电商专供和专柜区别:风景画的构图规则

Landscape
Composition Rules
风景画的构图规则
by Johannes Vloothuis
http://cyberartlearning.com/
翻译： ckmaster & overdue
整理： 并刀如水
来自： 色影无忌
声明：此译文只限于网友之间交流，请勿用于商业目的
我整理了一系列构图“规则”(我更倾向称它们为“技巧”)，合理地使用这些规则可以减少风景画的缺憾。这些规则经常出现在论构图的书藉中，这里我融入自已的观点并将它们整理成篇。值得提醒的是：别让规则妨碍你的工作。规则是注定要被打破的，但前题是您至少知道：您正在打破什么规则、为什么要打破它？您不是因知识的欠缺而犯错。这里共有23页，坐下来上点咖啡慢慢看吧。
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.

1. 请看上图。风景画中应该有一个兴趣中心，它是画面中最重要、最美的部分。通过运用较鲜明的色彩或较强对比度，亦或是让兴趣中心包括引人注目的焦点，都可以使兴趣中心本身得以强化。兴趣中心是画面的重点，周边区域应处于从属地位。良好的兴趣中心包含以下内容：
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:
鲜明的色彩，如有可能还应有互补色. 强烈的反差(明_暗) 占据较好的画面位置   人造景物、动物及人将进一步强化兴趣中心，它们成为画面的主角。 兴趣中心周边的次要元素要能将观众的注意力引向兴趣中心 (如图1图2). 兴趣中心不要放在正中央或图片的1/2处，较好的方法应用三分法。 不要将兴趣中心封闭起来--哪怕非常轻微，因为这样会减弱它的重要性。 设计良好的兴趣中心应能吸引并维持观众的注意力。
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.
Fig 2. 摆放恰当好处的园木成为重要的方向牌，将观众的视线引向画家设计的趣味区。
Fig 2. The logs correctly placed are great pointers that lead the viewer's eye to the area the artist prefers.
Fig 3. 海滨作为视觉引导线，将注意力引向兴趣中心--桥。
Fig 3. The shore serves as a visual path that leads to the bridge which is the center of interest.

2. 你也许想在画面中加入第二兴趣中心以丰富画面的内容。我认为这并不可行，除非你技术娴熟。因为双兴趣中心的风险是它们彼此竞争从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.
别将一物体放在另一个物体的正上方，除非其中一个在大小尺寸上明显占优。最好的方法是以相互呼应的斜线方式布置。有时不能以斜线方式布置，那么将它们平行安置也是不错的选择。
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.
Fig 4. 这幅画并不需要前景上的花，然而画家决定加进“第二兴趣中心”。
Fig 4. This painting didn't need the flowers in the foreground. However, the artist decided to add a second center of interest.
3. 避免将观众的注意力推出画面。这就要求画面元素不要指向画的边框，或画面元素不要跑到画面外(如树枝、路及河流)。你可以设置“驻点”以使观众注意力不离开画面。经验法则是：动物及人应面向或看着画的里面。
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.
Fig 5. 看画的右侧，画家的将右边的明暗反差降低，馬融入树林。如果这匹马的亮度提高，观众将顺着这匹马看到右侧画面的外面去了。
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

Fig. 5a. 第一幅图园木太直并指向了画面边缘。
中间的那幅是编辑过的，一些伸出的及未端的树枝减弱了园木直指画面边缘的效果。
第三张干脆将它拿走，这时观众的视线将顺着海岸走。
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.
4. 河流、小溪及路等，应以S型进入画面。如果不是S型，那么最好以曲线的方式进入画面。应不惜一切代价避免直线，因为他们作为视觉引导线时，目光移动过于迅速，而S型则能使目光以较慢的速度扫视画面。
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".
Fig 6. 图中，小溪形成优美而舒缓的S型构图。
Fig 6. This stream in this composition has a nice lazy "S" shape".
Fig 7. 本图中引导视觉的线条是曲线。同图6相比，看哪个能使您以较慢、更愉悦的速度扫视画面？
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.

Fig 8. 不正确，引导视觉的线条太直
Fig 8. Incorrect: The road enters in a straight line. The visual path is too fast.
Fig. 9. 好一点，线条较舒缓，使观从能更好地浏览画面
Fig. 9. The image to the right shows a much better approach.

5. 别将逻辑应用于艺术。最重要的是视觉冲击力。即便是的阴沉的天气，阳光也可能在草地上出现；为了获得不错的画面效果，线性透视和大气透视关系也是可被扭曲的；在某些特定的时刻，可将影子描绘成比它的本来面目更长。总之，Feel 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..
Fig. 10 细看图，树的形态表明风是从右向左吹。然而，雨的方向又表明风的方向是从左向右的!
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.
6. 使重要的对象集聚在兴趣中心。别将它们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.
Fig. 11 . 所有人出现在右下方兴趣中心的范围半径内
Fig. 11 . All the people appear in the same radius within the center of interest which is located at the bottom right.

Fig. 12. 马的位置不对。如果将马放到长椅子附近，影像将大为改观。
Fig. 12. The horse is wrongly placed. Had the artist positioned it near the bench, the composition would've improved.
7. 您也许想让观者在看图片时要参与进来而不仅仅是看看就算了，那么需要含蓄地给出信息让他去探索您的画面，而不要将所有信息全都直接地呈现在他面前。您的图片要能使观者富有想像与好奇地漫步于整个画面—画面不要太简单太直白。
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.
Fig. 13. 这是什么地方？这里有湖吗？画家让您去猜想。画中那条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.

8. 深度。 画家是用二维的画面来表现三维的空间。观众看画时感觉它们很“真实”，实际上我们 “骗”了他们。有时人们看过我的画后会问我“这是照片吗？”—真是情不属实啊。我的作品绝不是写实的，它们只是表现现实世界。这里有几个巧门有助于使画面更具深度感：
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.
让物体相互交迭 大气透视 (明暗、色彩随距离变化而变化等内容……。略) 较远的物体较小、较模糊。 创建至少三个平面，每一面都有其重要性，一般来说如前景，中景，背景。  线性透视。 减弱背景物体的质感。图13中表现出了良好的距离感：山脉前的松树表明树与山相距很远；前景上突出的黄色较暧，而背景的淡紫色使山显得较冷；远山上的阴影较浅较蓝。画面包括了前景、中景及背景三个位面。
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.
Fig. 14. 将前景变暗可增加距离感。
Fig. 14. You can add more planes which will enhance the feeling of distance if you darken the foreground.
Fig. 15. 利用雾增加透视感是个不错的选择。
Fig. 15. Fog is a great way to create distance.

9. 使画面兴趣中心的反差最强烈—让明暗形成强烈的对比。减弱画面的其它地方的反差以避免注意力分散--让明暗形成中等的对比。
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.
Fig. 16. 错。左边的树分散了注意力—明暗对比突出。
Fig. 16. Wrong The tree on the left is competing for attention. There is a dark against light contrast on the left.
Fig. 17 较好。左边的树作过裁减，反差也降低了。这样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.
Fig. 18. 图中男人身上深色衣服使他很突出—衣服周边较亮区形成强烈的明暗转变。 尽管房屋边阴影中的门也是深色的，但它周边明度值较低，所以门并不显眼，也不会分散注意力。 想想聚光灯打在舞台演员身上的效果。
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
10. 如果画面留有空白，将不会显得那么拥挤；在兴趣中心前方留点空白，效果更为明显。空白的作用是给画面留点喘息的空间和想像的空间
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.
Fig. 19. 松前的白雪形成了令人舒畅的空白区。
Fig. 19. The snow bank just before the pine trees provides for a nice rest area.

11. 如果有可能，画中应尽量包括水平、垂直及斜向运动，但应使其中一种占主导地位。斜线式运动是最佳选择，因为它们永远不会同画的边框平行。并不一定要求这些线条都是笔直笔直的，它们只要表示某种方向感就可以了。
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.
Fig. 20. 图中松树是垂直的，草地是倾斜的，海岸线是水平的。注意，多亏小松树的存在，蓝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.

12. 当包含具有运行特征的构图成分时，应尽可能地表现其运动，但不要将其放在一个过于理想的位置上----因为这样将显得矫揉造作。
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.
Fig. 21. 画家将马的运动被表现出来了，淹没了踢子的飞尘明白无误地表明了运动。尽管如此，但是应注意到没有一匹马给人的印象是在空中飞的。后一种情形可能会在抓拍的照片中看到，但绘画时不要这么去做。同样的道理，照片中的瀑布可以是凝固的，但绘画中较好的选择是将它模糊一下，以便形成动感。
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.
13. 如果不能确定让视觉引导线(如河流或道路)从哪里开始，那么应认真考虑这个观点：大多数人阅读习惯是从左到右，纯粹是个习惯问题，看物体时眼睛也会从左向右扫视。
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.

14. 如同看书一样，从左上角开始看图也是一种视觉习惯。
14. The visual entrance may also begin at the top left much like reading a book.

15. 别让视觉引导线始于四个角。
15. Do not start your visual path from a corner.
Fig. 22. 画面设计差。正如所看到的那样，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.
Fig. 23. 将河道加宽，从而解决了“从角落开始”的问题。
Fig. 23. By widening the mouth of the river, we've solved the problem of originating from the corner.
如何避免常见错误
Common Errors and How to Avoid Them
16. 避免同型的两个物体：如形状、线条、运动和大小等。它们相互争夺、相互冲突。如图24、25。
16. Avoid duplicating forms, lines, movement, and size. This will make them compete and conflict with each other.
Fig. 24 .图中两孪生白桦树,理想的情况是其中一棵倾斜，另外两者的大小要有所差异。
Fig. 25. 两匹马大小相同、位置也一样。
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.

17. 避免将人群分成偶数。万一要描绘两个人，也应从体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.
Fig. 26.不正确。由于Poses相似、大小相似，两只鹿相互争夺(而导致注意力分散)。
Fig. 26. Incorrect. Here the deer compete with each other because they are placed in similar poses. They are also about the same size.
Fig. 27. 较好。两只鹿有着不同的形态和不同的位置。
Fig. 27.Better. The deer on the right is different in size and is in another position.
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.
18. 永远别将物体向画面外倾----总是将它们向里倾。设计水平线和垂直线时最好别让它们与画框平行。
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.
Fig. 29. 错误。电线杆倾向错误的方向。
Fig. 29. Incorrect. The telephone pole is leaning in the wrong direction.

Fig. 30. 设计差。电线杆与画框平行了。
Fig. 30. This is bad design, as well. The telephone pole is now parallel to the frame.

Fig. 31. 设计得较好。电线杆向里倾，往里面倾有利于将观者的视线维持在画面当中。
Fig. 31. This is a much better design. The telephone pole leans inwards, keeping the viewer in the painting.

r> 19. 避免直线—除非它们很短。将它们装饰或修改成曲线。
19. Avoid straight lines unless they are quite short. Disguise them or modify them to curvatures.
Fig. 32. 花从将大部分线条隐藏起来，从而使视线集中到曲面石墙上。
Fig. 32. Most of the straight lines have been concealed with flowers. Observe the curved stone wall.
Fig. 33. 瓦顶房屋形成了曲线。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.

20. 别让画中出现明显的几何形状如正方形、长方形(门、窗)、三角形(松树)、椭圆或圆形(树、云)—尽管它们的实际形状如此。例如，若画中有窗，需利用与窗子交叠的树枝或花盆将方形打破。
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.
Fig. 34. 错。底部的阴子是三角形的。
Fig. 34. Incorrect. The shadow at the bottom is in a triangular shape
Fig. 35. 好。解决难题的办：打碎底部阴子.
Fig. 35. This is much better! By breaking up the shadow, we've solved the problem easily.
21.永远别将画面分为均等的两部分—因为它会让人觉得画面过于刻意而显得虚假。水平线不该放置在中部。
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.
Fig.36. 地平线巧好穿过中部。
Fig.37.好。天空被部分切除，图片得以改善
Fig.36. Left.The horizon line runs right through the middle. Fig.37. Right. Better. A portion of the sky was cropped.

22. 避免“吻”到边缘。
22. Avoid "kissing" the edges.
Fig. 38. 错。牛仔的帽子吻到背景山的上部边缘。
Fig. 39. 好。每样东西都的位置都恰到好处。
Fig. 38. Left. Incorrect. The cowboy's hat touches the top of the background hill. Right. Fig. 39. Better. Everything fits in place now.
Fig. 40. 错.松树的顶端几乎触到画的顶部。即然不能增加画布的大小，那么将树的顶部砍掉吧:-)
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! :-)

23. “X“型使人不悦。
23. "X" forms are unpleasant.

24. 别将观众排斥在画面之外—邀请他们进来。不应将“请勿入内”的牌运用到画面当中。
24. Do not close the viewer out. Invite him in. A do not trespass sign does not apply to paintings.
Left Fig. 42. 错。由于门是关着的，画家传达这样的信息：我们(观众)正在靠近私人地盘。
43 . 好。这张画是不是让你感到自已受到欢迎？
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?

建议：当你描写没有光线的入口(如没有灯光的建筑入口)，别用黑色。表现“完全黑”的颜色要用紫色(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.
25. 除非你是写实主义者否则不要太写实。少量的暗示就可传达必要的信息,用印象主义者的风格来做此事是较好的选择。
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.
Fig. 44.观众很容易领会小教堂屋顶的质感。
Fig. 44. The viewer easily reads the texture of the chapel's roof.
改进风景画的若干建议
Recommendations on How to Improve Your Landscape Paintings
26. 画面的四个角落要有较低的亮度、较少的质感。
26. Keep the corners subdued with little texture and the values dark.
Fig. 45. 底部角落较暗并且几乎无质感。
Fig. 45. The both bottom corners are dark with minimum texture.

27. 当表现投射阴影时将光线扫过的地方加些小洞，不然阴影像是“帖”上去的一样。
27. When painting cast shadows add holes where the light peeks thru, otherwise the shadow will appear pasted on.
Fig. 46
28. 最好别将动物侧向安置(place animals sideways)，以免觉得是“平帖”上去的。摆放时要让它们看起来有立体感。
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.
Fig. 47. 不合适。
Fig. 47. Preferably not.

Fig. 48a and 48b. 较好。
Fig. 48a and 48b. Better

29. 在建筑和其它人造景物(如混凝土、木板等)上增加裂纹、局部破碎等，它们将更吸引人。毕竟那样将意味着更多的风风雨雨。
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.
建议：仅表现最靠近观众物体的质感，随着距离的增加质感要慢慢消逝。
Recommendation. Only indicate texture closest to the viewer's stand point. Texture diminishes in the disstance.
Fig. 49. 画家用干笔法技巧使建筑物的侧面看起来显得很旧。
Fig. 49. The artist used the dry brush technique to make the side of the building look old.
30.通过营造气氛来增加画面艺术效果。表现傍晚的天空，橙色比中等色调的蓝色更具视觉吸引力。类似的手法还有雨、湿的街道、风、倾斜的棕榈树等。所有这些特殊手法都有助于增强画面效果。
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.
Fig. 50. 因雨及云层下几缕阳光的存在，这幅构图简洁的画面看起来很具吸引力。它甚至显得神秘。
Fig. 50. This simple composition looks more interesting because of the rain and the sun peeking through the clouds. It even looks mystical.
31. 除非你意欲写实，否则将画绘成”迷着眼双眼朦胧地看见的那个样子”(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.
Fig. 51. 的确，现实中被描绘的对象比最终画面具有更多的细节。画家提炼出最本质的内容并将它们简化至极至。
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.

32. 背景中柔和的轮廓边缘将增加距离感。将鲜明的轮廓留给前景和/或兴趣中心。
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.
Fig. 52. 女修道院后的树是绘在湿性水彩画纸上的。这种技术可以将所有的边缘柔化,从而使树叶显得很遥远。而前景绘在干性画纸上，结果前景的物体轮廓分明，从而显得较近。
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.
33. 当某一部分与另和区域相遇时，不要让其突然中止。
33. Don't abruptly end a portion as it runs into another area.
Fig. 53. 错。当高亮的草延伸到树丛时就突然中止了。另外，从平面上看，这一区域立马被分为两部分。 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

34. 将形状多样化。如果是圆形的树丛，那么就别让天空出现圆形的云朵。 值得注意，当群峰或松林被圆形的云朵围绕时会显得很耐看。
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.
35. 另一个关键因素是均衡。画面的四侧(上下左右)的任何一侧应布置重量差别不大的物体。否则画面会有倾斜感。
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.
Left. Fig. 55. 错。右侧太重，从而感到画面像跷跷板般向右倾。
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。在左侧加入了新的重量，现在画面平衡多了。
56 Better. This composition is more balanced now that some weight has been added to the opposite side.

36. 画笔的走势应向内，并指向兴趣中心。
36. Brush strokes should be done with an inward motion and towards the center of interest.
关于色彩的若干建议
Some advice on color
调色板之于画家，就象音符之于音乐家。它们应是和谐的。
The color palette is to the artist like the music notes to a musician. They should play harmoniously.
37. 不要浪费时间在调色板上调色，而是要直接在画布上或水彩纸上调色，这样能获得更富变化的而不是单调的、事先混合好的色彩。让颜色调和得千变万化。避免在一处使用三种以上的色彩。
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.
Fig. 57. 观察石头阴影处色彩的变化。画家不是将蓝、赭、橙色在调色板上调和，而是直接将颜料管中的颜色浓度稍作减弱后运用到岩石的阴影部分。
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.
Fig 58. 门是画面中唯一的蓝色，从而成了兴趣中心的焦点。
Fig 58. The blue door is practically the only place where this color appears. This creates the focal point in the center of interest.

建议：我不会过多涉及色彩的和谐，因为那将要写一整本书。如果你打算严肃地对待艺术，那么读完这些并将其运用到你的工作中，将是非常有益的。我本人更喜欢将颜色与其补色，而不是黑色相混合。混在一起的颜色越多就越污浊黯淡。三种颜色混在一起，就会出现这种情况，而且，加入的颜色越多，情况就越糟。每两英寸就要将颜色稍做变化，以避免单调。大多数人更喜欢以暖色而非冷色为主导色彩来绘画。你的作品中应该只有一种色调和温度占主导地位。要在兴趣中心保留最浓最纯的色彩，然后加一点它的补色使周围的颜色更突出。不要在前景中重复使用在背景中出现过的颜色。因为这样会让人感觉画中有一个洞。要将暖色同冷色（及补色）对比使用，因为它们有相互增强作用。（见图61）冷色收敛，暖色拉近了主体。将蓝色和紫色留给背景。用它们产生深度。使画面平衡与和谐的方法之一，是在所有地方重复使用同一色彩。（见图57）对于那些不懂得色彩和谐的人，我可以提供一条建议，作为在兴趣中心产生冲击效果的窍门。如果你加入少许不曾用到过的颜色，将会有力地将观众的注意力吸引到那里。
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.
Fig. 59. 这幅画的色彩不和谐。难道你不觉得山脉属于另一幅画？蓝紫色只出现在山上，其他地方没再运用。
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.
Fig. 60. 为了使色彩交融，画家很聪明地将蓝色从天空引如水坑中。仔细看看树木轮廓中的赭色和绿色有多少变化
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
 

建议：如果你的作品是绿色为主导，蓝绿色的天空要胜于蓝天。这里有几则窍门，能将天空的颜色引入画面的底部：将这些颜色反映到岩石和树干的阴影中。当树木阴影部分的树叶同天空成90度角的时候，它们光亮洁净的表面会起到镜子的作用，反射天空的颜色。 云的阴影中少许肉眼难以发现的断续的绿色，能进一步确保色彩的和谐。将阳光直接照射到物体上产生的颜色反映到它周围的物体上。通常不使用直接从颜料管中取出的白色。因为这是一种冷白，很难看。加一点橙色或黄色使其变暖。这也是为什么水彩纸的制造商在纸中加入橙色的颜料，使留白的地方即使不着色，也呈现为暖白。
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.
Fig. 61. 注意墙壁阴影处加入的绿色。这样避免了使房屋看起来象贴上去的。如果有人问作者为什么那片区域是绿色的，他会说前面的植物向那片区域投射了绿色的光线。
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.

Fig. 62. 紫色和赭色是补色。它们互相加强，并有助于使背景同前景分离。观察中间的山，它比最远的山用了更多的红色，因而更加温暖，远山则更蓝。色彩越冷（越淡），就越将物体推向远处。
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.
38. 一种使颜色更明亮的方法就是画得很厚（称为厚涂）。这样处理将会从周围的光线中获得更多的光线，比浅涂更加明亮。
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.
Fig. 63. Harvey是一位描绘从街灯散发出来的光线的大师。灯光部分的描绘非常厚重。将其与黑暗对比，你会感到强烈的反差，从而产生街灯光芒的效果。要有黑暗才能产生光线。
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.
39. 绘画时我们只能依赖于几条准则。自然界中的准则要多得多，因为阳光的强弱是画笔永远无法描摹的。创造阳光照射效果的三种方法是通过将上述区域与夸张的暗处对比。例如，有必要将云的阴影处理得比自然的情形更暗，从而制造出太阳穿透云层的效果。或者将画中草的阴影画得比自然的情形暗得多，以使阳光照射的区域看上去沐浴在阳光之中。
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.

Fig. 64. 要将颜色以其在灰阶上显示的样子呈现出来。这些灰度值对于风景画是足够了。中间值的区别是如此地细微，它们不会产生大的改变。实际上灰色尺度中有10个值，但用颜色作画，同时又符合所有这些色值，是非常困难的。
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.
如果你想对本文做些补充，请发email给我。我可能忽略了哪条规则或建议。
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.
40. 最后说一句，有人说自然是最好的老师。对于结构和形式来讲，此言不虚。然而对于色彩和距离来讲，有时自然不是好的表率。例如，树木的形状可能非常浑圆或是明显的三角形。这时照搬过来会显得业余。自然界中的许多颜色是非常单调的，如植物和岩石总是同一种颜色。有些树木长得一般高。自然同人类相比，有几大优势。太阳光线的变化比人为的光线要多得多。自然的刻画宏大且是三维的。我们则不得不在一小块平面上画出引人入胜的摹本。总之，我们应该从自然界汲取精华，增益其不足。我相信才华不是成为一为优秀艺术家的关键。关键是努力。我对才华的定义是：才华是看出一幅画中正确和错误的能力。知识是知道怎样改正错误。
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.