First of all, an overview:
In other words, we often say that the outline is the edge of the turning point of the shape, and this turning point is the outline we see. They are divided into outer contour and inner contour, and because of the ups and downs of the shape itself, the edge lines at their respective turning points will also produce different clear lines. For example, if we observe the contours of simple geometric shapes of balls and cubes, we will find this different change. Since simple shapes are like this, what's more, people with complex shapes will be found.
When we know this principle, and then draw the so-called outline with lines, we will give it a sense of rhythm that is both convincing and full of rhythm changes, so as not to turn the outline into a wire frame that lacks space and expressiveness. When drawing an outline, we should follow the method from the whole to the part. According to the specific feelings obtained from the overall observation, we should use a long generalized straight line on the drawing paper to draw the large basic shape characteristics of the object gently. In order to better capture the correct shape, we can sometimes use a generalization method similar to geometric shape to understand and grasp it, so that we can draw the overall basic shape characteristics of the object, such as determining what shape the basic shape of the object is, whether it is round, regular or irregular, what shape it consists of and what its dynamics are. When determining the basic shape of an object, we should also pay attention to determining the position, proportion and characteristics of the main basic shape inside. After the basic big shape, proportion and dynamic relationship are determined, the pictures must be placed in the distance for inspection. Because it is difficult for us to check whether the big basic shape, proportion and dynamics are correct in front of the picture. When the picture is zoomed out, all the details become less clear locally, so that we can easily see the dynamic relationship of the whole body proportion of the picture at a glance, rather than a certain part. You can use the following two methods when checking.
First, 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, students 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, 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. So at this stage, please be sure to do it in strict accordance with the requirements. Only in this way can we ensure the smooth progress of the next process. A good beginning will be the guarantee of success.
Second, in-depth characterization.
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. Although it is a complete object composed of several indispensable parts, they all have a primary and secondary guest-host relationship 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. That is to say, by comparing all parts of the object as a whole, the primary and secondary relations are determined and described in depth.
After we know where we should 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.
4, the completion of the theory is to adjust the big relationship, which 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.
First of all, in order to keep a clear head and have a good keen sense, so as to find problems smoothly and make adjustments, it is best to leave the picture for a few minutes, go outside and look at the distance, relax your brain and rest your eyes. Because long-term observation, understanding, analysis and painting will make the senses and thinking judgment ability dull and numb due to fatigue, if it is difficult to find problems in this state, it is natural to make adjustments.
Secondly, when adjusting, you must put the picture farther away. Even for some experienced painters, in order to confirm the overall effect of grabbing pictures, they often put the pictures far away for inspection. Sometimes, due to the limitation of space, we will borrow a reducing mirror for inspection. Some students ignored this question, but once they sat down, it seemed that they couldn't bear to get up and put the picture far away to check if there were any problems. I don't know that painting must stand the distance first! Only by taking the lead can people watch and taste its subtle wonders at close range. If not, it seems that sitting in front of the painting is wonderful and impeccable in shaping the big relations and small details, but in the end, looking back, the problem is exposed. At least the relationship must have been drawn or drawn away. Therefore, I hope that when students do sketch exercises, they should not only be busy with their brains, hands, legs and feet, but also be diligent. When observing and adjusting the details, you should use the first glance, but they are all sensitive to the rich impression of analysis, so you should look at it again quickly. Try to restore the strong first impression you got when you found the observed object before painting, and check how this impression is expressed in the upcoming sketch exercise. For example, shape, spirit, body mass, texture or space are the most important, profound and intense things that give you a feeling? So there is a saying that both ends depend on genius, and the middle depends on hard work. In addition, it should be emphasized that if there is something wrong with the picture, it should be corrected resolutely as before, whether it is part or whole, generalization should be resolutely abandoned, reinforcement should be firm, and there should be an unbreakable spirit. Don't be unwilling to modify the picture because you feel that it has come to an end, forgive yourself for being tolerant of mistakes, or look for advantages from the picture like some students who like to put the picture in the dark to dilute the problem. For a clever student, every time he finishes an exercise, he should be good at discovering and summarizing his own shortcomings, and always remind himself not to repeat the same mistakes on the same question when doing the next exercise.
Finally, I want to emphasize again that the practice of sketching is to train the brain and eyes to grasp and control the whole and part. Just like a music conductor conducting a symphony orchestra, grasp and control the overall melody in a picture. With a clear understanding of the brain, your eyes can naturally see how to draw, and your hands can be synchronized to properly reflect your consciousness. Therefore, it can be said that success is because it conforms to the overall law, and failure is because it destroys the overall law.