Basic sketch-how to sketch?

It's best to put the picture next to the object to be painted, and don't look at your own picture first.

Instead, you should feel the object by observing it first, and then quickly turn your attention to your own picture, but you must remember that you see the whole picture, not a certain detail. At this time, if you correctly capture the basic shape relationship in painting, the feeling of the object will be consistent with the shape of the picture in your visual impression. If the basic shape relationship is not correctly captured, the visual impression you feel will deviate from the shape in the picture and the basic shape and dynamics you draw.

Once a problem is confirmed, don't hesitate to correct it.

Then put the picture farther away and check it in the same way until the overall feeling of the object is consistent with the large-scale relationship of the object in the picture.

The shape can be corrected by checking auxiliary vertical lines and horizontal lines, and vertical or horizontal auxiliary lines can be used for checking in contour drawing.

Try to sit up straight, and it is best to face the object. Draw a vertical or horizontal line with your eyes, and use it to measure and correct the proportion and dynamics of the object and the picture. The vertical line starts from here and the horizontal line goes from here to here. The object is so inclined.

Through this method, the first perceptual correction method has a more reliable and accurate basis.

Second:

When nailing the outline, friends also need to use the pencil in their hands to determine and correct the shape.

It can not only be used for vertical or horizontal inspection methods, but also be used to determine the relationship between the proportion of human body and the length and distance of each part of the object.

When using, the arm should be as straight as possible, with the top of the pen as the upper point and the thumb tip on the pencil shaft as the lower point to measure the position and check the corrected shape.

We should remember that painting is a visual art, which mainly depends on feeling rather than rationality, so it can be said that the so-called accuracy it requires is relative to visual sense, not absolute in mathematical sense. If I rely too much on borrowing pencils or other tools to measure the left and right, it seems that I am not drawing, but mapping.

Third:

There are also some technical problems that need to be paid attention to when sketching.

For example, the pencil used is a little softer than 4B, the nib can be cut a little longer, and the hand should be as far away from the nib as possible when holding the pen.

In this way, the lines drawn by the pencil gently float on the sketch paper. If there is a mistake, you need to modify your elbow and pat off the lead powder with a soft cloth before painting, instead of prematurely using a large number of erasers to remove the surface texture of the paper, which will affect the future characterization.

In a word, sketching is a key step in the whole process of sketching. If the requirements are not strict, it is like a building without a good and reliable structural foundation.

Therefore, please be careful and operate in strict accordance with the requirements at this stage. Only in this way can the next process be carried out smoothly.

A good beginning will be the guarantee of success.

There are two aspects to pay attention to at this stage. The first is where we should start to deepen; The second is how to go deep.

1 :

For a complete object, although it is composed of several indispensable parts, they are all subject-object relations with primary and secondary relations relative to the whole.

Therefore, when we portray in depth, we can't treat them equally and equally, and we can't lead to usurping the role of the host. But to grasp the main part of the whole object that best reflects the divine characteristics.

Grasping and grasping this primary and secondary relationship is actually to solve an observation method problem.

Its observation method is still to see all the objects to be expressed at a glance with the whole eye consciousness, and then grasp and jump into your eyes at once according to the most prominent, clearest and strongest contrast obtained from the overall feeling, so that you can start from the part where you have a strong desire to express yourself.

If you find it difficult or uncertain to do this, you can also do it by comparison.

In other words, the primary-secondary relationship is described in depth by comparing the various parts of the whole object.

2 :

When we know where to go first, the next step is to make clear how to go deep.

The process of in-depth description not only requires that the generalized decent relationship shown in shaping the relationship gradually shift from various small turning points, so as to enrich and concretize the relatively simple contextual relationship between the body itself and each other.

At the same time, it is necessary to describe and show the unique facial expression, temperament, texture, sense of quantity, light and space through different processing techniques. So as to achieve what we can observe with the naked eye.

However, when we describe the body in depth, especially the plaster or head portrait of a person, if we lack the anatomical knowledge of its internal skeleton and muscle structure, especially when we are a little far away from the object, we will rely too much on what our eyes see to describe it, which will make the body space in the picture fragmented.

At the same time, it is also prone to the naturalistic tendency of painting a tiger according to a cat.

For example, truthfully describe some unimportant dirty spots and scars of objects or mold stitches left when turning plaster, so as to embark on the photographer's road of photography.

It is difficult to correctly display the physical relationship of the object reality. Therefore, the necessary anatomical knowledge can help us to understand and show the essence of the internal muscle and bone shackles that dominate the appearance through the epidermal phenomenon.

Sometimes, in order to understand and analyze the turning ups and downs of the body structure more clearly and concretely, we can approach the object and observe it. So as not to be deceived by some seemingly accidental phenomena.

Therefore, the more you know, the more you see, the more real you are. The more convincing this painting is.

Of course, while paying attention to understanding and analysis, we can't ignore the factors of feeling. For example, the expression of texture, in addition to the understanding of the body of the object itself, should also show a special texture.

Such as skin, bones, hair, cotton cloth, pottery, glass, metal, etc. The Ministry needs to adopt corresponding treatment methods through keen feeling, showing various inherent color textures that are elastic, hard, fluffy, rough, smooth and delicate, so that the objects in the painting are flesh and blood and achieve the charming appeal of truth and beauty. If you get too caught up in rational analysis, it will naturally make the results of deep-seated characterization lifeless and lackluster.

Pay attention to the symmetrical parts of the body when shaping deeply. For example, when drawing the left eye, we should pay attention to the relationship between the right eye and the left cheekbone, and also keep up with the relationship between the right cheekbone. If only one side is drawn and the other side is ignored, it is easy to have the problem of local isolation and no connection.

3:

Finishing is to adjust the big relationship, and it is the last procedure of our sketch.

In the process of painting in front of us, although we are constantly emphasizing the overall consciousness, because each program must have its specific focus tendency and problems to be solved, and especially in the deep stage, there are naturally many factors that need to be understood and analyzed because of carefully shaping the object, so it is inevitable to expose the phenomenon of local destruction or affecting the overall sense.

This requires us to conduct a comprehensive inspection and adjustment of the whole picture from the part to the whole before the sketch is completed.

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