Who knows how to sketch? Teach me! ! ! Urgent! ! ! I worship him as my teacher! ! !

1. Use

line descriptions or monochrome paintings without color. It is the basis of plastic arts. Lu Xun's "Collected Letters to Cao Bai": "Because woodcuts are paintings after all, you must first learn to sketch well." Chapter 1 of Ding Ling's "Wei Hu": "Wei Hu unconsciously made a sketch of these beautiful lines in his mind , he hoped that the woman was not asleep." 2. In literature, the use of simple and plain writing without exaggeration is also called sketch. Guo Moruo's "Li Bai and Du Fu·Du Fu's Class Consciousness": "The poem "Du Fu's "Shi Hao Li"" is completely a sketch." Xiao Qian's "A Faded Photo Album·A Traveler Without a Map": "My close-ups are basically It is a sketch that uses words, and the artistic processing is mainly in tailoring. "3. Sketching refers to using a single-tone black art pen such as pencil or charcoal to depict objects, using lines to lay out the surface, and then laying out the surface. Carry out the depiction of black and white and gray. In this way, the boundary between light and dark, dark parts, bright parts, highlights, etc. of the object can be expressed three-dimensionally on the paper. This is the characteristic of sketching. 4. In terms of painting method, we should start from the whole. First, outline the shape and proportion of the object, apply general light and shade, then describe the part in detail, and finally adjust the light and shade.

(1) Line and line techniques The element of sketch is line, but line does not exist in essence. It only represents the boundaries of objects, colors and planes, and is used as an illusion of objects. Until modern times, line was recognized as a spontaneous element of form, independent of the object being depicted. (2) Use lines to form the image of an object. Sketch is to use lines to form the image of an object, and it is drawn on a flat surface to arouse the viewer's association through the form of lines. For example, the angle formed by the intersection of two lines can be considered as the boundary of a certain plane; adding a third line can create a three-dimensional effect on the picture. Curved lines can symbolize vaults, and intersecting lines can express depth. People can get understandable images from the changes in lines. Therefore, through the use of lines, simple outlines can be developed into exquisite sketches. (3) Use lines to distinguish three-dimensional and flat surfaces. In sketching, you can use lines to distinguish three-dimensional and flat surfaces. As for the color light and shade, it is to strengthen and distinguish the relationship between the whole and the part. We can use the beginning, disappearance and interruption of lines to draw borders and form planes, and we can also use colors to rise up from the borders. The thickness of lines can express changes in objects, and even light and shadow can be expressed by changes in line strokes. (4) Assistance of plane techniques. The line technique of sketch also needs the assistance of plane techniques. When using charcoal chalk in the plane technique, you can use the rubbing brush method to contrast light and dark. (5) Use of brush painting: It is more important to use brush painting, because the brush can exert the width of the strokes and the intensity of the strokes and increase the sense of space and three-dimensionality. (6) Enhancement of artistry: Multi-color brushes can also be used as basic materials for sketching to enhance the effect of sketching and the artistry of sketching.

Drawing steps

Scientific and strict method steps can not only ensure the smooth progress of sketching operations, but also cultivate our overall observation and depiction abilities. Gypsum sketch

[2] Establish the composition

Think about the arrangement of the composition so that the objects on the picture have the right priority, the composition is balanced and varied, and avoid being scattered, chaotic, empty, stuffed, etc. Disadvantages.

Draw a large physical structure

Use long straight lines to draw the physical structure of the object (the invisible parts of the object should also be lightly drawn), requiring the shape, proportion, and structure of the object The relationship is accurate. Then draw the shape and position of each light and dark level (highlight, bright part, middle color, dark part, shadow and light and dark intersection line).

Gradually in-depth shaping

Gradually in-depth shaping of the volume of the object through the description of the light and shade of the form (from the whole to the part, from large to small). The main and critical details should be carefully drawn.

Adjustment completed

It is inevitable to ignore the relationship between the whole and the parts when describing in depth. At this time, it is necessary to make comprehensive adjustments (mainly referring to the physical structure, including tone, texture, space, primary and secondary, etc.) to make choices and highlight the main body.

Edit professional terms in this paragraph

Structure, light, backlight, hue, proportion, observation, perspective, body composition, fixed-point modeling, copying, projection, virtuality, strength, weakness, lightness, overwriting, hue, lightness, purity, gray, reflective, high-gloss, wiring, depth, density, space Position, side light, facade and cross surface, five major tones (black, white, gray, light and dark boundary line, reflection), length, width, high point, line and surface, three major surfaces, contour line, structural line, basic shape, combination, shape, gray surface

Edit Paragraph Notes

1. Lack of overall aesthetics This is a common problem among many beginners and candidates. Due to their lack of long-term homework training, they cannot guide the overall concept of plaster sketching during the exam.

[3] When promoting comprehensively under the conditions, we are often eager for success and blindly focus on the parts without grasping the overall effect, resulting in the inability to connect the parts well. If the overall beauty cannot be better reflected, the local structure is already very prominent, but other places are insufficient. How can such a painting be well received? The whole of a painting is composed of several parts. A painting without parts is unreal; however, a painting only has parts and no whole, no matter how wonderful and profound it is, it is meaningless. The purpose of sketching is not only to practice "good work", but more importantly, to cultivate an "artistic conception" of artistic thinking and an "idea" of how to observe things. Without these two points, sketching practice will lose its essential meaning. Since the whole is related to the success or failure of a sketch, the relationship between part and part, part and whole is very important. How to solve this relationship depends on the method of comparison. Compare colors

Refer to the learning materials (13 photos), the depth of tone, the length, width, and size of the ratio, the distance and nearness, and the virtual perspective relationship. With reality. Based on this comparison, the painted work is the real side of the objective object. 2. Increased sensitivity No one in the world has absolutely the same face, even twins. They also have differences that are not easily noticed by others. The fundamental task of sketch training is to capture the characteristics and unique differences of the object. However, in the process of sketching, we often see that some students always draw like a person no matter who they draw, no matter what the object looks like or what their temperament is. People and models seem to have become decorations and references for their random creations. There are errors in the teacher's guidance during the beginner period, as well as misunderstandings in the candidates' own understanding. Some candidates mistakenly believe that it doesn’t matter whether the model looks like it or not, as long as the picture effect is good, the teacher who scores the test doesn’t know what the model looks like anyway. The likeness is indeed not one of the criteria to measure the quality of a sketch, but it can test a student's sensitivity and expressive ability towards things. If a student detaches from the object to feel for a long time, fabricates so-called picture effects and abandons the training of the ability to perceive objective objects, then he may cause the degradation of his perceptual ability and lose the sensitivity that an artist should have. Specific to the performance in sketching, everyone is the same. This is because the eye, which is an important condition for a painter, has deteriorated. Undoubtedly, such a test paper cannot get high marks. Once these problems occur, they are difficult to correct. So students should pay special attention to every detail mentioned by the teacher. 3. Poor picture control During the final picture adjustment, problems such as gray picture, weak contrast effect and broken picture are most likely to occur. Why do these problems occur? This is because the black, white and gray levels of the picture lack complete and unified contrast and change rules. The levels of the picture are not clear and the effect of the picture is not loud. As for which component has more and which component has less, It all depends on how you feel. The relationship between them is very important, but no matter what the proportional relationship, one of the three basic colors should not be missing. There are many reasons for gray screen. For example, most of the model's face is in the bright part, so the picture is basically in bright and gray tones; if not handled properly, it can easily lead to a gray picture. At this time, the role of dark gray is reflected, and the distance between dark gray and light gray is maximized to maintain the layering of the picture. There is another situation: the model has darker skin, with black and dark gray tones occupying most of the face area, while light gray and bright surfaces occupy very little area. If not handled well, it can easily cause the picture to be dark and dull, affecting homework performance. In this regard, candidates should take the initiative to reduce the depth of mid-tones, increase the brightness of the picture (face), and maintain the layering of the picture.

In the process of sketching, on the premise of respecting the overall objective object, artistic processing of adjusting, weakening, or strengthening local tones is allowed. The objects of sketching, whether bright or dark, strong or weak, empty or real, all have their own rules and order. If this objective order is disrupted when sketching, it will appear messy and trivial, thus affecting the overall sense of the picture. There is also a situation where every part is painted very well and completely, but there is no connection between parts, they do not belong to each other, they do not give in to each other, they are like a piece of loose sand. When an object is illuminated by a fixed light source, it will inevitably appear strong and weak, far and near, and virtual and real. Thus, the primary and secondary relationship between objects and images—a sense of order—came into being. If you don't grasp it well, such a work cannot be said to be a good one. It is the art of depicting light and shadow, shape and three-dimensionality, which is the basis of painting. How to draw a good sketch?

1. Before drawing a sketch, you must fully practice various lines. Practice straight lines (the same as below for long horizontal lines and long vertical lines), flat painting (one line next to another, in blocks), arc lines (half-moon shape, in groups), loop line exercises (one continuous stroke, in groups), You also need to do group exercises of lines from shallow to deep and from deep to shallow.

2. Simple steps for sketching. Before drawing, you should observe and study the basic shape of the object, its direction of light reception, structural shape, and the three-dimensional effect formed. Then use straight lines to outline its general outline, and then follow the light source. , determine the three parts of the object: light reception (light surface), side light (gray surface), and shading (dark surface). First, lay a uniform line on the dark surface and gray surface to temporarily leave the light-receiving surface empty. In this way, a large surface is used to express the object, and then the details in each block are also arranged according to the light receiving, side lighting, and shading. Divide into small pieces and facets to process. The reflective part should be left on the dark side, and the highlight part should be left on the light side to give it five tones. We should also pay attention to the light and shade of small pieces and small surfaces, so that they obey the unified tone of the large surface, and the large surface must obey the whole. Finally, add connecting layers between these surfaces to make them natural and rounded until they show texture. After the sketch is completed, the depicted objects must be coordinated and perfected.

3. Simple common sense about perspective in painting 1. The farther away objects of equal size are, the smaller their shape becomes, so that they finally disappear at one point, which is called the vanishing point.

2. The further away the objects are at the same distance, the shorter the distance between them should be.

3. A line that is at the same height and parallel to the painter's eyes is called eye level.

4. Everything lower than the painter's eyes is below the eye level and above it.

5. Everything higher than the painter's eyes is above the eye level and below it.

6. Standing on a wide flat ground and looking forward, the boundary between heaven and earth in the distance is called the horizon. When looking straight up, the horizon coincides with the eye level, and the horizon is the eye level; when looking down, the horizon is above the eye level. The horizon is an important basis for processing perspective graphics.

7. If the scenery is to the right of the painter, you can see the left side of it.

8. If the scenery is to the left of the painter, you can see the right side of it.

9. For any scenery above the eye level, the farther away it is, the lower its position on the drawing paper.

10. For any scene below the eye level, the farther away it is, the higher it will be on the drawing paper.

If you master the above knowledge of painting perspective and apply it to painting, you will not make common sense mistakes in painting, and the composition will be reasonable and in line with the beauty of visual appreciation.

4. Pencil selection: H means hard, B means soft. 6H is the hardest and 6B is the softest. For sketching, 3 pencils are usually enough. Use HB pencil for outline, 2B pencil for outline, and 4B pencil for shading. In actual painting, as long as you have an understanding of the performance of pencils and can control the intensity of use, you don't have to stick to this, you can control it flexibly.

5. The basis of sketching is to draw more pencil sketches. You can start with a plaster geometric model. Then, everything can be painted, such as porcelain, glass tea sets, cups and saucers, saucers and eggs, plaster head models, stationery and books, objects of various textures, indoor scenes, etc. From single to combined, from simple to complex. Gradually, you can try character sketch copying and sketching. Master the skill of using a brush by learning calligraphy and line drawing (that is, works expressed with a brush).

6. You must enter a state of selflessness when painting and do not rush for success.

Even if you only paint one painting a day, as long as you devote yourself to painting, you will get unexpected results. You should often copy the sketches of famous artists and read more books such as "Knowledge of Painting Perspective" and "How to Draw Sketch". Only by studying painting skills diligently and continuously can you succeed. works!