看看画家论构图

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推荐一篇文章，看看画家是如何构图，有原文和部分译文，余下的要慢慢翻。

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Landscape Composition Rulesby Johannes Vloothuishttp://www.cyberartlearning.comI have put together a series of " rules" (I'd prefer the word, tips) of composition that when used properly should reduce the flaws in your landscape paintings. These are a compilation of what appears in most books on composition plus some of my own ideas. A word of caution; do not allow these to hinder your work. They are to help you out when you are in doubt on where to place diverse elements in your work. Rules are made to be broken, in which case you should at least know what rule you are breaking and why and not err due to insufficient knowledge. There are 23 pages so get a cup of coffee and prepare yourself for a long haul.风景画的构图规则 (by Johannes Vloothuis) 我整理了一系列构图“规则”(我更倾向称它们为“技巧”)，合理地使用这些规则可以减少风景画的缺憾。这些规则经常出现在论构图的书藉中，这里我融入自已的观点并将它们整理成篇。值得提醒的是：别让规则妨碍你的工作。规则是注定要被打破的，但前题是您至少知道：您正在打破什么规则、为什么要打破它？您不是因知识的欠缺而犯错。坐下来上点咖啡慢慢看吧。

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1. Look at the picture above. A Landscape painting should contain a center of interest, which is the most predominant and beautiful area in a painting. The center of interest can be further enhanced when it contains a focal point creating a "bulls-eye" effect by adding a touch of purer color, and/or value contrast. This area will become the star in your play. The surrounding area should be subordinate. A well developed center of interest contains: · The strongest color and if possible complementary colors. · A strong shift in value contrast (Light-dark or vice versa) · Preferably, not essentially, it should take up a good portion of the picture plane and gradually become subdued while withdrawing. · Man made structures, animals or human figures will further enhance the center of interest. They take the role of main actors. · The subordinate and surrounding elements should direct or lead the viewer to that center of interest by means of pointers and visual paths. See fig 1 &2. · It should not be placed in the center nor halfway in the picture, preferably in any of the 1/3 portions. · This area should not be blocked, not even partially. This will diminish its importance. · An effectively designed center of interest will grasp and hold the viewer's attention. 1、风景画中应该有一个兴趣中心，它是画面中最重要、最美的部分。通过运用较鲜明的色彩或较强对比度，亦或是让兴趣中心包括引人注目的焦点，都可以使兴趣中心本身得以强化。兴趣中心是画面的重点，周边区域应处于从属地位。良好的兴趣中心包含以下内容： 。鲜明的色彩，如有可能还应有互补色 。强烈的反差(明_暗) 。占据较好的画面位置 。人造景物、动物及人将进一步强化兴趣中心，它们成为画面的主角。 。兴趣中心周边的次要元素要能将观众的注意力引向兴趣中心 。兴趣中心不要放在正中央或图片的1/2处，较好的方法应用三分法。 。不要将兴趣中心封闭起来--哪怕非常轻微，因为这样会减弱它的重要性。 。设计良好的兴趣中心应能吸引并维持观众的注意力。

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Fig 2. The logs correctly placed are great pointers that lead the viewer's eye to the area the artist prefers.树干正确的指向了作者希望留住观众目光的位置。

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Fig 3. The shore serves as a visual path that leads to the bridge which is the center of interest.海岸线成为引导线使桥成为趣味中心。

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2. You may want to include a second center of interest. This will add another chapter to your story. I don't condone this practice though unless you are very skilled. There is a risk that they will compete with each other. Do not place one on top of another. Only one should predominate in size. The best way to place them will be across each other in a diagonal format. In case this can’t be done then placing them horizontally is the second option.
2.你也许想在画面中加入第二兴趣中心以丰富画面的内容。我认为这并不可行，除非你技术娴熟。因为双兴趣中心的风险是它们彼此竞争从而引起注意力的分散。 别将一物体放在另一个物体的正上方，除非其中一个在大小尺寸上明显占优。最好的方法是以相互呼应的斜线方式布置。有时不能以斜线方式布置，那么将它们平行安置也是不错的选择。

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3. Avoid pushing the viewer out of the painting. This can be avoided if the elements don't point towards the edge or run out of the picture, such as tree trunks, roads, and rivers. You can add "stops" to avoid the viewer from exiting. A rule of thumb; animals and people should be facing and looking inwards.
3.避免将观众的注意力推出画面。这就要求画面元素不要指向画的边框，或画面元素不要跑到画面外(如树枝、路及河流)。你可以设置“驻点”以使观众注意力不离开画面。经验法则是：动物及人应面向或看着画的里面。

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4. Rivers, streams, roads, etc. should enter the picture with an “S” movement. The second option, not as good, in a curve. Straight lines should be avoided at all costs. The velocity is too fast. Allow the viewer to take a slow visual “walk”.
4、河流、小溪及路等，应以S型进入画面。如果不是S型，那么最好以曲线的方式进入画面。应不惜一切代价避免直线，因为他们作为视觉引导线时，目光移动过于迅速，而S型则能使目光以较慢的速度扫视画面
This stream in this composition has a nice lazy "S" shape".在这里小河呈现舒缓的“S”形

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5. Logic doesn’t apply to art. What counts is the visual impact. Sunlight on a field of grass may appear even if it is a cloudy day. Linear and atmospheric perspective can be distorted if the result is a better look. Cast shadows can be longer than they would appear at a specific time of day. Feel free to use your artist’s license..

5.别将逻辑应用于艺术。最重要的是视觉冲击力。即便是的阴沉的天气，阳光也可能在草地上出现；为了获得不错的画面效果，线性透视和大气透视关系也是可被扭曲的；在某些特定的时刻，可将影子描绘成比它的本来面目更长
fig5
看一下右边的马，看它是怎样被树丛隐没，如果这匹马很显眼，观众的视线就会随之从右面走出画面。

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6. Group your subjects of importance within the center of interest. Don’t scatter them around where they would compete for attention. 6．使重要的对象集聚在兴趣中心。别将它们分散到那些易使注意力分散的地方
fig11
人物都位于右侧辐射线条的趣味中心上。

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7. You may wish to allow the viewer to interact and become a participant. Let him look for the pot of gold at the end of the rainbow instead of you providing all the visual information. Set your painting up for the viewer to wander around using his own imagination. 7.您也许想让观者在看图片时要参与进来而不仅仅是看看就算了，那么需要含蓄地给出信息让他去探索您的画面，而不要将所有信息全都直接地呈现在他面前。您的图片要能使观者富有想像与好奇地漫步于整个画面—画面不要太简单太直白
fig13
前面是什么，是一个湖，或城市，你可以告诉我，这条路通向任何地方

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8. Depth. An artist is limited to creating the illusion of three dimensions on a flat two dimensional surface. We are to trick the people who see our paintings to believe that what they see looks real. Sometimes I have heard people ask me when they see my paintings. “Is it a photograph?”. How far from the truth they are There is nothing real about my work, just a representation of reality. Here are a few gimmicks that will work to create the illusion of depth. 8.深度。 画家是用二维的画面来表现三维的空间。观众看画时感觉它们很“真实”，实际上我们 “骗”了他们。有时人们看过我的画后会问我“这是照片吗？”—真是情不属实啊。我的作品绝不是写实的，它们只是表现现实世界。这里有几个巧门有助于使画面更具深度感： 让物体相互交迭 。大气透视 (明暗、色彩随距离变化而变化等内容……。略) 。较远的物体较小、较模糊。 。线性透视。 。减弱背景物体的质感。图13中表现出了良好的距离感：山脉前的松树表明树与山相距很远；前景上突出的黄色较暧，而背景的淡紫色使山显得较冷；远山上的阴影较浅较蓝。画面包括了前景、中景及背景三个位面。
FIG14 如果使背景变暗，你可以增加更多的平面以增加距离感

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FIG15
雾是制造距离感的很好手段

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9. Reserve your strongest value contrast for the center of interest, very dark against very light or the reverse. Keep the contrasts subdued everywhere else so as not to compete for attention. That is mid values against darks or mid values against lights. 9.使画面兴趣中心的反差最强烈—让明暗形成强烈的对比。减弱画面的其它地方的反差以避免注意力分散--让明暗形成中等的对比。

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FIG16
左侧明暗反差较大的树错误的吸引了注意力

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FIG17
这张好点，树隐去了一部分，明暗反差也降低了，现在野牛容易成为焦点了。

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FIG18 穿黑衣服的人很容易突现出来，在阴影中的门也是黑色，但它被中性色彩包围，不会错误的吸引视线

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10. Your painting will look less busy if you include a rest area, preferably just before the center of interest. This will allow some breathing space. 10 如果画面留有空白，将不会显得那么拥挤；在兴趣中心前方留点空白，效果更为明显。空白的作用是给画面留点喘息的空间和想像的空间。

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FIG19
位于松树前面的雪适当的留出空间。

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11. If possible include a vertical, horizontal and diagonal movement in your painting. Only one should be predominant in length though. Diagonals are the most preferable because they never run parallel to the frame. These contour lines should not be straight rather just give the sense of direction. 1.如果有可能，画中应尽量包括水平、垂直及斜向运动，但应使其中一种占主导地位。斜线式运动是最佳选择，因为它们永远不会同画的边框平行。并不一定要求这些线条都是笔直笔直的，它们只要表示某种方向感就可以了。