水彩画在艺术多元化发展的道路上逐渐显现出了其角色担当的重要性。水彩画就本身而言，其松柔与空蒙等妙趣天成的感觉，成为吸引水彩画家进行创作的重要因素。也正是由于水彩画本身的材料特点，在物象的表现上，容易出现或侧重水分，强调画面空蒙、水韵等的“虚感”的画面效果；或注重色彩饱和度，使形体塑造呈现出坚实、肯定、厚重的“实感”的画面效果。然而这些效果的产生必先是成与画家本人的情感之后，顺其自然创作而成的。那些只为了体现水彩画的通透、轻快、洒脱等等只流于表面功夫的，不从基本功训练上着手，而刻意追求水彩画中“水渍”等所谓本体特征而创作水彩画的做法是不可取的。应梳理好色彩理论知识，强调从色彩的高度出发，注重冷暖等色调关系，使形体塑造和色彩表达完美结合起来。在传承沿革中不断挖掘水彩画的艺术表现力，努力创作出与时代脉搏相契合的高水准的水彩画作品才是我们目前水彩画学习创作良性发展的途径之一。

本论文是笔者几年来在水彩画学习创作过程中的一些体会、总结。论文分为三个章节。第一章讲水彩画中因材料特性而存在的一些特有的或“虚”或“实”的现象（即虚实感觉）；第二章阐述这种感觉在水彩画要素中的一些面貌呈现，并对这些面貌做出比较分析；第三章讲述在这种比较时所受到的启发，从而得出结论。

Abstract

    Watercolor painting in the art of the diversification of on the road gradually reveals the importance of its role. Watercolor painting in terms of itself, its loose soft feel with the empty message, such as days, became important factors in attracting watercolor creations. Precisely because the material characteristic of watercolor painting itself, on the images, prone to or focusing on water, emphasizes that empty screen, "virtual" effects; or pay attention to the color saturation, heavy body shaping presents a solid, sure, "am" effects. However these effects will become after the emotions of the artist I, and let nature take its course creation. Those watercolors only in order to reflect the transparent, light, free and easy, and so on tend to be superficial, not on the basic training and aim in watercolor painting "water" and other so-called watercolor painting practices are undesirable body characteristics and creation. Knowledge of color theory should be well combed, emphasized proceeding from the high plane of color, pay attention to the relationship between cold and warm tones such as, the perfect combination of body shape and color to express. Watercolor artistry of inheritance in the evolution of continuous mining, efforts to produce and the pulse of the times that fit to the high standards of watercolor works is we are learning one of the sound development of creative ways of watercolor painting.

    This paper is the author several years in learning experiences in the creative process, summary of watercolor painting. Paper is divided into three sections. Chapter about watercolor paintings and some of unique material properties or "virtual" or "real" (that is, actual feeling), set out in chapter II of this feeling in the face some of the elements in the rendering of watercolor painting, and comparative analysis on the face; chapter inspired to tell at this time, to arrive at conclusions.