Sketch chiaroscuro, what are the sketch chiaroscuro?

After determining the boundary between light and dark, I started to paint from the dark part, constantly contrasting, painting layer by layer, and carefully observing the still life.

To find out the boundary between light and dark and the projection of the object, you can lay the dark part of the object and the projection together, and then carefully observe the object, find out the weight and reflection of the dark part of the object, and distinguish the light and weight of the dark part of the object and the shadow.

The shadow side of the object is on the dark side, and at the intersection of dark and light, where the dark color is the deepest, is the line between light and dark, then on the whole figure, the heaviest color is that place. The color of the dark area is similar to the color of the light-dark junction ......

The boundary between light and dark was determined first.

Starting from the dark part, I keep contrasting and observing the still life as a whole.

Clause. First, according to the light, it is divided into two sides, the light side and the dark side. Set the position of your facial features.

Clause. 2. In general, the dividing line between light and dark is: frontal bone to temporal bone to zygomatic bone to mandible, a large dividing line between light and dark.

In fact, to put it bluntly, it is the dividing line between the front and the side of the person.

There is also the brow arch bone to the nasal bridge bone to the chin. This is actually the dividing line between the protruding part of the nose and the mouth.

The first is what is often referred to as the dividing line between light and dark. The second is actually the dividing line of local organs, and in the same way, the eyes, neck, etc. are also demarcated by their own local boundaries. I hope it inspires you.

<> "The relationship between light and dark is a very important part of sketch painting, and its most basic function is to express the relationship between volume and space. The relationship between light and dark is divided into five major levels, which is often said: "five tones of light and dark".

The five tones of light and dark include: highlight, the brightest point on the light-receiving surface.

Bright surface: refers to the layer between the bright and dark gray surfaces of the light-receiving surface.

Gray surface: refers to the level between the light side and the boundary between light and dark.

Light and dark junction: refers to the turning point of the light and dark sides, and the general light and dark junction is the heaviest place.

Dark Side: Contains the backlit side of the object, reflections, and shadows.

These five levels can actually be summarized into three levels: the light side, the gray side, and the dark side. Of course, there are more and finer levels in these five tones, which can be summarized and distinguished according to the degree of detail of the painting.

Let me first explain the relationship between light and dark of objects through the cube. You have to have light before you can have light and dark, so I'm going to assume a light source direction for now. The area where the light can shine is called the light-receiving surface, and the place where the light cannot shine is called the backlit surface.

The backlit side includes the dark side and the shadow side, and the lighted side includes the light side and the gray side. The shape of the shadow is directly related to the direction of the light and the occlusion of the object. According to the principle of near real and far virtual, the contrast between the front, especially the junction between light and dark, should be strong and clear, and the contrast behind should be weak and blurred.

Also, the shadow gets darker and clearer the closer it is to the object.

We all know that the earth is always half a world day and half a world night, and the time close to night is morning and dusk, and generally the light is brightest at noon. The same is true for drawing spheres, half a ball is bright and half a ball is dark, the position where the bright part is perpendicular to the light is the brightest, and the closer to the boundary between light and dark, the darker it will be, and these places close to the dark part are called gray surfaces. The reason why the dark area is not pure black is because it is also affected by reflections and other ambient light sources.

Summary. 1. When drawing the boundary between light and dark, first distinguish the light-receiving surface and the backlight surface. The light-dark boundary line to the backlit surface quickly turns black, the light-dark junction is the blackest, and the shallower the back, this phenomenon is called "reflective", but the shallowest part of the backlit surface must also be deeper than the deepest part of the light-receiving surface.

The boundary between light and dark to the light-receiving surface is rapidly brightened and transitioned quickly.

Second, when depicting the boundary between light and dark, you can't draw a "line" without rigidity, which is a natural transition surface. The boundary between light and dark will become shallower to both the backlit and light-receiving surfaces, and the light-receiving surface will become shallower much faster than the backlit surface.

The important thing is to look at the fan paintings and practice more, practice makes perfect.

Sketch how to draw chiaroscuro transitions.

Find the boundary between light and dark, the place where the dark side and the brother Yu Nian projection meet, there will be a heavier color surface, the dark part of the still life will have a reflective side, and the highlight will exist on the bright side. The lines should follow the rhythm. Whether it is the dark side, the light side or the gray side, don't draw too much, and leave a little sense of air appropriately, for example, the reflection of the dark part will make the dark part less rigid.

1. When drawing the boundary between light and dark, first distinguish the light-receiving surface and the backlit surface in the flash. The light-dark junction line to the backlit surface quickly turns black, the light-dark junction is the blackest, and the shallower it is pointed out at the back, this phenomenon is called "reflective", but the shallowest part of the backlit surface must be deeper than the deepest part of the light-receiving surface of Mushan Mountain. The boundary between light and dark to the light-receiving surface is rapidly brightened and transitioned quickly.

Second, when depicting the boundary between light and dark, you can't draw a "line" without rigidity, which is a natural transition surface. The boundary between light and dark will become shallower to both the backlit and light-receiving surfaces, and the light-receiving surface will become shallower much faster than the backlit surface. The important thing is to look at the fan paintings and practice more, practice makes perfect.

The light and dark junction line is the junction of black and gray, which can be repeatedly observed to distinguish the primary and secondary relationships, and the hue is bright and enviable in the places close to the light and shadow, and the hues are light in the places far away from the light source in Jizhou. The first step is to draw light and shade, and the key point of drawing light and dark is to determine the boundary between light and dark.

Rubbing: The boundary between light and dark is usually the place where the tone is heaviest in the whole picture. Observe the relationship between the boundary between light and dark and the bright and dark sides, it is a whole, do not stick to it, and use interspersed block paintings.

If the transition between the two faces is not very strong, then there will be a dark gray hue on both sides of the light-dark border, and then it will transition to the shiny side and reflective.

1. The boundary between light and dark must be the darkest part, followed by the projection, and finally the reflective part.

The projection part is not a black mass, it is slightly heavier where the projection meets the still life, the edge of the projection is slightly heavier, and the middle part can be a little more imaginary.

2. The brightness of the reflective part will never be brighter than the bright surface and the gray surface, only the reflective part is "virtual" in, and the whole still life has a sense of volume and space, otherwise it is a cloud of black.

This reflective part is a part that many students will ignore, the brightness of this part still depends on the color of the surrounding still life to decide, if the reflective part is surrounded by white interlining or plaster so bright, then the reflective part can also be painted a little brighter.

3. When the light shines on a still life, due to the change of shape, the light will have many changes in the still life. Like the apple in the picture below, first there is a bright circle on the apple nest, and then the color becomes heavier inside, and then there will be a reflection in this heavy color.

Then the light shines on the edge of the apple, and there will be a projection on the interlining, and the projection shape on the interlining is a change caused by the light shining on the still life. The change in the boundary between light and dark is also due to the intersection of light and shape.

4. The color contrast between the dark part and the rest of the picture, for example, no matter how bright the reflective color is, there will be no bright color, and no bright color will not be bright no matter how bright the bright part is.

From light to gray to light to light and dark is a color transition, and then from light and dark to reflection to projection again. Relatively, the dark junction will be heavier than the color of the projection, and the color of the projection will be from front to back, from heavy to light.

Preparation tools: drawing pencil, sketch paper, pencil sharpener, eraser.

Let's take a square as an example:

1. The first step of square painting is to shape the shape and structure.

2. Then draw the dark side, that is, the black side, and make it so large that it is a good projection.

3. Then, reflect the gray surface and background.

4. Finally, I will depict it in depth, talking about black, white, gray, projection, background and other bright and dark relationships.

5. [White]: The side closest to the light, [Gray]: The side that is second only to the white side from the light, [Black]: The side that does not illuminate the light, projection: the shadow pin produced after projecting the light object.

Take the chiaroscuro sketch of the interlining as an example: 1. The shape of the interlining must be drawn accurately, and it is possible to draw the interlining only under the premise of accurate appearance. 2. This line is the turning line that reflects the space, pulling apart the upper and lower surfaces of the interlining, so that the picture has a sense of two-dimensional space.

3. The color of the dark side of the interlining with obvious ups and downs is also darker, and the two ends are lightly pinched in the middle when painting. The two ends of the heavy are the boundary between light and dark and the projection, and the light middle is reflective. 4. The fluctuating and weak interlining can only see the bright surface and the gray surface, and the gray surface should also be drawn according to the structure.

5. Pull apart the tone of the façade and the plane, and it is obvious that the tone of the façade is darker. 6. The hue of the plane also has virtual and real changes, and the distant ones should be painted virtually, and the colors are darker than those near them. 7. Also use paper and pen to blur the dark side of the interlining, the strength is lighter, and the structure should be stuck.

8. Use paper towels to unify the tone of the real picture.

9. The overall shaping, the undulating interlining also has a projection, and the projection is drawn, and it is necessary to pay attention to the virtual and real changes of the projection. 10. The color of the gray surface of the interlining with weak ups and downs is rich, and the virtual and solid are strong, so it must be painted according to the structure. 11. When the interlining is bulging, there must be a place to concave it, and the bright gray surface of this place is the key to shaping the interlining bulging.

12. The dark side should be painted both real and virtual, so you can wipe it with your fingers. 13. The changes of this side are very rich, there are both dark and gray sides, and it is necessary to distinguish between transitions and naturalness. 14. Again, this bright gray surface is very important, and when it is painted, the lining can be puffed up.

15. The place where the interlining turns the most strongly should be painted realistically. 16. This place is not only the place where the interlining turns the most intensely, but also the center of the picture.

17. There is a small gray surface turn in this place, and it is also necessary to draw it, and the lining will be rich. 18. The line can be arranged according to the structure of the interlining. 19. The lining in the distance should be bold and virtual, and the painting is not a casual painting, but a serious painting of the virtual, controlling the contrast, and the virtual must have content.

20. The gray surface can be gently rubbed by hand to make the gray surface softer.

Interlining chiaroscuro sketch finish.

Observe the shape of the figures, after the composition is completed, it is necessary to spread the light and shade tones, and pay attention to the light and shade brushes not to stay in the part, to create a large relationship, pay attention to the overall change, and then in-depth depiction and analysis, and make a detailed comparison of the tones.

Expressions and facial features should be painted in connection with each other, especially pay attention to the portrayal of the eyes, glasses are the window of the soul, and the quality of the eye portrayal is also related to the success or failure of the work. Finally, it is to adjust the overall relationship to make the picture clear and prominent, and make people look new.

For the change of the relationship between light and dark, the shape of the bright surface should take the initiative to deal with the changes in the shape of the highlight and light gray, light gray and medium gray sections. Using the surface to express the change of light and shade will enhance the sense of firmness and heaviness.

Tips: 1For object observation, open your eyes to see shapes, squint your eyes to see colors.

When shaping the body, soft lead is mostly used in the dark parts, and hard lead is mostly used in the bright parts.

The depiction of details.

For the details to learn how much repetition, how much repetition is the need for in-depth depiction, the longer the painting, the more repetition is required, repetition is not repetition, the more repetition is deeper. The deeper the drawing, the more expressive it will be, but the more careful it is to put down the brush.

Tip: When observing each small figure, stop for a moment to carefully observe and shape.

2.If the front top light source, the dark part is heavy on the front, the projection is heavier, and the heaviest is facing the light source.

Summing up, the pen is an extension of the hand, it should have the touch of the hand, painting is like a sculptor pinching mud, the fingers move from a specific space, from the front to the back, the picture has a sense of space in order to "intend to write the pen first, to write God".

A good work needs to go through repeated practice, and if you want to express the characters more realistically and expressively, you must keep figuring out and practicing in the process of painting.