Upgrade the language of concept to interface / brush stroke

. Normally we are describing a shape with color and value, we can also use higher concept, it is more abstract, but bundle with more complex factor into a brush stroke. . The dark side include complementary color purple/yellow and edge of block, to describe more information is this area. So, we don't just copy the grey area of dark, and lift up the lightness in dark area. . This could take a bigger area to enhance the feeling of color, make it more stronger impact, creating dialog between viewers and the painting. . We are using the concept, and it is more complex than just color/value/edge.


。 霧狀區和色塊區的銜接,是所謂的交界。 。 讓交界變得更富有空間,可以增加筆觸和edge 的設計 ,再以畫刀重覆做出水面堅硬的鏡面,並在鏡面的遠近,用色彩温度來區分出遠近。 。 最後要回補部份被塗掉的樹幹陰影,讓平面藉由樹影連接在一起,拉大色塊的延續性,使得張力變大。


。用微小的暗面,高彩度的色彩,創造前後微空間。 局部的厚塗和一級的色彩,讓光的錯覺擊中後面的鳯梨,並形成光暈。 。物件的同比例放大,使得色塊也相對變大,張力變強,放大的主因是為了 : 交界的延續,讓整個畫布空間完整的使用。

在紅 黃為主色的照片中,埋入以藍為主的色調,是作畫的目的。

. Using concept to build up a bigger space, more depth painting. . When light blue on sky, yellow and red on bushes/woods, we choose green, secondary color as we want to put on twilight zone, which were designed on lower part of river. . Using palette knife to smooth and squeeze the painting into the canvas' small cave. . It will creat 2 layers color on one spot, showing special feeling of light.


。照片取景,用交界來分析,可以容易了解色塊和色塊,從大到小,從物件到背景的變化,也容易找出主要的色彩,並在尚未動筆之前,在腦中構思所有調色的步驟。 。多利用色輪,明度表,來思考如何創造更合於大自然的光,以解決人像明度過暗的情形。

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