Five sense organs painting of figures' heads.

First, draw a skull and muscle diagram, deeply understand the bone distribution and muscle trend of the head of the person, and understand the structure of the human head. Whether painting a plaster statue or a human head, you will get twice the result with half the effort.

The first step, conception and composition. Before painting, we should form the habit of observing the characteristics of the object and brewing our own emotions. According to the object's occupation, age, temperament, hobbies, etc. , consider how to show, want to achieve what kind of effect. With a plan in mind, you will be bold and unrestrained when writing. Don't rush to draw, pay attention to whether the position of the characters is appropriate and whether the space in front of the characters is large when composing. Although this is a cliche, it is the key to determine whether the whole painting is complete and comfortable.

The second step is to pay close attention to the outline. This is very important. High-rise buildings rise from the ground without a solid wall foundation. 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 five senses, the position of the boundary between light and shade, and the relationship between the head and the shoulder.

To draw an accurate outline, we must observe the whole, and use more auxiliary lines to help determine the position. When grasping the shape, we should pay close attention to the characteristics and draw it like a painting. The shape has begun to take shape, and the image is ready to come out. Just like the artist at the gate of the park uses scissors to silhouette, it is easy to show the character image. Although we can't see the thin internal structure clearly, we can still recognize him. Some people didn't notice this step, and the shape was still very vague, so they hurried to draw the five senses. How can the picture drawn in this way be close to the object!

On the basis of drawing the correct shape, the position of the five senses also needs to work hard. Pay attention to the use of the central axis when drawing facial features. Except for the absolute front, the central axis is an isolated line according to the dynamics of the head. Many students don't understand this. When you draw a slightly sideways angle, you can't turn your head. Of course, it feels bad. According to the basic law of three stops and five purposes, the position of five senses can find out the image characteristics of people in nature and draw thousands of differences between people. Pay attention to the length, width and thickness of eyebrows, eyes, nose and ears when sketching. If this step is not allowed, don't delve into it, let alone explain the darkness. When drawing eyebrows, pay attention to the bone points of the upper and lower recesses of the eye socket and the thick eyebrows at the convex turning point of the temporal bone. When drawing eyes, the four corners of the eyes should be on a parallel line, otherwise the eyes will fluctuate and feel uncomfortable. It is important to draw eyes. There is a difference between the upper eyelid and the lower eyelid. Generally, the upper eyelid is heavier because it is thick and the eyelashes are deep. The shadow cast on the eyeball is often the deepest part of the whole painting, which is very magical. It is also easy to wrap the eyeball in the eyelids. The lower eyelid should be bright, otherwise it will be like playing with makeup. The description of the mouth is also related to the expression of people. First of all, we must determine the thickness of the upper and lower lips, but also pay attention to the fact that the lips can not be hooked too hard with lines, and the mouth is drooping and drooping, which is very subtle. Draw ears with eyes, nose and mouth. Some candidates are unwilling to draw more ears, and even regard them as a burden. Either you can't cross the space, or you can't dance well and destroy the whole.

The dividing line between light and dark is the key to determine the depth and volume of the head. The most prominent part of the cheekbone at the boundary line is high or low, prominent or soft, depending on the visual characteristics. Although the cheekbones in the bright areas are not so obvious, they must be drawn symmetrically with the dark areas. By the way, it is very important to sketch people, and the symmetry of eyes, ears and nostrils.

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

The third step, in-depth characterization. At this time, we should take a good look to see which parts are deepest and strongest, so we should start from these places, usually from eyebrows, eyes, nose and temporal bone, and we can grasp the characteristics and draw a big relationship at once, but we must avoid staring at the painting repeatedly, so that the relationship will be unbalanced if we draw too many parts. What to draw first and then what to draw can be considered according to the characteristics of the object. For example, the angle is a little off, the cheekbones are more prominent, some knife-shaped eyebrows are thicker and have a lot of personality, and some eyes are more intense, so they will start.

In depth, we should always maintain the overall relationship and understand that the quality of a painting mainly depends on the overall sense and integrity of the whole picture. If you just stay on the five senses and think it is the finishing touch, and ignore other aspects, then the whole picture will be bad. When we watch an art exhibition, we always look at the whole painting from a distance, are interested in some parts, and then take a closer look. No one goes directly to the painting and stares at some parts when watching the exhibition. Wouldn't that be ridiculous?

In depth, I first focus on the contrast between light and shade of the whole picture, and I compare it as the main contradiction. Then there is the ratio of darkness to darkness, and the ratio of brightness to brightness. I regard this as a secondary contradiction. The main contradiction determines the secondary contradiction, grasping the big relationship and paying attention to the subtle relationship, so the whole picture has its own order and can be carried out in an orderly way. Every time you go deeper, start from the most convex part and drive the second bright part. Eye painting should pay attention to the relationship around orbicularis oculi muscle, mouth painting should consider the block surface of orbicularis oculi muscle, and nose painting should pay attention to the connection of nasal bone, alar and cheek. At the same time, consider the proportion of this part in the whole face. In a word, in the process of deepening, we should always consider the whole and give priority to each other.

The fourth step is to adjust. Generally, candidates always like to draw until the end, feeling out of breath. There is no time to think. Leave 15-20 minutes to adjust the big relationship. In fact, this idea is very bad. The adjustment is both in-depth and general, making the overall effect of the picture more complete. We should do subtraction, integrate trivial details and strengthen big relationships. Adjustment is also a comprehensive embodiment of candidates' artistic accomplishment. What kind of picture effect is presented to the examiner and what kind of picture effect stands out among many candidates is worth pondering.

Draw a good portrait, especially a portrait. Avoid formulaic and conceptual mechanical descriptions of characters, just as characters are carved in a model, which is always so dull and lifeless. To draw a portrait of a character, we must first have both form and spirit, and pay attention to the portrayal of the inner character and emotion of the character. As long as we pay more attention to the expression of emotional changes in eyebrows, eyes and mouth in our usual practice and draw at the most natural and vivid moment, we can make the picture come alive. I think that having both form and spirit is the highest requirement of portrait painting, and it is by no means the pursuit after improving skills.

In short, to draw a good portrait sketch and gain a solid foundation and accurate modeling ability, you still need to draw more pictures to get it. As the saying goes, "Practice makes perfect", and skill comes from hard work. At the same time, we should pay more attention to template painting, improve our appreciation ability, and then make bold attempts in many aspects, constantly improve our painting level and realize our ideals.