What kind of cloth should I use for sketch cleaning cloth?

｜Historical Origins｜An Overview of Sketching｜Basic Concepts of Sketching｜

1. Historical Origins

The recording function of painting from ancient times to the Middle Ages The role played by the century in serving religion has always been in a subordinate position. It was not until the Renaissance that humanism rose, and it gradually broke away from the shackles of religion. Under the management of many masters, various expression issues related to painting were rigorously discussed with a scientific attitude. Since then, painting has gradually become independent from its subordinate status, but it is still dependent on the aristocratic class under the feudal system.

After several centuries of hard work, by the 18th century, the trend of democracy gradually emerged, and the art of painting was no longer exclusive to the aristocracy, but gradually took root among the people. In the second half of the 19th century, thanks to the gift of science, the Impressionists finally made revolutionary discoveries about light and color. Also due to the invention of photography, the recording function of painting also encountered unprecedented severe tests. At the same time, it also revealed the It was the prelude to the storm of modern painting in this century.

Although the functions and roles of painting will continue to change with the pace of history in the past, present and even the future, all changes are only to reflect the continuous exploration and development of the times. Moving forward, however, the essence of painting as a way to communicate human emotions will never change. The more advanced photography becomes, the recording function of painting remains unchanged. Instead, it is elevated from the recording function to a higher level. The more frustrated it becomes, the more courageous it becomes. It transcends the original function and meaning of painting, and not only expands from realism to The expression of inner emotions has moved from the concrete to the abstract, and even stepped out of the plane, injecting new attempts at time in addition to the expression of three-dimensional space.

Sketches, which were originally only used by painters for drafting, naturally played different roles with the development of the history of painting. In the field of professional painting, the training of sketching has long received great attention, but it has always played a subordinate role silently. In the 20th century, with the rise of modernism, painting encountered an unprecedented impact. Traditional sketching was naturally not immune. In addition to its independence having been questioned, the fundamental role it played in traditional painting was also in danger of being denied.

No matter how the role of sketch is questioned, the existence of sketch is a fact, whether it is the basis or creation. For a person who is engaged in painting, understanding sketch is always more important than arguing about sketch. some.

2. Overview of sketching

The issues involved in painting are quite complex, including shape, light and shade, space, volume, and various intricate color relationships. When doing basic painting During training, it will indeed cause great difficulties in learning. Without losing the general principle of the integrity of painting, it is helpful to study the two major shaping elements of light and shade and color separately. This is to separate sketches individually. Practical reasons presented.

What is sketch is very familiar to anyone who is engaged in painting, but it may not be an easy task to properly define sketch. Understanding sketching from the perspective of the basics of painting focuses on the concepts and practices of basic sketching rather than the debate over the definition of sketching. Therefore, it is not intended to draw a sudden conclusion on sketching. It is more important to understand the actual existence of sketching training than to discuss whether sketching is necessary in painting. Whether it is a monochrome painting or just a draft of a painting, the most important thing in learning sketching is the establishment of correct concepts and a thorough understanding of the active role sketching plays in the field of painting. Therefore, sketching can be an independent type of painting, or it can be a draft of a color painting. Of course, it is even more important if it is regarded as the basis for painting learning.

The neoclassical master Ingres of the 19th century once said: "Drawing includes everything except color" and "Drawing includes three-quarters of painting." Regardless of the absoluteness of this sentence, it is not difficult to get a glimpse of the great master's efforts on the relationship between sketching and painting. As mentioned before, vision recognizes the shape characteristics of objects based on the perception of brightness and color, and brightness is the basis of color. Therefore, among the three elements of color, lightness is the first. To express a certain color, lightness must be determined first. The same is true for the color expression of paintings.

For the convenience of understanding, the issue of brightness in complex color relationships is raised, which is the main area to be discussed in sketching. It can be said that sketching is the greatest effort in painting except for color.

In the understanding of sketch, we can solve many painting problems, including value, and the characteristics derived from value such as shape, volume, texture, volume, and space. In addition to color, this also covers almost all issues of painting shape. Just like appreciating a black and white photograph, you will find that in addition to the color, you can almost feel the completeness of the object. If we say that sketching is preparation for color, it is not an exaggeration from a learning standpoint. Once the concept of sketching is established, then a comprehensive understanding of color relationships should be the most appropriate way to learn basic painting.

3. Basic concepts of sketching

Nature is a form of "three-dimensional space", and it is a fact that painting is a "flat surface". Those who engage in graphic creation must first recognize the difference between plane and space. Pursuing the visual effect of three-dimensional space in a plane is based on the "perspective" law (far and near method) that masters of all ages have devoted themselves to. That is, on a two-dimensional work, through the hint of the perspective law, the picture will produce the illusion of depth.

The pursuit of "depth" in the "plane" is itself a contradiction, because the plane is never equal to three-dimensional space. Therefore, the painter uses the rules of perspective to "hint" the three-dimensional depth effect on the picture. Even if it is almost real, it is just an "illusion". In fact, no matter how accurate the depiction is, even in a photograph, the "flat surface" is an indisputable fact.

Visual judgment of depth space, in addition to the shape changes in "perspective", is mostly done by "moving the position of the eyes" and "binary parallax".

What is "binocular parallax"? When the eyes are observing an object, in fact, on the retinas of the two eyes, images from two different perspectives are presented, which are combined by the brain to produce depth. The effect, especially the closer the object is to the eyes, the more prominent the effect of binocular parallax. For example, if you point your index finger directly at both eyes, the images seen by the left eye and the right eye will be different due to the difference in viewing angles. However, these two different images that appear "simultaneously" can be combined by the brain. and make a judgment.

Furthermore, the observation angle of "moving the eyes" can make the objects in front and behind move at different speeds, and it is the most specific way to judge the depth, especially for objects with a large distance gap. We can do a simple experiment, that is, move your eyes left and right and look at any object in front of you. In this way, images from different viewing angles will appear. Through these different images that appear "successively", you can easily understand the object. Make judgments about spatial location. Another example is when riding a train. Looking around, there is a huge difference in the moving speed of the nearby telegraph poles and the distant fields and mountains.

In fact, "binary parallax" and "moving eyes" cannot be achieved by flat painting. Perhaps advanced technology can easily solve this problem, but the pursuit of depth is not the only choice for painting creation. . In addition to pursuing space on a flat surface, the light effect produced by the picture is also a kind of suggestion and illusion. The sunlight represented by the picture is never equal to the real sunlight. Why, for example, in a watercolor painting, the light source is represented by the whiteness of the white paper at most. The brightness of the natural light source and the whiteness of the white paper cannot be compared. But what the painter can do is to use the contrast law of light and dark to "suggest" the feeling of light. This is not only true for light and shade, but also for color, volume, quality, and sense of space.

The various "suggestion" behaviors used in painting expression are the so-called "plastic language" of painting. Basic painting is to train learners to understand and become familiar with these painting languages, in order to gain more freedom in creative expression. Only with true "understanding" can one be able to "choose and choose freely": true understanding is basic training, and being able to choose and choose freely is the real purpose of creation. In other words, "basic" learning depends on taking, while "creation" is optional. Basic learning is to prepare for creation. Through basic learning, we can establish correct concepts and cultivate basic performance abilities, and then explore the meaning of creation in depth. Although over-emphasis on the basics can easily become a constraint on creation, we should not ignore the importance of basic learning in order to get rid of the shackles of the basics. If there is no choice, there is no choice. The choice depends on the attitude of the learner. In the process of learning basic sketching, you must first establish this concept of trade-offs

Basic sketching is generally through observation and practice of sketching to understand the various concepts and expression techniques contained in sketching. The object of sketching can be a still life, a landscape, or a plaster statue. Through these objects, the concepts and experiences of sketching can be objectively circulated and conveyed. As for using photos or slides for basic exercises, it is really uneasy. What is the reason? First of all, flat photos cannot experience the visual effect of three-dimensional space (volume); secondly, basic learning aims to cultivate a solid foundation through sketching. The expressive ability and keen observation ability can be used as the foundation of creation in the future. If you just follow the pattern (shape), you will lose the true meaning of basic learning.

In short, sketching mainly trains the observation and expression of sketched forms, while photos can only see the plane "shape" but not the spatial "body". We face basic learning with a rational attitude, and we should face creation with a perceptual attitude. It is certainly not easy to deeply cultivate the basic ability of sketching, but it is even more difficult to get rid of the shackles of the basics when creating. Therefore, while cultivating basic sketching abilities, you should always remind yourself that the basic abilities you strive to acquire may be something you need to get rid of when creating, or even give up completely.

｜Pencils｜Charcoal pencils｜Colored chalks, ocher chalks and pastel pens｜Ordinary erasers, flexible erasers and wiping cloths｜

｜Other expressive media｜auxiliary materials Tools |

In painting creation, in addition to constantly seeking breakthroughs in expression, understanding and mastering the characteristics of materials and tools cannot be ignored. Therefore, only by effectively mastering materials and tools can we ensure the free expression of creative ideas, so that the pen can be turned at will and with ease. Otherwise, the creative ideas will only be wasted on overcoming the materials. No matter how good the idea is, no matter how strong the expression is, it will still be aborted.

Tools and materials are just a means to sketching, not an end. There is no need to be too rigid in the selection of materials. Any material can be used as long as it meets the requirements and effects of sketching learning.

1. Pencil

It is the most commonly used expressive pen material for sketching practice.

There are quite a few pencil styles on the market today, including wooden pencils, engineering mechanical pencils, full pencils, flat pencils, etc. The different styles are to meet different needs, but the pen cores contained in them are roughly the same. The pen core is made of graphite and colloid, and the mixing ratio of the two is different, resulting in different softness and hardness. Usually at the end of the pencil, the softness and hardness are marked with "B" (Black) and "H" (Hard) numbers. The higher the "H" number, the harder and lighter the center of the pen, which is suitable for precise drawing. The higher the "B" number, the softer and darker the pen core, which is more suitable for sketching practice. Among them, 2B and 6B are the most commonly used. The "HB" or "F" (Firm) in between are mostly used for note-taking because the pen has a moderately soft core.

◎Wood Pencil

When using it, you must use a blade to cut off the outer wood part, but avoid using a utility knife because the blade is too sharp and can easily damage the core of the pencil.

◎Mechanical pencil for engineering use

Adds an automatic pen holder, and uses a core grinder to grind the pen core. The number of pen cores can be replaced, and it is extremely convenient to use.

◎Full pencil

Because the pen core is thicker, it can cover a larger area and is suitable for sketching. Since it has no wooden protection, it is easy to break and should be used with caution. Full pencils with an additional automatic barrel are also available.

◎Flat pencil

It can quickly change the thickness of lines. Making good use of this feature can give the picture a simple sense of speed.

2. Charcoal pencils

There are many kinds of charcoal pencils. In addition to charcoal strips, there are also various types of charcoal pencils made of charcoal powder and glue. Because charcoal pencils can express It produces darker tones than pencils and is easy to apply to large areas, so it is often used as an important pen material for sketching practice.

◎Charcoal strips

1. Most of them are made from new branches of willow, cherry, etc. Since it is difficult to collect and burn, they are relatively expensive.

2. When choosing, it is better to have a uniform texture and few straight knots. Charcoal strips are also available in different thicknesses, soft and hard, you can try more according to your personal needs. The charcoal strips are made of black pine and can be applied quickly and wiped over a large area. They are suitable for adjusting the overall light and dark of a large picture. However, due to the poor adhesion of charcoal powder, the finished product must be sprayed with a layer of fixed spray glue in time, otherwise the charcoal color will easily become cloudy and fall off.

◎Charcoal pens and carbon strips

Both are made of carbon powder and adhesive, so they have strong adhesion and are less easy to modify. In addition to black, there are also white, dark brown, reddish brown and other color products, which are often used for sketching. The nature of powdery charcoal pens is similar to that of hard pastels, so it can also be used as a starting point for pastel paintings. Waxy charcoal pens have stronger adhesion and are more difficult to apply. The painting may feel dry, so please pay attention in advance when using it.

3. Colored chalk, ocher chalk and pastel pen

Chalk is an organic soft stone with white or gray color. Gray stone, when mixed with water and adhesives, can be made into strips and pencil-shaped colored chalks, which can be used on colored paper to enhance the effect of drawings. White chalk was first used by painters such as Botticelli, Perugino, Verrocchio and others in their early metallic strokes on colored paper. At the beginning of the 16th century, Leonardo da Vinci mixed iron oxide into pastels and introduced the ocher-red chalk painting technique. Ocher, black, gray. Earthy yellow and ultramarine blue. Pastels appeared in the early 16th century. They are similar in consistency to pastels, but have one basic difference: pastels are a hard material while pastels are a very soft substance. By the end of the 19th century, hard pastel pens also appeared, and Degas was the painter best at using hard pastel pens to draw perfect works.

Today, pastels are virtually indistinguishable from pastel pens of some brands; Coinnu offers loose pastel sticks and pastels in white, red ocher, ocher and black, as well as There is also a box of 12 colors of pastels. These Coinoo pastels are the same hardness as Faber-Castell's boxed 72-color hard pastels. In addition to 72-color boxed hard pastel pens, Faber also produces boxed twelve strip pens, including six each in gray and ocher. The latter was designed for le dessin a trios crayons, which were painted in the eighteenth century by Watteau, Fragonard, Boucher, etc. The name given to it refers to the painting technique of mixing black, ocher and white chalk on colored paper.

▲Colored Chalk The two boxes above are Faber-Castel colored chalks, the first box is earthy yellow.

The ocher red series plus white; the second box is the gray series plus white and black.

4. Ordinary eraser, flexible eraser and wiping cloth

If you take a small piece of soft bread, add a few drops of water, and rub it with your fingers for a while, you will get a soft But something dense; use it to gently press but not rub the color block drawn with pencil or charcoal to partially wipe it, so that the intensity of the color can be reduced.

This primitive eraser has been used by painters since the 15th century, through the Renaissance, until Magellan invented the eraser in the mid-18th century. The eraser was also improved into a plastic eraser in modern times. (plastic eraser).

Erasers and more modern plastic erasers are suitable for erasing traces of pencils, charcoal pencils, ocher chalk, etc. However, in some cases, they are not a good tool for painting. Painting with an eraser? Of course, for pencil or charcoal drawings with multiple mid-tones, such as portraits, the artist can use an eraser to achieve a brightening effect. To draw with a regular or plastic eraser, you must first bevel it so it has the same tip as a pencil. However, this is not a convenient method and will damage the eraser surface itself. Because of this, kneadable soft wipes appeared. It has a similar viscosity to sculpture clay and can be molded into any shape suitable for depiction. By erasing or opening up shadow areas, it can be used to depict points, lines, stars, the glow of buildings in the sun, and more.

▲To draw lines on a gray or black background, you can use an ordinary eraser or a kneadable soft eraser.

But if you use an ordinary eraser, you need to sharpen it ( Picture left), and kneadability

The soft eraser is malleable and can be molded into the desired shape.

5. Other expression media

In addition to pencils and charcoals, dip pens, pastels, watercolors...as long as they can meet the requirements of sketching practice or creation , are all applicable, even if it is other irrelevant materials. However, basic sketching is actually a kind of concept and expression training. The selection of materials is not the first priority. It is mostly based on the principle of being easy to master and easy to obtain.

◎Paper

There are not many restrictions on the paper used for sketching. All types of paper, such as tracing paper, rice paper, watercolor paper, glossy paper and pastel paper of various colors, and even materials other than paper You can try it all. The selection can be based on the pen material used and the author's requirements for material properties. Special paper for sketching, because it is made of cotton pulp, has longer fibers than wood pulp paper. The paper is strong and strong, resistant to wiping, not easy to fluff, and the paper texture is slightly thicker, making it easier for the charcoal color to adhere and apply evenly, which is not the case. It is the best choice for beginners.

Except smooth and soft paper, such as papier couche, all types of drawing paper are suitable for drawing with charcoal, charcoal pencil, ocher chalk or pastel pen. Even very smooth papers, such as Blistol, can give your work interesting styles and results. However, the ideal paper for charcoal, charcoal pencil, or pastel drawing is a medium-grain paper, such as Canson's Dessin J. A. Paper, or "C" A Grain; and a coarse-grain paper, either Canson Sen． Canson Mi-Teintes white drawing paper or Ingres textured paper are the best choices for large-scale studies, sketches or drawings.

6. Auxiliary tools

Soft eraser, in addition to the function of correcting errors during the sketching process, can also adjust the intensity of light and dark tones on the screen. However, when using a soft eraser, you should first establish a correct concept, that is, it is a white pen that can be molded into any shape, not just a tool for modification.

◎Paper and pen

Can be used as a substitute for fingers to rub a smaller area and make detailed drawings. However, it is easy to damage the paper fibers, is difficult to modify, and the tone appears slightly dull, so do not overuse it. Others, such as cotton cloth, brushes, soft sponges, etc., can be invented and tried according to actual needs.

◎Sketch fixing spray glue

Mainly made of rosin mixed with alcohol and other solvents. In addition to fixing the charcoal powder on the painting, it can also protect the paper surface and make it less susceptible to stains. dirty. If you use pencil or charcoal pen to complete the work, although its adhesion is strong, it is best to spray a layer of fixing glue to protect the picture. Since rosin and its solvents are harmful to the human respiratory tract, it is best to spray glue outdoors and wear a mask. When spraying, keep an appropriate distance from the picture and spray evenly from left to right. Since the charcoal powder for charcoal works is easy to fall off, you can spray one layer and then spray several more layers after it dries. Do not act too hastily and spray too much, which will cause the charcoal powder to be lost and the color of the charcoal will be blurred, resulting in an uncontrollable situation and all previous efforts will be wasted.

Drawing with charcoal, charcoal pencil, ocher chalk or pastel pen is not stable and can easily be smudged, blurred or erased by contact with paper or other objects. In order to avoid this problem, professional painters will use a liquid composed of alcohol and gum arabic or a solvent containing 5% transparent glue (100 c.c. alcohol contains 5 grams of glue). This solvent is commercially available in the form of a 300 to 400 ml spray. When the painting is placed horizontally, fixative can be sprayed at various stages of painting. Remember to wait for the first layer to evaporate to dryness before spraying the next layer; gradually a delicate and invisible protective film will be built up on the surface of the painting. It is important that the process is not too fast and that the painting lies flat on the table to prevent charcoal from flying up and liquid from flowing around. Alternatively, you can also choose to hold the painting in one hand and spray the fixative in the other.

Generally speaking, ocher chalk and colored chalk will become a bit darker when exposed to fixative.

Therefore, fixatives are not suitable for painting with colored chalks or mixed techniques, and should especially be avoided for painting with white chalks and crayons. The advice is to never spray more than one layer of fixative on a white crayon painting. Even if the color fixation in some parts of the painting is not ideal, don't take the risk. This problem also occurs in pastel paintings, so do not use fixative on pastel paintings.

▲Using spray (fixative) is the main fixation method for charcoal drawings. To prevent the color from darkening

or deepening, spray the pastel painting with a thin layer of fixative.

｜Application method｜Basic techniques｜Special techniques｜

Sharp objects can be used in two ways:

(1) After scratching and fluffing the paper. Use the side of the pen to wipe the surface of the paper. At this time, the raised areas will bear more pencil powder. Shows darker stains and can express a mottled texture.

(2) Use a sharp or blunt object to sink the paper wall. The sunken area cannot bear the pencil powder during side rubbing, and the color will appear whiter. It can be called to represent small white objects such as twigs and pebbles.

Application of pencil powder:

Pencil powder can create an even tone for a large area. It can be used as the background color of the picture and can also create a gradient effect. The procedure for using pencil powder is as follows : First use a razor blade to scrape off the pencil powder from the pencil. Then use cotton or toilet paper to dip pencil powder into the paper and apply it back and forth. You can create a large area of ??average color or gradient tone.

Comprehensive application of white pencil and colored paper:

Using colored paper can save time in painting base colors. It can also add color variation. But colored paper cannot have the brightest tone. Making the picture appear gray; at this time. You can use white pencil to remedy this: use colored paper as the background. Graphite pencil drawing in dark areas. Drawing bright spots with white pencil can correct the shortcomings of the colored paper and increase the interest of painting.

Frottage:

Frottage is one of the techniques commonly used by Surrealist painters. It is a method of pressing a piece of paper onto a real object and then using a pencil to trace its protruding lines. It can create natural textures that cannot be drawn with pencil. Such as the texture of wood, stone, etc. And it can provide a very special visual interest. When engaging in the rubbing method, you should try to choose thin and soft paper. Paper that is too hard or too thick will not be able to clearly draw out the texture, and you should try to rub it with a side edge, otherwise too obvious strokes will hinder the appearance of the texture.

Auxiliary application of watercolor paint:

A light layer of watercolor can be applied on the completed pencil drawing, so as to retain the original pencil tone and interest of the strokes. It can also add color changes to the picture. Make the performance of the work richer. When adding watercolors, avoid colors that are too thick or too dark. Otherwise, it is easy to cover up the pencil strokes of the original; do not use watercolor pens to smudge multiple times to avoid gray color and blurred strokes.

Proficient pencil techniques should be developed step by step from simple to difficult. Basic techniques can be said to be an introduction to pencil drawing. Familiarity with various techniques and applications will be of great help in enriching the brushwork in the future; coupled with the training of special techniques

It will definitely enable the painter to move towards the realm of "handy and free".

Introduction to techniques:

1. Basic techniques

Techniques are the basic work of painting. Due to the comprehensive application of various techniques, the shapes on the picture are combined. , color, and give a work a certain meaning and life; therefore, readers must have a basic understanding of pencil drawing techniques before engaging in pencil drawing creation.

The so-called "basic techniques" refer to techniques that are purely based on pencils and are not mixed with other auxiliary tools; "special techniques" are based on other tools in addition to basic techniques. Pencil is used as a supplement to create special effects.

Basic techniques focus on the way to use the pen. According to the shape of the stroke (line), it can be divided into the following categories:

Straight-line strokes:

Use When writing, the lines are deliberately drawn straight to form straight strokes. When the straight line strokes are arranged neatly, it will give people a refreshing and neat feeling, but it can easily become dull. Therefore, the direction change of the lines can be adjusted appropriately to increase the sense of liveliness, but it should not be excessive to avoid appearing messy and disorganized.

Long triangular strokes:

When writing, you can draw slender triangular strokes by first applying heavy and then light or light and then heavy strokes. Long triangular strokes are similar to straight-line strokes, but It has more gradual changes; therefore, when the long triangle strokes are arranged regularly, a gradient effect of color gradient can be produced.

Curve stroke:

Bend the line to create a curve stroke. Curves have graceful and soft characteristics and are more difficult to control than straight lines. Therefore, more practice is required until various turns are extremely smooth, in order to express the beauty of curves.

Irregular strokes:

Use the pen to draw irregular strokes. The application of irregular brush strokes can increase the changes in the picture and make it feel lively, but it can also easily fall into chaos.

Dot-like strokes:

Use the tip of the pen to tap the paper to form dot-like strokes. When depicting, deliberately changing the direction of force can produce point-like strokes of different shapes; such as circles, small triangles, etc., which are suitable for depicting trivial and complex objects.

Continuous strokes:

Continuous strokes refer to the technique of drawing straight or curved lines quickly back and forth with the pen. Because of the rapid back and forth movement, a color surface can be drawn quickly. , but it is difficult to control the shape of the line and the range of the color plane. ▲Basic techniques

2. Special techniques

In addition to pencils, special techniques must use other auxiliary tools; some use other tools as the main tool, and pencils as a supplement; some use pencils Mainly, other tools are supplementary, or both complement each other. In short, in this type of technique, other tools occupy a very important proportion. When practicing, the proper use of other auxiliary tools is indispensable. The following are classified according to the different tools and techniques used:

Application of paper texture:

When painting, the choice of paper can produce twice the result with half the effort. For example, if you choose rough paper, you can easily create a rough texture; smooth paper will help the pen powder to be evenly coated to increase the smoothness of the picture. These are all auxiliary effects produced by paper texture.

Applications of eraser:.

In addition to erasing wrong parts of the drawing, the eraser can also be used as a drawing tool. For example, the eraser can be sharpened into a sharp stick shape, or the eraser can be used as a drawing tool. Knead a soft eraser into a tapered shape and you can erase slender bamboo lines; in addition, use an eraser (either soft or hard) and lightly press the painting to produce white cloud-like blocks of color. As long as the painter is willing to put his mind into it, the rubber will definitely match his personal wishes and produce the desired effect.

The wiping technique:

The wiping technique is a technique of rubbing and pressing with cloth, paper, pen and paper or fingers on the painted strokes. Due to the pushing effect of cloth, paper, fingers, etc., the pencil powder is spread extremely evenly. And achieve the purpose of weakening the traces of brushstrokes. Soft tone function. Among them, cloth and paper are suitable for wiping large areas of the picture; paper pens have a pencil-like tip and are suitable for wiping small areas of the picture; as for fingers and erasers, the wiping effect is poor, because the hand sweat is easy to stain Affecting the effect of the picture, the eraser can easily erase the strokes.

Application of ruler:

A ruler is an indispensable tool for precise drawing. For example, when drawing precision square objects such as buildings and industrial products, a ruler must be used to draw precise square objects. Draft or revision.

Applications of sharp objects:

Sharp objects can be used in two ways:

(1) After scratching and fluffing the paper. Use the side of the pen to rub the paper surface. At this time, the raised areas will bear more pencil powder. Shows darker stains and can express a mottled texture.

(2) Use a sharp or blunt object to sink the paper wall. The sunken area cannot bear the pencil powder during side rubbing, and the color will appear whiter. It can be called to represent small white objects such as twigs and pebbles.

Application of pencil powder:

Pencil powder can create an even tone for a large area. It can be used as the background color of the picture and can also create a gradient effect. The procedure for using pencil powder is as follows : First use a razor blade to scrape off the pencil powder from the pencil. Then use cotton or toilet paper to dip pencil powder into the paper and apply it back and forth. You can create a large area of ??average color or gradient tone.

Comprehensive application of white pencil and colored paper:

Using colored paper can save time in painting base colors. It can also add color variation. But colored paper cannot have the brightest tone. Making the picture appear gray; at this time. You can use white pencil to remedy this: use colored paper as the background. Graphite pencil drawing in dark areas. Drawing bright spots with white pencil can correct the shortcomings of the colored paper and increase the interest of painting.

Frottage:

Frottage is one of the techniques commonly used by Surrealist painters. It is a method of pressing a piece of paper onto a real object and then using a pencil to trace its protruding lines. It can create natural textures that cannot be drawn with pencil. Such as the texture of wood, stone, etc. And it can provide a very special visual interest. When engaging in the rubbing method, you should try to choose thin and soft paper. Paper that is too hard or too thick will not be able to clearly draw out the texture, and you should try to rub it with a side edge, otherwise too obvious strokes will hinder the appearance of the texture.

Auxiliary application of watercolor paint:

A light layer of watercolor can be applied to the completed pencil drawing, so as to retain the original pencil tone and interest of the strokes. It can also add color changes to the picture. Make the performance of the work richer. When adding watercolors, avoid colors that are too thick or too dark. Otherwise, it is easy to cover up the pencil strokes of the original; do not use watercolor pens to smudge multiple times to avoid gray color and blurred strokes.

Proficient pencil techniques should be developed step by step from simple to difficult. Basic techniques can be said to be an introduction to pencil drawing. Familiarity with various techniques and applications will be of great help in enriching the brushwork in the future; coupled with the training of special techniques

It will definitely enable the painter to move towards the realm of "handy and free".

｜Composition｜Contour line｜Circle｜

1. Composition

After having a basic understanding of sketch shapes, we entered into the issue of actual picture expression. This book will explain the specific sculptural performance of sketches in several directions such as composition outline, light and shade, volume, quality and space. The first is the issue of composition. Usually during the progress of the picture. It is necessary to first master the overall composition and determine the outline of the subject, so as to facilitate the in-depth depiction of light and shade, volume and space.

Therefore, the mastery of composition and outline can be said to be the beginning of sketching.

Before composing a picture, you must first understand the relationship between the visual object, the eyes and the picture. In still life sketching, the composition is usually smaller than the scope of the field of view, while in landscape sketching, the line of sight can be moved to expand the field of view. At this time, the coverage of the composition may be larger than the field of view from a single viewpoint.

To put it simply, composition is how to properly arrange the objects of expression on the picture, that is, the layout of the picture.

In the works of the past, there were indeed certain types of compositions that were often used, such as S-shaped compositions, triangular compositions

etc., even

Reference: http://sale .yuntech.edu.tw/arts/place/sketch/sketch.html#A1