These are a compilation of what appears in most books on composition plus some of my own ideas. A word of caution; do not allow these to hinder your work. They are to help you out when you are in doubt on where to place diverse elements in your work. Rules are made to be broken, in which case you should at least know what rule you are breaking and why and not err due to insufficient knowledge. There are 23 pages so get a cup of coffee and prepare yourself for a long haul.
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景畫構(gòu)圖規(guī)則(new)\風(fēng)景畫構(gòu)圖規(guī)則(new).chm::/Photography%20Composition%20Articles%20Landscape%20Composition%20Rules.files/Fig_1.jpg) |
| 1. 請(qǐng)看上圖。風(fēng)景畫中應(yīng)該有一個(gè)興趣中心，它是畫面中最重要、最美的部分。通過運(yùn)用較鮮明的色彩或較強(qiáng)對(duì)比度，亦或是讓興趣中心包括引人注目的焦點(diǎn)，都可以使興趣中心本身得以強(qiáng)化。興趣中心是畫面的重點(diǎn)，周邊區(qū)域應(yīng)處于從屬地位。良好的興趣中心包含以下內(nèi)容：
1. Look at the picture above. A Landscape painting should contain a center of interest, which is the most predominant and beautiful area in a painting. The center of interest can be further enhanced when it contains a focal point creating a "bulls-eye" effect by adding a touch of purer color, and/or value contrast. This area will become the star in your play. The surrounding area should be subordinate. A well developed center of interest contains:
- 鮮明的色彩，如有可能還應(yīng)有互補(bǔ)色.
- 強(qiáng)烈的反差(明_暗)
- 占據(jù)較好的畫面位置
- 人造景物、動(dòng)物及人將進(jìn)一步強(qiáng)化興趣中心，它們成為畫面的主角。
- 興趣中心周邊的次要元素要能將觀眾的注意力引向興趣中心 (如圖1圖2).
- 興趣中心不要放在正中央或圖片的1/2處，較好的方法應(yīng)用三分法。
- 不要將興趣中心封閉起來--哪怕非常輕微，因?yàn)檫@樣會(huì)減弱它的重要性。
- 設(shè)計(jì)良好的興趣中心應(yīng)能吸引并維持觀眾的注意力。
- The strongest color and if possible complementary colors.
- A strong shift in value contrast (Light-dark or vice versa)
- Preferably, not essentially, it should take up a good portion of the picture plane and gradually become subdued while withdrawing.
- Man made structures, animals or human figures will further enhance the center of interest. They take the role of main actors.
- The subordinate and surrounding elements should direct or lead the viewer to that center of interest by means of pointers and visual paths. See fig 1 &2.
- It should not be placed in the center nor halfway in the picture, preferably in any of the 1/3 portions.
- This area should not be blocked, not even partially. This will diminish its importance.
- An effectively designed center of interest will grasp and hold the viewer's attention.
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景畫構(gòu)圖規(guī)則(new)\風(fēng)景畫構(gòu)圖規(guī)則(new).chm::/Photography%20Composition%20Articles%20Landscape%20Composition%20Rules.files/Fig_2.jpg) |
Fig 2. 擺放恰當(dāng)好處的園木成為重要的方向牌，將觀眾的視線引向畫家設(shè)計(jì)的趣味區(qū)。
Fig 2. The logs correctly placed are great pointers that lead the viewer's eye to the area the artist prefers.
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| Fig 3. 海濱作為視覺引導(dǎo)線，將注意力引向興趣中心--橋。
Fig 3. The shore serves as a visual path that leads to the bridge which is the center of interest.
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景畫構(gòu)圖規(guī)則(new)\風(fēng)景畫構(gòu)圖規(guī)則(new).chm::/Photography%20Composition%20Articles%20Landscape%20Composition%20Rules.files/Fig_3.jpg) |
| 2. 你也許想在畫面中加入第二興趣中心以豐富畫面的內(nèi)容。我認(rèn)為這并不可行，除非你技術(shù)嫻熟。因?yàn)殡p興趣中心的風(fēng)險(xiǎn)是它們彼此競爭從而引起注意力的分散。
2. You may want to include a second center of interest. This will add another chapter to your story. I don't condone this practice though unless you are very skilled. There is a risk that they will compete with each other.
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| 別將一物體放在另一個(gè)物體的正上方，除非其中一個(gè)在大小尺寸上明顯占優(yōu)。最好的方法是以相互呼應(yīng)的斜線方式布置。有時(shí)不能以斜線方式布置，那么將它們平行安置也是不錯(cuò)的選擇。
Do not place one on top of another. Only one should predominate in size. The best way to place them will be across each other in a diagonal format. In case this can't be done then placing them horizontally is the second option.
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景畫構(gòu)圖規(guī)則(new)\風(fēng)景畫構(gòu)圖規(guī)則(new).chm::/Photography%20Composition%20Articles%20Landscape%20Composition%20Rules.files/Fig_4.jpg) |
Fig 4. 這幅畫并不需要前景上的花，然而畫家決定加進(jìn)“第二興趣中心”。
Fig 4. This painting didn't need the flowers in the foreground. However, the artist decided to add a second center of interest.
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| 3. 避免將觀眾的注意力推出畫面。這就要求畫面元素不要指向畫的邊框，或畫面元素不要跑到畫面外(如樹枝、路及河流)。你可以設(shè)置“駐點(diǎn)”以使觀眾注意力不離開畫面。經(jīng)驗(yàn)法則是：動(dòng)物及人應(yīng)面向或看著畫的里面。
3. Avoid pushing the viewer out of the painting. This can be avoided if the elements don't point towards the edge or run out of the picture, such as tree trunks, roads, and rivers. You can add "stops" to avoid the viewer from exiting. A rule of thumb; animals and people should be facing and looking inwards.
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Fig 5. 看畫的右側(cè)，畫家的將右邊的明暗反差降低，馬融入樹林。如果這匹馬的亮度提高，觀眾將順著這匹馬看到右側(cè)畫面的外面去了。
Fig 5. Observe the horse on the right. The artist subdued the value. Squint your eyes. See how it merges with the trees. If this horse were lighter in value the viewer would mount the horse and ride right ou
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Fig. 5a. 第一幅圖園木太直并指向了畫面邊緣。
中間的那幅是編輯過的，一些伸出的及未端的樹枝減弱了園木直指畫面邊緣的效果。
第三張干脆將它拿走，這時(shí)觀眾的視線將順著海岸走。
Fig. 5a. Observe the first painting. See how the log is too straight and pointing towards the edge. The one in the middle has been edited. Some broken off branches were extended to slow down the speed as well as a branch added at the end (a stop). (Last picture)A better alternative might be to remove the log completely. Now the viewer will follow the shore line.
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| 4. 河流、小溪及路等，應(yīng)以S型進(jìn)入畫面。如果不是S型，那么最好以曲線的方式進(jìn)入畫面。應(yīng)不惜一切代價(jià)避免直線，因?yàn)樗麄冏鳛橐曈X引導(dǎo)線時(shí)，目光移動(dòng)過于迅速，而S型則能使目光以較慢的速度掃視畫面。
4. Rivers, streams, roads, etc. should enter the picture with an "S" movement. The second option, not as good, in a curve. Straight lines should be avoided at all costs. The velocity is too fast. Allow the viewer to take a slow visual "walk".
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Fig 6. 圖中，小溪形成優(yōu)美而舒緩的S型構(gòu)圖。
Fig 6. This stream in this composition has a nice lazy "S" shape".
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| Fig 7. 本圖中引導(dǎo)視覺的線條是曲線。同圖6相比，看哪個(gè)能使您以較慢、更愉悅的速度掃視畫面？
Fig 7. The visual path is a curve. Compare the both pictures and see which one takes you for a slower ride, more enjoyable ride.
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Fig 8. 不正確，引導(dǎo)視覺的線條太直
Fig 8. Incorrect: The road enters in a straight line. The visual path is too fast.
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| Fig. 9. 好一點(diǎn)，線條較舒緩，使觀從能更好地瀏覽畫面
Fig. 9. The image to the right shows a much better approach.
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| 5. 別將邏輯應(yīng)用于藝術(shù)。最重要的是視覺沖擊力。即便是的陰沉的天氣，陽光也可能在草地上出現(xiàn)；為了獲得不錯(cuò)的畫面效果，線性透視和大氣透視關(guān)系也是可被扭曲的；在某些特定的時(shí)刻，可將影子描繪成比它的本來面目更長?？傊現(xiàn)eel free to use your artist's license…
5. Logic doesn't apply to art. What counts is the visual impact. Sunlight on a field of grass may appear even if it is a cloudy day. Linear and atmospheric perspective can be distorted if the result is a better look. Cast shadows can be longer than they would appear at a specific time of day. Feel free to use your artist's license..
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Fig. 10 細(xì)看圖，樹的形態(tài)表明風(fēng)是從右向左吹。然而，雨的方向又表明風(fēng)的方向是從左向右的!
Fig. 10 Observe how the trees give the appearance that the wind is blowing from right to left. However the direction of the rain shows the opposite direction.
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| 6. 使重要的對(duì)象集聚在興趣中心。別將它們分散到那些易使注意力分散的地方。
6. Group your subjects of importance within the center of interest. Don't scatter them around where they would compete for attention.
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| Fig. 11 . 所有人出現(xiàn)在右下方興趣中心的范圍半徑內(nèi)
Fig. 11 . All the people appear in the same radius within the center of interest which is located at the bottom right.
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Fig. 12. 馬的位置不對(duì)。如果將馬放到長椅子附近，影像將大為改觀。
Fig. 12. The horse is wrongly placed. Had the artist positioned it near the bench, the composition would've improved.
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| 7. 您也許想讓觀者在看圖片時(shí)要參與進(jìn)來而不僅僅是看看就算了，那么需要含蓄地給出信息讓他去探索您的畫面，而不要將所有信息全都直接地呈現(xiàn)在他面前。您的圖片要能使觀者富有想像與好奇地漫步于整個(gè)畫面—畫面不要太簡單太直白。
7. You may wish to allow the viewer to interact and become a participant. Let him look for the pot of gold at the end of the rainbow instead of you providing all the visual information. Set your painting up for the viewer to wander around using his own imagination.
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| Fig. 13. 這是什么地方？這里有湖嗎？畫家讓您去猜想。畫中那條路也不知要伸向何方。
Fig. 13. What is around the bend? Will there be a lake? What about a town? Here the artist left it to your imagination. The path doesn't go anywhere. You tell me.
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| 8. 深度。 畫家是用二維的畫面來表現(xiàn)三維的空間。觀眾看畫時(shí)感覺它們很“真實(shí)”，實(shí)際上我們 “騙”了他們。有時(shí)人們看過我的畫后會(huì)問我“這是照片嗎？”—真是情不屬實(shí)啊。我的作品絕不是寫實(shí)的，它們只是表現(xiàn)現(xiàn)實(shí)世界。這里有幾個(gè)巧門有助于使畫面更具深度感：
8. Depth. An artist is limited to creating the illusion of three dimensions on a flat two dimensional surface. We are to trick the people who see our paintings to believe that what they see looks real. Sometimes I have heard people ask me when they see my paintings. "Is it a photograph?". How far from the truth they are! There is nothing real about my work, just a representation of reality. Here are a few gimmicks that will work to create the illusion of depth.
- 讓物體相互交迭
- 大氣透視 (明暗、色彩隨距離變化而變化等內(nèi)容……。略)
- 較遠(yuǎn)的物體較小、較模糊。
- 創(chuàng)建至少三個(gè)平面，每一面都有其重要性，一般來說如前景，中景，背景。
- 線性透視。
減弱背景物體的質(zhì)感。圖13中表現(xiàn)出了良好的距離感：山脈前的松樹表明樹與山相距很遠(yuǎn)；前景上突出的黃色較曖，而背景的淡紫色使山顯得較冷；遠(yuǎn)山上的陰影較淺較藍(lán)。畫面包括了前景、中景及背景三個(gè)位面。
- Place objects so they overlap.
- Atmospheric perspective. Colors get cooler (bluer) and lighter in value as they recede into the background. They get warmer and the dark values become darker as they get closer. Note. In nature this doesn't always prove to be right. When we look at a tree that is 100 yards away it will still be dark and a warm green. The value shift will be very subtle in comparison to a tree right next to you. This slight difference wouldn't even show in a photo. If you paint it this way you won't be creating the illusion of depth. However, If you add more mauve or blue to your greens as well as lighten them, this will push them farther into the distance. The more you apply this concept the further they will recede. Simulate it is a humid day with a lot of moist in the air. This has to be exaggerated to a point.
- Elements are smaller and less defined in the distance than in the foreground.
- Create at least three planes. Each should have a predominant value. Usually known as foreground, middle ground, and background.
- Linear perspective.
- Subtract texture from objects that are in the background. See Fig 13 on the previous page. There is a good feeling of distance. The pine trees are placed in front of the mountain which in return is behind telling us they are farther away. The intensity of the yellow that appears on the highlights in the foreground is much warmer, whereas in the background some mauve was added to cool them. The shadows in the far mountain are lighter and bluer than in the middle ground. There are three planes.
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Fig. 14. 將前景變暗可增加距離感。
Fig. 14. You can add more planes which will enhance the feeling of distance if you darken the foreground.
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| Fig. 15. 利用霧增加透視感是個(gè)不錯(cuò)的選擇。
Fig. 15. Fog is a great way to create distance.
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| 9. 使畫面興趣中心的反差最強(qiáng)烈—讓明暗形成強(qiáng)烈的對(duì)比。減弱畫面的其它地方的反差以避免注意力分散--讓明暗形成中等的對(duì)比。
9. Reserve your strongest value contrast for the center of interest, very dark against very light or the reverse. Keep the contrasts subdued everywhere else so as not to compete for attention. That is mid values against darks or mid values against lights.
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Fig. 16. 錯(cuò)。左邊的樹分散了注意力—明暗對(duì)比突出。
Fig. 16. Wrong The tree on the left is competing for attention. There is a dark against light contrast on the left.
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Fig. 17 較好。左邊的樹作過裁減，反差也降低了。這樣注意力就很容易集中在野牛身上。
Fig. 17 Better. The tree was cropped out and the value contrast is now reduced. It is easier to focus on the buffalo now.
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Fig. 18. 圖中男人身上深色衣服使他很突出—衣服周邊較亮區(qū)形成強(qiáng)烈的明暗轉(zhuǎn)變。 盡管房屋邊陰影中的門也是深色的，但它周邊明度值較低，所以門并不顯眼，也不會(huì)分散注意力。 想想聚光燈打在舞臺(tái)演員身上的效果。
Fig. 18. The dark clothes on the man readily make him stand out. There is a dramatic value shift. The door on the shadow side of the house is also dark but it is surrounded by a mid value so it won't attract the viewer to the wrong area. Think of the spotlight shinning on the actor on a theater stage
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| 10. 如果畫面留有空白，將不會(huì)顯得那么擁擠；在興趣中心前方留點(diǎn)空白，效果更為明顯?？瞻椎淖饔檬墙o畫面留點(diǎn)喘息的空間和想像的空間
10. Your painting will look less busy if you include a rest area, preferably just before the center of interest. This will allow some breathing space.
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| Fig. 19. 松前的白雪形成了令人舒暢的空白區(qū)。
Fig. 19. The snow bank just before the pine trees provides for a nice rest area.
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11. 如果有可能，畫中應(yīng)盡量包括水平、垂直及斜向運(yùn)動(dòng)，但應(yīng)使其中一種占主導(dǎo)地位。斜線式運(yùn)動(dòng)是最佳選擇，因?yàn)樗鼈冇肋h(yuǎn)不會(huì)同畫的邊框平行。并不一定要求這些線條都是筆直筆直的，它們只要表示某種方向感就可以了。
| 11. If possible include a vertical, horizontal and diagonal movement in your painting. Only one should be predominant in length though. Diagonals are the most preferable because they never run parallel to the frame. These contour lines should not be straight rather just give the sense of direction. |
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| Fig. 20. 圖中松樹是垂直的，草地是傾斜的，海岸線是水平的。注意，多虧小松樹的存在，藍(lán)色水面形成的三角形才得以打破。
Fig. 20. The pine tree trunk offers the vertical. The grass is placed diagonally. The shoreline is the horizontal. Note: The smaller pine trees help break up what would be otherwise a blue triangular shape.
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| 12. 當(dāng)包含具有運(yùn)行特征的構(gòu)圖成分時(shí)，應(yīng)盡可能地表現(xiàn)其運(yùn)動(dòng)，但不要將其放在一個(gè)過于理想的位置上----因?yàn)檫@樣將顯得矯揉造作。
12. When including elements whose nature is usually in movement, if possible indicate their movement but without putting them into compromising positions that would make them feel that they are posing.
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Fig. 21. 畫家將馬的運(yùn)動(dòng)被表現(xiàn)出來了，淹沒了踢子的飛塵明白無誤地表明了運(yùn)動(dòng)。盡管如此，但是應(yīng)注意到?jīng)]有一匹馬給人的印象是在空中飛的。后一種情形可能會(huì)在抓拍的照片中看到，但繪畫時(shí)不要這么去做。同樣的道理，照片中的瀑布可以是凝固的，但繪畫中較好的選擇是將它模糊一下，以便形成動(dòng)感。
Fig. 21. The artist is indicating that the horses are walking. This was achieved by showing the dust they would kick up by dragging their hooves. Also observe fig above. None of the horses are in midair in which case would make them appear that they are flying. The latter would be captured on a photo but don't paint them this way. The same concept appears to a waterfall. When viewed in a photo it will appear that the water suddenly froze. Some painters copy this from the photo giving an unrealistic hard look. It is better to paint running water blurred. This will give it movement.
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| 13. 如果不能確定讓視覺引導(dǎo)線(如河流或道路)從哪里開始，那么應(yīng)認(rèn)真考慮這個(gè)觀點(diǎn)：大多數(shù)人閱讀習(xí)慣是從左到右，純粹是個(gè)習(xí)慣問題，看物體時(shí)眼睛也會(huì)從左向右掃視。
13. If you are uncertain from where you want to start your visual path such as a river or road you may want to consider this concept. Most of us read from left to right, so by sheer habit the eye will follow this sequence.
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| 14. 如同看書一樣，從左上角開始看圖也是一種視覺習(xí)慣。
14. The visual entrance may also begin at the top left much like reading a book.
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| 15. 別讓視覺引導(dǎo)線始于四個(gè)角。
15. Do not start your visual path from a corner.
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Fig. 22. 畫面設(shè)計(jì)差。正如所看到的那樣，河流始于底部的左下角。
Fig. 22. This is bad design. As you can see, the river originates from the bottom left corner of the canvas.
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Fig. 23. 將河道加寬，從而解決了“從角落開始”的問題。
Fig. 23. By widening the mouth of the river, we've solved the problem of originating from the corner.
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| 如何避免常見錯(cuò)誤
Common Errors and How to Avoid Them
16. 避免同型的兩個(gè)物體：如形狀、線條、運(yùn)動(dòng)和大小等。它們相互爭奪、相互沖突。如圖24、25。
16. Avoid duplicating forms, lines, movement, and size. This will make them compete and conflict with each other.
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Fig. 24 .圖中兩孿生白樺樹,理想的情況是其中一棵傾斜，另外兩者的大小要有所差異。
Fig. 25. 兩匹馬大小相同、位置也一樣。
Fig. 24 .Observe these two paintings. (Left)The birch tree on the left has a twin. One of them should've leaned a different way and their width should vary.
Fig. 25. (Right) the two horses are the same size and in the same position.
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| 17. 避免將人群分成偶數(shù)。萬一要描繪兩個(gè)人，也應(yīng)從體形大小及位置上作精心按排。
17. Avoid grouping animals and people in even numbers. In case you wish to depict a pair, change their size and position.
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Fig. 26.不正確。由于Poses相似、大小相似，兩只鹿相互爭奪(而導(dǎo)致注意力分散)。
Fig. 26. Incorrect. Here the deer compete with each other because they are placed in similar poses. They are also about the same size.
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Fig. 27. 較好。兩只鹿有著不同的形態(tài)和不同的位置。
Fig. 27.Better. The deer on the right is different in size and is in another position.
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Fig. 28.第三只鹿加到背景后好一些了。
Fig. 28. The painting looks even better when a third deer is added to the background.
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| 18. 永遠(yuǎn)別將物體向畫面外傾----總是將它們向里傾。設(shè)計(jì)水平線和垂直線時(shí)最好別讓它們與畫框平行。
18. Never lean your objects outward. Always have them lean inwards. Do not line them parallel to the frame. That applies in vertical or horizontal format.
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| Fig. 29. 錯(cuò)誤。電線桿傾向錯(cuò)誤的方向。
Fig. 29. Incorrect. The telephone pole is leaning in the wrong direction.
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Fig. 30. 設(shè)計(jì)差。電線桿與畫框平行了。
Fig. 30. This is bad design, as well. The telephone pole is now parallel to the frame.
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| Fig. 31. 設(shè)計(jì)得較好。電線桿向里傾，往里面傾有利于將觀者的視線維持在畫面當(dāng)中。
Fig. 31. This is a much better design. The telephone pole leans inwards, keeping the viewer in the painting.
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| 19. 避免直線—除非它們很短。將它們裝飾或修改成曲線。
19. Avoid straight lines unless they are quite short. Disguise them or modify them to curvatures.
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Fig. 32. 花從將大部分線條隱藏起來，從而使視線集中到曲面石墻上。
Fig. 32. Most of the straight lines have been concealed with flowers. Observe the curved stone wall.
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| Fig. 33. 瓦頂房屋形成了曲線。This is very common on American barns. After all, wooden beams sag over time.
Fig. 33. The tiled roof houses are curved. This is very common on American barns. After all, wooden beams sag over time.
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| 20. 別讓畫中出現(xiàn)明顯的幾何形狀如正方形、長方形(門、窗)、三角形(松樹)、橢圓或圓形(樹、云)—盡管它們的實(shí)際形狀如此。例如，若畫中有窗，需利用與窗子交疊的樹枝或花盆將方形打破。
20. Do not show geometrical forms such as, squares, rectangles (doors, windows) triangles, (pine trees) ovals, or circles. (Trees, clouds) Even when these appear in nature. For example, if you include a window, break up the form with an overlapping tree branch or a flowerpot.
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Fig. 34. 錯(cuò)。底部的陰子是三角形的。
Fig. 34. Incorrect. The shadow at the bottom is in a triangular shape
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Fig. 35. 好。解決難題的辦：打碎底部陰子.
Fig. 35. This is much better! By breaking up the shadow, we've solved the problem easily.
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| 21.永遠(yuǎn)別將畫面分為均等的兩部分—因?yàn)樗鼤?huì)讓人覺得畫面過于刻意而顯得虛假。水平線不該放置在中部。
21. Never divide your painting into equal parts. This will make it look too deliberate and artificial. The horizontal line should not go across the middle.
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Fig.36. 地平線巧好穿過中部。
Fig.37.好。天空被部分切除，圖片得以改善
Fig.36. Left.The horizon line runs right through the middle. Fig.37. Right. Better. A portion of the sky was cropped.
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| 22. 避免“吻”到邊緣。
22. Avoid "kissing" the edges.
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Fig. 38. 錯(cuò)。牛仔的帽子吻到背景山的上部邊緣。
Fig. 39. 好。每樣?xùn)|西都的位置都恰到好處。
Fig. 38. Left. Incorrect. The cowboy's hat touches the top of the background hill. Right. Fig. 39. Better. Everything fits in place now. |
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| Fig. 40. 錯(cuò).松樹的頂端幾乎觸到畫的頂部。即然不能增加畫布的大小，那么將樹的頂部砍掉吧:-)
Fig. 40. Incorrect. The tip of the pine tree is touching the top. Since you can't add more canvas, you'll have to lop off part of that tree! :-)
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| 23. “X“型使人不悅。
23. "X" forms are unpleasant.
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| 24. 別將觀眾排斥在畫面之外—邀請(qǐng)他們進(jìn)來。不應(yīng)將“請(qǐng)勿入內(nèi)”的牌運(yùn)用到畫面當(dāng)中。
24. Do not close the viewer out. Invite him in. A do not trespass sign does not apply to paintings.
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Left Fig. 42. 錯(cuò)。由于門是關(guān)著的，畫家傳達(dá)這樣的信息：我們(觀眾)正在靠近私人地盤。
43 . 好。這張畫是不是讓你感到自已受到歡迎？
Left Fig. 42. Incorrect: The artist by closing the door is telling us that we are on private property. Right. Fig. 43 . Better. Doesn't this composition make you feel more welcome?
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| 建議：當(dāng)你描寫沒有光線的入口(如沒有燈光的建筑入口)，別用黑色。表現(xiàn)“完全黑”的顏色要用紫色(The color of absolute darkness is purple)。
Recommendation. When you depict an area with no light such as a entrance to a building with the light off. Don't use black. The color of absolute darkness is purple.
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| 25. 除非你是寫實(shí)主義者否則不要太寫實(shí)。少量的暗示就可傳達(dá)必要的信息,用印象主義者的風(fēng)格來做此事是較好的選擇。
25. It is not necessary to indicate every brick, stone, board etc. unless you are into hyper-realism. By suggesting a few will convey the idea. It is better to do this in an impressionist manner.
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Fig. 44.觀眾很容易領(lǐng)會(huì)小教堂屋頂?shù)馁|(zhì)感。
Fig. 44. The viewer easily reads the texture of the chapel's roof.
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| 改進(jìn)風(fēng)景畫的若干建議
Recommendations on How to Improve Your Landscape Paintings
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| 26. 畫面的四個(gè)角落要有較低的亮度、較少的質(zhì)感。
26. Keep the corners subdued with little texture and the values dark.
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| Fig. 45. 底部角落較暗并且?guī)缀鯚o質(zhì)感。
Fig. 45. The both bottom corners are dark with minimum texture.
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| 27. 當(dāng)表現(xiàn)投射陰影時(shí)將光線掃過的地方加些小洞，不然陰影像是“帖”上去的一樣。
27. When painting cast shadows add holes where the light peeks thru, otherwise the shadow will appear pasted on.
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Fig. 46 |
| 28. 最好別將動(dòng)物側(cè)向安置(place animals sideways)，以免覺得是“平帖”上去的。擺放時(shí)要讓它們看起來有立體感。
28. It is preferable not to place animals sideways to avoid a flat pasted on look. When positioned at ? they will have a three dimensional volume.
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| Fig. 47. 不合適。
Fig. 47. Preferably not.
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Fig. 48a and 48b. 較好。
Fig. 48a and 48b. Better
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| 29. 在建筑和其它人造景物(如混凝土、木板等)上增加裂紋、局部破碎等，它們將更吸引人。畢竟那樣將意味著更多的風(fēng)風(fēng)雨雨。
29. Buildings and other man made structures such as concrete, wood, etc. will be more interesting if you make them look weathered by adding texture such as cracks, parts peeling off etc. After all they would have more of a story to tell.
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建議：僅表現(xiàn)最靠近觀眾物體的質(zhì)感，隨著距離的增加質(zhì)感要慢慢消逝。
Recommendation. Only indicate texture closest to the viewer's stand point. Texture diminishes in the disstance.
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Fig. 49. 畫家用干筆法技巧使建筑物的側(cè)面看起來顯得很舊。
Fig. 49. The artist used the dry brush technique to make the side of the building look old.
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30.通過營造氣氛來增加畫面藝術(shù)效果。表現(xiàn)傍晚的天空，橙色比中等色調(diào)的藍(lán)色更具視覺吸引力。類似的手法還有雨、濕的街道、風(fēng)、傾斜的棕櫚樹等。所有這些特殊手法都有助于增強(qiáng)畫面效果。
30. Add some drama to your landscapes by creating a mood. Late afternoon paintings with orange colors in the sky are much more interesting to see than the average blue sky. Examples of this could be rain, wet streets, wind blowing, leaning palm trees, etc. All these special effects will enhance your work.
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Fig. 50. 因雨及云層下幾縷陽光的存在，這幅構(gòu)圖簡潔的畫面看起來很具吸引力。它甚至顯得神秘。
Fig. 50. This simple composition looks more interesting because of the rain and the sun peeking through the clouds. It even looks mystical.
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| 31. 除非你意欲寫實(shí)，否則將畫繪成”迷著眼雙眼朦朧地看見的那個(gè)樣子”(paint the landscape as if you were looking at it with a squinted blurred vision)。
31. Unless your intent is to create hyperrealism, paint the landscape as if you were looking at it with a squinted blurred vision.
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Fig. 51. 的確，現(xiàn)實(shí)中被描繪的對(duì)象比最終畫面具有更多的細(xì)節(jié)。畫家提煉出最本質(zhì)的內(nèi)容并將它們簡化至極至。
Fig. 51. Surely the real life subject material has much more detail in the foreground than the final painting. The artist picked the most essential elements and simplified to the utmost.
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| 32. 背景中柔和的輪廓邊緣將增加距離感。將鮮明的輪廓留給前景和/或興趣中心。
32. Soft edges in the background will enhance the illusion of distance. Leave hard edges in the foreground and/or within the center of interest.
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Fig. 52. 女修道院后的樹是繪在濕性水彩畫紙上的。這種技術(shù)可以將所有的邊緣柔化,從而使樹葉顯得很遙遠(yuǎn)。而前景繪在干性畫紙上，結(jié)果前景的物體輪廓分明，從而顯得較近。
Fig. 52. The trees behind this convent were done on wet on wet watercolor paper. This technique diffused all the edges, making the foliage appear way back in the distance. The foreground tree was painted on dry paper resulting into hard edges, bringing it much closer in the picture plane.
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| 33. 當(dāng)某一部分與另和區(qū)域相遇時(shí)，不要讓其突然中止。
33. Don't abruptly end a portion as it runs into another area.
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Fig. 53. 錯(cuò)。當(dāng)高亮的草延伸到樹叢時(shí)就突然中止了。另外，從平面上看，這一區(qū)域立馬被分為兩部分。 Fig. 54. 好多了。
Fig. 53. Left Incorrect. The highlighted grass suddenly stops when it reaches the foliage. Besides, the picture plane is divided in half in this area. Right. Fig. 54. Better
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| 34. 將形狀多樣化。如果是圓形的樹叢，那么就別讓天空出現(xiàn)圓形的云朵。 值得注意，當(dāng)群峰或松林被圓形的云朵圍繞時(shí)會(huì)顯得很耐看。
34. Vary your forms. If you have round summer trees don't have round clouds in the sky. On another note, the peaks of a mountain or pine trees will look nice when surrounded by round clouds.
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| 35. 另一個(gè)關(guān)鍵因素是均衡。畫面的四側(cè)(上下左右)的任何一側(cè)應(yīng)布置重量差別不大的物體。否則畫面會(huì)有傾斜感。
35. Balance is another key factor. There shouldn't be that much difference of mass on any of the four sides of the painting; either right, left, top, or bottom. This will make it feel like it's leaning. The painting will appear it is hanging lopsided.
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Left. Fig. 55. 錯(cuò)。右側(cè)太重，從而感到畫面像蹺蹺板般向右傾。
Left. Fig. 55. Incorrect. The heavy mass on the right tends to make the painting want to lean towards that direction like a see-saw. Right.Fig.
Right.Fig. 56 好。在左側(cè)加入了新的重量，現(xiàn)在畫面平衡多了。
56 Better. This composition is more balanced now that some weight has been added to the opposite side.
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| 36. 畫筆的走勢應(yīng)向內(nèi)，并指向興趣中心。
36. Brush strokes should be done with an inward motion and towards the center of interest.
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| 關(guān)于色彩的若干建議
Some advice on color
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| 調(diào)色板之于畫家，就象音符之于音樂家。它們應(yīng)是和諧的。
The color palette is to the artist like the music notes to a musician. They should play harmoniously.
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| 37. 不要浪費(fèi)時(shí)間在調(diào)色板上調(diào)色，而是要直接在畫布上或水彩紙上調(diào)色，這樣能獲得更富變化的而不是單調(diào)的、事先混合好的色彩。讓顏色調(diào)和得千變?nèi)f化。避免在一處使用三種以上的色彩。
37. Don't waste time mixing pigments on your palette; rather mix them on canvas or watercolor paper. This will give you many more variations of color instead of a dull premixed outcome. Allow the colors to mix in the eye by variegating them. Avoid having more than three hues in one area.
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Fig. 57. 觀察石頭陰影處色彩的變化。畫家不是將藍(lán)、赭、橙色在調(diào)色板上調(diào)和，而是直接將顏料管中的顏色濃度稍作減弱后運(yùn)用到巖石的陰影部分。
Fig. 57. Observe all the variations of color that appear in the stone shadows. Instead of mixing blue, sienna , and orange on the palette, the artist slightly decreased the chroma from the colors that come directly from the tube and applied the colors to the shadow part of the rocks.
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Fig 58. 門是畫面中唯一的藍(lán)色，從而成了興趣中心的焦點(diǎn)。
Fig 58. The blue door is practically the only place where this color appears. This creates the focal point in the center of interest.
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建議：我不會(huì)過多涉及色彩的和諧，因?yàn)槟菍⒁獙懸徽緯?。如果你打算?yán)肅地對(duì)待藝術(shù)，那么讀完這些并將其運(yùn)用到你的工作中，將是非常有益的。我本人更喜歡將顏色與其補(bǔ)色，而不是黑色相混合?；煸谝黄鸬念伾蕉嗑驮轿蹪狩龅?。三種顏色混在一起，就會(huì)出現(xiàn)這種情況，而且，加入的顏色越多，情況就越糟。每兩英寸就要將顏色稍做變化，以避免單調(diào)。大多數(shù)人更喜歡以暖色而非冷色為主導(dǎo)色彩來繪畫。你的作品中應(yīng)該只有一種色調(diào)和溫度占主導(dǎo)地位。要在興趣中心保留最濃最純的色彩，然后加一點(diǎn)它的補(bǔ)色使周圍的顏色更突出。不要在前景中重復(fù)使用在背景中出現(xiàn)過的顏色。因?yàn)檫@樣會(huì)讓人感覺畫中有一個(gè)洞。要將暖色同冷色（及補(bǔ)色）對(duì)比使用，因?yàn)樗鼈冇邢嗷ピ鰪?qiáng)作用。（見圖61）冷色收斂，暖色拉近了主體。將藍(lán)色和紫色留給背景。用它們產(chǎn)生深度。使畫面平衡與和諧的方法之一，是在所有地方重復(fù)使用同一色彩。（見圖57）對(duì)于那些不懂得色彩和諧的人，我可以提供一條建議，作為在興趣中心產(chǎn)生沖擊效果的竅門。如果你加入少許不曾用到過的顏色，將會(huì)有力地將觀眾的注意力吸引到那里。
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Recommendations: I won't go into color harmony deeply because that takes a whole book to cover. If you intend to take art seriously, it will be extremely helpful to read up on this and apply it to your work. I personally prefer to intermix colors with their complements instead of black. The more colors you mix together the muddier they will get. This will happen after three colors are intermixed and will worsen as more colors are added to the pool. Vary the color slightly every 2 inches to avoid monotony. Most people prefer paintings with predominant warm colors rather than cool ones. Only one hue and temperature should predominate in your painting. Reserve the strongest chroma for the center of interest and add a touch of its complement to make the surrounding color stand out more. Do not repeat the same color that appears in the background in the foreground. This will give the feeling there is a hole in the painting. Place warm colors against cool colors (also complements)because they enhance each other. (See fig . 61) Cool colors recede warm colors bring things closer. Leave your blues or violets for the background. Use this concept to create depth. One way to help balance your painting and make it harmonious is by repeating the same hues in all areas. (See fig. 57) For those who do know about color harmony, I can offer this piece of advice as a trick to create a bull's effect in your center of interest. If you add small touches of color that are out of your color scheme it will strongly draw the viewer's attention to that area.
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Fig. 59. 這幅畫的色彩不和諧。難道你不覺得山脈屬于另一幅畫？藍(lán)紫色只出現(xiàn)在山上，其他地方?jīng)]再運(yùn)用。
Fig. 59. The color harmony is off in this painting. Don't you feel that the mountains belong to another picture? The blue-violet color only appears in the mountains and not repeated anywhere else.
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Fig. 60. 為了使色彩交融，畫家很聰明地將藍(lán)色從天空引如水坑中。仔細(xì)看看樹木輪廓中的赭色和綠色有多少變化
Fig. 60. In order to intertwine the colors, the artist was wise to bring the blue from the sky into the puddles. Observe the amount of variegation of ochres and greens in the tree highlights
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建議：如果你的作品是綠色為主導(dǎo)，藍(lán)綠色的天空要?jiǎng)儆谒{(lán)天。這里有幾則竅門，能將天空的顏色引入畫面的底部：將這些顏色反映到巖石和樹干的陰影中。當(dāng)樹木陰影部分的樹葉同天空成90度角的時(shí)候，它們光亮潔凈的表面會(huì)起到鏡子的作用，反射天空的顏色。 云的陰影中少許肉眼難以發(fā)現(xiàn)的斷續(xù)的綠色，能進(jìn)一步確保色彩的和諧。將陽光直接照射到物體上產(chǎn)生的顏色反映到它周圍的物體上。通常不使用直接從顏料管中取出的白色。因?yàn)檫@是一種冷白，很難看。加一點(diǎn)橙色或黃色使其變暖。這也是為什么水彩紙的制造商在紙中加入橙色的顏料，使留白的地方即使不著色，也呈現(xiàn)為暖白。
Recommendations: If your painting is predominantly green, a bluish green sky is better than a blue one. Here are a few gimmicks to bring down the sky colors onto the bottom portion of your painting: Bounce these colors on the shadow sides of rocks and tree trunks When leaves in the shadow portion of a tree are at a 90 degree angle to the sky they will reflect the sky colors due to their shiny polished looking surface which act like mirrors. Some discrete hard to detect with the naked eye touches of green in the shadows of clouds will further ensure color harmony. Bounce colors that result from direct sunlight hitting an object into its surrounding objects. It is uncommon to apply white paint straight from the tube. This would be a cool white and unpleasant too look at. Add a touch of orange or yellow to warm it up. That's the reason why manufactures of watercolor paper add an orange pigment to their product so the areas left blank will be warm whites even though no pigment has been applied.
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Fig. 61. 注意墻壁陰影處加入的綠色。這樣避免了使房屋看起來象貼上去的。如果有人問作者為什么那片區(qū)域是綠色的，他會(huì)說前面的植物向那片區(qū)域投射了綠色的光線。
Fig. 61. Observe the green added to the shadow side of the wall. This avoids the house from looking pasted on. If anybody asks him why that area is green he can say the foliage in front is casting green light into that area.
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Fig. 62. 紫色和赭色是補(bǔ)色。它們互相加強(qiáng)，并有助于使背景同前景分離。觀察中間的山，它比最遠(yuǎn)的山用了更多的紅色，因而更加溫暖，遠(yuǎn)山則更藍(lán)。色彩越冷（越淡），就越將物體推向遠(yuǎn)處。
Fig. 62. Purple and ochre are complements on the color wheel. They enhance each other and help separate the background from the foreground. Observe that the mountain in the middle ground is warmer because it contains more red than the very far one, which is bluer. The cooler (and lighter) the color, the more it pushes the subject into the distance.
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| 38. 一種使顏色更明亮的方法就是畫得很厚（稱為厚涂）。這樣處理將會(huì)從周圍的光線中獲得更多的光線，比淺涂更加明亮。
38. One way to make a color even brighter is to apply it thick (called impasto). This blob of paint will receive more light from the gallery light making it even brighter than if it had been applied thinly.
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Fig. 63. Harvey是一位描繪從街燈散發(fā)出來的光線的大師。燈光部分的描繪非常厚重。將其與黑暗對(duì)比，你會(huì)感到強(qiáng)烈的反差，從而產(chǎn)生街燈光芒的效果。要有黑暗才能產(chǎn)生光線。
Fig. 63. Harvey is a master at depicting light emanating from street lights. The paint in the light area is applied on very thickly. By contrasting it with darks you get a strong contrast thus the illusion of light. You need the darks to get the lights.
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39. 繪畫時(shí)我們只能依賴于幾條準(zhǔn)則。自然界中的準(zhǔn)則要多得多，因?yàn)殛柟獾膹?qiáng)弱是畫筆永遠(yuǎn)無法描摹的。創(chuàng)造陽光照射效果的三種方法是通過將上述區(qū)域與夸張的暗處對(duì)比。例如，有必要將云的陰影處理得比自然的情形更暗，從而制造出太陽穿透云層的效果。或者將畫中草的陰影畫得比自然的情形暗得多，以使陽光照射的區(qū)域看上去沐浴在陽光之中。
39. When painting we can only rely on a few values. In nature there are many more values because of the intensity of sunlight that can never be imitated under studio conditions. Three ways to create the illusion of sunlit areas is by contrasting those areas with exaggerated darks. I.e. It will be necessary to darken the cloud shadows more than they would appear in nature to create the effect of the sun peeking through the clouds. Or the cast shadow over grass will have to be much darker in your painting than in nature to make the sunlit areas appear bathed in sunlight.
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Fig. 64. 要將顏色以其在灰階上顯示的樣子呈現(xiàn)出來。這些灰度值對(duì)于風(fēng)景畫是足夠了。中間值的區(qū)別是如此地細(xì)微，它們不會(huì)產(chǎn)生大的改變。實(shí)際上灰色尺度中有10個(gè)值，但用顏色作畫，同時(shí)又符合所有這些色值，是非常困難的。
Fig. 64. When applying color visualize they way they would look on a gray scale. These values are enough for landscape painting. The differences of the in-between values are so subtle that it wouldn't make much difference. There are actually 10 values on the value scale but it is a very hard task to paint in color and match all those values.
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| 如果你想對(duì)本文做些補(bǔ)充，請(qǐng)發(fā)email給我。我可能忽略了哪條規(guī)則或建議。
If any of you would like to add another brick to this tutorial, please email me.There could be a rule or tip that I have overlooked.
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40. 最后說一句，有人說自然是最好的老師。對(duì)于結(jié)構(gòu)和形式來講，此言不虛。然而對(duì)于色彩和距離來講，有時(shí)自然不是好的表率。例如，樹木的形狀可能非常渾圓或是明顯的三角形。這時(shí)照搬過來會(huì)顯得業(yè)余。自然界中的許多顏色是非常單調(diào)的，如植物和巖石總是同一種顏色。有些樹木長得一般高。自然同人類相比，有幾大優(yōu)勢。太陽光線的變化比人為的光線要多得多。自然的刻畫宏大且是三維的。我們則不得不在一小塊平面上畫出引人入勝的摹本?？傊覀儜?yīng)該從自然界汲取精華，增益其不足。我相信才華不是成為一為優(yōu)秀藝術(shù)家的關(guān)鍵。關(guān)鍵是努力。我對(duì)才華的定義是：才華是看出一幅畫中正確和錯(cuò)誤的能力。知識(shí)是知道怎樣改正錯(cuò)誤。
40. On a last note, it has been said that nature is the best teacher. This is true for textures and forms. When it comes to color and distance however, sometimes nature fails to come up with a good lesson. For example, trees can be very round or triangular in shape. When copied from nature will result look amateurish. Many colors in nature are quite monotonous such as foliage and rocks being the same color. Some trees grow the same height. Nature has several big advantages over us. The sunlight will give us a much wider value range than a gallery light. Nature's paintings are huge and three-dimensional. We have to give an appealing equivalent on a flat small surface. In conclusion we should take from nature what looks good and improve what doesn't. I believe talent is not essential to be a good artist. Hard work is. My definition of talent is the following. Talent is the ability to spot what looks right or wrong in a painting. Knowledge is knowing out to correct what doesn't look right.
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