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黑白木刻不同于其他颜色丰富的版种,在黑与白之间寻求着多种变化,虽然它没有丰富的颜色但是也不缺乏黑白灰艺术的独特魅力。在一幅黑白木刻作品中无论刻画的形象简单与复杂,都需要有黑、白、灰三个基本层次的合理分布。大胆的留黑、留白,巧妙的应用灰色协调搭配,才能得心应手的处理所有画面,既要做到高度概括、统一,又要主观的分析黑白木刻中灰色语言表达。假如说木刻是一枚精致的钻戒,那么画面中的灰色就是那戒圈上最夺目、耀眼的钻石。细密的灰色好比不同的音符,给观众演奏着版画人内心的乐曲。角刀的细腻让人久久回味、圆刀的直爽让人内心震感、平刀的苍劲让人触目惊心。不同的灰色都会传递着不同情感,那不只只是简单的色块那更是版画艺术家内心的呼唤。
Black and white woodcut is different from other rich color editions, looking for many changes between black and white. Although it has no rich color, it does not lack the unique charm of black and white gray art. In a black and white woodcut no matter portrayal of the simple and complex image, you need to have a reasonable distribution of three basic levels of black, white and gray. Bold black, white, clever use of gray coordination with, in order to handle all the pictures handy, it is necessary to be highly summarized, unified, but also subjective analysis of black and white wood gray language expression. If woodcut is an elaborate diamond ring, then the gray in the frame is the most eye-catching, dazzling diamond on that ring. Fine gray like a different note, to the audience playing the heart of the print artist. Delicate corner knife long-lasting aftertaste, round knife straightforward people feel inside the heart-shock, flat knife people shocking. Different shades of gray convey different emotions, which are more than just simple patches of color. They are also the call of print artists.