I'm an art student in senior three, and I'm training. I have many basic questions. I hope I can get a lot of help. . (still life sketch+sketch, copy, sketch)

1, it's actually relatively easy to make a big move. When painting, the teacher often says, "Painting should be loose and important, and it should be solid and empty.". You said that you hold the pen carefully every time, but you still can't pull it straight. If you are not drawing, but just drawing on a piece of paper with a stroke of the pen, regardless of the consequences, most people can come up with smart and relaxed lines, and the more chic and straight you swing. It's just that painting can't be so casual This requires more practice at ordinary times. Don't be afraid to draw straight. Don't worry about bold painting. If the painting is not satisfactory, it will ruin a piece of paper.

2. Shape modification. In fact, painting is like painting. On the one hand, for art candidates, it is more important to draw the texture of the object, the color relationship of the picture, the relationship between light and shade, the spatial perspective effect and so on. Of course, the more accurate the shape, the better. It's nothing special. It is nothing more than pointing your hand at the picture frame of the scene first, and getting a general understanding of the positional relationship and size relationship between objects through the picture frame in your hand, or squinting at still life from time to time, which is more conducive to seeing the color relationship, light and shade relationship and so on. Or pointing a brush at a still life half a meter away from your eyes can also help you grasp the shape.

3. The general painting is probably: composition-probably the relationship between light and shade-a little careful painting-in-depth depiction. "In the whole process, we should always consider the overall situation. What the teacher said is to distinguish between black, white and gray, that is, the light and dark relationship of the whole picture, such as a group of still life colors, followed by a dark jar, and a sandwich of fruits and light colors in front. Suppose the darkest place is the junction of light and shade of the jar, the light interlayer near the jar is darker than the jar, and the light interlayer in front of the jar is brighter than the jar. In this way, the picture has an overall black, white and gray relationship. The picture is flat-usually when drawing an object, lines should be drawn according to the changes of the surface of the object, that is to say, if the object is round, the lines will gradually transition with the radian of its circle, and the lines in all places can't face in one direction (unless there is a good foundation, it is easy to be awkward). Followed by the relationship between light and shade, the relationship between reality and reality. The nearest place is the most solid. The whole group of still life is near and far, and each object also has its own prominent and non-prominent places. For example, in a group of still lives, an apple is placed in front and a jar is placed behind, so the apple is more stereoscopic than the jar. As far as apples are concerned, the side closest to you is more stereoscopic than that of the apple.

4. In fact, in the third point, I mentioned that "when drawing an object, lines should be drawn according to the changes of the surface of the object, that is to say, if the object is round, the lines will gradually transition with the radian of its circle, instead of all the lines being in the same direction", which is called arranging lines along the direction of the object.

Answering this question, I find that the reason why you haven't achieved the expected effect at present is that you think drawing is too complicated and a bit biased. Think about it. If you draw every line, you have to calculate it. . . . Isn't this math? Physics? Hey. . . Oral expression is too limited. In fact, as long as you have a good classmate or teacher to demonstrate your problems one by one, the problems will be solved. Because no matter how much you say, you only imagine it through words. If I can give you a demonstration alone, and then compare your shortcomings with the norms of the demonstration, it is obvious how you should correct it.

Look at other people's excellent works, and you should see the outstanding ones. This Excellence is not necessarily what the teacher thinks. Maybe you have something wonderful that you want to paint, so you can carefully study why this place is wonderful and how you can paint it so wonderfully. I made progress before I knew it.

In addition, don't be too formal, and don't think drawing is difficult, which will increase your psychological pressure. Besides, don't think your paintings are bad just because the teacher changed a lot of them for you. Everyone's aesthetic is different. If you replace any painting with another person, he can find his dissatisfaction, because people appreciate it from different angles and have different emphases. However, this does not mean that painting has no scale, and the foundation still needs to be mastered.

Finally, the most important thing is to relax when drawing. Everyone will not attend the meeting. The more I worry about bad painting, a painting is just a piece of paper and a few strokes of paint, so I should always look at my own painting. If you can't see any shortcomings in yesterday's painting today, look at the painting a week ago or a month ago. I'm sure you can see something wrong with your previous paintings. Of course, you should correct yourself after seeing your own shortcomings.

I hope you make progress day by day! ! Be admitted to an ideal university in the future! ! ! !