The steps of gouache still life sketch are as follows: 1. Pay attention to the big tone when placing still life. When sketching, start with a pencil and pay attention to the composition. 2. After the pencil is finalized, tick out the large proportion of the object with a large color line. Tick the line to be sure and overall. We should have a good understanding of the relationship between black, white and gray in the color of the picture. 3. When drawing a color, start with the dark color, then draw a gray block, a medium gray block and a light gray block, and finally draw a bright color block. Pay attention to the difference between the color warmth and hue with the same lightness (level). 4, in-depth characterization, always pay attention to maintain a large tone when painting. Finally, the whole picture is adjusted. What should be emphasized should be emphasized and what should be weakened should be weakened, so that the overall effect will be more harmonious. Supplement: performance materials and painting tools of gouache painting (1) 1. The concept of gouache painting is a form of painting in which water is mixed with powdery pigments. Gouache painting takes water as the medium, which is the same as watercolor painting. Therefore, gouache painting can also draw the same hearty effect as watercolor painting. However, it is not as transparent as watercolor painting. It has something in common with oil painting, that is, it also has certain covering ability. Different from oil painting, oil painting is based on oil, and the wet and dry color has hardly changed. However, gouache painting is not, because gouache painting appears in the form of water and powder, and the wet and dry changes greatly. Therefore, its expressive force is between oil painting and watercolor painting. Watercolor painting is characterized by transparent colors, and objects are represented by the superposition of dark colors and light colors. However, gouache painting is characterized by being opaque and translucent. If it is covered or superimposed on a colored base, then this process is actually an addition, and the color of the bottom layer will affect the color of the surface layer to some extent, which is why it is difficult to master. However, experienced painters often use this characteristic to express their own and unique artistic charm of gouache color. Second, the limitations of gouache color purity and lightness. When gouache painting is wet, its color saturation is as high as that of oil painting. When it is dry, the saturation is greatly reduced due to the effect of powder and the color loses luster. This is the limitation of its color purity. The improvement of gouache brightness is achieved by diluting, adding powder or light color with more powdery pigment. Its wet and dry changes are very great, and often some colors only add a little powder. When wet and dry, its brightness shows a deep or shallow difference. Because the color of gouache painting is generally lighter after drying, it is the most difficult problem to solve in gouache painting technology to use gouache well. The color containing powder is precisely the charm of gouache painting, which makes the color of the picture full of the unique "powder" quality of gouache painting, and there are particularly rich intermediate colors. Third, the personality differences of gouache pigments Most colors of gouache pigments are relatively stable, such as khaki, khaki, orange, medium yellow, light yellow, olive green, pink green, ultramarine blue, cobalt blue, lake blue and so on. However, the colors of deep red, rose red, violet and violet in gouache pigment are extremely unstable, and it is easy to turn over and difficult to cover. There are only a few transparent colors of gouache, such as lemon yellow, rose red, violet and so on. To draw gouache well, we must fully grasp the personality of each pigment, and understand its color receiving ability, covering ability and color price. These problems should be solved through continuous practice, so that practice makes perfect. Fourth, the choice of painting tools. Nowadays, there are only three kinds of popular gouache in the market-sheep hair, wolf hair and nylon brush. Sheep hair is characterized by large water content and many colors. The advantage is that the area painted by one color is large. The disadvantage is that the strokes drawn are easy to be turbid because of the high water content, which is not suitable for detailed description. Langhao is characterized by less water content, better elasticity than Yanghao, and is suitable for depicting local details. With the progress of modern industry, a large number of nylon brushes are popular in the market. When choosing nylon brushes, we should pay special attention to its texture, be soft and elastic, and avoid the pen tip being too strong. It is often difficult to paint a pen with a good pen tip, and it is easy to drag the following color on the screen, which greatly reduces the coverage. In choosing the shape of the pen, different kinds of pens are selected, such as flat head, pointed head, knife pen, etc., in order to meet the needs of painting on different occasions and different themes. It is best to use the professional tin tube products produced by authentic art supplies manufacturers. Its paste is delicate and its color is saturated. Don't be fooled by cheap and inferior products. In the choice of paper, we should choose high-quality watercolor paper with texture for painting, and the water absorption should not be too strong. Some inferior paper not only absorbs water but also absorbs color, which makes the color black after drying. It is difficult to paint with such paper, and the color of the picture is bright and bright. The performance materials and painting tools of gouache extracted from China Art Education Information Network (2) On the inherent color, the inherent color is the inherent color of the object itself. Grasping the inherent color is mainly to accurately grasp the hue of the object. Because the inherent color occupies the largest area in an object, it is very important to study it. Generally speaking, the most obvious place where an object presents its inherent color is the middle part between the light-receiving surface and the backlight surface, that is, the gray part in the sketch tone, which we call half tone or middle color. Because in this range, the object is less affected by the color of external conditions, its changes are mainly the change of lightness and hue itself, and its saturation is often the highest. Example 1 A "Apple and Pear" (single object practice demonstration) A-1 Usually, when I draw fruit, because lemon yellow has no covering ability, I use the transparency of lemon yellow color to make a base with a layer of lemon yellow Bo Tu first, in order to grasp the purity and brightness of fruit color. A-2 starts with the dark part of the object, deepens the color with the intrinsic color, draws the dark part of the object first, and then draws the intrinsic color with the higher purity color. A-3 adds some light yellow to the bright part to form the tone relationship of apple. A-4 draws a projection to improve the brightness of the bright part of the apple. Note that the bright part should be cold. A-5 draw the dark part and half tone of the pear. A-6 scans the dark part with a pen tip to reflect light. Add a little lemon yellow and white to the bright part of the pear to make it cooler. Draw pears and apples with sharp strokes. A-7 strengthens the dark part of pears. Further shape the bright part of the apple to make the bright part of the apple more colorful. Apples and pears after A-8 is completed. Example 2 As "Apple, Pear and Orange" (single object practice demonstration) (explanation) Different fruits present different inherent colors. [Tip] The inherent color is placed in the middle tone. [Wonderful idea] The cool color floats on the inherent color, which is very subtle. Don't be too cold, and keep in touch with the inherent color of apples. The coloring steps of gouache still life sketch gouache is easy to modify, and beginners are often lax in thinking and lack strict methods and steps. Every step should not be sloppy. With strict training, we can make rapid progress, otherwise haste makes waste. (1) Start drafting like sketching, first set the position and proportion with a pencil, without using an eraser, so as not to damage the paper surface and affect the coloring effect. Then finalize it with color. According to the tone of still life, it can be finalized with ochre brown or ultramarine blue. The color line can be slightly heavier, and the final color can be used to show light and shade slightly, paving the way for the next coloring. If you have strong modeling ability, you can also use color lines to draft directly, without showing light and shade, and directly color. (2) After finalizing the big tone, quickly observe the relationship between the overall tone and the big color block, so as to be sure and Bo Tu as soon as possible. At this moment, don't consider the shape and brush strokes, and boldly sway according to the fresh color impression, resulting in the color environment of the picture. Some people are eager to make specific descriptions after finishing the last color. The relationship between large color blocks should be further adjusted, so that the relationship between colors and the overall tone are consistent with the actual feeling. (3) On the basis of the correct relationship, the concrete shaping is further carried out, starting with the main objects of the picture and completing them one by one. It is easy to master the dry and wet changes of an object and to shape the color changes of different sides of the light and backlight. At this time, the eyes should always sweep around, starting from the local area but not falling into the local area. Depending on the relationship between the object and the background and other objects, we can master the discretion, and the details can be further described. This time, the color should be properly thickened, and the correct part of the background color can be retained to increase the color level of the picture. (4) The description of details can be omitted for trivial and redundant details, but the description of important details that express the characteristics and texture of objects should be strengthened and the finishing touch should be made. The details should be integrated into the whole. The last stroke is the most important, it will not be covered and revealed to the viewer. (5) Adjust and complete a still life sketch outside the painting room. As a basic exercise, it is generally appropriate to spend eight hours, and strive to be profound and accurate. After three or four hours of proficiency, you can also perform more fully. Painting for a long time, the eyes are easy to get tired, the color sense is easy to weaken, and the concrete description is easy to forget the whole. When the sketch is nearing completion, restore the first impression and check the picture: whether there are some places that destroy the whole, whether the colors of local and details "jump out" of the picture, and whether there are other problems. After inspection, adjust, modify and process. Mistakes, such as painting too thick, should be washed away before painting until it is finished. To what extent should dry and wet techniques be controlled in gouache painting? What are the application areas? The wet and dry techniques used in gouache painting mainly refer to the amount of water and white powder in color matching. Dry painting: that is to say, there is less water and more powder. This kind of painting mostly uses squeezing out the water contained in the pen tip, without adding water or less water when mixing colors, so that the pigment becomes a paste, which is covered and deepened over and over again from the general surface to the details, and more and more white powder is continuously transferred to brighten the picture with the progress from deep to shallow. Dry painting is rather sluggish and dry, but it is more concrete and solid, which is convenient to express definite shapes and colors, such as clear concave and convex parts of objects, bright parts of main objects in paintings and wonderful details. This kind of painting pays great attention to writing, strives for accurate observation and affirmation, and each pen represents a certain relationship between shape and color. Dry painting also has its shortcomings. Too much use of this method in the picture, coupled with improper application skills, will cause the picture to be dry and dull. However, the color of dry painting changes little after drying, which has great effect on practicing color and is easy to master. (Attached Figure) Dry painting wet painting: This method is contrary to dry painting, which uses more water and less powder. It absorbs the splash-ink technique of watercolor painting and traditional Chinese painting, and can also give full play to the benefits of gouache painting using "water" and render it with water diluted pigment. Wet painting can also use the transparency of paper and color to achieve lightness and refreshment like watercolor. However, the wet technique it uses is more demanding than watercolor painting. Because the gouache pigment particles are coarse, it is required to look at the picture when painting wet. The wet painting part is successfully rendered at one time, and too much daubing or multiple daubing will inevitably cause the picture to be gray and greasy. However, this painting method is smooth and comfortable, and the effect is moist and soft, especially suitable for painting objects with loose structure, weak background and vague dark side of objects. If properly played, it can show a seamless and vivid charm. With the help of the flow and mutual penetration of water, its color sometimes has unexpected effects. In order to create this wet effect, not only the pigment should be diluted with water, but also the drawing paper should be wetted with water according to the local and overall needs, so as to ensure the natural connection between wet time and color. Regarding the control and practical operation of wet painting, the above painting steps have been talked about a lot, so I won't elaborate on them one by one. (Attached Figure) The characteristics and application scope of the wet and dry gouache painting method are basically as mentioned above. In particular, the boundary between dry painting and wet painting is determined by the water content of the brush. Generally, people think that if you use too much powder and color, the painting will be thick, which is not accurate, because it must be more powder, more color and less water to become dry painting. Some people think that painting with less powder and thin paint is wet painting, which is not exact. It can only be wet painting if the pigment is diluted with more water. Therefore, it can be said that there are dry painting methods with more powder and dry painting methods with less powder. On the contrary, wet painting also includes wet painting with more powder and wet painting with less powder. But whether it is dry or wet, it is still better to use powder properly, so as not to lose the characteristics of gouache painting. Dry painting and wet painting should be used alternately in painting, but according to the actual needs of the picture, some wet painting and some dry painting are used more. If a painting uses too much water, it is easy to get out of control, make the object loose and lose its luster if all the pictures are treated by wet painting. Similarly, all dry painting methods are used, and the picture is constantly thickened by accumulated colors and white powder, which will lead to rigidity, dryness and color loss, and it is difficult to preserve the picture for a long time. In a word, dry and wet painting methods can only exert the best effect of dry and wet techniques if they are carried out in a reasonable order from wet to dry and from thin to thick according to the painting steps. This is the principle that the general painting process abides by, and the real application should be flexibly mastered according to the requirements of the picture in practice. The first step of gouache still life painting technique: this kind of flat and floating composition gives people a natural feeling and is also a form of composition. Monochrome base. Pay attention to color and shape accurately. Step 2: This is a purple picture, and purple is not easy to draw repeatedly. Try to draw the color accurately in the first time, so that the next step can have a good foundation. Yellow and purple are strongly contrasting colors, which pass through the gray-purple color of the glass plate; Connect the two contrasting colors, and draw the dark colors of pears and oranges on the pink-purple interlining to be warmer than oranges, which is in contrast. It has a strong sense of color, and the reflection ability of porcelain bottles and bowls is stronger. The purple component is added to the warm color of the backlight, so that the overall color is in a uniform color atmosphere, which is very loud and vivid. Step 3: Use dry painting to express the texture of shaping peaches. Use a small brush to adjust the yellow-green color and draw the subtle changes of peaches; Such as backlight, reflection, reflection, gaps between peaches. However, the yellow pear on the pink-purple interlining is very saturated in color and proper in moisture. For example, the transition from light yellow to white to medium yellow to orange and green, when the color is wet, the strokes are implicit, showing the luster, texture and charm of the pear. The pattern of the light-receiving part of the vase can be painted in a virtual way, which is blue and purple, while the turning part is painted in a real way, and the backlight is green. In this step, we should pay attention to the actual situation, strength, cold and warm changes of the picture. Step 4: This step is the closing work, which requires accuracy and precision, and must be observed as a whole. We should not hesitate to change the places that affect the overall relationship, such as the adjustment of the vase backlight, the adjustment of plain blue and ripe brown to draw the pattern changes in the backlight, and the adjustment of purple at the edge, which is close to the interlining at the back, so that the edge line is included in the backlight, and the sense of space is much better than the original. The relationship between peaches is a little too solid, and the gap is too heavy to be slightly warmer. Carefully draw a thin line on the edge of the glass with a small pen, and put forward the texture. Some places inside the powder interlining are added with some cold gray. There are also a few strokes on the edge of the pear in the white bowl. The perspective change of color and the overall coordination of the picture are formed before and after. Make the picture more complete. Step 5: adjust the picture, the details, the general picture should be handled well, and the clutter should be removed. The coloring method of gouache painting has a strong covering ability, but it can't be scribbled casually without care. It has its own coloring methods and steps. From the aspect of coloring order, there are the following kinds: 1. Gouache painting from the whole to the part is a kind of color painting, which, like watercolor painting and oil painting, starts with drawing large blocks of color. It is our painting principle to focus on the whole and start from the general. Large color blocks and large colors play a decisive role in the color tone of the picture. We should first draw the color relationship of the main color blocks that make up the picture, and then shape the parts and describe the details.