Advantages of pencil sketch and charcoal sketch

The softness and strong coverage of the pencil make the three major faces and five major tones of the sketch perfectly displayed on the screen. Pencil is delicate and soft on the ribbon cable, which can describe the texture and details in more detail, which pen sketch can't do.

The smearability of pencil makes painting more space, and smearing can often achieve many unexpected effects. In addition, the picture is easy to modify and suitable for beginners to practice. The invariance of pen-and-ink painting is limited to masters.

2. Advantages of carbon pencils

Charcoal pen is a kind of wooden pen with charcoal as the refill. It is characterized by dark color, poor adhesion and large friction with paper, which is not suitable for alteration. It is mostly used for sketches and portraits, and can be used with other tools, which is suitable for large-scale painting.

Charcoal sticks are mostly made of willow branches, which are thick and thin, soft and hard. Because the picture effect is different, it can be used. They can use softer charcoal pens at the beginning of painting, and can be modified repeatedly, because they are easy to erase and will not hurt drawing paper. When modifying the details, use a hard charcoal pen.

Extended data:

Improve sketch skills:

1. Learning sketch requires two skills, one is the concept of eye proportion, and the other is the habit of drawing step by step.

2. The vocabulary of sketch is nothing more than black, white and gray, expression form and space.

3. A sketch should be successful in at least three aspects: first, its physical structure is accurate; Second, its black, white and gray levels are distinct; Third, its central focus is prominent.

4. The central focus is formed by visual habits. The so-called focus, objectively speaking, should be the most characteristic in structure, which can best express the shape and space. Generally speaking, it is often located near the center of the frame foreground, which is the center and the center of gravity.

5. The so-called "sketching" is not a copy of the objective prototype. It allows the subjective concept to concentrate, add or delete under the guidance of beauty. In this sense, sketching is already a kind of creation.

6. When observing objects, don't just look up, down, left and right, but extend from near to far and from front to back. Only by tracing this space with your eyes can you dig to this depth with a pencil.

7. The pen is an extension of the hand, and it should have the touch of the hand. Sketch is like a sculptor squeezing mud, and his fingers move in a specific space, from front to back.

8. Don't just use the outline to understand the world, first learn to study the world with the concept of three dimensions. The contour line is only the image of the part of the object that is reduced when it is transferred;

On the one hand, the surface of the object has rich ups and downs, on the other hand, it forms various relationships with space when it disappears in depth. Sometimes thick and sometimes light, sometimes wide and sometimes narrow, endless.

9. The first is structure, the second is light, and black and white are its appendages. We only know the physical structure with the help of black and white, but sometimes black and white will distort the true face of the physical structure.

10, pay attention to the use of the word "difference". Speaking of home, sketching is to find the difference, and the big difference is "big relationship". All relationships have the overall weight, accommodate and restrict all parts, so they are the most important.

1 1, a small difference is a "small relationship", which means a slight difference in the same tone. Relative to the whole, it can only be called "local". They are organized according to a certain proportion or hierarchical relationship, enriching the whole. They are complementary and dialectical unity.

12. The black and white tones of the structural perspective deformation are commensurate, and the virtual and real treatment of the sideline is responsible for the task of expressing space and volume.

13, the border is full of paintings, but there is only space without white paper. Out of bounds are also paintings, supplemented by the imagination of the audience.

14, it is hard for people to imagine the subtlety of the natural transfer of the body surface. We can't describe the subtle transition on the surface of an object by hand, but rely on the visual habit of recognition to supplement this transition.

15 In addition to the visible outline, an object also contains an invisible line-melody line. It conveys the beautiful melody formed by the general trend of objects.

16, spread your arms and put your position in a place where you can put all the pictures in your eyes as much as possible, which is convenient for the overall situation.

17. For the whole painting, we must first distinguish the difference between the background and the object, and then pay attention to the treatment of the contour line as the body interface; For the body, we should first distinguish the difference between the dark part and the bright part, and then pay attention to the intersection of light and dark.

18, "whole" and "general" are two different concepts. The appearance of rough approximation is a fuzzy approximation; The whole refers to the organized combination of various parts, which is an accurate organizational relationship.

19. Stay away from the real thing. The objects you see are of course smaller, closer and of course larger.

20, the performance of texture should grasp the characteristics of differences. For sketch, this difference is mostly reflected in the degree of reflection or light transmission.

2 1, with the world as the background, drawing a portrait without background is like a fish without water. How much time did you "save" backstage during the exercise, and how much brains will you spend on creation in the future?

22. The so-called "big vision" means overall observation. When you see a part, you can consciously compare it with the outside of the part, so as to grasp the weight of the part. This is a big vision. Looking for proportions and differences outside the local area, the farther you go, the bigger your vision.

23. The edge of an object is actually the relationship between the object and the background. If the contrast between the brightness of the object and the background is large, the outline is clear; If the contrast is small, the outline is weak; If the brightness is consistent, the outline disappears. Therefore, regardless of the background, it is wrong to only hook the outline of an object.

24. The smaller the aperture of vision, the less proportion you can find. Therefore, when sketching, we should learn to compare from a distance, not just stare at a small range, but stride across the whole situation, and we can find many "fulcrums" of comparison with big strides.

25. Measuring with auxiliary tools is not a good assistant for students. When the crutches are long, the legs and feet will not work. Learning to sketch is to practice your eyes, and you should practice your eyes to the most sensitive scale. Use your eyes to estimate the proportion, don't rely on tools.

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