Formula & Theorem Quick Reference Handbook | 公式定理速查手册

📚 Formula & Theorem Quick Reference Handbook | 公式定理速查手册

Welcome to your SQA Year 7 Art ‘quick reference’ – a compact set of essential rules, ratios and relationships that artists rely on. Just as scientists use formulas, artists use colour equations, perspective geometry and composition principles to create visually powerful work. This handbook gathers those core ideas so you can refer to them whenever you need a creative refresher.

欢迎来到 SQA 七年级艺术“速查手册”——这是一套艺术家赖以创作的核心规则、比率与关系。就像科学家使用公式一样，艺术家运用色彩方程、透视几何和构图原理来创作视觉冲击力强的作品。本手册汇集了这些核心理念，让你在需要创意灵感时随时查阅。

1. The Colour Wheel Formula | 色轮公式

The 12‑step colour wheel is built from three primaries: red, yellow and blue. Mixing any two primaries creates a secondary colour – yellow + blue → green, blue + red → violet, red + yellow → orange. Tertiary colours come from mixing a primary with an adjacent secondary, giving red‑orange, yellow‑green and so on. This colour equation is the foundation of all colour theory.

十二色色轮由三原色构建而成：红、黄、蓝。任意两种原色混合可得到间色——黄 + 蓝 → 绿，蓝 + 红 → 紫，红 + 黄 → 橙。复色由原色与相邻的间色混合而得，如红橙、黄绿等。这一色彩方程是所有色彩理论的基础。

2. Complementary Colour Contrast Rule | 互补色对比法则

Complementary colours sit opposite each other on the colour wheel: red ↔ green, blue ↔ orange, yellow ↔ violet. When placed side by side, they create maximum contrast and make each other appear more vibrant. This is not magic – it is a theorem of simultaneous contrast: a colour influences its neighbour’s perceived hue, so a grey square on a red background looks greenish.

互补色在色轮上彼此相对：红 ↔ 绿，蓝 ↔ 橙，黄 ↔ 紫。它们并置时会产生最大的对比度，使彼此显得更加鲜艳。这并非魔法，而是同时对比的原理定理：一种颜色会影响相邻颜色的色相感知，因此红色背景上的灰色方块会略显绿色。

3. Analogous Harmony Equation | 类似色和谐方程

Analogue harmony uses colours that are neighbours on the wheel, such as blue, blue‑green and green. The equation for a calm, unified composition is: choose three to five adjacent hues and use one dominant colour, a second for support and a third as an accent. This formula eliminates harsh jumps and creates a gentle flow across your artwork.

类似色和谐运用色轮上相邻的颜色，例如蓝、蓝绿和绿。营造宁静统一画面的方程是：选择三到五个相邻色相，用其中一种作为主色，第二种作为辅助色，第三种作为点缀。这一公式能消除生硬的跳跃，让作品呈现出柔和的过渡。

4. Triadic Colour Balancing Theorem | 三色平衡定理

A triadic scheme picks three colours equally spaced on the wheel, such as red, yellow and blue. The theorem states that for a balanced result, let one colour dominate (about 60% of the area), use the second for about 30% and reserve the third for 10% as accents. This 60‑30‑10 rule prevents the image from feeling chaotic and keeps the eye moving comfortably.

三色配色方案选取色轮上均匀分布的三种颜色，如红、黄、蓝。该定理指出，为了达到平衡效果，应让一种颜色占主导（约占画面的 60%），第二种占约 30%，第三种作为点缀占 10%。这一 60‑30‑10 法则能防止画面显得杂乱，并让视线舒适地移动。

5. Tint, Shade and Tone Recipes | 明调、暗调与灰调配比

Tint = pure hue + white, shade = pure hue + black, tone = pure hue + grey (or complementary colour). These recipes are like formulas for controlling value and intensity. Too many pure hues can overwhelm; tints and shades build depth. A useful ratio: mix no more than 1 part black to 5 parts colour when creating a shade – otherwise the hue can ‘die’.

明调 = 纯色 + 白，暗调 = 纯色 + 黑，灰调 = 纯色 + 灰（或互补色）。这些配比如同控制明度与饱和度的公式。过多的纯色会显得刺眼；明调与暗调则能营造深度。一个实用的比例：制作暗调时，黑与色的比例不宜超过 1：5，否则色相会“死掉”。

6. One‑Point Perspective Geometry | 一点透视几何

All receding parallel lines meet at a single vanishing point on the horizon line. The theorem: the vanishing point sits at the viewer’s eye level. Objects get smaller as they approach this point – the rate of scaling follows a simple ratio: at half the distance from the vanishing point, an object appears twice as large. Use orthogonal lines radiating from the vanishing point to build depth.

所有向后延伸的平行线都会汇聚于地平线上的一点，即消失点。定理：消失点位于观者的视平线上。物体越靠近该点显得越小——缩放率遵循简单比值：距消失点距离减半，物体看起来大一倍。利用从消失点放射的正交线可以构建深度。

7. Two‑Point Perspective Rule | 两点透视法则

When viewing a corner of an object, two sets of parallel lines converge to two separate vanishing points on the horizon. The formula for correct proportions: both vanishing points must lie on the same horizontal line, and the closer a vanishing point is to the object, the steeper the convergence. This rule creates realistic 3D forms like buildings and boxes.

当观察物体的转角时，两组平行线会分别汇聚于地平线上的两个消失点。正确比例的公式是：两个消失点必须位于同一条水平线上，且消失点离物体越近，线条汇聚得越陡。这一法则能创造逼真的建筑物、盒子等三维形体。

8. The Rule of Thirds | 三分法原则

Divide the picture plane into nine equal rectangles with two horizontal and two vertical lines. Key elements should be placed along these lines or at their intersections. This compositional formula generates dynamic tension and prevents a static central focus. Photographers and painters alike use this ‘grid theorem’ to lead the eye naturally through the scene.

用两条水平线和两条垂直线将画面分成九个相等的矩形。关键元素应放置在这些线上或它们的交点上。这一构图公式能产生动态张力，避免静态的中心焦点。摄影师和画家都运用这一“网格定理”，让视线自然地游走于画面。

9. Golden Ratio in Composition | 构图中的黄金比例

The golden ratio (≈ 1.618), often drawn as a Fibonacci spiral, is a mathematical proportion found in nature and art. When a line is divided into two segments (a+b) such that (a+b)/a = a/b ≈ 1.618, the division feels naturally harmonious. Place the main subject along the spiral’s curl or at the golden section points to create an instantly pleasing composition.

黄金比例（≈ 1.618），常以斐波那契螺旋的形式呈现，是自然与艺术中存在的数学比例。当一条线段被分为两部分（a+b），且满足 (a+b)/a = a/b ≈ 1.618 时，这一分割会带来自然和谐之感。将主体沿螺旋曲线或黄金分割点放置，可以创造出立即令人愉悦的构图。

10. Figure Proportion Canons | 人体比例标准

Classical art uses ‘8‑head’ proportions: the total height of an idealised figure equals eight times the height of the head. Key checkpoints: the halfway point is the pubic bone; the elbows align with the waist; the wrists with the crotch; the knees at the 6‑head mark. These formulas give a believable structure to drawn figures, even when stylised.

古典艺术采用“八头身”比例：理想化人物的总身高等于头部高度的八倍。主要标记点：中点位于耻骨；肘部与腰齐平；手腕齐胯部；膝盖位于六头身标记处。这些公式为绘制的人物提供了可信的结构，即便在风格化的处理中也是如此。

11. Light and Shadow Ladder | 光影阶梯公式

A basic lighting formula on a sphere includes five zones: highlight, light, halftone, core shadow and reflected light. Apply them in this order from the light source. The highlight is pure white of the paper (or brightest tone), the core shadow is the darkest area just before the form turns away, and reflected light adds subtle bounce from surrounding surfaces. Always locate the cast shadow opposite the light source.

球体上的基本光影公式包括五个区域：高光、亮部、半明部、明暗交界线和反光。从光源出发依次施加它们。高光是纸张的留白（或最亮色调），明暗交界线是形体转折前最暗的区域，反光则是来自周围表面的微弱反射。务必把投影放在光源的对侧。

12. Symmetry and Asymmetry Balance Equation | 对称与非对称平衡方程

Formal balance = mirrored elements on either side of a central axis (like a butterfly’s wings). Informal balance uses differing visual weights – a large, lighter object can be balanced by a smaller, darker one farther from the centre. The balancing theorem: visual weight = size × contrast × distance from the centre. Manipulate these factors to achieve a steady yet lively arrangement.

形式平衡即中轴线两侧的元素镜像对称（如蝴蝶翅膀）。非形式平衡则利用不同的视觉重量——一个较大、较浅的物体可以被一个较小、较深且离中心较远的物体所平衡。平衡定理：视觉重量 = 尺寸 × 对比度 × 距中心的距离。操控这些因素可以获得稳定而活泼的布局。

Published by TutorHao | Art Revision Series | aleveler.com

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