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...
Common Errors and How to Avoid Them
16. Avoid duplicating forms, lines, movement, and size. This will make them compete and conflict with each other.
  Fig. 24 .Observe these two paintings. (Left)The birch tree on the left has
a twin. One of them should've leaned a different way and their width should vary. Fig. 25. (Right) the two horses are the same size and in the same position.   
17. Avoid grouping animals and people in even numbers. In case you wish to depict a pair, change their size and position.  
Fig. 26. Incorrect. Here the deer compete with each other because they are placed in similar poses. They are also about the same size.  
Fig. 27.Better. The deer on the right is different in size and is in another position.
Fig. 28. The painting looks even better when a third deer is added to the background.  
18. Never lean your objects outward. Always have them lean inwards. Do not line them parallel to the frame. That applies in vertical or horizontal format.  
Fig. 29. Incorrect. The telephone pole is leaning in the wrong direction.   
Fig. 30. This is bad design, as well. The telephone pole is now parallel
to the frame.
Fig. 31. This is a much better design. The telephone pole leans inwards, keeping the viewer in the painting.  
r> 19. Avoid straight lines unless they are quite short. Disguise them or modify them to curvatures.  
Fig. 32. Most of the straight lines have been concealed with flowers.
Observe the curved stone wall.  
Fig. 33. The tiled roof houses are curved. This is very common on American barns. After all, wooden beams sag over time.   
20. Do not show geometrical forms such as, squares, rectangles (doors, windows) triangles, (pine trees) ovals, or circles. (Trees, clouds) Even
when these appear in nature. For example, if you include a window, break up the form with an overlapping tree branch or a flowerpot.  
  Fig. 34. Incorrect. The shadow at the bottom is in a triangular shape
  Fig. 35. This is much better! By breaking up the shadow, we've solved the problem easily.  
21. Never divide your painting into equal parts. This will make it look too deliberate and artificial. The horizontal line should not go across the middle.  
Fig.36. Left.The horizon line runs right through the middle. Fig.37. Right. Better. A portion of the sky was cropped.   
22. Avoid "kissing" the edges.  
Fig. 38. Left. Incorrect. The cowboy's hat touches the top of the background hill. Right. Fig. 39. Better. Everything fits in place now.   
Fig. 40. Incorrect. The tip of the pine tree is touching the top. Since you can't add more canvas, you'll have to lop off part of that tree! :-)   
23. "X" forms are unpleasant.  
24. Do not close the viewer out. Invite him in. A do not trespass sign does not apply to paintings.  
Left Fig. 42. Incorrect: The artist by closing the door is telling us that
we are on private property. Right. Fig. 43 . Better. Doesn't this composition make you feel more welcome?   
Recommendation. When you depict an area with no light such as a entrance to
a building with the light off. Don't use black. The color of absolute darkness is purple.
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.  
Fig. 44. The viewer easily reads the texture of the chapel's roof.  
Recommendations on How to Improve Your Landscape Paintings
26. Keep the corners subdued with little texture and the values dark.  
Fig. 45. The both bottom corners are dark with minimum texture.   
27. When painting cast shadows add holes where the light peeks thru,
otherwise the shadow will appear pasted on.  
  Fig. 46  
28. It is preferable not to place animals sideways to avoid a flat pasted
on look. When positioned at ? they will have a three dimensional volume.  
Fig. 47. Preferably not.   
Fig. 48a and 48b. Better  
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.  
Recommendation. Only indicate texture closest to the viewer's stand point. Texture diminishes in the disstance.
  Fig. 49. The artist used the dry brush technique to make the side of the building look old.  
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.
  Fig. 50. This simple composition looks more interesting because of the
rain and the sun peeking through the clouds. It even looks mystical.  
31. Unless your intent is to create hyperrealism, paint the landscape as
if you were looking at it with a squinted blurred vision.  
Fig. 51. Surely the real life subject material has much more detail in the foreground than the final painting. The artist picked the most essential elements and simplified to the utmost.
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.  
Fig. 52. The trees behind this convent were done on wet on wet watercolor paper. This technique diffused all the edges, making the foliage appear way back in the distance. The foreground tree was painted on dry paper resulting into hard edges, bringing it much closer in the picture plane.
33. Don't abruptly end a portion as it runs into another area.  
Fig. 53. Left Incorrect. The highlighted grass suddenly stops when it
reaches the foliage. Besides, the picture plane is divided in half in this area. Right. Fig. 54. Better
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.  
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.  
Left. Fig. 55. Incorrect. The heavy mass on the right tends to make the painting want to lean towards that direction like a see-saw. Right.Fig. 56 Better. This composition is more balanced now that some weight has been
added to the opposite side.
  36. Brush strokes should be done with an inward motion and towards the center of interest.  

Some advice on color
...

如果时间和精力允许， 我会将"Some advice on color(关于色彩的一些建议)”补上。不过这会儿我真不想看E文了
本帖内容到此全部结束,衷心感谢各位的大力支持，正是你们的热情才使我有热情将这活儿做完。特别感谢fotobug(传统/黑白编辑)雪中送炭，给了我足够的粮票，使我以最快的速度了却此桩心事。
谢谢大家!

[ckmaster 编辑于 2004-12-09 18:07]

Recommendations: If your painting is predominantly green, a bluish green sky is better than a blue one. Here are a few gimmicks to bring down the sky colors onto the bottom portion of your painting: Bounce these colors on the shadow sides of rocks and tree trunks When leaves in the shadow portion of a tree are at a 90 degree angle to the sky they will reflect the sky colors due to their shiny polished looking surface which act like mirrors. Some discrete hard to detect with the naked eye touches of green in the shadows of clouds will further ensure color harmony. Bounce colors that result from direct sunlight hitting an object into its surrounding objects. It is uncommon to apply white paint straight from the tube. This would be a cool white and unpleasant too look at. Add a touch of orange or yellow to warm it up. That's the reason why manufactures of watercolor paper add an orange pigment to their product so the areas left blank will be warm whites even though no pigment has been applied.

Fig. 61. Observe the green added to the shadow side of the wall. This avoids the house from looking pasted on. If anybody asks him why that area is green he can say the foliage in front is casting green light into that area.
  
Fig. 62. Purple and ochre are complements on the color wheel. They enhance each other and help separate the background from the foreground. Observe that the mountain in the middle ground is warmer because it contains more red than the very far one, which is bluer. The cooler (and lighter) the color, the more it pushes the subject into the distance.

38. One way to make a color even brighter is to apply it thick (called impasto). This blob of paint will receive more light from the gallery light making it even brighter than if it had been applied thinly.  

Fig. 63. Harvey is a master at depicting light emanating from street lights. The paint in the light area is applied on very thickly. By contrasting it with darks you get a strong contrast thus the illusion of light. You need the darks to get the lights.

[2004-12-11 16:41 补充如下]

建议：如果画面主色是绿色，那蓝绿色的天空比蓝色天空更适合于画面。这里有几个小巧门，它可使天空颜色渐变为画面底部的颜色：当树阴下的树叶与蓝天成90度角时它那看起来像镜子般的光亮面将反射天空的颜色，因此它们将天空的颜色反射到树及岩石的阴影面上。那些云层阴影下肉眼难以觉察的绿色将会进一步加强色彩的和谐性。由于直射阳光引起的反射光将会从被阳光直射的物体上反射到邻近的物体上。　通常不宜直接从颜料管取出白色颜料并立即用于画面，那种白色是冷白色，看起来太不舒服了；但加点橙色或黄色将会使其变暖。这就是为什么要在生产水彩画纸成品时加点橙色颜料，其目的是使最终成品在不再加任何其它颜料时也呈暖调。
...
38. 使色彩更亮的方法是用浓度（厚涂颜料的绘画法）。同浓度低的颜料相比，这类浓度大的颜料将会从画廊获得较多的光从而显得更亮。
...

[2004-12-11 19:00 补充如下]

overdue:
Fig61注意墙壁阴影处加入的绿色。这样避免了使房屋看起来象贴上去的。如果有人问作者为什么那片区域是绿色的，他会说前面的植物向那片区域投射了绿色的光线。
Fig62紫色和赭色是补色。它们互相加强，并有助于使背景同前景分离。观察中间的山，它比最远的山用了更多的红色，因而更加温暖，远山则更蓝。色彩越冷（越淡），就越将物体推向远处。
Fig64要将颜色以其在灰阶上显示的样子呈现出来。这些灰度值对于风景画是足够了。中间值的区别是如此地细微，它们不会产生大的改变。实际上灰色尺度中有10个值，但用颜色作画，同时又符合所有这些色值，是非常困难的。
如果你想对本文做些补充，请发email给我。我可能忽略了哪条规则或建议。

[2004-12-11 19:11 补充如下]

overdue译:
Fig63 Harvey是一位描绘从街灯散发出来的光线的大师。灯光部分的描绘非常厚重。将其与黑暗对比，你会感到强烈的反差，从而产生街灯光芒的效果。要有黑暗才能产生光线。

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今天用了较多的时间来做“20种常见的构图错误”。
下面还有点是"Some advice on color(关于色彩的一些建议)”，我简直是个色盲，加
之近几天我手上活紧，暂时没精力去译了，抱歉
----------

************
Some advice on color
The color palette is to the artist like the music notes to a musician. They should play harmoniously.
*************

37. Don't waste time mixing pigments on your palette; rather mix them on canvas or watercolor paper. This will give you many more variations of color instead of a dull premixed outcome. Allow the colors to mix in the eye by variegating them. Avoid having more than three hues in one area.  

Fig. 57. Observe all the variations of color that appear in the stone shadows. Instead of mixing blue, sienna , and orange on the palette, the artist slightly decreased the chroma from the colors that come directly from the tube and applied the colors to the shadow part of the rocks.  

Fig 58. The blue door is practically the only place where this color appears. This creates the focal point in the center of interest.

[ckmaster 编辑于 2004-12-09 17:48]

[2004-12-11 16:53 补充如下]

关于色彩的建议
调色板之于画家如同曲调之于音乐家。他们必须和谐。

37．宁可在画布或水彩纸上调和颜料，也不要在调色板上浪费时间。因为这样你将会获更细微的色彩变化而不是乏味的已调和好的颜色。多样化的颜色更醒目，但不要在同一区域放置三种以上的色调。

[2004-12-11 18:55 补充如下]

overdue:
Fig57观察石头阴影处色彩的变化。画家不是将蓝、赭、橙色在调色板上调和，而是直接将颜料管中的颜色浓度稍作减弱后运用到岩石的阴影部分。
Fig58门是画面中唯一的蓝色，从而成了兴趣中心的焦点。

Fig. 56 好。在左侧加入了新的重量，现在画面平衡多了。

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。
(注：本条无图例)

33.当某一部分与另和区域相遇时，不要让其突然中断。

Fig. 53.错。当高亮的草延伸到树丛时就突然中止了。另外，从平面上看，这一区域立马被分为两部分。