How to draw a good still life sketch

Answer: Use the simplest basic shape to ensure that the head portrait is placed in the middle of the paper slightly higher than the center, and leave more white space in front of the line of sight when drawing the head portrait on the side. B: Measure the proportion, perspective and inclination of people with auxiliary lines to determine the characteristics of big people. C: As far as the painting method of the five senses is concerned, the details of the characters are described in detail with lines, and the main turning points are expressed in tones, which should be as concise as possible. D: After finishing, proceed from the overall effect, strengthen and weaken the processing, so that the picture is meticulous and appropriate, and the main image features are distinct and prominent.

B: Drawing steps of full-body figure sketch:

Answer: Outline the outline of the human body with faint straight lines and make a good composition.

B: With the help of the relationship between formal structure, visual angle and action, the outline is more accurate and concrete.

C: Starting from the accurate and powerful partial drawing of lines, gradually draw the shapes of various parts, and use simple tones to enhance the expression of volume.

D: After finishing, starting from the overall effect, the key is to sketch out the main image characteristics by strengthening and weakening, so as to make the picture detailed and appropriate!

_ Line-Surface Fusion of Sketch

The shape we face has no "line" and "point", that is, the existence of "face" we feel is also attached to the undulating structure and shape.

Right in front of our "face", the side past becomes a compressed line, and the deep past becomes a point. The elements of these sketches give us a powerful means to capture the shape of objects. However, in the process of sketching, it is very easy for us to use lines too smartly, which leads to fluency and impetuousness. In the patient and boring practice of finding suitable shapes and structures, it is difficult for us to escape the boredom of drawing lines; At the same time, it is hard to resist the temptation of profligacy.

It can be said that any line we draw in sketch should have the property of physical structure and have real significance. Otherwise, it becomes a waste line or a waste line group; And the surface composed of these lines has of course turned into meaningless dirty gray. We may also feel some gray "faces" in the sketch. Because our feelings are still under the illusion, we mistakenly think that it is a "face" and draw it. The result is still dirty gray rather than a part of the body.

How to avoid this kind of mistake requires us to always focus on the structure of the object, not passively copying the object, but actively and subjectively analyzing and judging the painting elements provided by the object, and completely controlling the painted object through the overall structure.

Whether we use "point", "line" and "surface", they are all means and have no meaning in themselves. When they are used in the shapes we describe, they become elements of human body structure and eventually become a part of the painted human body, not any point, line or surface.

China's figure painting depicts clothes pleats with lines, and sums up "eighteen strokes" methods such as silk drawing, string drawing, iron line drawing and bamboo leaf drawing. The use of western painting space makes the use of lines merge with the elements of surface and become more colorful. In the observation of morphological structure, I believe everyone's perception is different. How to describe your understanding of the body with the fusion of points, lines and planes will be a process of your creation. Before that, you can also use China's traditional training method-copy learning to experience the pens used by predecessors, and then integrate into your own experience. I believe your sketch will be more interesting. ? 9? 0? 9? 0? 9? 0? 9? 0

Sketch-the structure is real.

In sketch painting, the most important thing is of course the structure.

In reality, many painters can only take the road of form because of their lack of understanding of the structure of characters or objects, and it is difficult to produce in-depth masterpieces in their creation. Although we already have a convenient camera (now using a digital camera) and scanner, we can process graphics in the computer, which saves a lot of trouble in modeling, but shape is shape and structure is structure, not a concept. For the process of painting, shape is the representation attached to the structure, while the structure is the support of the object; The outline of external form can't really express the inner beauty of an object.

The shape of the object we observe is a representation, an outline. Once the object changes position, and we lack understanding of the structure, it is difficult to start. In the beginner stage, almost everyone has experienced using a stable triangle to determine the general position and composition of the body, and then using a virtual small triangle, square, etc. to decompose the local position of the painted object. In the end, this method can only paint the object as a gourd.

Just as we have gone through the era of hunger, we have also gone through the era of lack of pictures and are entering the era of reading pictures. All kinds of graphics, images and galleries emerge one after another. If you reproduce objects by taking pictures, you might as well take pictures. Then we are not as objective as the camera. For a painter, the most unacceptable thing is to be praised as: You see how good this painting is, like a photo. In other words, those works are not strong enough, not emphasized enough, not profound enough, and lack the artist's understanding of the structure of objects and creativity in expressing the connotation of objects. How can this be regarded as a painting art work?

The truth of art is not a pure objective truth, but an artistic truth in which the painter expresses his inner feelings through his own senses and hands-removing the rough and selecting the fine, removing the false and retaining the true, and describing and portraying from the outside to the inside. ? 9? 0? 9? 0? 9? 0? 9? 0? 9? 0? 9? 0

Learning methods of sketching still life

Sketching still life is the extension and development of gypsum geometric sketch, which depicts a wide range, including fruits, vegetables, flowers, bottles, stationery and so on.

Sketching still life is mainly to train our composition ability and modeling ability. For beginners, on the one hand, through the combination of still life from simple to complex, we can master the law of composition, so that the size ratio of objects in the picture is properly arranged and the viewpoint is appropriate; On the other hand, you can also decorate your still life paintings and learn the basic knowledge of composition (such as unity and change; Contrast and reconciliation; Symmetry and balance: proportion and rhythm; Static and dynamic sense, etc. ), and gradually master the ability of writing. In fact, the physical structure of still life is still a combination of different geometric shapes, but it is more irregular and complicated than the geometric shape of gypsum. In this way, in still life sketch, it is necessary to emphasize the understanding of the combination relationship and structural relationship of forms.

In still life sketching, all kinds of objects are made of different materials, and the "texture" is different in terms of hardness, weight and thickness. The performance of texture is mainly through contrast, and of course it also depends on the accurate description of the color of the object.

When sketching still life, we should continue to pay attention to the perspective law of objects in order to deepen our understanding of the perspective law.

The tools for sketching still life can be pencils, charcoal, charcoal bars, etc.

The observation method and drawing steps of sketching still life are roughly the same as sketching plaster sketch. As long as we establish the overall observation method and practice sketching, we will be able to gradually master the ability and skills of sketching still life.

First, sketch steps:

Scientific and rigorous methods and steps can not only ensure the smooth operation, but also cultivate our overall observation and description ability.

1.

Deliberately arrange the composition, so that the objects on the screen are given appropriate priority, and the composition is balanced and changeable, avoiding the disadvantages of scattering, chaos, emptiness and blockage.

Step 2 draw a big body structure

Draw the body structure of the object with a long straight line (the invisible part of the object should also be drawn gently), and the shape, proportion and structural relationship of the object should be accurate. Then draw the shape and position of each light and dark level (highlight, bright part, middle color, dark part, projection and intersection of light and dark).

3. Gradually and deeply forming

Through the light and dark description of the body (from the whole to the part, from the big to the small), the sense of volume of the object is gradually shaped. The important and key details of the text should be carefully described.

4. Adjustment completed

In-depth characterization inevitably ignores the relationship between the whole and the parts. At this time, it is necessary to comprehensively adjust (mainly referring to the physical structure including color, texture, space, primary and secondary, etc. ), so as to make a choice and highlight the main body.

Sketch-Description and Description

For people who are used to using light and dark tones, they always feel that only in this way can a painting be a three-dimensional sketch. In fact, after later practice, I still feel that it is not too strong. There are too many things to draw and too few places to carve.

It should be said that it is still useful to describe the volume of an object by drawing light and shade. But how to get out of the tone of light and shade is not an easy task. The ideas and habits inherent in the brain, coupled with the gradual improvement of understanding, make the paintings that were originally intended to be discarded repeat from time to time.

Light and dark tones are like the keyboard of a piano. The more you have, the richer you will be. Can the pencils we use still produce 7B and 8B? Even 9B and 10B can't show the black in the real model space, and the contrast between black and white is only relative. In the dark tone processing of stage art scenes, pure black+Pollan is also white under the irradiation of light, so we use black velvet instead, but how can such a black hole appear on our drawing paper? In fact, black and white is just a feeling. Strong feelings require us to change the previous method of sketching, abandon the old concept of death in our minds, use brand-new thinking, give full play to our feelings under the control of structural will, concentrate on using pens, and draw the feelings of the object mentally similar.

Constantly changing our own inherent ideas and constantly trying new painting methods, we must never do meticulous homework in order to complete a work, and completing homework cannot be the burden of our purpose. Otherwise, you will lose more chances to try, repeat what you know and imprison your imagination.