Landscape
Composition Rules
風(fēng)景畫(huà)的構圖規則
by Johannes Vloothuis
http://cyberartlearning.com/翻譯： ckmaster & overdue
整理： 并刀如水
來(lái)自： 色影無(wú)忌
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我整理了一系列構圖“規則”(我更傾向稱(chēng)它們?yōu)?#8220;技巧”)，合理地使用這些規則可以減少風(fēng)景畫(huà)的缺憾。這些規則經(jīng)常出現在論構圖的書(shū)藉中，這里我融入自已的觀(guān)點(diǎn)并將它們整理成篇。值得提醒的是：別讓規則妨礙你的工作。規則是注定要被打破的，但前題是您至少知道：您正在打破什么規則、為什么要打破它？您不是因知識的欠缺而犯錯。這里共有23頁(yè)，坐下來(lái)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.
1. 請看上圖。風(fēng)景畫(huà)中應該有一個(gè)興趣中心，它是畫(huà)面中最重要、最美的部分。通過(guò)運用較鮮明的色彩或較強對比度，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化。興趣中心是畫(huà)面的重點(diǎn)，周邊區域應處于從屬地位。良好的興趣中心包含以下內容：
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，如有可能還應有互補色. 強烈的反差(明_暗) 占據較好的畫(huà)面位置 人造景物、動(dòng)物及人將進(jìn)一步強化興趣中心，它們成為畫(huà)面的主角。 興趣中心周邊的次要元素要能將觀(guān)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，較好的方法應用三分法。 不要將興趣中心封閉起來(lái)--哪怕非常輕微，因為這樣會(huì )減弱它的重要性。 設計良好的興趣中心應能吸引并維持觀(guān)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.
Fig 2. 擺放恰當好處的園木成為重要的方向牌，將觀(guān)眾的視線(xiàn)引向畫(huà)家設計的趣味區。
Fig 2. The logs correctly placed are great pointers that lead the viewer's eye to the area the artist prefers.
Fig 3. 海濱作為視覺(jué)引導線(xiàn)，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.
2. 你也許想在畫(huà)面中加入第二興趣中心以豐富畫(huà)面的內容。我認為這并不可行，除非你技術(shù)嫻熟。因為雙興趣中心的風(fēng)險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.
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的斜線(xiàn)方式布置。有時(shí)不能以斜線(xiàn)方式布置，那么將它們平行安置也是不錯的選擇。
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.
Fig 4. 這幅畫(huà)并不需要前景上的花，然而畫(huà)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.
3. 避免將觀(guān)眾的注意力推出畫(huà)面。這就要求畫(huà)面元素不要指向畫(huà)的邊框，或畫(huà)面元素不要跑到畫(huà)面外(如樹(shù)枝、路及河流)。你可以設置“駐點(diǎn)”以使觀(guān)眾注意力不離開(kāi)畫(huà)面。經(jīng)驗法則是：動(dòng)物及人應面向或看著(zhù)畫(huà)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. 看畫(huà)的右側，畫(huà)家的將右邊的明暗反差降低，馬融入樹(shù)林。如果這匹馬的亮度提高，觀(guān)眾將順著(zhù)這匹馬看到右側畫(huà)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. 第一幅圖園木太直并指向了畫(huà)面邊緣。
中間的那幅是編輯過(guò)的，一些伸出的及未端的樹(shù)枝減弱了園木直指畫(huà)面邊緣的效果。
第三張干脆將它拿走，這時(shí)觀(guān)眾的視線(xiàn)將順著(zhù)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，應以S型進(jìn)入畫(huà)面。如果不是S型，那么最好以曲線(xiàn)的方式進(jìn)入畫(huà)面。應不惜一切代價(jià)避免直線(xiàn)，因為他們作為視覺(jué)引導線(xiàn)時(shí)，目光移動(dòng)過(guò)于迅速，而S型則能使目光以較慢的速度掃視畫(huà)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. 圖中，小溪形成優(yōu)美而舒緩的S型構圖。
Fig 6. This stream in this composition has a nice lazy "S" shape".
Fig 7. 本圖中引導視覺(jué)的線(xiàn)條是曲線(xiàn)。同圖6相比，看哪個(gè)能使您以較慢、更愉悅的速度掃視畫(huà)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. 不正確，引導視覺(jué)的線(xiàn)條太直
Fig 8. Incorrect: The road enters in a straight line. The visual path is too fast.
Fig. 9. 好一點(diǎn)，線(xiàn)條較舒緩，使觀(guān)從能更好地瀏覽畫(huà)面
Fig. 9. The image to the right shows a much better approach.
5. 別將邏輯應用于藝術(shù)。最重要的是視覺(jué)沖擊力。即便是的陰沉的天氣，陽(yáng)光也可能在草地上出現；為了獲得不錯的畫(huà)面效果，線(xiàn)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(lái)面目更長(cháng)?？傊?，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 細看圖，樹(shù)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.
6. 使重要的對象集聚在興趣中心。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.
Fig. 11 . 所有人出現在右下方興趣中心的范圍半徑內
Fig. 11 . All the people appear in the same radius within the center of interest which is located at the bottom right.
Fig. 12. 馬的位置不對。如果將馬放到長(cháng)椅子附近，影像將大為改觀(guān)。
Fig. 12. The horse is wrongly placed. Had the artist positioned it near the bench, the composition would've improved.
7. 您也許想讓觀(guān)者在看圖片時(shí)要參與進(jìn)來(lái)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(huà)面，而不要將所有信息全都直接地呈現在他面前。您的圖片要能使觀(guān)者富有想像與好奇地漫步于整個(gè)畫(huà)面—畫(huà)面不要太簡(jiǎn)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.
Fig. 13. 這是什么地方？這里有湖嗎？畫(huà)家讓您去猜想。畫(huà)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.
8. 深度。 畫(huà)家是用二維的畫(huà)面來(lái)表現三維的空間。觀(guān)眾看畫(huà)時(shí)感覺(jué)它們很“真實(shí)”，實(shí)際上我們 “騙”了他們。有時(shí)人們看過(guò)我的畫(huà)后會(huì )問(wèn)我“這是照片嗎？”—真是情不屬實(shí)啊。我的作品絕不是寫(xiě)實(shí)的，它們只是表現現實(shí)世界。這里有幾個(gè)巧門(mén)有助于使畫(huà)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容……。略) 較遠的物體較小、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(lái)說(shuō)如前景，中景，背景。 線(xiàn)性透視。 減弱背景物體的質(zhì)感。圖13中表現出了良好的距離感：山脈前的松樹(shù)表明樹(shù)與山相距很遠；前景上突出的黃色較曖，而背景的淡紫色使山顯得較冷；遠山上的陰影較淺較藍。畫(huà)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.
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.
Fig. 15. 利用霧增加透視感是個(gè)不錯的選擇。
Fig. 15. Fog is a great way to create distance.
9. 使畫(huà)面興趣中心的反差最強烈—讓明暗形成強烈的對比。減弱畫(huà)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. 錯。左邊的樹(shù)分散了注意力—明暗對比突出。
Fig. 16. Wrong The tree on the left is competing for attention. There is a dark against light contrast on the left.
Fig. 17 較好。左邊的樹(shù)作過(guò)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.
Fig. 18. 圖中男人身上深色衣服使他很突出—衣服周邊較亮區形成強烈的明暗轉變。 盡管房屋邊陰影中的門(mén)也是深色的，但它周邊明度值較低，所以門(mén)并不顯眼，也不會(huì )分散注意力。 想想聚光燈打在舞臺演員身上的效果。
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
10. 如果畫(huà)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(huà)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.
Fig. 19. 松前的白雪形成了令人舒暢的空白區。
Fig. 19. The snow bank just before the pine trees provides for a nice rest area.
11. 如果有可能，畫(huà)中應盡量包括水平、垂直及斜向運動(dòng)，但應使其中一種占主導地位。斜線(xiàn)式運動(dòng)是最佳選擇，因為它們永遠不會(huì )同畫(huà)的邊框平行。并不一定要求這些線(xiàn)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.
Fig. 20. 圖中松樹(shù)是垂直的，草地是傾斜的，海岸線(xiàn)是水平的。注意，多虧小松樹(shù)的存在，藍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. 當包含具有運行特征的構圖成分時(shí)，應盡可能地表現其運動(dòng)，但不要將其放在一個(gè)過(guò)于理想的位置上----因為這樣將顯得矯揉造作。
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.
Fig. 21. 畫(huà)家將馬的運動(dòng)被表現出來(lái)了，淹沒(méi)了踢子的飛塵明白無(wú)誤地表明了運動(dòng)。盡管如此，但是應注意到?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(huà)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(huà)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.
13. 如果不能確定讓視覺(jué)引導線(xiàn)(如河流或道路)從哪里開(kāi)始，那么應認真考慮這個(gè)觀(guān)點(diǎn)：大多數人閱讀習慣是從左到右，純粹是個(gè)習慣問(wèn)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.
14. 如同看書(shū)一樣，從左上角開(kāi)始看圖也是一種視覺(jué)習慣。
14. The visual entrance may also begin at the top left much like reading a book.
15. 別讓視覺(jué)引導線(xiàn)始于四個(gè)角。
15. Do not start your visual path from a corner.
Fig. 22. 畫(huà)面設計差。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.
Fig. 23. 將河道加寬，從而解決了“從角落開(kāi)始”的問(wèn)題。
Fig. 23. By widening the mouth of the river, we've solved the problem of originating from the corner.
如何避免常見(jiàn)錯誤
Common Errors and How to Avoid Them
16. 避免同型的兩個(gè)物體：如形狀、線(xiàn)條、運動(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.
Fig. 24 .圖中兩孿生白樺樹(shù),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.
17. 避免將人群分成偶數。萬(wàn)一要描繪兩個(gè)人，也應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.
Fig. 26.不正確。由于Poses相似、大小相似，兩只鹿相互爭奪(而導致注意力分散)。
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. 較好。兩只鹿有著(zhù)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.
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. 永遠別將物體向畫(huà)面外傾----總是將它們向里傾。設計水平線(xiàn)和垂直線(xiàn)時(shí)最好別讓它們與畫(huà)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. 錯誤。電線(xiàn)桿傾向錯誤的方向。
Fig. 29. Incorrect. The telephone pole is leaning in the wrong direction.
Fig. 30. 設計差。電線(xiàn)桿與畫(huà)框平行了。
Fig. 30. This is bad design, as well. The telephone pole is now parallel to the frame.
Fig. 31. 設計得較好。電線(xiàn)桿向里傾，往里面傾有利于將觀(guān)者的視線(xiàn)維持在畫(huà)面當中。
Fig. 31. This is a much better design. The telephone pole leans inwards, keeping the viewer in the painting.
r> 19. 避免直線(xiàn)—除非它們很短。將它們裝飾或修改成曲線(xiàn)。
19. Avoid straight lines unless they are quite short. Disguise them or modify them to curvatures.
Fig. 32. 花從將大部分線(xiàn)條隱藏起來(lái)，從而使視線(xiàn)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.
Fig. 33. 瓦頂房屋形成了曲線(xiàn)。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. 別讓畫(huà)中出現明顯的幾何形狀如正方形、長(cháng)方形(門(mén)、窗)、三角形(松樹(shù))、橢圓或圓形(樹(shù)、云)—盡管它們的實(shí)際形狀如此。例如，若畫(huà)中有窗，需利用與窗子交疊的樹(shù)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.
Fig. 34. 錯。底部的陰子是三角形的。
Fig. 34. Incorrect. The shadow at the bottom is in a triangular shape
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.
21.永遠別將畫(huà)面分為均等的兩部分—因為它會(huì )讓人覺(jué)得畫(huà)面過(guò)于刻意而顯得虛假。水平線(xiàn)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.
Fig.36. 地平線(xiàn)巧好穿過(guò)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.
22. 避免“吻”到邊緣。
22. Avoid "kissing" the edges.
Fig. 38. 錯。牛仔的帽子吻到背景山的上部邊緣。
Fig. 39. 好。每樣東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.
Fig. 40. 錯.松樹(shù)的頂端幾乎觸到畫(huà)的頂部。即然不能增加畫(huà)布的大小，那么將樹(shù)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! :-)
23. “X“型使人不悅。
23. "X" forms are unpleasant.
24. 別將觀(guān)眾排斥在畫(huà)面之外—邀請他們進(jìn)來(lái)。不應將“請勿入內”的牌運用到畫(huà)面當中。
24. Do not close the viewer out. Invite him in. A do not trespass sign does not apply to paintings.
Left Fig. 42. 錯。由于門(mén)是關(guān)著(zhù)的，畫(huà)家傳達這樣的信息：我們(觀(guān)眾)正在靠近私人地盤(pán)。
43 . 好。這張畫(huà)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?
建議：當你描寫(xiě)沒(méi)有光線(xiàn)的入口(如沒(méi)有燈光的建筑入口)，別用黑色。表現“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.
25. 除非你是寫(xiě)實(shí)主義者否則不要太寫(xiě)實(shí)。少量的暗示就可傳達必要的信息,用印象主義者的風(fēng)格來(lái)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.
Fig. 44.觀(guān)眾很容易領(lǐng)會(huì )小教堂屋頂的質(zhì)感。
Fig. 44. The viewer easily reads the texture of the chapel's roof.
改進(jìn)風(fēng)景畫(huà)的若干建議
Recommendations on How to Improve Your Landscape Paintings
26. 畫(huà)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.
Fig. 45. 底部角落較暗并且幾乎無(wú)質(zhì)感。
Fig. 45. The both bottom corners are dark with minimum texture.
27. 當表現投射陰影時(shí)將光線(xiàn)掃過(guò)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.
Fig. 46
28. 最好別將動(dòng)物側向安置(place animals sideways)，以免覺(jué)得是“平帖”上去的。擺放時(shí)要讓它們看起來(lái)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.
Fig. 47. 不合適。
Fig. 47. Preferably not.
Fig. 48a and 48b. 較好。
Fig. 48a and 48b. Better
29. 在建筑和其它人造景物(如混凝土、木板等)上增加裂紋、局部破碎等，它們將更吸引人。畢竟那樣將意味著(zhù)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.
建議：僅表現最靠近觀(guān)眾物體的質(zhì)感，隨著(zhù)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.
Fig. 49. 畫(huà)家用干筆法技巧使建筑物的側面看起來(lái)顯得很舊。
Fig. 49. The artist used the dry brush technique to make the side of the building look old.
30.通過(guò)營(yíng)造氣氛來(lái)增加畫(huà)面藝術(shù)效果。表現傍晚的天空，橙色比中等色調的藍色更具視覺(jué)吸引力。類(lèi)似的手法還有雨、濕的街道、風(fēng)、傾斜的棕櫚樹(shù)等。所有這些特殊手法都有助于增強畫(huà)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. 因雨及云層下幾縷陽(yáng)光的存在，這幅構圖簡(jiǎn)潔的畫(huà)面看起來(lái)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.
31. 除非你意欲寫(xiě)實(shí)，否則將畫(huà)繪成”迷著(zhù)眼雙眼朦朧地看見(jiàn)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.
Fig. 51. 的確，現實(shí)中被描繪的對象比最終畫(huà)面具有更多的細節。畫(huà)家提煉出最本質(zhì)的內容并將它們簡(jiǎn)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.
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.
Fig. 52. 女修道院后的樹(shù)是繪在濕性水彩畫(huà)紙上的。這種技術(shù)可以將所有的邊緣柔化,從而使樹(shù)葉顯得很遙遠。而前景繪在干性畫(huà)紙上，結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.
33. 當某一部分與另和區域相遇時(shí)，不要讓其突然中止。
33. Don't abruptly end a portion as it runs into another area.
Fig. 53. 錯。當高亮的草延伸到樹(shù)叢時(shí)就突然中止了。另外，從平面上看，這一區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
34. 將形狀多樣化。如果是圓形的樹(shù)叢，那么就別讓天空出現圓形的云朵。 值得注意，當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.
35. 另一個(gè)關(guān)鍵因素是均衡。畫(huà)面的四側(上下左右)的任何一側應布置重量差別不大的物體。否則畫(huà)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.
Left. Fig. 55. 錯。右側太重，從而感到畫(huà)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。在左側加入了新的重量，現在畫(huà)面平衡多了。
56 Better. This composition is more balanced now that some weight has been added to the opposite side.
36. 畫(huà)筆的走勢應向內，并指向興趣中心。
36. Brush strokes should be done with an inward motion and towards the center of interest.
關(guān)于色彩的若干建議
Some advice on color
調色板之于畫(huà)家，就象音符之于音樂(lè )家。它們應是和諧的。
The color palette is to the artist like the music notes to a musician. They should play harmoniously.
37. 不要浪費時(shí)間在調色板上調色，而是要直接在畫(huà)布上或水彩紙上調色，這樣能獲得更富變化的而不是單調的、事先混合好的色彩。讓顏色調和得千變萬(wàn)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.
Fig. 57. 觀(guān)察石頭陰影處色彩的變化。畫(huà)家不是將藍、赭、橙色在調色板上調和，而是直接將顏料管中的顏色濃度稍作減弱后運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.
Fig 58. 門(mén)是畫(huà)面中唯一的藍色，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.
建議：我不會(huì )過(guò)多涉及色彩的和諧，因為那將要寫(xiě)一整本書(shū)。如果你打算嚴肅地對待藝術(shù)，那么讀完這些并將其運用到你的工作中，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 )出現這種情況，而且，加入的顏色越多，情況就越糟。每?jì)捎⒋缇鸵獙㈩伾宰鲎兓?，以避免單調。大多數人更喜歡以暖色而非冷色為主導色彩來(lái)繪畫(huà)。你的作品中應該只有一種色調和溫度占主導地位。要在興趣中心保留最濃最純的色彩，然后加一點(diǎn)它的補色使周?chē)念伾怀?。不要在前景中重復使用在背景中出現過(guò)的顏色。因為這樣會(huì )讓人感覺(jué)畫(huà)中有一個(gè)洞。要將暖色同冷色（及補色）對比使用，因為它們有相互增強作用。（見(jiàn)圖61）冷色收斂，暖色拉近了主體。將藍色和紫色留給背景。用它們產(chǎn)生深度。使畫(huà)面平衡與和諧的方法之一，是在所有地方重復使用同一色彩。（見(jiàn)圖57）對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(mén)。如果你加入少許不曾用到過(guò)的顏色，將會(huì )有力地將觀(guān)眾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. 這幅畫(huà)的色彩不和諧。難道你不覺(jué)得山脈屬于另一幅畫(huà)？藍紫色只出現在山上，其他地方?jīng)]再運用。
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. 為了使色彩交融，畫(huà)家很聰明地將藍色從天空引如水坑中。仔細看看樹(shù)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
建議：如果你的作品是綠色為主導，藍綠色的天空要勝于藍天。這里有幾則竅門(mén)，能將天空的顏色引入畫(huà)面的底部：將這些顏色反映到巖石和樹(shù)干的陰影中。當樹(shù)木陰影部分的樹(shù)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)現的斷續的綠色，能進(jìn)一步確保色彩的和諧。將陽(yáng)光直接照射到物體上產(chǎn)生的顏色反映到它周?chē)奈矬w上。通常不使用直接從顏料管中取出的白色。因為這是一種冷白，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(zhù)色，也呈現為暖白。
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.
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(lái)象貼上去的。如果有人問(wèn)作者為什么那片區域是綠色的，他會(huì )說(shuō)前面的植物向那片區域投射了綠色的光線(xiàn)。
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. 紫色和赭色是補色。它們互相加強，并有助于使背景同前景分離。觀(guān)察中間的山，它比最遠的山用了更多的紅色，因而更加溫暖，遠山則更藍。色彩越冷（越淡），就越將物體推向遠處。
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.
38. 一種使顏色更明亮的方法就是畫(huà)得很厚（稱(chēng)為厚涂）。這樣處理將會(huì )從周?chē)墓饩€(xiàn)中獲得更多的光線(xiàn)，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.
Fig. 63. Harvey是一位描繪從街燈散發(fā)出來(lái)的光線(xiàn)的大師。燈光部分的描繪非常厚重。將其與黑暗對比，你會(huì )感到強烈的反差，從而產(chǎn)生街燈光芒的效果。要有黑暗才能產(chǎn)生光線(xiàn)。
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. 繪畫(huà)時(shí)我們只能依賴(lài)于幾條準則。自然界中的準則要多得多，因為陽(yáng)光的強弱是畫(huà)筆永遠無(wú)法描摹的。創(chuàng )造陽(yáng)光照射效果的三種方法是通過(guò)將上述區域與夸張的暗處對比。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(yáng)穿透云層的效果?；蛘邔?huà)中草的陰影畫(huà)得比自然的情形暗得多，以使陽(yáng)光照射的區域看上去沐浴在陽(yáng)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. 要將顏色以其在灰階上顯示的樣子呈現出來(lái)。這些灰度值對于風(fēng)景畫(huà)是足夠了。中間值的區別是如此地細微，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(huà)，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.
如果你想對本文做些補充，請發(fā)email給我。我可能忽略了哪條規則或建議。
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.
40. 最后說(shuō)一句，有人說(shuō)自然是最好的老師。對于結構和形式來(lái)講，此言不虛。然而對于色彩和距離來(lái)講，有時(shí)自然不是好的表率。例如，樹(shù)木的形狀可能非常渾圓或是明顯的三角形。這時(shí)照搬過(guò)來(lái)會(huì )顯得業(yè)余。自然界中的許多顏色是非常單調的，如植物和巖石總是同一種顏色。有些樹(shù)木長(cháng)得一般高。自然同人類(lèi)相比，有幾大優(yōu)勢。太陽(yáng)光線(xiàn)的變化比人為的光線(xiàn)要多得多。自然的刻畫(huà)宏大且是三維的。我們則不得不在一小塊平面上畫(huà)出引人入勝的摹本?？傊?，我們應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。我對才華的定義是：才華是看出一幅畫(huà)中正確和錯誤的能力。知識是知道怎樣改正錯誤。
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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