色彩的

In order to get the ideal size of color, you must do: Learn about printing paste of specifications and performance so that the distribution of the paste is suitable for production use; master chromatology basics, and use it freely in color matching; on printing in color and process technology for analysis and find out the color of the color sequence in order to avoid color sequence, and white miscible with the color changes; note also that when the color matching to the primary color to the deployment of as much as possible, so that brings up the color of hair gray "."

为了获得抱负色彩的浆料，务必做到：不懂印不攒浆的百般规格和本能机能，使所配的印不攒浆得当不入产必给；把持色彩教根基常识，在调色洋利用自如；差印不攒的色彩及工艺技艺举行不合析，找不入套色的色序，以免色序不差，两色混溶，颜色爆不收改变；调色时还给夺目只管即便以原色来调配，否则易使调不入的色"不收灰"。

The ambiguity, abstraction, and mysteriousness of the pictures, on the one hand, revealed his state of obscurity and uncertainty, and one the other hand demonstrate his perception of colour, and more specifically, his perception of the abstract nature of colour. This is consistent with his pursuit of the beauty, rarity and harmony of colours.

同走入观念的前卫艺术不一样，他仍在追求"绘画性"，其画面的暧昧、抽象、神秘一方面表达出他身处朦胧和不确定的状态，一方面显示出他对纯色彩要素的认识—即对色彩中抽象性质的认识，这和他在写实画中追求色彩的美妙、稀有、合谐，有相通性。

The thesis states the importance of fabric and colour to man wear design and makes emphatic analysis on the relationship between fabric, colour selection and match of man wear to definitize the abundant art language of man wear ended by fabric and colour .

从设计的角度，阐述服装面料与色彩在男装设计上的重要性，着重分析男装面料与色彩的精心选择与巧妙搭配的关系，从而明确了面料与色彩赋于男装设计无尽的艺术语言。

Introducing the happening color into the innovative concept, this paper elucidates the innovative design in terms of indigotin, printing, pattern and fabric, pointing out that the vivid and personified happening color is an effective tool to change the traditional style of Chinese blue calico and enhance its competitive power on the marlet.

通过引入偶发性色彩的创新概念，从蓝、印、花、布4个角度分别结合偶发性色彩提出其创新设计的构想，指出生动、人性化的偶发性色彩是改变蓝印花布传统风格、提高产品的市场竞争力的有效工具。

The train of basic color exists blindness and passivism for the lack of reasonableness guides.

使之走入色彩认识的误区，形成了色彩的思维定势和许多禁区，限制了他们对色彩的运用和绘画创作观念的拓展。

Her pictures reveal specially the rich colors, splattering and dripping oil paints to form the random textures, and demonstrate the touching images joyfully.

她的画面特别强烈地展现了色彩的丰富性，在油画上主要运用泼洒和甩滴构成色彩的任意交织，透过画面色彩的强烈度，展现出心花怒放的感人景象。

Right away, the present age writer Su Tong shows favouring to the color and infatuates in whose creation, he has already formed self unique characteristic to the color applying , has displayed color various type and multiple connotation, colour per kind every Ren Qi duty, suits one down to the ground.

当代作家苏童就在其创作中表现出对色彩的偏爱和迷恋，他对色彩的运用已经形成了自己独特的特点，展现了色彩的多样类型和多重内涵，每种颜色各任其职，恰如其分。

On the other hand, since literary painting emphasize the value and use of"brush and ink"very much, it almost pushes away the use of the visual language of color, and results in the comparative weakness of color language in literary painting. This directly influences the development of traditional painting color language of Han and Tang Dynasties in Yuan, Ming and Qing Dynasties.

另一方面，文人画艺术由于十分强调和重视笔墨语言的价值和作用，在画面中几乎挤掉了色彩的视觉语言性功能，而导致色彩在文人画艺术中的相对萎缩，这直接影响了汉唐时期传统绘画色彩语言在元明清的有效发展。

Su Tong has grown up in self rich acient representative color souths environment , he has been tied in wedlock such tradition to the color applying, melt to enter particular color feeling.

苏童成长于自古色彩丰富的典型南方环境，他对色彩的运用结合了这样的传统，又融入个体的色彩感觉。

Luo Zong Hai on watercolor painting in color means that, at the same time a tendency to emphasize color in writing, it is attention to dark colors simple and honest and transparent, the better to solve the problems of the watercolor easy-to-thin.

罗宗海水彩画在色彩上有油画的意味，在强调书面色彩倾向的同时，很注意暗部色彩的浑厚与透明，较好解决了水彩画易于轻薄的毛病。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。