Oil Painting Landscape Scroll - Sublimating Nature - Color Sketching Teaching at Central Academy of Fine Arts

Author: Zhang Yibo / Country: Mainland China
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Publish Date: 2006-06-01
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Some common problems encountered when painting color sketches:
The issue of "dirty" colors. This refers to a lack of freshness and comfort in the composition, where colors appear dull and grayish. It's not necessarily that any specific color is "dirty"—all colors are good—but rather that a particular color clashes with others in the painting. Another reason colors may seem dirty is due to unclear color tendencies when combined with other hues. Colors that appear dirty in one composition might look sophisticated in another. Therefore, "dirtiness" is relative. As long as each color's color tendency is clear and the overall color relationships are harmonious, the painting won't look dirty.
The issue of overly pink colors. This problem often arises from poor control of white. Some artists tend to use white to lighten highlights and black to darken shadows. However, brightness and darkness primarily depend on the overall black, white, and gray relationships in the painting. When adjusting brightness, pay attention to color saturation—don't just add white blindly, as this can sometimes enhance the effect. Moreover, colors need sufficient saturation; if saturation is low, the colors will appear pinkish.
The issue of overly rigid pure colors. This is a matter of color mixing. For example, some paintings may look overly "vibrant" or simplistic, which is a result of using pure colors too rigidly. In most cases, it's better to mix three colors together rather than just two. Intermediate colors (or "mixed hues") are often used in painting. These are colors created by mixing at least three colors, as opposed to "compound colors" made from just two. By using intermediate colors, the resulting hues won't appear overly vibrant.
Another important issue is the use of gray. Personally, I believe gray is the most crucial color in painting, and it's also the most frequently used. If you can master gray effectively, the colors in your painting will become more sophisticated, and your understanding of color will mature. This is also evident in Impressionist paintings. In the past, many people only saw reproductions, which often printed colors as simple and bright, giving the impression that Impressionist colors were all pure. For a time, Chinese oil paintings were dominated by bold reds and greens, earning them the nickname "paintbook paintings." In 2004, an Impressionist exhibition was held in Beijing, where people saw the original works and realized they were far more nuanced than reproductions. I've also seen many Impressionist paintings in Europe and found that the differences between originals and reproductions are significant. In their paintings, the use of gray is everywhere. Gray must be emphasized and handled well.
When dealing with gray, it's not just a simple mix of black and white. From experience, you can first mix a basic gray and set it aside. Then, add other colors to adjust the tendency—e.g., if the gray is too yellow, add a yellow hue (such as ochre or medium yellow). If the gray leans toward a specific shade of yellow, add that particular yellow, giving the gray a clear color tendency. Just as speaking clearly is important, every color in your painting should have a distinct color tendency.
Habitual color choices can also hinder accurate color representation. Everyone has their own habits, which might lead them to use similar colors in every painting. However, during the learning phase, it's essential to broaden one's understanding of color. This can be done by selecting diverse subjects. If you're better at capturing greens, try painting subjects with entirely different color palettes. If you excel at cool tones, challenge yourself to paint more warm-toned objects. Expand your color range, experiment with various techniques, so when you encounter different subjects, you'll be more confident in handling them.