Practical Analysis of Deconstructed Color Design - Case 2 (2)

Chinese Beijing opera facial makeup is an important part of Chinese traditional cultural phenomenon. It has a profound cultural connotation. The color of Peking opera facial makeup reflects many aspects of Chinese traditional color culture and is an outstanding representative of traditional colors. China's Beijing opera mask is basically created using five colors. Facebook is a special pattern outlined on the actor's face. It uses smooth lines and bright colors to express the character's type and character. Peking opera facial expressions reflect the Chinese people's unique understanding and preference of colors, and their coloring combinations have specific symbolic meanings. Peking opera facial makeup as a dramatic makeup method can be traced back to the ancient totem era. During the Spring and Autumn period, masks for burnt offerings appeared. From the Tang and Song Dynasties, makeup painted surfaces were developed to form the face of Ming and Qing periods. The characters in the Peking Opera are “birth”, “dan”, “net” and “ugly”. They were originally used to represent the social status, status, and occupation of the characters. They were then gradually extended to express the characters’ character, character, temperament, and other aspects. The evaluation of the good and evil and the praises and disapprovals of the characters in the play is obvious. The most changeable makeup in facial makeup is the “net” and “ugly” character, and its exaggerated colors contrast with the makeup of Su Jie’s “life” and “dan”.

The figures in the Chinese Peking Opera are non-realistic and highlight the decorative features of Facebook. Therefore, the Facebook must first be “out of shape”, that is, regardless of the natural form of the human face in real life, boldly using bright colors, and emphasizing exaggerated contrasts in order to achieve Vivid, vivid and eye-catching effect. When deconstructing Peking opera facial expressions, we must focus on the analysis of modality. We must seize some local features of Facebook, and then use “deformation” means to contrast colors to exaggerate changes, so as to organize a color picture that symbolizes the essence of the essence of the quintessence. As shown in Figure 4, with red as the base, it deconstructs and decomposes the Peking opera's facial form, breaking up and reorganizing, and using red and green contrast as the primary colors, which constitutes a freehand picture with a grotesque spatial sense. Figure 5 is a combination of three Facebook variants. It deconstructs the facial features and makes them suitable for “deformation.” The whole picture uses yellow and blue complementary colors as the bottom relationship, supplemented by red and green tones to enhance the color impact of the picture. .

Figure 4 Peking Opera Mask I

Figure 5 Peking Opera Mask II

(to be continued)