Theory of tonal 2

Theory of tonal 2 The discovery and application of conditional color and tonal rule in the West began about the Renaissance in the 15th century. Later, it gradually became more and more popular, so that they formed their traditional observation methods. This is not only reflected in their oil paintings and children's paintings; In poetry and in fiction as well. For example, Turgenev's "The Hunter's Diary" describes the scene of sunset: "The depths of the forest grew dark. The blood-red mist gradually crept up to the roots, to the tree, and ever higher, and from lower to the motionless, sleeping tops. Here the author paints a picture of a warm forest sunset. The above description of dusk tones is reminiscent of Russian painter Kuinzhi's oil painting "Evening in Ukraine," which depicts a mountain village at sunset. The dense mountains were covered with a rosy sunset, in a warm red note. The wall of the hut in the middle was lighted in light rose, and the projection of the branches was painted in light cold green. But people feel that it is white wall. It IS THE WHITE WALL BELOW ILLUMINANT COLOR AND ENVIRONMENTAL COLOR INFLUENCE, IT IS THE WHITE WALL BELOW DUSK ILLUMINATION. It is the white wall when the red afterglow and turquoise sky light come together under these conditions. Like a magician, the painter turns red and green into white in the eyes of the audience. In this way, the beauty of color, which exists in nature and is often ignored, is displayed in front of the audience. Because of the inspiration of the tone in the painter's works, the learner's eyes are opened to observe the tone. However, the nature, life of the image of the tone is kaleidoscopic and extremely vivid natural. There's nothing like it." Nature is better than the ancients." But THESE vivid, rich MATERIAL IMAGE IS Tonal, HOWEVER more IS NOT concentrated, unified, TYPICAL. In two or more than two kinds of color coexistence, also is no main no secondary, disputes and confusion, must be comprehensively summarized by the artist, refining selection, centralized unity. When two or more tones coexist, distinguish the main tone and auxiliary tone. In the life, the nature tone is often not unified phenomenon is in terms of all its images. And from a certain Angle, a certain moment, a certain light conditions, and can find the color of the general unity of the image. Because there are more unified and less unified tonal comparison and existence, people just discovered tonal, tonal unity of the united beauty. The bright side of the east and west scenery is bathed in warm yellow sunlight, that is, unified in the warm yellow tone. After sunset, the earth is shrouded in a cool gray tone. In the bright moonlight, the object looks like the luminous surface, unified in the pale cool green hue. The room below yellow lamplight is unified by the smooth surface in the warm orange hue. Because the natural light source environment is very complex. Therefore, the unity of color tones of natural images is not like the unity of images under color filters, nor is it the unity of colors of artificial light sources on the stage. The image under the color filter, whether the polished, backlit or reflective surface, is stained with a layer of color filter. Tonal although unified, but drab, lost the authenticity of nature. The artificial color on the stage is too pure, and the color image tends to be too "fresh" and "hot". It is strong on stage and suitable for concentrating the attention of the audience. But in the oil painting, it is angry and artificial. The unity of hue under natural light is the unity of contradiction under multiple light sources. Both rich and harmonious, both vivid and implicit. After the artist's concentrated generalization, refining and selection, so that the color in the painting, both like nature, and higher than nature. As the saying goes, "mountains and rivers are picturesque". From the tone, is that the natural landscape is not as clear, concentrated, unified and typical as the landscape in the painting. Painting like the mountains, more than the mountains. Color refining choice, not subjective fabrication. Correct refining and selection, must be able to convey the spirit of the image tone. This should be accurate, vivid, vivid and natural. Tone is not allowed, the morning into dusk, distortion. Lost the painting object of specificity, particularity. Not bright, although has the characteristic BUT not outstanding, the picture effect is "warm "" weak", plausible, ambiguous. Not vivid, stay, die, lack of vitality. If it's not natural, it's artificial. Do these four points, can pass object color god. There are two difficulties in mastering and using tone: First, fix the tone. Tonal should command the whole situation already, tonal decide proper and improper, inevitable influence the whole situation. The tone should be set before the pen. Is it warm or cold? Is it light or dark? Is it yellow or green? Be sure of yourself before painting. Especially difficult in the cold and warm, light and shade control. The mastery of discretion comes from observation, sketching and memory. Be LIKE THE SKY OF OVERCAST DAY, SUNSHINE, THE LIGHT OF NOON SUNSHINE AND FLUORESCENT LAMP, 3 ARE WHITE LIGHT COMPLETELY, AND 3 CANNOT APPEAR AT THE SAME TIME AGAIN. Difficult to compare at the same time, can only be compared in memory. It would have to be based on a lot of sketching observations. Second, the unity of tone. When two or more hues appear at the same time, each hue itself must be unified. Namely the each local color in SAME tonal must be unified in this one fundamental key. For example, "Luen Cathedral" bright details of the color is very rich and varied, but it does not spend. Moreover, from a distance, it only seems to be the substance of the church rather than the accumulation of color blocks. If we are blinded by the richness of the details and forget the unity of the overall tone, we will lose both the tone and the color, leaving only colorful pigments. More IMPORTANT IS BETWEEN A FEW TONAL ALSO SHOULD HAVE ADVOCATE HAVE SECOND, HARMONIOUS UNITY IN WHOLE TONAL. For example, the picture of "Luen Cathedral", the total tone is composed of three colors: one is the warm yellow tone of the bright side of the church. The second is the cold retroactive composition of the orchid and the dark side of the church under the influence of great light. Third, the part of the church lintel facing down is affected by the warm color of the ground, forming a warm tone in the cold. Between them we have the tonic (church light) and the auxiliary two and three. The main tone determines the overall tone and auxiliary tone contrast and foil, mutual influence and mutual penetration. You have me, I have you. Already local subtle change is unified again in WHOLE tonal. Tonal is objective existence, has its own change rule, is scientific. Although science is not equal to art, art can use science however, use tonal law. Do not admit the regularity of tone can not master it, control it, for my use. Of course, only stay in the scientific, regular research will never enter the door of art. Law is not dogma. If you only know the law of cold shadows in sunny days and sunshine, without asking the environment, time and conditions, the shadows will be painted blue when they encounter external light, which often loses its vivid specific characteristics and becomes a formulaic mold. For oil painters, it is not easy to master the rules and skills of natural changes in tone, to accurately, brightly, vividly and naturally depict objects and their tonal characteristics, and to convey the spirit with color. But that's not enough for a great artist. Should be further pursuit of a higher realm. Tone and Emotion The object in the painter's eyes is not the object in the camera, but the painter's image feeling and understanding of the object. The hue of objects in the painter's eyes is not a copy of the hue of natural objects. In the works, the object image and tone should not be cold and objective records, but should be the image expression of the author's feelings, and is the product of the unification of the subjective and objective of the author, the object image and its tone. As a painting language, the tone can only be artistic when it can express the author's emotions and feelings. The tonal itself of objective existence does not matter mood and feeling. It can only elicit certain physiological responses such as harmony, beauty, or stimulation. However, in the process of understanding and transforming the world, people have such or such relations with the objects and images in the world, and also produce psychological reactions, that is, such or such emotions and feelings. The mood and emotion of the tone of the image of a certain object are also born with the scene. Sunrise in the east, all things wake up, bringing light and warmth to human beings. People love it and use the best words to describe it and sing about it. And the praise and love of the sun, with the resulting "ten thousand golden rays," "morning glow," and the golden red hue of the sunrise, and the golden hue of the sunrise, also produced a feeling of joy. People associate it with feelings of hope and vigor. In the same way, fields with the green hue of spring are associated with the joy of life and a bright future. The dark cool hue of the stormy night is associated with feelings of disaster and terror. This tone and a certain emotional connection, from life, is the human experience in long-term practice. It is only in long-term practice that people are likely to connect a certain tone with a certain emotion naturally. Artists are good at studying and discovering this connection in life, and are good at studying and discovering the time, environment and conditions that a certain tone is associated with a certain emotion, so as to properly use the tone to express emotion and express