How to draw well?

See more, draw more and think more. . . What do you want to draw? Sketch is also the foundation. . The traditional academic sketch teaching in China often sketches human hands from geometric plaster shapes, because the basic elements of a complex shape, no matter how complex the object, can be decomposed into simple geometric shapes. But if students can establish a good sense of structure and body through other starting points, this teaching step is unnecessary. You know, not all standard sketch systems start from here.

Sketch is a direct comparison with physical objects, which has clear standardization and accuracy. Students should remember that the standardization and accuracy mentioned here are not just in your own eyes. Each of us has different standards and accuracy. All students will draw their own good pictures accurately and regularly. I haven't found out who painted badly on purpose. However, are good pictures in the eyes of students the same as those in the eyes of teachers? Is it the same as a good painting with high scores in the examination room? Whether it is the same as a good painting that is qualified to be related to art is more or less problematic for everyone.

To practice sketching, you must first change your vision. For example, when drawing a group of still life, some students can often draw one or several objects well, but they turn a blind eye to many factors, such as the performance of space, the light and dark relationship between different objects, etc., and they are weak in performance and refuse to change after repeated teaching. In the final analysis, it is a matter of vision. Novices have their own habitual feelings and ideas, but these feelings and ideas are often a bit one-sided. In most cases, students who have just practiced sketching are concerned about the method and modeling of using pens, but not about other aspects. At this time, it is necessary to look at the good pictures in the album and establish a feeling of sketching. Light and shade is the basic means of sketch (another basic means is line).

Contrast between light and shade, contrast between light and shade along contour lines and structural lines, contrast between light and shade on backlight surfaces of different objects, contrast between light-receiving surfaces of different objects, and contrast between light-receiving surfaces and backlight surfaces of objects. More light and shade, there must be something.

In sketch training, it often happens that students' interest and attention are often focused on some attractive details or light and dark changes of objects. Although it took a lot of effort, it was half the effort-I couldn't draw anywhere well. The existence of these problems, of course, is due to students' unskilled skills, but the fundamental reason is the indifference to the concept of structural modeling and the lack of in-depth observation and profound understanding of the structural essence of objects. Students should be clear that in order to make sketches standardized and accurate, they must learn to correctly observe and understand the modeling characteristics of objects. The eyes can easily grasp the basic features of the shape of an object, which can be done by anyone with sound vision. However, it is obviously wrong to take the shape you see as the whole feature of the object in sketch. Ordinary people's untrained eyes and people with certain sketching skills will have obviously different understandings of the characteristics of the same object. Ordinary people's eyes may pay attention to the shape, while people with certain sketching skills pay more attention to observing and analyzing the structural characteristics of object shapes.

There are many ways to express the structure, which can be done by lines and light and shade, but the important structure should be emphasized.

Any sketch book has drawing steps, and the content is similar. This kind of knowledge is quite cheap. It is a good choice to buy a book and read it carefully.

third dimension

-three major aspects and five major tones

The stereoscopic effect of objects is also a difficult problem for beginners. Objects feel a sense of body when illuminated by light. Then, when painting, to find out the dividing line between light and dark, first establish two surfaces (blocks) of light and dark. Draw a projection, the three-dimensional sense of the object is already very strong. Next, find out the "three major faces" and "five major tones", and the three-dimensional sense of the object will be shaped. So, what are the "three major aspects" and "five major tunes"? It's all about the relationship between light and shade of objects. The so-called "three big faces" are black, white and gray. "Black" refers to the backlight part of the object; "White" refers to the light-receiving part of an object; "Gray" refers to the sidelight part of an object. "Five major tones" refer to highlights (the brightest spots), bright parts (the light-receiving parts other than highlights), the dividing line between light and shade, dark parts (including reflections) and projections. Another theory is to remove "projection" and add "reflection", which are the "five major tones"

Understanding the three-dimensional sense of the objects of "three major faces" and "five major tones" makes it easy to express them. In structural painting, the three-dimensional sense of an object can be expressed by imaginary or real lines.

Sense of texture and quantity

Texture is the texture that an object feels. A sense of quantity is a sense of the quantity and weight of an object. Texture and sense of quantity are generally mixed together. When the texture is expressed, the sense of quantity is easy to come out.

Generally speaking, delicate, soft and smooth objects are represented by thin lines, such as porcelain and silk. Objects with rough surfaces should be represented by thick lines, such as pottery and coarse cloth. Pencils with a larger or smaller B number can also express the texture according to the depth of the inherent color of the object. For example, light-colored porcelain can be represented by B-3B, and dark-colored pottery can be laid 4B and 5B first, and then combined with 2B and 3B to describe the details.

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

In reality, many painters can only take the road of form because of their lack of understanding of the structure of characters or objects, and it is difficult to produce in-depth masterpieces in their creation. Although we already have a convenient camera (now using a digital camera) and scanner, we can process graphics in the computer, which saves a lot of trouble in modeling, but shape is shape and structure is structure, not a concept. For the process of painting, shape is the representation attached to the structure, while the structure is the support of the object; The outline of external form can't really express the inner beauty of an object.

The shape of the object we observe is a representation, 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 a stable triangle to determine the general position and composition of the body, and then using a virtual small triangle, square, etc. to decompose the local position of the painted object. In the end, this method can only paint the object as a gourd.

Just as we have gone through the era of hunger, we have also gone through the era of lack of pictures and are entering the era of reading pictures. All kinds of graphics, images and galleries emerge one after another. If you reproduce objects by taking pictures, you might as well take pictures. Then we are not as objective as the camera. For a painter, the most unacceptable thing is to be praised as: You see how good this painting is, like a photo. In other words, those works are not strong enough, not emphasized enough, not profound enough, and lack the artist's understanding of the structure of objects and creativity in expressing the connotation of objects. How can this be regarded as a painting art work?

The truth of art is not a pure objective truth, but an artistic truth in which the painter expresses his inner feelings through his own senses and hands-removing the rough and selecting the fine, removing the false and retaining the true, and describing and portraying from the outside to the inside.

For people who are used to using light and dark tones, they always feel that only in this way can a painting be a three-dimensional sketch. In fact, after later practice, I still feel that it is not too strong, and there are too many things to draw and too few places to engrave.

It should be said that it is still useful to describe the volume of an object by drawing light and shade. But how to get out of the tone of light and shade is not an easy task. The ideas and habits inherent in the brain, coupled with the gradual improvement of understanding, make the paintings that were originally intended to be discarded repeat from time to time.

Light and dark tones are like the keyboard of a piano. The more you have, the richer you will be. Can the pencils we use still produce 7B and 8B? Even 9B and 10B can't show the black in the real model space, and the contrast between black and white is only relative. In the dark tone processing of stage art scenes, pure black+Pollan is also white under the irradiation of light, so we use black velvet instead, but how can such a black hole appear on our drawing paper? In fact, black and white is just a feeling. Strong feelings require us to change the previous method of sketching, abandon the old concept of death in our minds, use brand-new thinking, give full play to our feelings under the control of structural will, concentrate on using pens, and draw the feelings of the object mentally similar.

Constantly changing our own inherent ideas and constantly trying new painting methods, we must never do meticulous homework in order to complete a work, and completing homework cannot be the burden of our purpose. Otherwise, you will lose more chances to try, repeat what you know and imprison your imagination.

In the process of sketching, the most common problem for beginners is the accuracy and inaccuracy of depicting objects. This brings us the fuzziness of sketch. Fuzzy concept refers to concepts that are not clearly defined, such as "bright and dark", "long and short", "big and small" and "virtual and real". The concepts commonly used in these painting languages are all obtained through rough comparison, and there is no absolutely clear boundary between them, so it is impossible to distinguish the differences between these concepts with accurate data. Because of this, the accuracy of sketch is improved with the continuous improvement of the author's understanding ability and skills, which is also the particularity of Su Lao's understanding of accuracy.

So how can we be less vague and more accurate, so as to improve our sketch preparation?

The first is to raise awareness, and then the method should be correct. The improvement of understanding ability should be the improvement of appreciation ability. Always look at the accepted sketches. This good work is also a relatively accurate work. More analysis, more research, a clear understanding of its advantages, more works will naturally enhance their horizons, and their own painting will slowly move closer to good standards.

Comparison is the only correct and effective method in sketch. Only by constantly improving the contrast, finding problems, correcting mistakes and constantly improving, the more detailed and in-depth the work, the more perfect and accurate the picture will be. It is impossible to be absolutely accurate, as long as you reach an accurate level of knowledge.

In the traditional sketch theory, "point" and "line" have very complete application rules, but for beginners, not all theories and rules can be skillfully understood and applied. For example, when measuring and determining the proportion of objects, we can judge by intuition or by measuring the distance between line segments with a pencil. Among them, the method of measuring distance with pencil is worth analyzing and discussing. This is a way to compare various line segment lengths of an object (usually with two endpoints). Due to the fuzziness of manual measurement, it is usually only possible to judge the length of the line room, and it is impossible to compare the exact value of the line. In fact, it is difficult to express the proportion of objects on the screen in this way, because in the process of thinking in images, people's understanding of "accurate value" is very limited, and they can only identify and express some regular fuzzy proportions. There are many such examples. Let's discuss some application methods of "point", "line" and "surface" in sketch.

Middle "point"

As we all know, a line is composed of two endpoints, and when drawing a red line by visual means, it is easiest to find out the position of the middle point, which is determined by the characteristics of people's thinking in images. In the process of sketching, there are many relationships that need careful identification and judgment. We might as well use the method of "finding the middle point first" to determine the most basic proportional relationship. For example, when drawing an avatar, we can first determine the position of the eyes after drawing a rough outline, because the position of the eyes is often in the middle of the head (that is, the middle of the up-down relationship); Then it is easier to determine other positions and proportional relationships, which is completely in line with the characteristics of people's thinking in images.

In fact, we can cite many such examples. For example, when depicting the whole plaster bust, we can first determine the position of the upper and lower endpoints, that is, the position of the top of the head and the base. Then, in general, the position of the chin must be the easiest to find and describe, because it is often in the middle. In ancient China, there were a lot of theoretical knowledge about the fixed point and shape of painting, among which "three courts and five eyes" was a classic theory formed by analyzing and summarizing the horizontal and vertical directions in portrait description.

Two basic "lines"

The two basic "lines" refer to the operation of horizontal and vertical lines. Specifically, we can divide all kinds of lines to be processed in sketch into "near vertical" and "near horizontal", that is, we can measure and compare the properties of all kinds of lines close to it with "horizontal" or "vertical" as the scale, so as to grasp the overall relationship of the picture.

When sketching figures, the horizontal and vertical contrast method is generally used to determine the position under the structure and left and right. For example, after the perspective change of the brow bone points, if you can't see clearly with your eyes, you can see it by pointing a horizontal pencil at the object. For another example, it is difficult to draw the ears and the back of the head when looking down at the head, but the position of the upper helix moving up between the eyebrow arch and hairline can be determined only by horizontal measurement, and the position of the earlobe moving up to the cheekbone is not easy to find accurately, but as long as it is measured vertically, it is clear at a glance whether it is on the left side of the nose rather than the right side, on the left side or the right side of the mouth, or on a vertical line. By analogy, every tiny structure of the head can be found by comparing the horizontal and vertical lines. More accurate points can also be found by using the coordinate points where the horizontal and vertical lines intersect.

Various geometric "block surfaces"

"Three sides" refers to various combinations of element geometric comparison methods. The unit geometric comparison method means that the bright surface of the observed object presents similar plane geometry. If the front light receiving surface is rectangular or trapezoidal, what is the geometric area, and then compare the front light receiving surface on the screen. If you draw a rectangle into a square, or a trapezoid into a rectangle, that is to say, the geometry on the screen and the geometry of the object cannot be similar, then it is proved that drawing is wrong. Another example is a face with an acute triangle between the eyebrow arch and the eyes, and then check whether the bright face in the picture is also a triangle and similar to the triangle in the ground image. The dark side is also compared by methods. You can compare the dark side with the dark side.

To sum up, in order to improve the accuracy of sketch, we must observe the case as a whole and combine the methods of "one point", "two lines" and "three sides" and use them flexibly. This will improve the modeling control ability quickly and effectively. How to draw a whole sketch?

Overall performance is the key to drawing a good sketch. Sketch and painting should be observed and expressed as a whole.

There are three general observation methods:

(1) the method of "watching at the same time". Shorten the observation time of a single target and speed up the observation frequency of multiple targets to observe the overall relationship.

(2) "comparative viewing" method. Always look at two similar goals at a time. Used to "measure" and determine the size, light and shade, shape and other object shapes.

(3) "squint" method. Narrow your eyes, destroy the focus of sight, make the whole object "blurred", and obtain the overall observation effect by compulsory means.

There are six requirements for overall performance:

(1) First big, then small. Here, big and small refer to the relationship between the basic shape and the local shape of an object. For example, the head as a cube is a basic big shape, and the five senses are local small shapes in the basic big shape. Compared with the nose, the five senses are basically larger, while the nose is a local small shape among the five senses, and the alar is a smaller shape in the nose. Violating this point will result in "inaccurate form".

(2) Grass before essence. Before the shape of the object is determined, a part cannot be described in too much detail alone. Violation of this point will lead to the "fragmentation" of the picture and the overall imbalance.

(3) Straight before bending. Straight lines are simpler than arcs, squares are simpler than circles, and planes are simpler than spheres. Therefore, it is necessary to "straight before bending" in order to grasp the accuracy of modeling. Violation of this point will lead to "inaccurate proportion".

(4) Dark before bright. Every time, every time, every stage, every body, every face and the beginning of every part should be drawn from the darkest place, then the dark gray part and finally the bright part. Violating this point will cause "light and shade imbalance".

(5) first solid and then virtual. Draw the strengths of feelings first, and then draw the weaknesses of feelings. Violation of this will result in a "flat screen".

(6) be near first and then far. Draw the front object first, and then set it off with the back object to make the main object stand out and attract attention. Violation of this will lead to the result of "usurping the role of the master". What are the methods and requirements of sketch perspective?

Perspective is the main means to create a sense of space in painting. Perspective knowledge is very necessary for the primary learning of sketch, and the accuracy of modeling is largely the accuracy of perspective.

Viewpoint: the position of the painter's eyes.

Line of sight: The straight line projected by the eyes is the connection line between the viewpoint and the objects in the vision.

Center point: it is the center of the field of vision, that is, the point where the painter's eyes are on the eye level.

Apparent horizon: the horizontal line extending to the center changes with the height of the eyes.

Vanishing point: The object changes perspective from near to far and disappears at one point.

The main perspective painting methods are: one-point perspective, two-point perspective and three-point perspective.

(1) A little perspective. Also known as Parallel perspective. When a cube is facing us and the upper and lower boundaries are parallel to the horizon, there is only one vanishing point, which is exactly at the same position in the center.

(2) Two-point perspective. Also known as angle perspective. When a cube is tilted in front of us, its upper and lower edge boundaries have perspective changes, and its extension line disappears at two points on the eye level.

(3) Three-point perspective. Also called oblique perspective. In the phenomenon of two-point perspective, when the boundaries of the upper and lower directions are not perpendicular to our visual center line, the extension lines of each side of the cube disappear at three points respectively.

In sketch learning, we often encounter round objects. The perspective change of a circular object is the same as that of a cube, but it is different. For example, the radian of a cylinder will change with the distance from the viewpoint and the position up and down, left and right. The farther away, the smaller the radian and length, and the farther away from the visual center, the greater the radian. What kinds of lights are commonly used in sketching?

Sketch training is carried out indoors, so how to distribute light is a problem involving different expressions of objects. There are two kinds of light sources for sketch: one is scattered natural light coming in from the window, and the other is light. Lights can be divided into single lights and multiple lights. Comparatively speaking, light is easier to draw than natural light, because the light of light is simple and fixed, and the relationship between light and shade after the object is illuminated is simple, the contrast is obvious, and the relationship between before and after is also prominent. It is a lighting source that beginners often use. Compared with lighting, natural light irradiation can make the light and shade of objects change richly, with various levels, contrast and coordination, which is a necessary means to grasp and summarize sketch training as a whole. Sketch shows natural light, which is more difficult than lighting. So we should train lighting first, and then learn natural light.

In addition to different light sources will have different effects on objects, different angles of light received by objects are also a factor that causes different light and shade changes of objects. The front of an object receives light, which we call "smoothing"; When the back of an object receives light, we call it "backlight"; When an object receives light from the side, we call it "side light". In sketch training, it is easier to express in the light, but more difficult to express in the back light. The most commonly used lights are side lights with moderate difficulty and different directions. Sketch beginners should pay attention to the study of all kinds of light, and can't rely solely on the training of single light. How far should the eyes be from the object?

Some beginners like to be close to objects when painting, which shows that they are not interested in the whole object, but in a part of it. This is very wrong. Sketch learning should take all measures to avoid local influence on the whole, so you should keep a certain distance from the object when drawing. This distance is generally three times the total length of the object. Only when the overall relationship of the picture image is determined and the local characterization is carried out according to the requirements of the steps, can it be allowed to observe closely near the object. Finally, it is necessary to adjust the ending phase away from the object. What are the key requirements for drawing contours and structures?

Contour is the focus of object representation. Pay attention to the change of outline, and don't draw it too rigidly. Beginners should pay attention to the following changes in the outline of objects:

(1) The visual angle of attention form is shortened.

(2) Pay attention to the changes of lines.

(3) Pay attention to the curvature, angle and consistency of modeling.

(4) Pay attention to left-right symmetry or contrast.

Object structure is the focus of sketch learning. The objective structure of an object determines its shape and is the reason for its characteristics. The structure in sketch refers to the middle part of the form, which connects the details of the form with the outline of the form. Each structure is a relatively complete convex geometry with independent formal characteristics such as shape, light and shade, and volume. Therefore, each structure is a relatively independent "Gestalt". The main performance requirements of this device are:

(1) Focus on observing and expressing the overall morphological characteristics of the structure.

(2) Pay attention to observing and expressing the change of light and shade and the change of reality at the boundary of structures, that is, the contrast and harmonious change between structures.

(3) When drawing a structure, we must pay attention to the spatial perspective of the shape.

(4) The structure with dark parts is the focus of graphic description. How to make the picture have a sense of space and volume

A sense of space means that the picture has a sense of depth and distance.

(1) It is necessary to make the shape of the object in the picture have perspective deformation, so as to conform to people's visual habit of being near and far and small.

(2) The degree of depiction of objects before and after the picture should be different, so as to conform to the visual experience of people who are close to reality and far from emptiness.

(3) First of all, we should determine and strengthen the contrast between the objects before and after the picture, that is, bright contrast or dark contrast, in order to meet the requirements of "simultaneous contrast" of human vision.

(4) Every edge "line" in the contour, structure and local area should be real and virtual to meet the binocular parallax requirements of human vision.

The sense of volume means that the objects in the picture have a sense of "round carving".

(1) Emphasis should be placed on the perspective contraction of the object structure, so as to conform to the visual experience of people who are big before and small after.

(2) It is necessary to emphasize the contrast between light and shade on the surface of objects, so as to conform to people's visual experience of three-dimensional.

(3) It is necessary to emphasize the rhythmic change of the contour intensity of the object in order to conform to people's visual experience of the object.

(4) It is necessary to emphasize the contrast between the background and the object, so as to conform to people's visual experience of the object environment. Structural Line-Plane Combination of Sketch and "Tone Expression"

What is the "tonal expression" of sketch?

"Tone expression" is a common modeling method in sketch, which emphasizes objectivity, mainly expresses the object with the help of contrast between light and shade and tone change, and has a strong sense of three-dimensional, space and depth. The view of hue method is that all forms are composed of "planes". It denies the existence of "line". It requires to reproduce the perspective of the object and the light and shadow effect under specific light.

The requirements of color tone painting are:

(1) Follow the step-by-step procedure. That is, the whole process is carried out and the whole is over. For example, draw a sketch from the dark. No matter how many still lives there are in the picture, you should draw all the dividing lines of light and shade at the same time, then draw the dark parts at the same time, then draw the gray parts at the same time, and finally draw the bright parts. After a process is completed, draw a second time from the dividing line between light and dark, and deepen it repeatedly until the final complete effect is formed.

(2) The in-depth analysis of the relationship. The main object of hue painting "analysis" is the light and shade factors of an object, and the purpose of analysis is to find out the correct relationship between light and shade of the object. The method is: firstly, analyze the light source of the object, judge the position of the dividing line between light and dark, divide the object into two along the dividing line, analyze and find out the shape and changing characteristics of the dividing line between light and dark and the contrast relationship between the strength and weakness of the light and dark system. Secondly, the relationship between the "plane" of an object and the direction of light is analyzed, and the planes that form different angles with light are distinguished by light and shade. Thirdly, analyze the "inherent color" of objects and find out which factors in the relationship between light and shade are light and shadow and which are inherent colors.

(3) fully and truly express the object. The "truth" expressed by tone painting is visual truth. Therefore, tone painting pays more attention to people's "visual feeling" than the other two painting methods, and fading pays more attention to local description than other painting methods. Therefore, beginners should pay attention to the whole, always put the part into the whole to observe and deal with, so as to achieve the whole first, and then the part is true.

What is the "structural representation" of sketch?

Structural representation is a sketch method aimed at studying the organization and structure of objects. The structural method, contrary to the tonality method, does not take "plane" as the center, but takes "line" as the main means of expression, emphasizing the outline of objects and the transition of internal structure, and rigorously exploring the relationship and perspective changes of structures. It does not emphasize the expression of light and shade, so that the object of expression has a sense of "transparency". It does not take the objective "truth" as the training purpose, but pursues the understanding and generalization of the body.

Structural expression is an auxiliary means of basic sketch training, which can help beginners better understand the structure of objects, master the law of perspective change and explore the expressive force of lines. Beginners can learn to use this method in different stages of sketch training to improve their learning progress.

What is the "line-surface combination method" of sketch?

The combination of line and surface combines the advantages of "tone method" and "structure method", which not only emphasizes the rich light and shade changes of objects, but also pays attention to the rigorous structural relationship of objects. "Combination method" highlights the expressive force of "line", describes the structure and characteristics of objects with "line", and expresses the three-dimensional and space of objects with "surface", which is very suitable for rapid painting and character expression. "Combination method" has many advantages and characteristics:

(1) has strong flexibility. It can pay attention to both the line and the surface; Not only can you draw features quickly, but you can also carve details carefully; It can not only describe the "truth" of the object, but also express personal feelings; You can draw all or part of it.

(2) Strong expressive force. The line-based "combination method" can quickly grasp the physical characteristics of objects and make them good at expressing the dynamics and expressions of characters. The rich changes of "line" make it possible for painters to explore and convey subjective emotional factors. "Combination method" has strong comprehensiveness and generalization ability, which can not only highlight the theme factors of the picture, but also flexibly adjust the contrast of forms, strengthen the sense of rhythm of forms and make the effect of the picture more complete.

Although the "combination method" has many advantages, it is also difficult to master. It requires painters to have strong modeling ability and strong overall control ability. It also requires painters to have a high sense of expression. Therefore, it is a more mature form of sketch expression.