看看画家论构图

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22. Avoid “kissing” the edges. 22．避免“吻”到边缘。

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23. “X” forms are unpleasant23“X“型使人不悦

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24. Do not close the viewer out. Invite him in. A do not trespass sign does not apply to paintings. 24.别将观众排斥在画面之外—邀请他们进来。不应将“请勿入内”的牌运用到画面当中。

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是不是有受欢迎的感觉

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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. 25.除非你是写实主义者否则不要太写实。少量的暗示就可传达必要的信息,用印象主义者的风格来做此事是较好的选择。

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Fig. 44. The viewer easily reads the texture of the chapel’s roof.
观众很容易读懂教堂屋顶的文字。

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26. Keep the corners subdued with little texture and the values dark. 26、画面的四个角落要有较低的亮度、较少的质感

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27. When painting cast shadows add holes where the light peeks thru, otherwise the shadow will appear pasted on.
27、当表现投射阴影时将光线扫过的地方加些小洞，不然阴影像是“帖”上去的一样

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28. It is preferable not to place animals sideways to avoid a flat pasted on look. When positioned at [$frac34] they will have a three dimensional volume. 28．最好别将动物侧向安置(place animals sideways)，以免觉得是“平帖”上去的。摆放时要让它们看起来有立体感

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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. 29．在建筑和其它人造景物(如混凝土、木板等)上增加裂纹、局部破碎等，它们将更吸引人。毕竟那样将意味着更多的风风雨雨。 建议：仅表现最靠近观众物体的质感，随着距离的增加质感要慢慢消逝。

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Fig. 49. The artist used the dry brush technique to make the side of the building look old.
画家应用了干刷技巧（dry brush technique ）使墙看起来很老

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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.
30.通过营造气氛来增加画面艺术效果。表现傍晚的天空，橙色比中等色调的蓝色更具视觉吸引力。类似的手法还有雨、湿的街道、风、倾斜的棕榈树等。所有这些特殊手法都有助于增强画面效果。

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雨和穿过云层的光线营造了神秘气氛

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31. Unless your intent is to create hyperrealism, paint the landscape as if you were looking at it with a squinted blurred vision. 31、除非你意欲写实，否则将画绘成”迷着眼双眼朦胧地看见的那个样子”(paint the landscape as if you were

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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.
32．背景中柔和的轮廓边缘将增加距离感。将鲜明的轮廓留给前景和/或(and/or)兴趣中心。

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FIG52

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33. Don’t abruptly end a portion as it runs into another area. 33.当某一部分与另和区域相遇时，不要让其突然中止

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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. 34、将形状多样化。如果是圆形的树丛，那么就别让天空出现圆形的云朵。 值得注意，当群峰或松林被圆形的云朵围绕时会显得很耐看。

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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. 35.另一个关键因素是均衡。画面的四侧(上下左右)的任何一侧应布置重量差别不大的物体。否则画面会有倾斜感。

伊利特

看完我感觉技术水平上个台阶