提白法意指从画的亮部画起,塑形。这是源于欧洲传统坦培拉绘画间接画法的一种作画方法。在起稿、定稿之后,先做一个有色透明底层(也有的画家是先做不透明底层色,俗称死灰底子,再在上面起稿),然后从画面最亮部提白塑形,以单纯素描的方式,组织处理画面造型层次关系。在整个多层反复提白过程中,要非常谨慎地保留出透明层形成的暗部或灰暗部,甚至在亮部或精微之处也要保留或显现透明层。这就是一些权威专家常谈到的画面的“视觉灰”效果。在这种绘画过程中,要始终严格遵守一条原则,即“肥盖瘦”。此种作画过程,首先,从材料的角度讲,由于坦培拉材料的性质是水油交融的,水包油系统与油包水系统在绘画交叉中形成透明与不透明,或半透明、半不透明的多层对 Putting white law means drawing from the light of the painting, shaping. This is a painting method derived from the indirect painting of the traditional European painting of Tempel. After the manuscript and the final version are completed, a colored and transparent bottom layer is made first (some painters do the opaque bottom layer first and then the manuscript is drafted), and then the white part is shaped from the brightest part of the screen. By a simple sketch, Organizational processing screen modeling level relationship. In the entire multilayer repeated mentioning process, to be very careful to retain the dark or dark parts of the transparent layer, even in bright or subtle place to retain or show the transparent layer. This is the “visual gray” effect that some authoritative experts often talk about. In this process of painting, we should always strictly abide by the principle that “fat skin”. This painting process, first of all, from a material point of view, since the nature of the Tempella material is water and oil blend, the oil-in-water system and the water-in-oil system form a transparent and opaque, translucent or semi-opaque Multi-layer pairs