📚 Year 7 Edexcel Art: Formula & Theorem Quick Reference Guide | 7年级爱德思艺术：公式定理速查手册
Welcome to your Year 7 Edexcel Art quick-reference guide. Although art is not built on mathematical equations in the traditional sense, every great artwork stands on firm ‘formulas’ of colour mixing, proportion, perspective, and composition. This handbook collects the essential rules and visual theorems that will help you plan, create, and evaluate your own projects – from the proportions of a face to the vanishing points of a city street. Keep these guidelines close, and let them unlock your confidence in drawing, painting, and designing.
欢迎使用7年级爱德思艺术速查手册。尽管艺术并不像数学那样依靠方程式，但每一件出色的作品都建立在色彩混合、比例、透视和构图的稳固“公式”之上。本手册汇集了从面部比例到街道消失点等核心规律与视觉定理，帮助你在计划、创作和评估自己的作品时更有把握。请将这些指南放在手边，让它们释放你在素描、绘画和设计中的信心。
1. Primary Colour Mixing Formula | 三原色混合公式
Understand the basic building blocks of colour. With just red, blue, and yellow, you can create almost any hue. The formulas below show what happens when you mix two primary colours in equal amounts – these are the secondary colours.
了解色彩的基本构建模块。仅用红、蓝、黄，你几乎可以调出任何色相。下面的公式展示了等量混合两种原色后得到的结果——即二次色。
Red + Blue = Purple (Violet)
红 + 蓝 = 紫
Blue + Yellow = Green
蓝 + 黄 = 绿
Yellow + Red = Orange
黄 + 红 = 橙
If you mix all three primaries together, the result is a muddy brown or grey, because each absorbs a different part of the light spectrum. This is the ‘all-colours-together’ theorem.
如果将三种原色全部混合，结果是一种浑浊的棕色或灰色，因为每种颜色吸收了光谱中不同部分的光。这就是“全色混合”定理。
2. The Colour Wheel & Complementary Pairs | 色轮与互补色对
A colour wheel arranges hues in a circle. Colours directly opposite each other are complementary – when placed side by side, they create maximum contrast and make each other appear brighter. The three main complementary pairs are the ‘colour contrast theorem’ every artist should know.
色轮将色相排列成圆环。彼此正对的颜色为互补色——将它们并置时会产生最大对比，使彼此看起来更鲜艳。三组主要互补色对是每位艺术家都应知道的“色彩对比定理”。
Red ↔ Green (complementary contrast)
红 ↔ 绿（互补对比）
Blue ↔ Orange
蓝 ↔ 橙
Yellow ↔ Purple
黄 ↔ 紫
Use these pairs to draw attention to a focal point or to create vibration along edges. When mixed together, complementary colours neutralise each other and produce a greyed-down version.
使用这些色彩对可以吸引观众对焦点的注意，或在边缘制造颤动感。当互补色混合时会相互中和，生成降灰的色调。
3. Warm vs Cool Colours – The Temperature Rule | 暖色与冷色——温度法则
Colours can be divided into warm (reds, oranges, yellows) and cool (blues, greens, purples). This ‘temperature rule’ helps create mood, depth, and movement: warm colours tend to advance towards the viewer, while cool colours recede into the distance.
颜色可分为暖色（红、橙、黄）和冷色（蓝、绿、紫）。这一“温度法则”有助于营造氛围、深度和动感：暖色倾向于向观者前进，而冷色则退向远方。
Warm colours → appear closer, more energetic
暖色 → 显得更近、更有活力
Cool colours → appear farther, calm and still
冷色 → 显得更远、宁静平和
Apply this rule when painting landscapes: use warm colours in the foreground and cool colours in the background to enhance the illusion of depth. Even in an abstract composition, the temperature balance shapes the emotional reading of the piece.
在描绘风景时应用这一法则：前景使用暖色，背景使用冷色，以增强深度错觉。即使在抽象构图中，冷暖平衡也塑造了作品的情感解读。
4. Tints, Shades & Tones – The Value Formula | 浅色、深色与色调——明度公式
Changing a colour’s value (its lightness or darkness) follows simple addition rules. These ‘formulas’ let you control the mood and volume of objects by adding white, black, or grey to a pure hue.
改变颜色的明度（其亮暗程度）遵循简单的加法规则。这些“公式”通过向纯色中加入白、黑或灰，使你能够控制物体的情绪和体积感。
Hue + White = Tint (lighter, softer version)
色相 + 白 = 浅色（更亮、更柔和的版本）
Hue + Black = Shade (darker, more dramatic version)
色相 + 黑 = 深色（更暗、更戏剧化的版本）
Hue + Grey = Tone (muted, softer saturation)
色相 + 灰 = 色调（减弱饱和度，更柔和）
When shading a sphere, for instance, the light side is a tint, the shadow side is a shade, and the mid-tones are the pure hue or tones. Mastering value is the key to making 2D shapes look 3D.
例如，为球体绘制明暗时，亮面为浅色，暗面为深色，中间调为纯色或色调。掌握明度是让二维形状看起来三维的关键。
5. One-Point Perspective Formula | 一点透视公式
One-point perspective is a drawing system where all parallel lines that go into the distance converge at a single vanishing point on the horizon line. This ‘vanishing theorem’ creates the illusion of depth on a flat surface.
一点透视是一种绘图系统，其中所有向远方延伸的平行线汇聚于地平线上的一个消失点。这一“消失定理”在平面上营造出深度幻觉。
All depth lines → converge to one vanishing point (VP) on the horizon line (HL)
所有深度线 → 汇聚到地平线（HL）上的一个消失点（VP）
Front faces remain parallel to the picture plane (no distortion)
正面保持与画面平行（无变形）
Start with a horizon line, place one VP, and draw orthogonals (guideline lines) from the VP to the edges of your shapes. This works perfectly for roads, railway tracks, or a corridor viewed straight on.
首先画出地平线，放置一个消失点，然后从消失点向形状边缘画出正交线（引导线）。这非常适合画出正面朝向观者的道路、铁轨或走廊。
6. Two-Point Perspective Rule | 两点透视法则
When an object’s corner faces the viewer, none of its sides are parallel to the picture plane. Instead, two sets of receding parallel lines each travel to their own vanishing point. This two-point perspective theorem is essential for drawing buildings at an angle.
当物体的一个角朝向观者时，其所有面都不与画面平行。此时，两组后退的平行线各自汇聚到自己的消失点。这一两点透视定理对于绘制带有角度的建筑至关重要。
Left-side depth lines → Left Vanishing Point (LVP)
左侧深度线 → 左消失点（LVP）
Right-side depth lines → Right Vanishing Point (RVP)
右侧深度线 → 右消失点（RVP）
Both VPs sit on the same horizon line
两个消失点位于同一条地平线上
Place LVP and RVP far apart to avoid distortion. All vertical lines remain strictly vertical. This system gives a realistic sense of space to cubes, buildings, and street scenes.
将左右消失点放得远一些以避免变形。所有垂直线严格保持垂直。这一系统赋予立方体、建筑和街景真实的空间感。
7. Proportions of the Human Face – The ‘Rule of Halves and Thirds’ | 人脸比例——“二分与三分法则”
Although every face is unique, a set of proportional ‘theorems’ serves as a reliable starting point for portrait drawing. These guidelines help you place features correctly when drawing a frontal view.
尽管每张脸都独一无二，一组比例“定理”可以作为肖像绘画的可靠起点。这些指南帮助你在画正面像时正确放置五官。
Eyes are halfway down the head (½ from top to chin)
眼睛位于头部从上到下巴的½处
The face width is about 5 eye-widths; the space between eyes = 1 eye-width
面部宽度约为5只眼睛宽；两眼间距 = 1只眼睛宽
Nose bottom is ½ between eye line and chin; mouth is ⅓ down from nose to chin
鼻底在眼线到下巴的½处；嘴在鼻子到下巴的上⅓处
Ears align with the space from eyebrow to nose bottom. These relationships form the ‘classical proportion canon’ used by artists for centuries.
耳朵对齐眉毛到鼻底的范围。这些关系构成了艺术家使用了几百年的“经典比例法则”。
8. Rule of Thirds – The Composition Theorem | 三分法——构图定理
One of the most powerful composition tools in art and photography. Imagine your canvas divided into nine equal rectangles by two equally spaced horizontal lines and two equally spaced vertical lines. The rule states that placing key elements along these lines or at their intersections creates a balanced, dynamic composition.
艺术和摄影中最有力的构图工具之一。想象你的画布被两条等距水平线和两条等距垂直线分成九个相等的矩形。规则指出，将关键元素放置在这些线上或它们的交点处，可以创造出平衡而有活力的构图。
Focal point → at one of the 4 intersections
焦点 → 放在4个交叉点之一
Horizon line → on upper or lower third line (never centre, unless intentional)
地平线 → 放在上或下的三分之一线上（除非有意，否则不居中）
Applying the rule of thirds prevents static, bullseye-centred arrangements and leads the viewer’s eye through the artwork naturally. Break the rule only once you understand how it works.
应用三分法可以避免呆板、正中靶心的布局，并自然地引导观众视线穿梭于作品之中。只有在理解其原理之后，才去打破这一规则。
9. Texture & Pattern Principles | 纹理与图案原理
Texture refers to the surface quality an artist creates – it can be actual (tactile) or implied (visual). Pattern is the repetition of an element. These two concepts often work together, following the ‘repetition and variation theorem’ that brings surfaces to life.
纹理指艺术家创造的表面质感——可以是实际的（可触摸）或隐含的（视觉的）。图案是元素的重复。这两个概念常常一起运用，遵循让表面栩栩如生的“重复与变化定理”。
Actual texture → built with thick paint, collage, or carving
实际纹理 → 用厚涂法、拼贴或雕刻创造
Implied texture → drawn using hatching, stippling, and shading
隐含纹理 → 通过排线、点画和明暗绘制
Pattern strength → high repetition = order; irregular repetition = organic feel
图案强度 → 高度重复 = 秩序感；不规则重复 = 有机感
Observing wood grain, fur, or woven fabric teaches you the ‘directional mark formula’: let the direction of your pencil strokes follow the object’s surface direction.
观察木纹、毛皮或织物，可以学到“方向性笔触公式”：让你的铅笔笔触方向跟随物体表面的走向。
10. Shape & Form – The 2D-to-3D Theorem | 形状与形体——二维转三维定理
Shape is a 2D enclosed area; form is its 3D counterpart. The transformation from shape to form follows a clear rule: add shading and shadow according to a light source. We call this the ‘light-and-shadow formula’.
形状是二维的封闭区域；形体是其三维对应物。从形状到形体的转化遵循明确的规则：根据光源添加明暗和投影。我们称之为“光影公式”。
Circle + shading with highlight & cast shadow → Sphere
圆形 + 带有高光和投影的明暗 → 球体
Square + three visible planes & consistent shadow → Cube
方形 + 三个可见面及一致的阴影 → 立方体
Triangle + shading on one side → Cone (with curved base)
三角形 + 一侧阴影 → 圆锥（带曲面底座）
Keep a single light-source direction for all objects in your composition. The side closest to the light gets the highlight; the opposite side gets the core shadow. A cast shadow anchors the form to the ground.
保持构图中所有物体的单一光源方向。最靠近光源的一侧获得高光；相反一侧出现明暗交界线。投影将形体固定在地面上。
11. Line Quality & Expressive Line Rule | 线条质感和表现性线条规则
Lines are not just contours; they carry emotion and energy. The ‘line weight theorem’ states that varying the thickness, darkness, and speed of a line changes how the viewer feels about the object. A single outline can appear flat, while a varied line suggests volume and movement.
线条不仅仅是轮廓；它们承载着情感与能量。“线条粗细定理”指出，改变线条的粗细、深浅和速度会改变观者对物体的感受。单一的轮廓线显得平面，而富有变化的线条则暗示体积和动感。
Thick, dark line → weight, importance, closeness
粗而黑的线条 → 重量、重要性、近感
Thin, light line → delicacy, distance, fragility
细而淡的线条 → 精致、远感、脆弱
Quick, gestural stroke → energy, motion, spontaneity
快速、姿态性的笔触 → 能量、运动、自发性
Experiment with continuous line drawing, blind contour drawing, and cross-hatching to build your line vocabulary. Remember: the line you leave out can be as powerful as the one you draw.
尝试连续线条绘画、盲画轮廓和交叉排线，来建立你的线条语汇。记住：你省略的线条和你画出的线条同样有力。
12. Space & Depth – The Layering Theorem | 空间与深度——层次定理
Creating the illusion of depth on a flat surface involves more than just perspective. Several strategies work together according to the ‘layering theorem’: overlap, size change, placement, and atmospheric perspective.
在平面上营造深度错觉不仅仅依靠透视。根据“层次定理”，多种策略协同工作：重叠、尺寸变化、位置和空气透视。
Overlap: object in front blocks part of object behind → depth cue
重叠：前面的物体遮挡后面物体的一部分 → 深度线索
Size: closer objects are drawn larger; farther objects smaller
尺寸：较近的物体画得更大；较远的画得更小
Placement: higher on the picture plane = farther away (in landscapes)
位置：在画面中位置越高 = 越远（风景画中）
Atmospheric perspective: distant objects are lighter, bluer, and less detailed
空气透视：远处物体更亮、更蓝、细节更少
Combine these depth clues in every landscape or still life. They work like ingredients in a recipe – the more you use together, the stronger the illusion becomes.
在每幅风景画或静物画中综合运用这些深度线索。它们就像配方中的原料——一起使用的越多，错觉就越强烈。
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