How,actively,deal,with,and,gra entertainment How to actively deal with and grasp the oil painting colors?
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For beginners inlearning oil paintings, some with strong modeling abilities will regardrealism as the highest realm for themselves. The so-called"realism" is to use a rigorous approach to research the naturalattribute of objective things and with artistic methods to faithfully show thebasic characteristics of the external objects (including shapes of objects andbasic features of color). Some students(mostly with poor sketch foundation) are usually arbitrary in the usage of colorsin operations, because they are unable to handle such rational color and lightrelationship. When we stop aftera period of practice, we often find such a fact: a rigorous modeling work isloyal to the color and light relationship of objective things, giving peoplereal and natural feelings; and those unreal assignments which are evendifferent from the above relationship maybe show extreme charm because of the subjectivecolor processing with no restrictions of any kind. So we can come toa conclusion: when we make the sketches at the same subject, we can producesome different color tones with rationality. Even those paintings which areconsidered to completely fail may not desirable. Perhaps some experiencedpainters show some skills to make a rare masterpiece give birth (in fact, forthe same realistic paintings, different painters will draw different tones).This gives us to propose a new topichow to boldly and actively make modulationof colors? In the followingmethods, we can quickly cultivate our own processing capacity of color tones. First, take afinished oil painting as reference. Under the premise of not changing the colorfeeling, strengthen or weaken the tendency of certain colors to see thedifferences with field sketch. Second, highlypurify the original colors and remove the middle gray level to make the colorsof painting form condensed decorative beauty and strong contrast and try tofind the relationship between them. Third, reverse thebrightness and color contrast of the painting to make the paintings colorsshow a negative effect completely contrary to the objective physical image. Fourth, make colorlimitations in drawing, meaning to create the color relationship with three orfive colors. The use of these colors can be carried out in the vicinity of thecolors, which can also emphasize the contrast relations between them, and eventhe pursuit of close to single color effect.Fifth, refer tocolor factors in various image data as much as possible. All kinds of originalartwork, all kinds of damaged or even polluted paintings by lots of pollutants,and all images in various waste photographic films could be good references.The use of modern methods to freely change color tone in the computer cancreate a variety of color effects in the same painting which are clear at aglance. When doing the modulationexercises of colors, do not draw a little at a glance. We can paint the bottominto a variety of colors before drawing. In this way, we can give priority tocharacters in drawing and be very naturally to be brought into a color tone,thus breaking the shackles of our objective image. Such modulation of colors isalso an important way to the development of our emotional colors.
How,actively,deal,with,and,gra