Representation method of sketch still life painting space

Representation method of sketch still life painting space

Lead: According to the principles of geometric perspective and air perspective, "sense of space" depicts the relationship between objects such as distance, level and interpenetration, thus conveying a profound three-dimensional sense in plane painting. The space of sketch still life painting is mainly manifested in the following two aspects: the sense of volume (three-dimensional sense) of objects themselves and the sense of space between objects. The following is the expression method of the sketch still life painting space that I carefully arranged for you. Welcome to refer to!

A representation of the volume of an object itself.

The reason why the volume of an object can enter our field of vision is because of the existence of light, so the expression of the volume of an object must follow the principle of light, that is to say, three major tones and five major aspects! Objects will produce different levels of light and shade due to light irradiation, and this relationship between light and shade can be summarized into five basic colors, namely, bright part, middle level, dividing line between light and shade, reflection and projection. Therefore, in shaping the sense of mass of the object itself, the clearer these five tones are, the clearer the "decent turning point" of the object is, and the stronger the sense of mass of the object itself is.

When sketching, we should determine the direction of the light source and distinguish the big bright and dark sides of the object. Generally, the part of backlight is the position of projection. Beginners are prone to make mistakes in the projection position, and even a picture is projected in different directions, which greatly affects the embodiment of the picture space!

Reflection and projection belong to the dark side, the middle level belongs to the bright side, and there are also changes in black, white and gray in each basic tone. When depicting bright parts, the contrast between black and white is clear and definite, and there is a feeling of "truth". Generally, the position in front of the light-dark boundary of the picture is more realistic. When depicting the position after the intersection of light and shade, the transition between black and white is natural, and there should be a feeling of "emptiness". Clear black and white tones can enhance the firmness of the object itself and reflect its volume!

At the same time, the law of perspective change (near big and far small) is used, that is, the curved surfaces that make up the object disappear far away. The circular perspective is oval after deformation, and the square perspective is quadrilateral inclined to the vanishing point after deformation. Curved surfaces of other shapes can be decomposed or summarized into the above two basic shapes, and accurate perspective relationship can enhance the sense of depth of the object itself. Let the relationship between pictures be more natural and comfortable!

When shaping the sense of mass of the object itself, we should also pay attention to the spatial relationship before and after the object itself. For example, the treatment of the sense of space at the front and rear edges of the altar mouth and the sense of distance at the front and rear parts of the inlay. At this time, it is necessary to make the front solid and the back virtual, with strong contrast before and weak contrast after. More specifically, we can refer to the expression of the distance between objects.

In a group of still lives, the clarity and shape of objects in different positions will change differently because of different light.

Law is close to reality and far from nothingness. The nearby objects are three-dimensional, with strong black-and-white contrast, clear and decent turning, concrete shape and outline, and high definition. Distant objects are virtual because of less light, weak contrast between black and white, blurred face transition, inconspicuous shape and outline features and weak clarity. Generally speaking, the stereoscopic impression, texture and sense of quantity of the front object are obvious, while the stereoscopic impression, texture and sense of quantity of the back object are weakened. Moreover, the colors of the objects behind are close to or even merged with the background.

At the same time, we should pay attention to the spatial comparison of two objects in the front and back positions. The greater the distance between them, the stronger the contrast between reality and reality, and the closer the distance, the weaker the contrast between reality and reality.

Still life also has a common positional relationship, that is, the object in front blocks a part of the object behind it. From the perspective of distance, the greater the distance between two objects, the stronger the contrast between light and shade of their overlapping parts, and the clearer the difference, and vice versa. From the perspective of light and shade, where two objects overlap, the bright part is real and the dark part is virtual.

Therefore, in sketching still life, the expression method of spatial sense is mainly the flexible use of various contrast relations, such as the contrast of size, light and shade, the contrast of reality and so on. If we fully understand the significance of these contrasting relationships, we can easily show the spatial relationship needed by the picture in sketching still life, thus making the picture feel quite spatial!

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