What do you need to learn before taking the freehand exam? Be specific.

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Hand-drawing experience

1. Composition

When we convert the image feelings we get when observing objects into tangible and tangible pictures, we need to use composition to Arrange them appropriately on the sketch paper according to the author's intention. Whether the composition can give people a suitable and comfortable feeling visually is closely related to the arrangement of objects and the different feelings of personal choice of angles. When determining the best composition plan and starting to position the draft, you must find the most prominent parts of the upper, lower, left, and right parts of the object you want to express, and then based on what you feel and observe about these four parts of the object's basic large-form characteristics, Use a pen to gently determine the top, bottom, and left sides of the picture. These four points on the picture should be used as the boundaries to consider the next step of outline. How to adjust the proportions of the body can only be limited to these four points, and must not go beyond the boundaries. Expand at will. Some students don't pay much attention to this issue. Although at the beginning, I also found and determined the positions of the four protruding points during the composition of the picture. However, with the deepening of contouring and adjustment of body proportions, the boundaries are exceeded consciously or unconsciously. As a result, the objects become larger and larger, and the picture cannot accommodate the objects, etc. Problems arise. In the end, it’s not about reworking.

2. Contouring

That is what we often call making a large shape. The so-called contour should be said that the contour line is the turning edge of the shape. This turning point is what we see. Contour lines can be divided into outer contour lines and inner contour lines, and because the shape itself has different ups and downs, their respective turning edge lines will also produce different clear lines. For example, we have different clear lines in simple geometric shapes. Observing the outlines of balls and cubes, we will find this different change. Since this is the case for simple shapes, what about people with complex shape changes?

When we understand this principle, we can When we use lines to make the so-called outline, we will give it a rhythm that is both convincing and expressive and full of rhythmic changes, instead of turning the outline into a wire frame that lacks space and expressiveness. When making an outline, we According to the method from the whole to the part, based on the specific feelings obtained during the overall observation, long general straight lines should be used to gently draw the basic shape characteristics of the object on the drawing paper, in order to better capture the correct shape. Large shapes can sometimes be understood and grasped with the help of a generalization method similar to geometric shapes, so that you can draw the most basic physical characteristics of the object. For example, determine what shape the basic shape of the object is, whether it is round, square or triangular, or not. What kind of regular shape is it composed of, what are its general dynamics, etc. While determining the large basic shape of the object, attention should also be paid to determining the position, proportion and characteristics of the main internal basic shapes. After the basic shape, proportion, and dynamic relationship are determined, the picture must be placed at a distance for inspection. Because it is difficult for us to check whether the basic shape, proportion, and dynamics are correct in front of the picture. And when the picture is pushed away, all the details become less clear. This makes it easier for us to see the dynamic relationship of the entire body proportions of the picture at a glance, rather than a certain part of it. When checking, you can use the following Two methods.

First, it is best to place the painting next to the object being painted. Do not rush to look at your own painting first. Instead, use the first step of observation to feel the object, and then quickly shift your gaze to your picture. But you must remember to see the whole picture, not a specific detail. At this time, if you draw If the basic large-form relationship is captured correctly, the feeling of the object in your visual impression will be consistent with the shape of the picture. If the basic large-shape relationship is captured incorrectly, the visual impression you feel will be consistent with the shape of the picture. If there is a deviation, the basic shape, dynamics, and proportions you drew will be wrong. You can check this method several times. Once it is confirmed that there is some kind of problem, modifications and corrections will be made without hesitation. Then place the painting at a distance and check it in the same way until the overall feeling of the object matches the large-scale relationship of the object in the painting. Use the inspection method of auxiliary vertical lines and horizontal lines to correct the shape. You can use vertical or horizontal auxiliary lines to check during contouring. Sit up as straight as possible, and preferably look directly at the object. Use your eyes to draw a vertical or horizontal line, and use it to measure and correct the proportion and dynamics of the object and the body in the picture. The vertical line goes from here to here. The horizontal line goes from here to here, and the object is tilted like this. Through this method, the first perceptual method of correcting shapes has a more reliable and accurate basis.

Second, students also need to use the pencil in their hands to determine and correct the shape when nailing the outline. In addition to being used for vertical or horizontal inspection methods, it can also be used to determine the physical proportions, length and distance of various parts of the object. When using, keep your arm as straight as possible, use the top of the pen as the upper point, and the position measured with the tip of your thumb on the pencil shaft as the lower point to check the correction shape. We have to remember that painting is a visual art that mainly relies on feeling rather than reason. Therefore, it can be said that the so-called accuracy it requires is relative to the visual sense, not absolute in the mathematical sense. If I go too far Relying on a borrowed pencil or other tool to measure left and right is like surveying instead of drawing.

Third, there are some technical issues that should be noted when making outlines.

For example, the pencil you should use is 4B, which is slightly softer. The pen tip can be sharpened longer, and your hand should be as far away from the pencil tip as possible when holding the pen. In this way, the lines drawn by the pencil float lightly on the sketch paper. If you make any mistakes and need to correct them, you only need to use a piece of soft cloth to wipe off the lead powder and you can redraw without using a large amount of eraser too early to damage the surface of the paper. Texture leads to an impact on future depictions. All in all, the step of making an outline is a critical step in the entire sketching process. If the requirements are not strict, it will be like a building without a good and reliable structural foundation. Therefore, students are requested to strictly follow the requirements at this stage. Only in this way can the next step of the work process proceed smoothly. A good start will guarantee success.

3. In-depth characterization

There are two aspects that need to be paid attention to at this stage. The first is where to start in-depth; the second is how to in-depth.

1. For a complete object, although it is composed of several essential parts, they all have a primary and secondary guest-host relationship relative to the whole. Therefore, when we are in-depth characterization, we cannot treat everyone equally, and we cannot lead to a situation where the guest dominates the scene. Instead, we must first grasp the main part of the entire object that best embodies the characteristics of the divine form. To grasp and grasp this primary and secondary relationship is actually to solve an observation method problem. The observation method is still to use the overall vision awareness to see all the objects to be expressed at a glance, and then based on the most prominent, clear, and strong contrast obtained from the overall feeling, the vision will be caught and jump into your eyes at once, making you The area that generates a strong desire to perform begins. If you feel that it is difficult or uncertain to use this method, you can also use the comparison method. That is, by comparing the various parts of the object as a whole to determine the primary and secondary relationships for in-depth characterization.

2. After we know where to start in-depth first, the next step is to clarify how to go in-depth. The process of in-depth characterization not only requires that the general decent relationship shown in shaping the big relationship be gradually connected and transitioned by various small turning figures, so that the relatively simple form itself and the ins and outs between each other can be enriched and concreted.

At the same time, different processing techniques must be used to depict and express the object's unique expression, temperament, character, texture, volume, light and space. So as to achieve what our eyes can observe.

However, when we deeply depict the body, especially the character plaster or head, if we lack the anatomical knowledge of its internal skeleton and muscle structure, especially when we are a little away from the object, At a farther distance, if we rely too much on what we see with our eyes, the physical space in the picture will be fragmented. At the same time, it is also easy to have a naturalistic tendency to imitate cats and tigers. For example, he faithfully depicts some insignificant stains and scratches on the object or the mold stitches left when plaster is cast, thus embarking on the path of photographer-photography. It is difficult to correctly express the real physical relationship of objects. Therefore, necessary anatomical knowledge can help us understand and express through epidermal phenomena the nature of the internal muscles and bone structures that govern the shape. Sometimes, in order to more clearly and specifically understand and analyze the ups and downs of the body structure, you can get closer to the object and observe it. So as not to be deceived by some superficial accidental phenomena. So the more you understand, the more you see and the more real it is. What you draw will naturally be more convincing.

Of course, while focusing on understanding and analysis, we cannot ignore the factor of feeling. For example, in the expression of texture, in addition to the physical understanding of the object itself, it should also show the special texture.

Like skin, bones, hair, cotton, pottery, glass, metal, etc., all parts need to be processed with a keen sense to show elasticity, hardness, fluffiness, and roughness. Or the smooth and delicate textures of various inherent colors make the objects in the painting flesh and blood, achieving the fascinating appeal of truth and beauty. If you fall too much into rational analysis, it will naturally make the results of in-depth depictions feel confusing. Dead, lacking the feeling of painting aura. When in-depth shaping, you should pay attention to the symmetrical parts of the body. For example, when drawing the left eye, you should also pay attention to the relationship between the right eye and the left cheekbone. , it is easy to have the problem of local isolation and failure to connect.

4. The completion of sorting is the adjustment of major relationships. It is the last step in our sketching practice. In the previous painting process, although we also constantly emphasized the overall awareness, because each program must have its specific key tendencies and problems that need to be solved, especially in the in-depth stage, because in order to be able to shape the concrete and detailed There are naturally many factors involved in understanding and analyzing the object, so it is inevitable that problems such as focusing on one thing at the expense of another will cause partial damage or affect the overall sense. This requires us to conduct a comprehensive inspection and adjustment of the entire picture from part to whole before the sketch is completed.

First of all, in order to ensure that you have a clear mind and good and keen senses so that you can smoothly discover problems and make adjustments, it is best to temporarily leave the screen for a few minutes and go outside to look in the distance, relax your brain and allow your eyes to get some perspective. rest.

Because observing, understanding, analyzing and painting for a long time will make the sense and thinking judgment ability dull and numb due to fatigue. If you are in this state, it will naturally be difficult to find problems and make adjustments.

Secondly, be sure to place the picture far away when adjusting. Even for some experienced painters, they often check the painting from a distance in order to confirm the overall effect of the painting. Sometimes due to space constraints, a magnifying glass is used for inspection. Some students ignored this problem. Once they sat down, they seemed reluctant to get up and put the painting far away to check if there was any problem. Don’t you know that a painting must first be able to withstand viewing from a distance? Only by taking the lead can people come closer to appreciate it and appreciate its subtle wonders. If this is not the case, then when you sit in front of the painting, it seems that the big relationships and small details are all wonderfully and impeccably created. But in the end, when you step back and look at the shortcomings, it must be that at least the relationships have been painted, or the shapes have been painted. The painting ran away. Therefore, I hope that when practicing sketching, students will not only be busy with their brains, hands, legs and feet, but also be more diligent. When making specific observations and adjustments, you should use the first look, but it is the entire sensitivity of the impression enriched by analysis, and quickly look again. Try your best to recover the strong first impression you got when observing the object before painting, and check how this impression is expressed in the sketch you are about to complete? For example, shape, spirit, volume, texture or space, etc. give you Have the most important, profound, and intense feelings been expressed? Therefore, there is a saying that genius is needed at both ends and hard work is needed in the middle. In addition, it should be emphasized that if there is a problem with the picture, it should still be corrected without hesitation as before. Whether it is part or the whole, what should be summarized should be discarded resolutely, what should be strengthened without mercy, and there must be You must not be reluctant to revise because you feel that the painting has come to an end, tolerate problems and forgive yourself for mistakes, or like some students who like to put the painting in a dark place to downplay the problem, so as to find the advantages in the painting. is very harmful. For a smart student, every time he completes an assignment, he must be good at finding and summarizing his own shortcomings, and always remind himself not to make the same mistakes on the same issue when doing the next assignment.

Finally, I would like to point out again that the practice of sketching is to train the brain and eyes to have the awareness and method to control the whole and the part. Just like a music conductor conducting a symphony orchestra, he grasps and controls the overall melody in the picture. Once your brain has a clear understanding, your eyes will naturally be able to see how to draw, and your hands will be able to keep up with it and properly reflect your sense of consciousness? Therefore, it can be said: success is due to conforming to the overall laws, while failure is due to destruction. Got it.