Learn gouache painting well
1. Accurate composition
2. Accurate use of colors
3. Skillful brushstrokes
1. Composition is an integral part of the art skills of painting, a link in the creative process, and a form of combining the various parts of the work into a whole. The form of the composition must obey the content of the work and the author's inner feelings, and be determined according to the rules of formal beauty of the composition. The concepts and rules of composition are closely related to aesthetic consciousness, artistic concepts, theories and styles. Learning to master the principles and laws of composition can help artists choose life phenomena, use, organize, and process materials to achieve formal perfection, thereby enhancing artistic appeal. However, it is difficult to create a viable work of art simply relying on composition rules. Therefore, the theory and rules of composition are not static formulas. They will be constantly negated in art practice and develop in changes. S composition: more visual impact than diagonal lines.
2. The basic rules of composition (whether it is a creation or a practice, the content is a figure, a landscape or a still life, the composition generally follows the following rules):
Everything in a work of art , should all be subordinate to the expression of the basic content of the work.
All formal factors in works of art should be related to each other.
The work should be composed to form a visual center that attracts the greatest attention of the audience.
The composition structure of a picture should be a unified whole that is both changing and unified. It should make use of the contrast and harmony rules of shapes, light and shade, lines, colors and other factors, as well as spatial processing, volume combination, rhythm and rhythm, etc. The method makes the form of the work novel and vivid, and has the strongest artistic expression.
When arranging the objects in the picture and handling the details, you should avoid any chance and pay attention to the close connection with the theme.
Apply balance in the composition to express stability and stillness; apply imbalance in the composition to express instability and movement.
The size of the work should match its content; the aspect ratio of the picture frame should comply with the needs of the composition.
3. Balanced composition
Balance is one of the most basic rules in painting composition. Balance produces formal beauty through vision. Equilibrium is different from symmetry. Symmetry is the most stable and simple balance. Symmetry is a beautiful form and is mainly used in decoration and patterns. Traditional Chinese buildings and temples all adopt a symmetrical format. The physiological structures of the human body and some beautiful insects are also symmetrical. The composition rules of symmetry are also applied in painting, but it is not an absolute formal symmetry. Symmetry shows a highly neat state, which has the effects of perfection, solemnity, harmony, and stillness, but it can also produce shortcomings such as monotony and lack of interest.
The balanced composition rule has been widely and permanently applied in painting, and the balanced forms are diverse, which can show the beauty of their own compositions. The principle of balance is developed based on the psychological response of people's visual image and the feeling of weight. The size and shape of the color blocks in the picture, the personality of the color, the movement of living or inanimate scenery, or the static state, can all produce different visual weights. For example, animals are heavier than plants, and people are heavier than animals; on a light-colored background, dark colors are heavier than light colors; conversely, on a dark-colored background, light colors are heavier than dark colors; thick and thin lines are heavier than thin lines; large volumes are heavier than small ones. Heavier; three-dimensional ones are heavier than flat ones; straight lines are heavier than curves; strong color purity is heavier than weak ones; dense objects are heavier than loose ones; strong light and dark and color contrasts are heavier than weak ones, etc. In the composition, if the weight rests on a certain corner or side of the frame, it will cause a sense of visual instability. This principle of equilibrium can be illustrated by the simple principle that a pound of cotton and a pound of iron are balanced on a scale.
Change and unity in composition can also be called contrast and harmony. Because in painting, we always pursue change through contrast and obtain unity through harmony.
4. Light and dark composition
Light and dark are one of the important factors in composition and layout. Light and shade refers to the various light and dark levels between the deepest dark tone and the lightest light tone. The light and dark levels are not only used to express the physical structure of the object, but also achieve change and balance in the picture through the interweaving of light and dark tones in the composition of the picture, creating a sense of rhythm. It is generally believed that light and shade are the unique artistic language of Western painting; traditional Chinese painting does not seem to pay attention to light and dark factors.
For example, line drawing works do not use light and dark tones in terms of formal concepts and expression techniques. They only use pure lines to express the shape and structure of objects, and contrast the density of lines in the composition and layout. In fact, this reflects the contrast between light and dark, that is, the tone is dark where the lines are dense, and the tone is light where the lines are sparse. It can be seen that the density of the lines also contains the meaning of light and dark tones. The contrast of line density is the contrast of light and dark. In addition, although black and white prints only have one kind of black, they actually use the processing of points, lines, and surfaces to produce rich changes in light and dark levels in the picture, exerting strong artistic expression in the composition. Therefore, the formal factor of light and shade is widely used to varying degrees and in different ways in various paintings. Now we will explain it from the following aspects:
(1) Categories of light and dark tone of the picture. When expressing various themes and moods in paintings, there are many categories of use of light and shade, which can be roughly summarized into the following three categories:
Ming tone - most of the colors used in the picture have strong brightness and the picture has bright tones. . This type of color is suitable for expressing emotions such as joy, relaxation, tranquility, heartiness, simplicity, etc. It can also be used for sad and tragic themes. Bright tones are more moving and powerful than dark tones.
Dark tone - the opposite of light tone, the picture is composed of darker colors. Themes with moods such as deep, solemn, rich, quiet, mysterious, and scary tend to use dark tones. In terms of color matching, dark colors are used more, white is used less, and black is often used.
Midtones - various warm and cold tones between light and dark tones, which are the most varied and widely used tones. Under ordinary light, people's living and activity environment are generally in the middle tone. Therefore, when painting themes that express various aspects of life, middle tones are often used.
(2) Several forms of chiaroscuro processing:
A dark background sets off a bright subject - various forms are very effective in highlighting the subject and are often used. A form that is particularly common in many classical still lifes and portraits. The bright characters are set off against a dark background, and the effect is simple, concentrated and strong.
A bright background (or environment) sets off a darker subject - many portraits of the 19th-century Russian itinerant painter Repin often adopt this light and dark form. The bright background makes the picture bright and the main object is very prominent.
Middle tones set off the main object with sharp contrast between light and dark - according to people's experience in daily life observation, objects close by always feel that the image is concrete and prominent, the color is bright, and the contrast between black and white is strong. When compared with the nearby scenery, the distant scenery always appears blurred and the contrast between black and white is weakened. Therefore, in painting, it is very common to use this form of chiaroscuro, which has a sense of reality and is easier to express spatial effects, giving people an immersive feeling.
The processing of light and dark forms in the composition must obey the situational needs of expressing the theme. At the same time, the contrast between light and dark should also be used to show the correct relationship between the main part and the foil part of the composition. In a painting, you can also use a variety of light and dark contrast factors at the same time to deal with complex subjects and express important themes.
(3) In the composition, changes in the shape and area of ??light and dark color blocks can have different performance effects. The area changes of various tones in the picture can be large and small, that is, there is only one large area of ??dark tones or bright tones; they can also be small and numerous, that is, many small areas of dark tones or light tones; the tonal shapes are straight and round, with clear boundaries. Both color and blur can express different emotions and produce different effects: the color area is large, the contrast between them is obvious, and the boundaries are clear, which can produce a lively, active and moving effect. The combination of large blocks of dark tones and small blocks of bright tones has a solemn, tragic, deep, mysterious and other effects. The combination of a large area of ??bright tones and a small amount of dark tones has the effect of being comfortable, light, and hearty. Light colors have a graceful and innocent mood; soft colors have subtle, lyrical, graceful, serene and other expressive effects.
(4) Lines are an important form factor in composition. Chinese prehistoric paintings start with lines, and children's paintings also start with lines. Line drawing in traditional Chinese painting is the basis of modeling, and lines have become one of the artistic features of traditional painting. These mainly refer to the application of lines in modeling. As for the role of lines in picture composition, it is even more extensive. Lines can achieve the purpose of guiding the audience's attention to the center of the theme of the work. The lines themselves also have their own expressiveness and beauty. Organizing the lines can create a sense of rhythm and rhythm in the composition.
Lines can be divided into many categories:
Solid lines, that is, lines that have value in themselves.
Contour lines of object shapes, such lines include straight lines, curves, or a combination of both. The simpler and clearer the outline, the more eye-catching and intense it will be. Such as black and white woodcuts in prints.
Some very narrow objects also have linear effects. Such as the ground, sea surface, roads, telephone poles, tree trunks, etc. when the viewpoint is very low.
Horizontal lines, vertical lines, oblique lines.
Uneven lines, such as: the outline of the intersection between the building group and the background, the intersection between the trees and the sky, etc.
Curves: horizontal curves, vertical curves, other curves.
Horizon (the horizon is very important in the picture and is closely related to the composition).
Line of motion and line showing force.
The above lines with different characteristics are closely related to the artistic effect of the composition. In the application of lines, the most important ones are curves, straight lines and diagonal lines.
Curves can be divided into vertical curves, horizontal curves and irregular curves. The curves give people a female association, soft, graceful and smooth. Improper use of curves can make the composition appear unstable, weak and lacking in power. Vertical curves, like flames, represent a kind of vitality; horizontal curves, like water waves or the ups and downs of distant mountains, have a sense of intimacy, grace and slow movement.
5. Advantages of various compositions: S composition has more visual impact than diagonal lines. Vertical fixed line composition gives the picture a sense of stability, quietness and elegance; triangles are used in creative design (inverted triangles are unstable); cross shapes are stable and balanced; diagonal compositions have dynamic elements; prismatic compositions give people a sense of strength The effect is a sense of tranquility; the X-shaped composition is stable (mostly used in the composition of streets and waterway scenery).
6. Use of colors
(1) Mixing of colors, this is the most commonly used method, which is to mix two or more pigments to prepare another color. It is different from the original color in terms of hue, chroma and color, but still contains the individual factors of the original color and has a harmonious relationship with the original color. For example, red and blue are combined into purple, and purple is harmonious with red or blue, and has the personality factors of red and blue. If contrasting complementary colors are blended, depending on the weight of the two colors during blending, the purity of the color can be quickly weakened to varying degrees, or even become a weak color containing gray. For example, when mixing red and green, adding a trace amount of green to red can produce a gray, calm and stable red. If the two components are mixed together, a gray-black color with dull hue and low purity and lightness may appear.
The purpose of color mixing is to make the colors richer, contrasting and harmonious. The relationship between colors can meet the requirements of the object of expression. The method of color mixing will always reduce the color purity. This method is prone to the disadvantage of making the color of the picture gray and lack of vitality. Color grading is a complex and important process. In a color work, most of the colors are mixed in a palette box and then painted onto the frame. Therefore, in order to master the skills of color mixing, in addition to knowing some basic knowledge of color, it is mainly necessary to gain experience in sketching practice. In some paintings, the color relationship is messy and lacks a sense of harmony, or the colors are dark and the picture loses its vitality. This is all related to the color palette. When you start learning colors, you always feel that it is very difficult to blend the colors of the objects you observe and know, especially blending gray colors. This is an inevitable process. Because to find a gray color, which colors should be mixed, how much of them should be added, how much white should be added, etc. are very complicated. The mixing method can achieve an approximate color effect of the object, with a strong sense of reality. However, the mixing method often causes the color to lose its purity and lack the vividness and power of the color. There are some rules for color mixing, but there is no formula. It can only be mastered gradually through continuous practice.
(2) Color reset
The method of overlapping two or more colors to produce another color is the color reset method. Reset the hue of the resulting color to roughly approximate the effect of blending. This method is widely used in watercolor painting. This is due to the transparency of watercolor paint, which is also a condition for using the reset method. If you draw a yellow color first and then cover it with a layer of blue after it dries, the yellow color will shine through and combine with the blue layer to form green. If you cover it with a layer of contrasting brown, it will produce a greenish taupe. Some in-depth and specific watercolor paintings must be completed using color reset techniques. Due to the opacity of pastels, the reset method is not commonly used.
If you add a lot of water to the gouache color to make the paint transparent, you can also achieve a reset effect like watercolor. You can adjust color relationships by resetting, such as resetting with cool transparent colors to draw shadows of sunlight, etc. To reset the pastel color, you should write decisively and quickly, and do not apply over and over again, because the underlying color is easily damaged. Another resetting technique for gouache painting is to use a dry pen or other tool to dip a dry opaque color on top of the first color layer, and then reapply the second color without completely covering up the base color. This approach has a juxtaposed color effect. It can not only adjust color relationships, but also make colors more varied and subtle, producing a complex effect of thick colors.
(3) Juxtaposition of colors
The method of juxtaposition is to use strokes to connect and juxtapose two or more colors to create a visual mixing effect of color space. If the yellow and blue color points are juxtaposed, a spatially mixed green will be produced. This green can be brighter and more active than the green obtained by mixing the two colors. This juxtaposition method is the application of optical principles in color methods, which originated from the color practice of some Impressionist and post-Impressionist painters in the 19th century.
Of the above three methods, the most commonly used is color mixing. The reset and juxtaposition method is a mixture of colors in different ways and with different effects. If used properly, it can also achieve good performance effects.
7. Color contrast
Contrast means the difference in color. The greater the difference, the stronger the contrast, and vice versa. Therefore, in terms of color relationship, there is a distinction between strong contrast and weak contrast. For example, the three complementary colors of red and green, blue and orange, and yellow and purple are the strongest contrasting colors. Gradually adding an equal amount of white among them will increase their brightness while weakening their purity, turning them into pinkish reds and greens, yellows and purples, and oranges and blues, forming a weak contrast. If you add the same amount of black, it will weaken its brightness and purity, forming a weak contrast. In contrast, the purity or brightness of a color is weakened, causing it to lose its original hue personality. The contrast between the two colors will weaken and even tend to be in a harmonious state. The contrast factors of color mainly include the following aspects.
(1) Color phase comparison - Between the colors in the color wheel, there can be many relationships such as adjacent colors, similar colors, intermediate colors, contrasting colors, complementary colors, etc. 180 on the color wheel. The two colors of the angle are complementary colors and are the colors with the strongest contrast (greater than 120 in the color wheel. Both colors of the angle are contrasting colors). The color wheel is 90. The two colors of the horn are medium contrast colors (such as red and yellow, red and blue, orange and yellow-green, etc.). There are also similar colors (such as deep red, bright red, rose red, etc.) and adjacent colors (such as red and red-orange, red and red-purple, yellow and yellow-green, etc.). The similar pigments they contain are dominant, and the hue, color, and brightness are very similar. The contrast factors are not obvious and there are weak differences. They have a harmonious color relationship. If the similar pigments between two adjacent colors gradually decrease, contrasts of different strengths will be formed (such as red and yellow-green, red and cyan, yellow and green, etc.). Similar colors have stronger contrast than adjacent colors. They are located at about 600 angles in the color wheel. The red, yellow, and blue-cyan pigments are called similar colors.
(2) Brightness contrast - that is, the contrast of the depth of the color. The relationship between the depth of the color is the sketch relationship. Every color we squeeze out from the paint tube already has its own brightness. There is a difference in brightness between colors. If you arrange them from dark to light, you can get the following order: black, blue, cyan, dark green, black brown, emerald green, dark red, scarlet, ocher, grass green, cobalt blue, vermilion , orange, earthy yellow, medium yellow, lemon yellow, white. If each pigment is mixed with black or white, the brightness difference of the same color will be produced; if other colors darker or lighter than this color are mixed, the brightness difference of different color characteristics will be produced. It can be seen that the brightness contrast of color contains quite rich and complex factors. It is easier to distinguish the lightness and lightness contrast of a single color, but it is not easy to correctly identify the lightness contrast that includes factors such as color purity, coldness and warmth.
(3) Purity contrast - the effect of colors is shown by contrast with each other. Purity contrast refers to the contrast between bright and turbid colors. Use non-bright low-purity colors as background colors to make bright colors appear more intense and eye-catching. If red and green contrasting colors of the same purity and similar color area are juxtaposed together, not only will they not be able to enhance their color effects, but they will weaken each other. If the green is mixed with gray to weaken the purity, the red will be more vivid against the gray-green contrast.
We observe the colorful ponchos and umbrellas used by pedestrians on the streets on rainy days. The bright and pure colors are extremely eye-catching and beautiful. The reason is that they are contrasted by the dark and cold gray tones of the surrounding environment. High-purity colors have forward-protruding visual characteristics, while low-purity colors have the opposite effect. The same color can produce differences and contrasts in purity at different spatial distances. For example, if you observe three red flags at different distances, namely near, middle, and far, the near red flag is bright; the red flag in the middle shot appears grayish purple compared with the red flag in the close shot; the red flag in the distant shot appears in contrast. In comparison, it is less pure and appears gray. This is the change of color due to spatial relationship, which reflects the change of color purity and creates a sense of spatial distance. In a picture, the tones dominated by weak contrast of purity are elegant, and the emotional effect expressed is basically tranquil; on the contrary, the strong contrast of purity has an exciting and active emotional effect.
(4) Warm and cold contrast - the warm and cold feeling of colors comes from people’s physiological and psychological life experiences. Therefore, the contrast between warm and cold in color elements can especially exert the appeal of color. The tendency of warm and cool colors is relative and should be displayed when two colors are in relative contrast. In the process of color sketching, understanding the contrast changes of warm and cold colors mainly relies on the method of mutual comparison. Observe the sky on a sunny day. If it is purple-gray, the sky on the ground or in distant mountains will generally appear warmer, while the sky above will tend to be colder, with a slight difference between warm and cold. When an object is exposed to direct sunlight, the light-receiving surface will be warmer and the backlight surface will be warmer. Cold, the strong light part of the light-receiving part is colder, the part of the backlight that is reflected by the blue sky light appears colder, and the part of the backlight that is reflected by the sunlight from the ground is covered with a warm color. From the understanding of the natural laws of color and light, we can recognize the laws of contrast between warm and cold colors through observation, which is very important in color learning; if we cannot recognize and express this contrast between warm and cold colors, the color of the picture may tend to be monotonous.
(5) Area contrast - the area, shape, and position of color have been mentioned in the section on color elements. This is one of the factors associated with composition in art design or layout structure in painting. The so-called area of ??color is generally relatively clear in design or decorative painting, because most of them use flat color blocks with simple hues, combined with the shape of the color blocks, and through arrangement and interspersion, to form a strong, weak, and undulating rhythmic effect. In realistic paintings, there is basically no simple flat color block. In a color area, there must be many color changes at the same time, but it still has the form factors of contrast such as color area, shape, and position. The size of the color area is related to the formation of hue. Its role in artistic expression is to obtain color effects through contrast. Considering the shape of the color block refers to the beauty of the appearance, and also includes the contrast between lines and shapes. The contrast between a square and a circle has an incongruous factor, which is different from the feeling of curved lines.
8. Harmony of colors
(1) Contrast and harmony are two aspects that are interdependent and contradictory. Both are used to obtain color beauty and express theme thoughts and feelings. important means. In a picture, depending on the different requirements of the theme, the color tone can be mainly based on contrasting factors or based on harmonious factors. In terms of emotional reflection, generally positive, pleasant, stimulating, exciting, lively, brilliant, rich and other sentiments are expressed in contrasting tones. Emotions such as comfort, tranquility, subtlety, softness, simplicity, softness, elegance, and silence should be expressed in harmonious tones. When contrasting two colors, if the same complex color is mixed, that is, a gray color, then the contrasting colors will move closer to the mixed complex color, and the hue, brightness, purity, coldness and warmth will all tend to be close, and the stimulating factors of contrast will weaken or disappear. The blending effect is enhanced in direct proportion to the amount of color mixed in. Contrasting colors on both sides, if one side is mixed with the other's color, or both sides are mixed with the other's color, the difference can be narrowed, weakened, and tend to be harmonious.
(2) Harmony of the same hue refers to a series of hues that can produce a simple change in brightness by gradually adding any basic color to white or black. These different levels of colors, which tend to be bright or dark, can be called the same color or the same color, and have extremely harmonious properties. If a set of contrasting colors is mixed with white or black at the same time, the purity will be reduced, the hue personality will be weakened, and the sense of harmony will be strengthened.
(3) The harmonization of adjacent colors and similar colors means that the similar colors contained in the color are dominant. The color factors such as hue, purity, and brightness are very similar, and the contrasting characteristics are not obvious. It is a harmonious color. relation.
Such as adjacent colors red and red-orange, red and red-purple, yellow and yellow-green; similar colors such as deep red, bright red, rose red, vermilion, etc. Color contrast of similar colors is slightly stronger than adjacent colors. No matter what color, when paired with achromatic black, white, and gray, it can produce a harmonious effect. Between two inharmonious contrasting colors, you can make the two inharmonious contrasting colors harmonious by dealing with a color that is harmonious with both contrasting colors. For example, in the contrasting colors of red and green, if yellow is occasionally harmonious with red and green, the contrast intensity of red and green will weaken and tend to be harmonious. When arranging a still life sketch, if there are strong contrasting and uncoordinated colors in the main object, the appropriate interlining color should be considered according to the above rules when matching the interlining cloth, so that the still life has a contrasting and harmonious overall color effect.
9. How to use pens
(1) Use pens according to the shape and structure
Rely on the rules of light and shade changes of objects - five major tones to express objects, accompanied by As the physical structure changes, light, shade, and color will change. The direction, start and end of the pen should be used according to the changes in the body structure, which can also be understood as using the pen according to the relationship between light and dark and color. Because changes in physical structure are closely related to changes in light and shade and color. The size of the pen should be changed according to the size of the shape, simple structure; use a large pen to express large parts and shapes, such as backgrounds, etc. Use small pens to express complex small layouts, small parts, small shapes and details. Such as goblet, porcelain mouth, plate thickness, etc. Just using broad strokes will definitely look empty and lack of refinement. Using small strokes alone can easily become trivial and hard to let go. The two need to be connected to each other.
(2) When using a pen, you must be decisive, precise, and concise.
Every stroke you draw must be done with kindness and both form and color. Don’t write randomly if you don’t think well. Once you write, you must be decisive, precise, and crisp. Once the strokes are on the paper, don't simply trace or change them. Strive to draw well in one go. In addition, the pen must be summarized and concise, and one stroke should be used to deal with an area, a turning point, etc. appropriately. That is to complete one task or several tasks in one stroke. For example, one stroke can handle light and shade, purity, hue, surface, authenticity, etc. Make sure to draw well with one stroke, never two strokes, and use as few strokes as possible to depict the object well. Avoid trivial and deliberate repeated tracing, painting and smearing with the pen. This is a taboo when using gouache pens. Due to the limitations of gouache paint, repeated application will cause the background color to appear, especially purple colors (rose red, violet). These colors are the easiest to turn out and make the painting dirty. Drawing, painting, and smearing will make people feel stiff and stiff. Mechanical, not relaxed, not straightforward. Therefore, the beauty of painting is lost. The brush should be vivid, natural, and uniform
(3) The brush should be vivid, natural, and uniform
Vividness means painting vivid, flexible and changeable . If the brushstrokes are too regular and uniform, the picture will appear rigid and rigid. Synchrony is the control of changes, the consistency of brush strokes. Changes are dialectical as well as ***, and the brushstrokes will look messy if they are only changed. Chaos means change, and non-chaos means unity. Change and unity are enemies. You need to find a balance between both sides. Chinese painting theory requires that when using the brush, we should achieve: "There is no chaos in the chaos, there is chaos in the non-chaos", "There is a little discipline but the discipline is free", "The unevenness is uniform, the uniformity is not uniform". These are excellent discussions in this regard. "No chaos in chaos" means that this kind of chaos should be controlled chaos. Without control, it is real chaos, not the required vividness. "There is chaos in the non-chaos" means to try to achieve changes within a certain degree of control.
10. Summary
(1) When mixing colors in gouache painting, water is used for two purposes: one is to thin the color, making it easier to use the brush to color freely; the other is that water can make the color thinner To various extents, bright paper colors can penetrate the color layer and show changes in brightness. If you use more water and let the colors flow on the paper, you can also create a blending effect of water and color. Generally, the first coloring (or laying down of base color) of gouache painting is mostly done with a thin painting method that contains more water, which can make the color layer soft and subtle and have the effect of receding. This method is often used to draw shadows and distant views of scenery. In the thin painting method, due to the water content and thin color, the powder factor and hiding power will be weakened, and the artistic characteristics of gouache painting cannot be fully exerted. Therefore, the thin painting method is often only used in local areas or to paint the first color.
(2) The thick painting method of gouache can easily produce the artistic characteristics of gouache painting. Therefore, the amount of paint in the palette box should be large, and it must be kept moist and not dry to ensure that the brush can be dipped into the paint grid to draw out sufficient paint. When mixing colors or painting on paper, it can be very rich and full, and the brush can be used smoothly. Be able to do as you please.
Sometimes you can dip in several different colors, and you can adjust the right color through brushwork while shaping the object on the painting, which can create a vivid effect of competing colors. Of course, it is never easy to do this without sufficient experience and basic abilities. Because when expressing many bright objects or scenery, such as the sky, water, roads, houses, etc., a large amount of white needs to be added to achieve the brightness requirements. Therefore, when white is needed for gouache painting, white should be used boldly and ensure that there is A certain thickness can make the shape thick and powerful, creating a contrast effect with the thin parts of the painting. Generally speaking, in terms of the thickness of the color used, it is best to use thick paint to achieve better gouache painting effects.