How long will it take to learn sketch to earn money?

One? Self-taught board painting has no clear direction and goal, which often makes people more confused! Many Xiaobai and Meng Xin think that my foundation is not good anyway, so they first pull some materials 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 in the end, but also confuse their learning direction and goals.

Two? It is difficult to arrange the study time and plan effectively and reasonably by self-learning blackboard writing. 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? Self-taught blackboard painting lacks basic knowledge, so it is difficult to judge the quality of painting. 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 from 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.

Four? The biggest problem of self-taught blackboard painting is lack of self-discipline. 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? It is better to stand on the shoulders of the master, and all the other mountains look short in the sky. It's better than exploring all kinds of potholes by yourself. 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.

Six? Self-taught board painting is boring and there is no good learning atmosphere. 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.

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 a complete human body effect map, but they don't know that this is actually a cross-stage learning. This learning method is not suitable for beginners. The human body itself is the advanced theme of painting. Without a solid foundation in the early stage, it is difficult to draw every human role well. Imagine that you want to draw a person, how can you draw well if you don't understand the human body structure? For example, if you don't understand the basic knowledge points such as the proportion, dynamics, avatar structure, three courts and five eyes of the five senses, and how to color and match colors, you can better draw the shape of a human character.

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Eight? In the process of self-study, we will often encounter problems in learning methods. 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-human body-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:

The shape has deviated from the normal human body structure, and there are many problems without perspective.

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 human body, dynamics, 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 ups and downs of human body, 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: human body and dynamics.

Needless to say, human body is a very, very important piece.

This stage is divided into two parts:

The first step: the basic proportion of each part of the human body.

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

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And the proportion of all parts of the human body:

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Although these hard formulas don't have to be like this, and the Japanese illustrations we see don't look like this at all, I want to emphasize that even if the human body is greatly exaggerated, it has actually changed on the basis of the real human body, and this set of changes is completely regular, not the painter's own tinkering, so understanding the real human body is also a basic skill and an option that must be learned.

Step 2: Human dynamics needs to be comprehensively trained by combining the previous perspective stage and sketch stage. After knowing the basic proportion of human body, we can simplify the human body into geometric shape, and then plan it into perspective, change and reconstruct it.

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.