How to draw good composition and shadows

The first step is to conceive and compose the picture. Before painting, you should develop the habit of observing the characteristics of the object and brewing your own emotions. Consider how to behave according to the target's occupation, age, temperament, hobbies, etc., and what effect you want to achieve in the end. With confidence in mind, write boldly and freely. Don't rush into painting. When composing the picture, pay attention to whether the position of the character is appropriate and whether there is a larger space in front of the character. Although this is a cliché, it is the key to determining whether the entire painting is complete and comfortable.

The second step is to pay close attention to the outline. This is very important. Tall buildings rising from the ground are unimaginable without solid wall foundations. The outline is the foundation of the wall. To grasp it accurately, we must grasp the basic shape of the head, the position of the facial features, the position of the intersection of light and dark, and the relationship between the head and shoulders.

To draw an accurate outline, you must observe and compare the whole, and use auxiliary lines to help determine the position. When grasping the appearance, we must pay close attention to the characteristics and draw likeness. The appearance is beginning to take shape, and the image is ready to emerge. Just like the artist at the park entrance using scissors to silhouette the figure, we can still recognize him even though we cannot see the detailed internal structure. Some people didn't pay attention to this step, and the shape was still very vague, so they hurriedly painted the facial features. How can a painting drawn like this approximate the subject!

On the basis of accurately drawing the appearance, the position of the facial features also needs to be worked hard. When drawing facial features, you should pay attention to the use of the central axis. Except for the absolute front, the central axis is a lonely line according to the movement of the head. Many students do not understand this. When drawing a slightly side angle, the head will always be unable to turn, and of course it feels very awkward. Difference. The position of the facial features can be based on the basic rules of three stops and five eyes, to find out the image characteristics of people in their sexual nature, and to draw the vast differences between people. When contouring, pay attention to the length, width, and thickness of the eyebrows, eyes, nose, and ears. If this step is not accurate, do not go deep, let alone light and shade. When drawing eyebrows, you should pay attention to the bone points in the upper and lower concavities of the eye sockets and the dark and light eyebrows presented by the convex turning of the temporal bones. When drawing eyes, the four corners of the eyes should be on a parallel line, otherwise the eyes will be high and low and you will feel uncomfortable. Drawing eyes is very important. There is a difference between the upper eyelids and the lower eyelids. Generally, the upper eyelids are heavier because of their thickness and deeper eyelashes, which cast shadows on the eyeballs. This is often the deepest part of the entire painting, which is very spiritual and also It is easy to wrap the eyeballs in the eyelids. The lower eyelids should be bright when exposed to light, otherwise they will look like makeup. The carving of the mouth is also related to the person's expression. First of all, you need to determine the thickness of the upper and lower lips. You should also pay attention to the fact that the lips cannot be drawn too tightly with a line. The upward and downward movements of the mouth are very subtle. The ears should be drawn in conjunction with the eyes, nose, and mouth. Some candidates are unwilling to draw more ears, and even regard them as a burden. Either it cannot pass through and affects the space, or it jumps too much and destroys the whole thing.

The junction line between light and dark is the key to determining the depth and volume of the head. The cheekbones are the most prominent part of the junction line. They can be high or low, prominent or soft, depending on the characteristics. Although the cheekbones are less obvious in the light areas, they must be drawn symmetrically with the dark areas. By the way, symmetry is very important in character sketching. For example, two eyes, two ears, two nostrils, etc. must be considered at the same time.

The inherent color of hair is black. As long as you analyze it carefully, it is by no means completely dark, there is also a contrast between light and dark. Hair is formed on the skull, and the structure must be considered in hairstyle and light and shade. Try to make your hair fluffy and textured.

The third step is to characterize in depth. At this time, you need to take a good look to see which parts are the deepest and strongest. Start from these places. Generally, start from the eyebrows, eyes, nose, and temporal bones. You can grasp the features at once and draw the big relationships. However, we must avoid focusing on one point and staring at it over and over again, causing the part to be overdone and the relationship to be imbalanced. What to draw first and what to draw next can be considered based on the characteristics of the object. For example, if the angle is a little off, the cheekbones are more prominent, some eyebrows are thick and full of personality, and some eyes are bright and lively, then start from there.

As you go deeper, you must always maintain the overall relationship and understand that the quality of a painting mainly depends on the overall sense and completeness of the entire picture. If you just stay on the facial features, you think it is the finishing touch. Ignore other aspects and the whole picture will not be good. When we go to an art exhibition, we always stand at a distance and look at the whole painting. We are interested in certain parts, and then we get closer and take a closer look. No one goes straight to the painting and stares at the part when watching an art exhibition. What if that were the case? Not funny?

In the in-depth study, I first focus on the contrast between light and dark in the entire picture, which I compare to the main contradiction. Then there is the ratio of dark to dark, light to light, which I compare to a secondary contradiction. The main contradiction determines the secondary contradiction, grasping the big relationship and paying attention to the subtle relationship, the whole picture has its main and secondary aspects, and can be deepened in an orderly manner. Every time you go deeper, start from the most convex part and drive the next bright part. When drawing the eyes, pay attention to the relationship around the entire orbicularis oculi muscle. When drawing the mouth, consider the block surface of the orbicularis oris muscle. When drawing the nose, pay attention to the connection between the nasal bones, nose wings and cheeks. At the same time, the proportion of this part in the entire face must also be considered. In short, when in-depth, always consider the overall situation, and the priorities should be in their proper place.

The fourth step is adjustment. Generally, when candidates draw, they always like to keep drawing until the end and feel out of breath. There is no time to think about it, so set aside 15-20 minutes to adjust major relationships. In fact, this idea is very inappropriate. Adjustment is both in-depth and general, making the overall effect of the picture more complete. It requires subtraction, integrating trivial details and strengthening relationships.

Adjustment is also a comprehensive reflection of the candidates' artistic accomplishment. It is worth pondering what kind of picture effect is presented in front of the examiner and what kind of picture effect is used to stand out among the many candidates.

To draw good portraits, especially like them. Avoid formulaic and conceptual descriptions of characters that are the same and mechanical, as if the characters are carved out of a model and are always dull and lifeless. To draw a realistic character, you must first have both form and spirit, and pay attention to the portrayal of the character's inner personality and emotions. As long as you pay more attention to the expression of emotional changes in the eyebrows, eyes, and mouth during daily practice, and draw at the most natural and vivid moments, you can make the picture lively. I think that having both form and spirit is the highest requirement for portrait sketching, and it should never be pursued after improving skills.

In short, to draw good portrait sketches and gain a solid foundation and accurate modeling ability, you still need to draw more. As the saying goes, "Practice makes perfect", and skills come from hard work and study. At the same time, we should pay more attention to good paintings, improve our appreciation, and then boldly try in many aspects, constantly improve the level of painting, and realize our own ideals.