What is the most important aspect of drawing a good sketch?

Sketch-begin to learn composition systematically. Geometry, plaster, human anatomy (important), head half (by hand) are interspersed with a lot of copying from all angles (this is to let you learn to use painting tools and highlights on the screen) and sketching (sketching and sketching are inseparable). Sketching is mainly to improve your understanding of the relationship between shape and black and white (you can read more Mao Yan sketches). Gouache-monochrome sketch (geometric plaster is like still life painting), two or three-color sketch, full-color sketch, try to use as little white as possible (Liu Xiaodong and Freud can watch more). Learn to draw a little and copy a lot. Don't indulge in gouache. Gouache is a cheap product unique to China. If it is an oil painting, you'd better ask the teacher for advice, provided that the gouache sketch is solid!

Sketch-prepare a small notebook of 50 sketches every day and draw at any time. Objects are not restricted. Write silently and draw silently. Remember to relax sketching, recite several scenes before the exam (if you don't need 50 sketches every day) (there are many sketches in Chien Sun and Chen Danqing)-in short, the college entrance examination major has made the fastest progress, and it is also the most harmful and torturous, so let the intentional pen be the master.

If you are a senior one student, you should pay more attention to the cultivation of consciousness, instill correct methods at the beginning, and avoid detours in the future. First of all, you should underestimate your eyes, improve your eyes and pay more attention to painting. Technique is not a problem, you should observe with your eyes, that is, observe with your heart, not just with your eyes!

We should carefully appreciate the structural transition of objects, don't just stick to the surface, often sketch, don't draw when drawing, be sure to start work, and don't be afraid of drawing badly. When drawing, we should pay attention to this aspect, think less about that aspect, find our own goals, find a method that suits us, don't learn from this person today, learn from that person tomorrow, finish painting completely, and don't give up halfway. Don't let the previous problem appear in this class, don't keep your own work, remember to keep it, compare it every day, communicate with other students more, learn from others' experience, and more importantly, don't let other people's problems appear on yourself!

Be sure to insist on sketching! Of course, drawing geometric figures is to exercise the modeling ability of learning basic shapes. First of all, we must make students type in the right way and compare it with painting. Don't let students rush to tune. Encourage them more, cultivate students' interest, get in touch with all kinds of paintings, show them more pictures, and choose books carefully. There are many art books on the market, so don't buy them indiscriminately! You should work hard with the students. Like I said, you should use your eyes with your heart, not just your eyes!

The key to sketch!

_ Line-Surface Fusion of Sketch

The shape we face has no "line" and "point", that is, the existence of "face" we feel is also attached to the undulating structure and shape.

Right in front of our "face", the side past becomes a compressed line, and the deep past becomes a point. The elements of these sketches give us a powerful means to capture the shape of objects. However, in the process of sketching, it is very easy for us to use lines too smartly, which leads to fluency and impetuousness. In the patient and boring practice of finding suitable shapes and structures, it is difficult for us to escape the boredom of drawing lines; At the same time, it is hard to resist the temptation of profligacy.

It can be said that any line we draw in sketch should have the property of physical structure and have real significance. Otherwise, it becomes a waste line or a waste line group; And the surface composed of these lines has of course turned into meaningless dirty gray. We may also feel some gray "faces" in the sketch. Because our feelings are still under the illusion, we mistakenly think that it is a "face" and draw it. The result is still dirty gray rather than a part of the body.

How to avoid this kind of mistake requires us to always focus on the structure of the object, not passively copying the object, but actively and subjectively analyzing and judging the painting elements provided by the object, and completely controlling the painted object through the overall structure.

Whether we use "point", "line" and "surface", they are all means and have no meaning in themselves. When they are used in the shapes we describe, they become elements of human body structure and eventually become a part of the painted human body, not any point, line or surface.

China's figure painting depicts clothes pleats with lines, and sums up "eighteen strokes" methods such as silk drawing, string drawing, iron line drawing and bamboo leaf drawing. The use of western painting space makes the use of lines merge with the elements of surface and become more colorful. In the observation of morphological structure, I believe everyone's perception is different. How to describe your understanding of the body with the fusion of points, lines and planes will be a process of your creation. Before that, you can also use China's traditional training method-copy learning to experience the pens used by predecessors, and then integrate into your own experience. I believe your sketch will be more interesting.

Sketch-the structure is real.

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.

Learning methods of sketching still life

Sketching still life is the extension and development of gypsum geometric sketch, which depicts a wide range, including fruits, vegetables, flowers, bottles, stationery and so on.

Sketching still life is mainly to train our composition ability and modeling ability. For beginners, on the one hand, through the combination of still life from simple to complex, we can master the law of composition, so that the size ratio of objects in the picture is properly arranged and the viewpoint is appropriate; On the other hand, you can also decorate your still life paintings and learn the basic knowledge of composition (such as unity and change; Contrast and reconciliation; Symmetry and balance: proportion and rhythm; Static and dynamic sense, etc. ), and gradually master the ability of writing. In fact, the physical structure of still life is still a combination of different geometric shapes, but it is more irregular and complicated than the geometric shape of gypsum. In this way, in still life sketch, it is necessary to emphasize the understanding of the combination relationship and structural relationship of forms.

In still life sketching, all kinds of objects are made of different materials, and the "texture" is different in terms of hardness, weight and thickness. The performance of texture is mainly through contrast, and of course it also depends on the accurate description of the color of the object.

When sketching still life, we should continue to pay attention to the perspective law of objects in order to deepen our understanding of the perspective law.

The tools for sketching still life can be pencils, charcoal, charcoal bars, etc.

The observation method and drawing steps of sketching still life are roughly the same as sketching plaster sketch. As long as we establish the overall observation method and practice sketching, we will be able to gradually master the ability and skills of sketching still life.