How to master the perspective law of head-down sketch?

What are the perspective skills and common mistakes in sketching head portraits? This is also a concern of art students. I believe many art students want to master the perspective skills and common mistakes of sketching heads. You can't study art blindly, you must cultivate keen observation ability and application ability, and also have the professional quality and accomplishment of art students. So let's learn the perspective skills and common mistakes of sketching heads together.

Sketch is the basis and skeleton of painting; It is also the art of temperance that needs the help of reason most. Beginners must learn to sketch first, and those who sketch well can naturally draw oil paintings well. The following is for everyone to introduce: perspective skills and common mistakes in sketching avatars.

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Perspective technique

Through the movement of the neck, the head can be tilted back and forth and rotated left and right. With the change of space and the change of sight and perspective when we observe objects, various perspective phenomena occur between the head and the five senses. If the head leans forward, the top of the head is enlarged, the face and facial features are shortened, and the proportion of mandibular face is increased. The constant rotation of the head produces various changes in the perspective arc.

To grasp these perspective changes, we must first determine the midline of the head and the auxiliary lines of the five senses, and then proceed from this to grasp the law of head movement. When grasping this law, we should pay attention to the following points: First, grasp the changing law of visual angle, such as near big and far small, things above the line of sight are near high and far low, and things below the line of sight are near low and far high; The second is to understand the structural coherence of the head. The head movement causes structural perspective changes, and it is necessary to rely on structural auxiliary lines to find out the changing rules. Third, the judgment of visual position should be accurate, observe the overall perspective, and infer the changing perspective range. As long as you grasp these three points, no matter how your head moves, you can find some rules from them.

1.

Head-up viewing angle law:

Generally, both head-up and frontal head portraits maintain the normal proportion of the five senses, and there is no obvious perspective change.

Look-up perspective law:

Generally speaking, looking up, the top surface of the forehead becomes narrower, the face and facial features become shorter, the jaw protrudes, and the volume increases. This is the effect of raising your head.

Overlooking perspective law:

Looking down is just the opposite of looking up. The top of the head gets bigger and the face and facial features get shorter. This is the overlooking effect.

2.3/4 sides

Head-up perspective law:

Due to the change of perspective rotation, the aspect ratio of head-up half-profile head has obvious perspective influence, and several auxiliary lines of facial features change from near to far.

Look-up perspective law:

The influence of this perspective is obvious: in terms of horizontal lines, several horizontal auxiliary lines of the five senses have changed from near to far; In the vertical direction, the top surface is reduced, the mandible is enlarged, and the upper part is small and the lower part is large.

Overlooking perspective law:

The influence of this perspective is obvious: horizontally, several lateral auxiliary lines of the five senses have undergone subtle and great changes; In the vertical direction, contrary to looking up, the top of the head becomes bigger, and the face and facial features become shorter, reflecting the overlooking effect of giving priority to the big and giving priority to the small.

3. Front view

Head-up perspective law:

Generally, both head-up and frontal head portraits maintain the normal proportion of the five senses, and there is no obvious perspective change. Due to the influence of horizontal rotation of perspective, the aspect ratio of frontal head-up portrait changes in vertical direction, while the aspect ratio in horizontal direction remains unchanged.

Look-up perspective law:

Because only half of the face can be seen on the front, the perspective change of the five senses in the horizontal direction is not particularly obvious, while in the vertical direction, the look-up effect is more prominent.

Overlooking perspective law:

Because only half of the face can be seen on the front, the perspective change of the five senses in the horizontal direction is not particularly obvious, but in the vertical direction, contrary to looking up, the top of the head becomes larger and the face and five senses become shorter, which reflects the overlooking effect of taking the big ones with the small ones.

Common mistakes in sketch

Hyperimaginary contour

This is because the painter mistakenly thinks that the more three-dimensional an object is, the more empty its outline is; The more objects behind it, the more virtual its shape is. The solution is to understand the binocular parallax phenomenon of vision, learn the line-plane transformation relationship of modeling, and express objects objectively without subjective influence.

The contour line is too thick

This is because the painter has not established the concept of decency, and he doesn't understand that the outline of an object is formed by the turning of the surface, and that the shape is contrasted with light and shade. The solution is to strengthen observation and feeling, eliminate the interference of non-sketching habits, and transition from the thick line side to the dark part or background.

Super-large perspective surface

Beginners often draw the edges of objects very large because they don't understand the phenomenon of visual perspective contraction, and subjectively think that the original edges are not so small and are not drawn completely according to the results of objective observation. This shows that habits in life also affect painters. The correct method is to study perspective seriously, strictly grasp the proportional relationship and objectively express the object.

This picture is too dark.

The direct cause of gray is that the bright part of the object is heavily painted, which is caused by insufficient contrast observation between light and shade. When adjusting, the dividing line between light and dark should be emphasized to improve the brightness of the bright part.

The picture is too broken, peaceful and flat.

The main reason for these three types of errors is that the primary and secondary objects are unclear. The reason for fragmentation is that there are too many parts depicted by objects. The reason for flatness is that the object is not completely depicted. The reason for the board is the lack of change in the description of the object. The main reasons for these mistakes are lack of overall observation, overall performance and insufficient mastery of primary and secondary technologies. The solution is: in the familiar modeling stage of sketch steps, comprehensively sort out the overall impression of still life, find the primary and secondary parts of still life, strictly follow the requirements of the whole and primary and secondary parts in the depiction, and make adjustments in time.

Still life sketch is a very important stage in sketch learning.

The diversity and complexity of the objects of still life sketch determine that still life sketch is a stage of comprehensive learning and exerting the basic skills of sketch, raising awareness and summing up experience. Students should complete all the training contents of basic sketch techniques in the still life stage of sketch, so as to lay a good foundation for further research and exploration.

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