📚 Year 9 Edexcel Art: Formula and Theorem Quick Reference Handbook | Year 9 Edexcel 艺术：公式定理速查手册
Art may not have equations like maths, but it is built on powerful visual 'formulas' and principles that guide every successful composition. This handbook collects the essential rules of colour mixing, perspective, proportion, and design that every Year 9 Edexcel Art student needs to reference quickly and apply confidently in their sketchbook and final pieces.
艺术或许不像数学那样充满方程式，但它的基础同样是一系列强大的视觉“公式”与原理，指导着每一幅成功作品的构图。这本手册汇集了色彩混合、透视、比例与设计的关键法则，供每一位 Year 9 Edexcel 艺术学生快速查阅，并在素描本和最终作品中自信运用。
1. The Colour Wheel Formula | 色轮公式
The 12-part colour wheel is built from three primary colours. Mixing any two primaries in equal parts creates a secondary colour, and mixing a primary with its neighbouring secondary makes a tertiary colour. This is a repeatable, formula-like sequence.
十二色色轮由三原色构建而成。将任意两种原色等量混合会生成一种间色，再将原色与相邻间色混合便得到复色。这是一套可重复的、类似公式的序列。
Primary + Primary → Secondary
原色 + 原色 → 间色
- Red + Yellow = Orange | 红 + 黄 = 橙
- Yellow + Blue = Green | 黄 + 蓝 = 绿
- Blue + Red = Violet | 蓝 + 红 = 紫
2. Complementary Contrast Rule | 互补色对比法则
Colours directly opposite each other on the colour wheel are complements. Placed side by side, they intensify each other, creating maximum contrast and visual vibration. When mixed together, they neutralise each other into browns or greys.
色轮上正相对的颜色互为补色。将它们并置会相互增强，产生最强对比与视觉振动。而将它们混合在一起则会相互中和，生成棕色或灰色。
Red + Green → Brown
红 + 绿 → 棕
Blue + Orange → Brown
蓝 + 橙 → 棕
Use complementary pairs to create shadow tones instead of black, keeping the painting vibrant and harmonious.
用互补色来调配阴影色调，代替纯黑色，可使画面保持鲜艳与和谐。
3. Tints, Shades and Tones: The Mixing Equations | 浅色、深色与色调：混合方程
A hue can be altered systematically by adding white, black, or grey. These variations follow precise formulae that help artists control value and saturation.
通过添加白色、黑色或灰色，可系统性地改变某一色相。这些变化遵循精确的公式，帮助艺术家控制明度与饱和度。
Tint = Hue + White
浅色 = 色相 + 白
Shade = Hue + Black
深色 = 色相 + 黑
Tone = Hue + Grey (or complement mix)
色调 = 色相 + 灰 (或补色混合)
Mastering these three operations allows you to model form and create atmospheric depth without losing colour identity.
掌握这三种操作，你就能在塑造形体与营造空间深度时，依然保持色彩的本色。
4. The Rule of Thirds: Compositional Grid | 三分法：构图网格
Divide the picture plane into nine equal rectangles using two equally spaced horizontal lines and two equally spaced vertical lines. The four intersections are the most visually powerful points to place focal elements.
用两条等距的水平线和两条等距的垂直线将画面分成九个相等的矩形。四条线的四个交叉点是放置视觉焦点的最强位置。
Focal Point ≈ Intersection of ⅓ lines
焦点 ≈ 三分之一线交点
A horizon placed on the upper or lower third rather than the centre feels more dynamic and natural, a proven compositional theorem.
将地平线置于上方或下方的三分之一处，而非正中间，会带来更动态、更自然的画面感。这是一条已被验证的构图定理。
5. The Golden Ratio in Art | 艺术中的黄金比例
The golden ratio, approximately 1 : 1.618 (Greek letter φ), appears repeatedly in nature and classical art. It can be used to position a focal area or to construct a pleasing spiral that guides the viewer's eye.
黄金比例，约 1 : 1.618（希腊字母 φ），在自然与古典艺术中反复出现。它可以用来安放焦点区域，或构建一条引导观者视线的优美螺旋线。
a / b = (a + b) / a ≈ 1.618
a / b = (a + b) / a ≈ 1.618
While not every composition needs mathematical precision, even an approximate golden section creates a sense of natural balance and beauty.
虽然并非每幅构图都需要数学般的精确，但即便是近似黄金分割，也能营造出自然的平衡感与美感。
6. Linear Perspective: Vanishing Point Theorem | 线性透视：消失点定理
Parallel lines receding into the distance appear to converge at a single vanishing point on the horizon line. This is the fundamental theorem of one-point perspective, expanded to two or three points for more complex views.
向远方退缩的平行线看起来会汇聚在地平线上的一个消失点。这是一点透视的基本定理，并可扩展为两点或三点透视来处理更复杂的视角。
Convergence ∝ distance from viewer
汇聚程度 ∝ 与观者的距离
All vertical lines remain vertical in one- and two-point perspective; only in three-point perspective do verticals converge to a third point above or below.
在一点和两点透视中，所有竖直线保持垂直；只有在三点透视中，竖直线才会汇聚于画面之上或之下的第三个消失点。
7. Atmospheric Perspective Formula | 空气透视法则
As objects recede into the distance, the atmosphere scatters light, causing three consistent changes: contrast decreases, colour saturation drops, and tones shift towards the blue-grey of the sky. This can be applied like a formula in landscape work.
当物体退向远方时，大气会散射光线，导致三个一致的变化：对比度降低、色彩饱和度下降、色调偏向天空的蓝灰色。这可以像公式一样应用在风景创作中。
Distance ↑ → Contrast ↓, Saturation ↓, Temperature → cool
距离 ↑ → 对比度 ↓, 饱和度 ↓, 色温 → 冷
Overlapping these effects creates immense depth without relying solely on linear perspective, a key Edexcel observational skill.
将这些效果层层叠加，能创造出巨大的空间深度，而不必完全依赖线性透视，这是 Edexcel 课程中关键的观察技能。
8. The Value Scale: Light to Dark | 明度等级：从亮到暗
A smooth gradation from pure white to pure black, typically divided into 9 or 10 steps, is a formula for controlling form and volume. Every colour has an equivalent value somewhere on this scale.
从纯白到纯黑的平滑渐变，通常被分为 9 或 10 个等级，是控制形体和体积的公式。每种颜色在这个明度等级中都有对应的位置。
Value = perceived lightness of a colour (1=black, 9=white)
明度 = 某种颜色感知到的明暗程度 (1=黑, 9=白)
Squint your eyes to simplify a scene into 3-5 values; this underpins strong composition and is often tested in tonal drawing exercises.
眯起眼睛，将景物简化为 3 至 5 个明度层次；这是强大构图的基础，也常常在明暗素描练习中受到考察。
9. Proportion and the Human Figure: Canon of Proportions | 人体比例法则
The classical canon divides the human figure into head-length units. An average adult figure is about 7.5 to 8 heads tall, with key landmarks at measurable intervals. This proportional theorem helps avoid common drawing errors.
古典比例法则将人体划分为头长单位。一般成人身长约 7.5 至 8 个头长，关键参考点位于可测量的间隔处。这一定理有助于避免常见的素描错误。
Total height ≈ 7.5 × head length
总身高 ≈ 7.5 × 头长
- Halfway point = hip joint | 中点 = 髋关节
- Elbow = waist level | 肘与腰齐平
- Wrist = crotch level | 手腕与裆部齐平
10. Texture Formulas: Implied vs Actual | 质感公式：视觉与触觉
Texture in art can be actual (tactile, built up with paint or mixed media) or implied (visually suggested through mark-making). The formula for success is matching the mark to the material: smooth marks for glass, jagged marks for rock.
艺术中的质感可以是实际的（可触摸的，通过颜料或混合媒介堆积而成），也可以是视觉的（通过笔触暗示）。成功的公式在于将笔触与材料相匹配：光滑笔触表现玻璃，锯齿状笔触表现岩石。
Mark character ∝ surface property of depicted object
笔触特征 ∝ 所绘物体的表面性质
Experiment with invented textures using hatching, stippling, scumbling, and sgraffito as your variables in a textural equation.
将排线、点画、薄擦和刮画作为质感方程式中的变量，尝试创造各种虚拟的质感效果。
11. Balance and Symmetry Equations | 平衡与对称方程式
Visual balance is not just about symmetry. Asymmetrical balance follows a seesaw principle: a large, light element near the centre can be balanced by a small, dark element near the edge. Visual weight is the key variable.
视觉平衡并不仅限于对称。非对称平衡遵循跷跷板原理：靠近中央的一个大而轻的元素，可以被靠近边缘的一个小而暗的元素所平衡。视觉重量是关键变量。
Visual weight = intensity × size × distance from centre
视觉重量 = 强烈程度 × 尺寸 × 离中心距离
Radial symmetry – elements arranged around a central point – is another powerful compositional formula seen in mandalas and architectural domes.
放射状对称 – 元素围绕一个中心点排列 – 是另一种强大的构图公式，常见于曼荼罗和建筑穹顶。
12. Pattern and Rhythm: Repetition Rules | 图案与节奏：重复法则
Rhythm in visual art is created by repeating elements with variation. The basic formula: repeat a shape, colour, or line, and alter one attribute (size, spacing, orientation, or colour) to build a visual beat.
视觉艺术中的节奏是通过带有变化的重复创造的。基本公式：重复一个形状、颜色或线条，并改变一个属性（尺寸、间距、方向或颜色），以构筑视觉节拍。
Rhythm = repetition + controlled variation
节奏 = 重复 + 受控的变化
Regular repetition creates a calm, predictable pattern; irregular repetition introduces energy and movement – a rule used extensively in textile design, a key Edexcel focus area.
规律的重复创造出平静、可预期的图案；不规律的重复则带来能量与动感——这一法则广泛运用于纺织品设计，也是 Edexcel 课程的重点领域。
Published by TutorHao | Art Revision Series | aleveler.com
更多咨询请联系16621398022（同微信）
或截图后用「扫一扫 → 相册」选择本图