Introduction to Two-dimensional Illustration Course —— How to draw animation well

How to draw and color the piano in animation? What I bring to you today is a course of secondary illustration and painting. Let's begin to explain the detailed steps of secondary illustration painting! One: the light-receiving surface of color highlights is not only bright, but also has highlights. Choose light lemon yellow and draw an arc along the head structure. This shape is a bit stiff. Break it with an eraser and rub it into an irregular shape. Two: use the blur tool and then use the blur tool to soften the edge, so it won't look so abrupt. Third, refine the current black line draft, so that you can choose the line draft layer. Click Lock Transparent Pixel 4: Adjust the color brightness, draw with deep purple, and change the line color. There will be some little hairs floating in your hair. Just use the pen suction tool to absorb the color of the bright part and draw a thin line. The hair drawn in this way is very refreshing and beautiful. Draw according to the steps. I believe you can master it skillfully! Have you learned how to color two-dimensional illustrations? Step 1: Use the paint bucket tool to lay a line sketch for us first, change the sampling mode of the paint bucket to "the area within the color difference range" and select "divided image" as the sampling source, so that the color can be accurately filled in the area you want ~ Step 2: Draw light and shadow, which is also a headache for learning to draw. This flat painting is a good medicine to relieve your pain, we just need to pay attention. For example, draw the inside of the hair and the neck area, and slightly modify the small places. This time, I will be lazy and not draw dark clothes. Step 3: Draw the dark part. The color of the dark part is also particular. Generally, we use a darker color than the inherent color, but we can change the hue slightly to make the color look better. How to draw a good animation? How to draw a good animation? Draw some soft lines first, and then slowly transition to hard pen. Sketch is the foundation. It's actually quite simple. The key is coloring. You must go to a special store to buy it. There are many tools. Take your time, it won't take a year! If you just want to draw cartoons, then you have to buy a special cartoon drawing paper. I don't know where you are, but I know there is one in a bookstore in Beijing. Of course, if you just practice your hands first, you can use cartoons and pens for paper over 80G, which is very basic. Then there are duck-billed pens, drawing pens, needle pens, writing brushes, G-shaped pens, and a set of Japanese-made pens for comics, which you can buy in those comic shops. I don't necessarily use all the pens. I'm using a pencil, a stylus and a special pen for comics. Ink, ruler, cloud ruler, colored pencil. Submission of colored lead is not allowed. If you want to use watercolor, gouache and stilbene, you have to use a computer to process it. Then you need special software. Then there is screening paper. There are many kinds, which can also be found in comic books. Very useful ~ ~ without it, you can only use light ink ~ ~ and then transparent paper. It is best to have a writing desk. If not, I'll teach you a good way: light a lamp in the drawer. Take your time ~ it's easy to use. I've been using it all the time ~ ~ It's the first time for you to leak it, and it's not used much, and it costs too much, and the pen is too expensive. I suggest you buy it after you have a little income ~ how can Xiaobai learn to draw on the board without any foundation? Learn from what step by step? a _ооооооооооооооооооооооооооооооооо

Many Xiaobai and Meng Xin think that my foundation is not good anyway, so they first pull some information from the Internet to teach themselves for a period of time and accumulate some experience first. There is nothing wrong with accumulating experience, but most of the information on the Internet is scattered. It makes people look specious and unintelligible. It is not necessarily suitable for every small white student to learn, and it is easy to take a detour. This repetition will not only make them lose confidence eventually, but also confuse their learning direction and goals.

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The learning of board painting is a systematic learning system, which needs a gradual process. When is it suitable to learn what content and when is it suitable to practice those skills? In the process of self-study, it is difficult for most people to judge what they should learn at the moment, let alone make corresponding study plans and timetables. Without a standardized learning plan, it is difficult to get efficient learning results, especially for students with zero foundation in the introductory stage. I saw a great tutorial today and wanted to follow it. Tomorrow, I will see that a post is correct and follow it. I saw a big coffee work the day after tomorrow and wanted to try it. In the end, it's like a monkey throwing corn to pick up watermelon and getting nothing.

Three _ о _ mirror pox It's a pity that Yan Yun unloaded the box.

Because Xiao Bai and Meng Xin have insufficient understanding and cognition of the painting itself, self-study is carried out under such circumstances. Extreme situations are easy to occur. For example, some students may compare their initial works with others' excellent works and find that they are far behind others, thus dampening their enthusiasm and confidence in learning. It is also possible that some students feel good about themselves, draw a few works that they think are not bad, feel that they are very powerful, and even stop learning. In the end, they just stand still, just like frogs in a well, but they don't know there is someone outside.

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To put it bluntly, self-study means that everything depends on your own willpower and perseverance, which requires extremely tough willpower to maintain. For example, someone promised to learn painting for a few days, but suddenly a friend made an appointment for dinner, a friend made an appointment for a movie and a friend made an appointment for the king. Most people will choose to join the friends queue instead of insisting on learning well. Of course, what I just said is external objective influence. In fact, people are always inert animals. Even without too many external factors, they will choose more comfortable behavior. I'm tired of drawing today. I worked overtime at work today, and I'm not in the mood today, so I often fall behind in learning to draw.

Five rudder rudder rudder is probably the value of aunt, and the value of cherry locust is probably the value of raising string.

I know a master of board painting. Every night at 8: 00, he broadcasts the original drawing illustration course on the Internet for free. I especially like to listen to his lectures, which not only involve knowledge, but more importantly, teach you how to establish your own painting thinking and design thinking. Many students with zero foundation often go to his place to attend classes. I think it's better to listen to the master's experience and let yourself take fewer detours. Why not? He has classes 365 days a year. Students who want to study can go to Yu Rou's external mind (homophonic): the former group is w9, and the latter group is Kaka. Just combine the above two groups of letters in order, and she will arrange the study.

In the process of learning painting, we will always encounter various problems. For Meng Xin, where Xiaobai wants to get started and improve from scratch, we don't recommend self-study. Self-study itself is not just a competition of willpower. Even if you have a strong willpower, sticking to the wrong direction will only backfire in the end and draw water with a sieve.

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Learning itself is a very boring thing, especially painting learning, because painting needs to learn a huge knowledge system, including art knowledge, art aesthetics, style mastery, painting software and many other disciplines. Especially when we study alone, we often feel helpless and miserable, and sometimes it is difficult to find someone to talk about painting casually, which is also a big reason why many beginners give up painting.

I can't learn how to draw on the board. It is not that you are stupid, nor that you have no talent, but that you have not found the right focus of learning.

I believe that many students who paint may have encountered it: I want to learn board painting, but I always paint by feeling when painting. I have taught myself for a long time, but I always feel that I have made progress.

I also know that the creation of the original board painting needs a certain painting foundation, but most people don't know this foundation deeply enough, especially what needs to be learned is not very clear. Then in the introductory stage of self-study, I often find some relatively complete big brother pictures and fan pictures to copy and learn, and I am used to copying and pasting for a long time. As a result, it is always difficult to draw the pictures and works I want without the creative practice after copying.

This is not to say that you are stupid or have no talent, but that you have not found the right focus of learning. I can't grasp the key point of study. Usually, some people's daily practice is to draw complete renderings, but they don't know that this is actually a cross-stage learning. This learning method is not suitable for beginners. This is an advanced subject of painting itself. Without a solid foundation in the early stage, it is difficult to draw every role well. Imagine, you want to draw a person, how can you draw well without understanding the structure? For example, if you don't understand the basic knowledge points such as proportion, avatar structure, five senses, three courts and five eyes, and how to color and match colors, you can better and accurately draw a character's shape.

Please click to enter a picture description.

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The tomb of Ba _ Mi Za у is a good place to study, not a good place to live.

For example, I don't know what to draw in the first step, how to change it in the next step, and I can't even draw an idea, or I can't finish painting if I want to. There is always a great feeling that the painting tastes wrong. What is strange but I can't see what the specific problem is? These problems are basically concrete manifestations of weak foundation, and cross-stage learning is not desirable.

9. How to build our painting knowledge system comprehensively and systematically?

First of all, in a complete way, the systematic learning of painting basics generally follows this process:

First learn perspective-to line drawing-sketch-still life-color-design-composition-composition-and finally create.

The accumulation of these knowledge points is to improve the personal painting foundation and gradually improve the personal painting creation knowledge system, and the systematic learning of painting foundation is also from easy to difficult, gradually breaking through the basic difficulties, instead of grasping the key points of learning and practice directly from the difficulties, as most people teach themselves, only to find that they have stood still for a long time and have not improved. So, how to learn from detailed to specific learning steps?

The first stage: perspective and structure.

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The visual angle determines whether your work is reasonable and credible from the big feeling to the subtle structural position, and whether it conforms to the usual sensory logic of human beings on the visual level. Therefore, perspective is a river that all painters must cross, which requires not only mastery, but also skillful application.

If you can only copy without reference, your mind will be in a mess. To a large extent, your perspective structure is not well understood, and you can't combine what is in front of you with the perspective theory and reorganize it in your mind.

For example, these situations:

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The shape has deviated from the normal structure, and there is a sense of perspective. At first glance, there are many problems.

Speaking of perspective, you might as well try to look at the object around you, such as a water cup, carefully observe its structural state in the real world, take your own line of sight angle and apparent horizon into account, and then try to imagine in your mind that it has rotated 90 degrees on the desktop, or raised or lowered a few centimeters. What is it like at this time? If you can't reconstruct its changing angle in your mind at all, then your perspective is not enough. Do your homework again.

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People's eyes can basically only see one perspective, two perspectives and three perspectives, and special lenses also have four and five perspectives. The perspective relationship between cameras is actually more complicated and changeable. We can do more exercises to analyze the perspective of photos, and draw the apparent horizon, perspective line and vanishing point on photos with reference lines, such as this:

When you can find the perspective relationship skillfully and accurately, draw the perspective line first, and then arrange the geometric objects in the perspective, such as this:

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Practice makes perfect, slowly arrange more and more complex objects in perspective, and finally fully grasp the basic laws of perspective and structure. No matter how complex the picture is, it can be analyzed from big to small, and the picture changes of adding objects can be deduced without pressure.

The second stage: sketch and light and shadow.

This stage is the most important and boring stage in the whole painting study, which requires a strong amount of training to accumulate. It inherits the theoretical basis of perspective and structure, and then establishes the modeling basis for color, light and shadow. Many people don't understand the black-and-white geometry of sketch, that is, there is no rich color change and no undulating lines, which leads to the deviation of learning direction. In fact, it is because most people don't know the purpose behind sketch training.

Sketch discusses the way we observe and analyze the world. Every stroke of it is not just for painting's sake, but repeatedly emphasizes why it is painted.

Sketch, based on perspective and understanding of structure, further unifies the details into a large configuration, and excessively guides the physical and mathematical laws to the perceptual direction of painting. It is no exaggeration to say that structure sketch and light and shadow sketch determine the upper limit that an artist can reach. Whether CG artists or traditional artists, if even the basic sketches are lame, at least his works are unconvincing in the eyes of many people.

I don't agree with some people who say that Japanese illustrators don't need strong sketching skills. I think their understanding of sketch is limited to five major colors. It is true that Japanese illustrators, especially celluloid, generally simplify the relationship between light and shadow to only two tones, but if you want to draw a picture with more complicated pictures, for example-

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Not only does the layout of black, white and gray need sufficient sketch foundation support, but also needs accurate refining ability in the interpenetration of multiple structures and the depiction of light and dark tones, which cannot be taken for granted.

The third stage: and.

Needless to say, this is a very, very important work.

This stage is divided into two parts:

Step 1: Basic proportion of each part.

Figure 7

People who study painting basically know that there are three courts and five eyes.

Figure 8

There are people+body parts ratio:

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Although these hard formulas don't have to be like this, the Japanese illustrations we see look completely different from this one, but I want to emphasize that even if the Japanese illustrations of woodcut painting are greatly exaggerated, they have actually changed on the basis of reality, and this set of changes is completely regular, and it is not the painter's own tinkering, so understanding the truth is also a basic skill and a must-learn option.

Step 2: This piece needs to be comprehensively trained in combination with the previous perspective stage and sketch stage. After understanding the basic scale, it can be simplified into geometric shapes, and then planned into perspective, which can be changed and reconstructed.

The fourth stage: color and color matching.

Color learning needs to be combined with the second stage of light and shadow sketch to start learning and training. At this stage, there are not many theoretical things, which are nothing more than physical knowledge of color and light. Many painters can eat all over the world with a scheme of 63 1. In fact, a truly excellent painter can form his own recognition only by color, regardless of the content of the first three stages. It can be said that a good Japanese painter's color must be superior, unconventional, in line with the aesthetic expectations of the public, and has his own emotional expression. Color psychology cannot be summarized by the spatial relationship formed by cold and warm hedging.

The fifth stage: background and composition.

Frankly speaking, I think that the background of Japanese board painting illustrations actually plays a role in decorating and setting off the visual center, so the background of narrative illustrations is usually based on scenes, and it is enough to do a good job of perspective and reasonable basic light and shadow, without over-refining and over-grasping vision. The background of some illustrations is purely decorative painting, so what is more tested is the author's understanding and aesthetic style of visual guidance and composition consciousness, color composition and plane composition. These are subjective things, which require us to read a lot of predecessors' works. The predecessors here include those world-class masterpieces in the field of traditional painting, and we can broaden our horizons a little more. There is no clear boundary between painting and aesthetics. We should see more and think more. Only by painting with good things can we go further.

The learning content at this stage overlaps with photography and slicing to a great extent. We can also learn from some good film and television dramas when studying and creating, provided that we think and observe with the idea of solving problems and feel the emotion and strength of the picture from a good composition.

Some friends may feel a little metaphysical and over-interpreted, which is okay. We just need to know that the composition of a good work must be purposeful and artificial, and the points that don't need to be interpreted by everyone are exactly the same as the understanding. It is best to have your own thinking and understanding.

The sixth stage: high-precision line draft.

In fact, any style of painting does not necessarily require perfect line drawing. After all, what really sells money is the final product. For example, the Japanese painter Ms. Fujiwara I mentioned above likes to start with relatively simple line drawings. However, the completion of the line draft determines the efficiency of the subsequent processing of the work. If the structure of the line draft can be accurate, closed and perfect, it will bring great convenience to the subsequent coloring and thinning work. Efficient creation is also the embodiment of professionalism and ability from a certain angle, especially when Party A gives an urgent draft, others can't do it, but you can do it, which is the core competitiveness; Or there are some business orders that others only need three days a week. You can take new orders in the remaining four days and double your monthly income. Develop good habits, make preparations high enough to avoid more rework.

Above, I briefly explained the systematic study of painting, the process and basic steps needed to improve the foundation, learn every knowledge point well, master specific practical training, and constantly expand my knowledge of painting in my mind, so that I can think about painting when writing, and you can be handy when creating.