The author often receives a seemingly meaningful question from newcomers to board painting
Thick Paint Flat Paint "Which is better?" Which one is easier? Which one is more worth learning?
First on the answer Enthusiasts look at preferences, practitioners look at Party A. As two different styles of coloring, it's not so much two directions; It's better to think of the two as two advanced "class transfers" of the same class in the game.
In the following article, we will start from the similarities and differences of "impasto and flat coating", introduce the characteristics and application environment of painting coloring style, and help you eliminate unnecessary misunderstandings.
part1- Main differences
Since the visual effect of "impasto and flat" is mainly reflected in the differences, the following is a summary of the differences:
Proportion of line artwork
As shown in the figure, the flat painting style requires a certain proportion of "line drawing" as the outline; Impato, on the other hand, is more like a solid record and does not require line artwork to be kept.
Excessive hierarchies
As shown in the figure, because "impasto" has a complete level of light and shadow, it will be expressed in strict accordance with the shape and material characteristics, which can show enough three-dimensional and real effects; "Flat painting" will summarize the light and shadow levels with obvious lines of light and dark, and the excessive effect will also show a blocky effect.
Brush stroke detail
As shown in the figure, the portrayal of flat paint will create a clear color block; Impasto, on the other hand, restores the detailed features of the solid with richer brushstrokes.
part2 - in the same vein
Let's be honest: many friends who choose the flat painting style mistakenly think that they don't need to learn "sketching" for flat painting and coloring. Please [deduct 1] if you hit
Three-dimensional sense] As shown in the figure, we can intuitively find that the color of "thick paint and flat coating" is reflected by the two main indicators of "main light source direction" and "shape characteristics".
The boundary between light and dark is a direct embodiment of the above two indicators, as shown in the figure, it is also the structural depiction of clothing, the boundary between light and dark in the impasto style is relatively blurred, and the flat style is clear and clear; But they all follow the same principle of positioning the boundary between light and dark.
Color contrast] the color of the light and dark areas, in addition to the distinction of light and shadow brightness; It is necessary to make a comparison between "saturation" and "cold and warm trends"; Colors in the flat style tend to be fresher and more vibrant.
Material characteristics] The embodiment of the sense of material is composed of: the structure of light and shadow + the contrast of color + the emphasis of surface features to form the overall characteristics.
To sum up: Friends who want to escape the "sketch basics" by learning "flat painting", don't dream
Part 3 - Practical application
Celluloid] is the most familiar concept for secondary enthusiasts, and it is also a battlefield for flat painting style. Refers to celluloid nitrate, an early form of transparent synthetic film used in animation. Now it refers more to the painting style with distinct color blocks and similar to the anime style.
Pseudo-impastorovin] is widely used in Korean animation, game art and other fields; The coloring style, which combines the characteristics of "impasto and flat", can depict richer details while maintaining the two-dimensional dream distortion.
Returning to the coloring style of traditional Chinese painting, many people will focus all their attention on the freehand blending effect; However, the gradient of ink, the connection of light and shade of color, the combination of shades of blocks, and the composition design of the blank part are all elements that form a three-dimensional sense of space.
If you want to improve your painting skills, the learning and mastery of the underlying basic knowledge is a necessary condition; Painting is a happy thing, and there is no need to worry about the choice of style, grasp the core indicators in the foundation of light and shadow, and style is just a feature.