What skills do you need to master to draw a sketch?

The key to sketching!

Sketch_Line-surface fusion

The form we face originally does not have "lines" and "points", but the existence of "surface" we feel is also It is attached to the structure and form in the ever-changing undulations.

The "face" facing us becomes a compressed line when viewed sideways. When viewed vertically, the line becomes a point. These sketching elements provide us with an effective means of capturing the object's form. However, in the process of sketching, it is very easy for us to use lines too freely, which leads to impetuous smoothness. In the patience and boring practice of finding the correct body structure, it is difficult for us to escape the boredom of drawing lines; at the same time, it is also difficult to resist the temptation of swaying.

It can be said that any line we draw in sketching should have the attributes of physical structure to have real meaning. Otherwise, it will become a waste line or a group of waste lines; and of course the surface composed of these lines will become a meaningless dirty gray. You may also feel some gray "faces" in sketching. Because our feelings are still in the illusion, we mistakenly think it is a piece of "face" and draw it. The result is still dirty gray and not part of the form.

How to avoid this kind of error requires us to always focus on the structure of the object. We cannot passively copy the object, but we must actively and subjectively analyze and judge the painting elements provided by the object, and thoroughly Use the overall structure to completely control the painted form.

Whether it is "points", "lines" or "surfaces" we use, they are all means. They have no meaning in themselves. When they are used on the shapes we depict, they become It becomes an element of the human body structure and eventually becomes a part of the human body being drawn, instead of just a point, line or surface.

Chinese figure painting uses lines to depict clothes folds, and summarizes the "Eighteen Drawing" methods such as gossamer drawing, string drawing, iron line drawing, and bamboo leaf drawing. The use of Western painting space allows the use of lines to be integrated into surface components, making it more colorful. In the observation of form and structure, I believe that everyone's perception is different. How to use the fusion of points, lines and surfaces to carve out your understanding of the form will be a process of your creation. Before that, you might as well use the traditional Chinese training method - copying learning, to experience the pens of senior masters, and then integrate your own experience. I believe your sketching will be more interesting. ?9?0?9?0?9?0?9?0

Sketch - structure is true

In sketching and painting, the most important thing is of course structure.

In reality, many painters, due to a lack of understanding of the structure of characters or objects, can only follow the formal approach, and it is difficult to produce masterpieces with depth in their creations. Although we already have convenient cameras (digital cameras are now used) and scanners, which can process graphics on computers and save a lot of trouble in modeling, shape is shape and structure is structure, and they are not the same concept. For the process of painting, form is an expression attached to the structure, and the structure is the support of the object; the outline of the external form cannot truly express the inner beauty of the object.

The shape of the object we observe is an appearance, an outline. Once the object changes position and we lack understanding of the structure, it is difficult to start. In the beginner stage, almost everyone has experienced using stable triangles to determine the general position and composition of the body, and then using small virtual triangles, squares, etc. to decompose the local position of the painted object. In the end, this method can only be compared to Gourds and ladles are used to depict objects as if they were photographs.

Just like we have gone through the age of satisfying hunger, we have gone through the age of lack of pictures and are entering an era of reading pictures. There are all kinds of graphics, images, and libraries emerging one after another. Instead of using the photographic method - copying photos to reproduce objects, it is better to just engage in photography. Then we are not as objective as a camera. For a painter, the most difficult thing to accept is to be praised: "Look at how good the painting is, just like a photo."

In other words, those works do not have strong, emphasized and deeper things, and lack the painter's understanding of the physical structure and the creativity of expressing the connotation of the object. How can these be regarded as works of art in painting?

The reality of art is not a purely objective reality, but a kind of artistic reality in which the painter expresses the painter's inner feelings through his own senses and hands - removing the rough and selecting the essence, removing the false and retaining the true, from here to there, Characterization and characterization from the outside to the inside. ?9?0?9?0?9?0?9?0?9?0?9?0

How to learn sketching still life

Sketching still life is a plaster geometric shape The extension and development of sketching, it depicts a wide range of things, fruits, vegetables, flowers, bottles, stationery, etc. can be used as sketching content.

Sketching and still life sketching mainly trains our composition and modeling abilities. For beginners, on the one hand, through still life combination sketching from simple to complex, master the rules of composition, so that the size and proportion of the picture objects are arranged appropriately, and the viewpoint is suitable; on the other hand, you can also arrange the still life painting by yourself, and learn the principles of composition. Basic knowledge (such as unity and change; contrast and harmony; symmetry and balance: proportion and rhythm; stillness and movement, etc.), and gradually master the composition ability. The physical structure of still life is actually a combination of different geometric shapes, but it Less regular and more complex than plaster geometric shapes. In this way, in still life sketching, we should emphasize the understanding of the relationship between body combination and structure.

In still life sketching, various objects are made of different materials. The "texture" of hardness, thickness, weight, thickness, etc. is different. The texture is mainly expressed through contrast. The technique, of course, also relies on the accurate depiction of the tones of objects.

In still life sketching, the perspective rules of objects should continue to be paid attention to, in order to continuously deepen the understanding of the perspective rules.

Tools for sketching still life can be pencil, charcoal, charcoal strips, etc.

The observation methods and painting steps of still life sketching are roughly the same as those of plaster sketching. As long as we establish an overall observation method and continue to practice sketching, we will gradually master the ability and skills of still life sketching. .

1. Sketching steps:

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

1． Establish the composition

Think about the arrangement of the composition so that the objects on the screen have the right priority, the composition is balanced and varied, and avoid problems such as scattering, chaos, empty space, and congestion.

2. 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), and the shape, proportion, and structural relationship of the object must be 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).

3. Gradually deepen the shaping

Gradually deepen the sense of 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 important and critical details of the text should be carefully described.

4. 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.

Sketch - description and engraving

For those who are accustomed to using light and dark tones, they always feel that only this way can be a solid sketch. In fact, after later practice, I still felt that it was not too strong. There were too many things described and too few places carved.

It should be said that it is still useful to use sketch light and shade to depict the volume of objects. But how to get out of the light and dark tones is not an easy task. The power of inherent concepts and habits in the mind, coupled with the slow improvement of understanding, make the painting methods that I originally wanted to abandon continue to be repeated from time to time.

The tones of light and dark are like the keyboard of a piano. The more they are, the richer the expression can be.

Can the pencils we use still produce 7B and 8B? Even with 9B and 10B, it cannot express the blackness of the real model space. The contrast between black and white is only relative. In the dark tones of the stage art, pure black was used. When Pullan turned white under the light, black velvet was used instead. But how can our drawing paper express such a black hole? In fact, black and white are just a feeling. Strong feelings require us to change the previous methods of sketching, abandon the old concept of death in our minds, use brand-new thinking, and under the control of structural will, give full play to our own feelings and concentrate on the brushstrokes to draw. Show the similarity of the subject's feelings.

Keep changing your inherent concepts and try new painting methods. You must not be too careful to complete a work. Completing the homework must not become a burden to our purpose. Otherwise, you will throw away more opportunities to try, repeat what you already know and constrict your imagination. It is not difficult to draw a good sketch portrait. I can give you a relatively easy and effective method

First modeling is a headache for beginners. If you have modeling ability and a certain degree of self-perception, you can use 12B (Easy to Shang) (lead and easy to wipe clean) Define the hairline and chin. Pay attention to the direction in which the model’s eyes are looking. Leave a larger space so that the visual center of gravity is stable. I believe you also understand issues such as facial features and perspective. Pay attention to the relationship between the head and neck and compare carefully. In addition, grasp the shape accurately and vividly. A trick is to first determine the width and position of the nose. The facial features are determined according to the nose. The nose must be accurate. When drawing the eyes, you can set the eyeballs at a squinting angle so that they don’t look dull.

Second, light, dark, black and white The relationship between gray, black, white and gray is very important. First, make your hair black. Then, when covering the backlit area of ??the face and neck, use a soft brush to paint the hair as black. The backlit area of ??the face will be gray. The face and neck will be slightly heavier. Don’t overdo the face. Don’t let the face get stuck. Then, be harmonious. Use your hands to rub it back to a softer, more textured surface. Leave a white space for the triangular area of ??the face.

After the third major relationship is determined, go back to the facial features. I won’t go into details. I can tell you that you may not notice it. The eyes are the darkest, the nostrils have a weak light-dark contrast, the chin is important to hold the neck, and the characterization of the facial features must be precise to grasp the visual center of gravity

Of course, you need to use more pens when painting. Is there any way to improve the sketch? Correct sketch observation can improve the expressiveness of the sketch. Sketch is a highly technical discipline that requires a high degree of unity of eyes, hands, and brain. To address this point, effective sketch observation must be carried out first, that is, while sketching and observing the object, It must be combined with thinking and application, and correct sketch observation can effectively express it. Only by emphasizing the correct sketch observation method can the expressive power of the picture be improved. The method to improve the sketching picture, such as painting portraits and plasters, is to observe from the whole-part-space order, and conduct analysis and comparison repeatedly, so that the shape of the picture is constantly clarified, the shaping and expression are constantly deepened, and finally enriched. In this way, This observation method is produced through the proper use of the author's sight. When learning sketch, the painter should choose according to the object of his expression. When drawing the outline of the body, the painter's eyes should scan up, down, left and right to determine the overall prototype, and then return it to the original shape. You need to let your gaze stay on a certain part, so that you can express the object deeply with your eyes and hands. However, the application of scanning and gaze techniques cannot ignore comparative analysis. Without comparison, you cannot comparatively analyze the shape, structure, tone, etc. of the object. level, it cannot meet the requirements of improving the expressiveness of the sketch. The correct observation method needs to be emphasized repeatedly, reminded students repeatedly, and applied repeatedly to form a habit and to effectively correct the partial observation method among students. After students develop the correct observation method, they will lay an effective foundation for college entrance examination review. Based on the basics, students' improvement will be "double the result with half the effort".

Excessive sketch copying can break through the original sketch state and start copying. The range of techniques and brushwork can be slightly wider, because the painter does not know which style suits him at the moment. In the process of continuous copying practice, he will gradually master Students will realize that the skills and writing methods are suitable for them. With timely guidance from the teacher and pointing out the correct direction of copying practice, students' enthusiasm for learning will be improved, and the effect of copying learning will continue to be significant. Towards the later stage of learning, the scope of sketch copying should be further narrowed according to the specific situation, that is to say, the research and development of each technique and brushwork should be carried out, and finally the one that suits you, the one that best expresses yourself, and the most effective picture. and the most mature way to express yourself. For example, select two or three pictures and copy them over and over again until you can roughly draw them silently, which will consolidate your skills and have a clear picture at the same time. In the final stage of sketch copying, you can adjust the overall copy or partial copy according to your own needs. For example, if you want to improve the mouth, one of the weak facial features, by copying, in addition to studying in class and receiving guidance from the teacher, you should also find some relevant templates to copy outside class, including the frontal mouth and the side mouth. Analyze and study from many aspects and angles until you find your own shortcomings in expression methods and understanding, deepen your understanding, and copy repeatedly to achieve the effect of expressing the mouth easily and freely. While copying the sketch, you should also pay attention to carefully comparing the copy and the template. The closer to the template, the better. Sketch copying includes the form of expression of the template, the depth of the tone, the speed of line expression, the intensity of line expression, etc. Sketch copying