Sketching human head portraits is easy to be grayed out, how to correct it?

I've also encountered this problem. My method is 1, use an eraser to brighten the bright surface, 2, use 4b and 6b to deepen the boundary between light and dark, and then the reflective side should be properly brightened to form a contrast. 3. The gray surface should be multi-layered, the gray surface is not only just a plane, it is also hierarchical, with chiaroscuro.

Highlight where it should be, but not too dark, because he's always gray. 4. You can also appropriately increase the background and object for comparison. There are also some brushwork problems to pay attention to, that is, when drawing, you should use lines to construct and not grind.

All in all, what should be bright is bright and what is dark is dark, and there should be a contrast between light and dark, so that it is not too gray.

The dark place is dark, such as projection, low nose, down, etc. Be sure to depict the boundary between light and dark.

In the process of painting, it is always necessary to compare the paintings.

When you don't have enough shadows, don't be in a hurry to draw the bright ones, it's not easy to draw gray.

I don't think any of the above can fundamentally solve the change in your painting "gray". Why? You also said above, "But the deeper you go, the less intense the contrast", how can this effect lead to you?

Because you depict all the objects on the plaster head too much, what is too much, that is, you portray no point. For example, Xiaowei's head, he has curly hair, and you portray his hair as if it were irrelevant to him"Primary".It's all too detailed.

For you to spend too much time painting, you will be too detailed to depict the virtual areas behind, and you should have enough time to depict the five senses and the transition of the next surface of the five senses, which is actually very important. Thank you, I hope this can help you a little.

The dark part is painted with the key points, the bright part is bright, there is a gray tone transition in the middle, and the strength is controlled when it is deep, and the hard lead is used to paint, and the bright part is not painted dark.

Pay attention to the coordination of the picture, pay attention to the contrast between light and dark, strengthen the side and front of the portrait, but don't overdo it, you must pay attention to the coordination of the picture, and you can also wipe the dark parts and turning points with your hands, like the cheekbones, nasal bones, forehead, and mandible turns, so that the picture is soft. You can learn Yu Ping, the perfect tutorial of the portrait drawing method, it's very good.

It's also a skill. Your mind should be clear from beginning to end when you are drawing, and you may not be as careful as you were at the beginning after a long time of drawing.

Then there is the problem of the angle of your pen, the pen should not be polished on the paper at the end, and the eraser! Don't erase the eraser. Usually I use the soft eraser with pores.

Light up the places that should be bright, and darken the places that should be dark, so that the painting can have a strong contrast.

The painting is absolutely darker and darker, and the painting of CAFA is very gray, because they are called in-depth depiction, try to coordinate their own picture, and increase the line between light and dark!!

The strongest contrast is black and white, and you can use a gradient to show this strong contrast, remember the RGB primary colors? You can use brightness, saturation to increase the contrast!

Light up the bright side and darken the dark side. Strengthen the boundary between light and dark.

Draw the key points in the dark parts, light up the bright parts, and pay attention to the transition in the middle.

The contrast should be strong, and you can also change it to a more than 8b stroke!

Start with the boundary between light and dark of the facial features, and if there is an order, don't draw each order.

Pay attention to the penmanship and use an eraser if you still have one.

Sketch three taboos: board, ash, flower, the way to solve the ash is relatively simple:

1. Use a softer pencil, and generally use 6b or more to draw the avatar.

2. Don't draw too stiffly when the draft is finalized, look at it and then put it down, and don't take the eraser to revise.

3. The facial features are portrayed, and hair is the heaviest tone in the picture.

It is recommended that you go to the library and take a look at it and enter a sketch. There's teaching in there. There are also comic teachings, etc. Hope it works for you.

Pull away the relationship between black, white and gray, strengthen the bottom surface, and wipe the surrounding area clean with an eraser when you finish drawing.

First of all, pay attention to the way you hold the pen, if your hands are dirty, rub them on the painting, the painting will definitely be dirty, and then remember the order of painting, first the dark part, then the gray, and then the light. Step by step.

The place that should be deep is decisively deep, and the place that should be bright is decisively bright.

After that, it is excessive.

Every step is a style.

Hello, do a group of coarse kisses, and now I will answer for you The first must be the most critical and important question of shape, usually the guidance of the way of observation when contacting is the most critical. A good method can make students feel that their pure calm is not so bad, and the result with half the effort can make students interested in painting. The second is the structure, many students have asked the same question, that is, what is the structure here, usually the teacher will tell him what kind of decent transition is here, but if it is not combined with the characteristics of the model's image, it will only be copied and lose the model's character state.

The picture becomes stiff, or every picture is the same. The third is the rhythm of the picture, in fact, the rhythm of the avatar is very easy to handle. Highlight the visual center and devote a lot of time and energy to observe and find changes.

The overall facial shaping and the shaping or late shaping of the facial features are separated. If there is a difference in the way the hair, clothes and face are handled, it will be obvious that it can be pulled apart.

Summary. Kiss! Hello, a blessing, a warmth, a touch.

Have a grateful heart. Life is full of touching! Your question has been received, it will take a little time to type, please wait a moment and please do not end the consultation.

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Kiss! Hello, a blessing, a warmth, a touch. Have a grateful heart.

Life is full of emotional impulses! Your question has been received, it will take a little time to type, please wait a moment and please do not end the consultation. You can also take this time to provide more effective information so that I can better answer for you.

I hope mine can solve your problem, and immediately sort out the answer for you, please wait for a while!

The tones are painted one by one without Brother Li Na in the structure, which is plausible, and it seems that the tone is floating, and the picture is also tired. The structure that should be explained clearly should be explained clearly from the beginning to the end. It's a sense of volume.

This man's head is sensitive, and if you put it simply, you can see him as a cube.

It's this. The face is changing.

And the chin is a little crooked.

The reason for painting gray is that the bright places are not bright, the black places are not black, the picture is gray, you can start from the whole, don't indulge in the details, first show the light and shade of the picture as a whole, and then distribute it to the part according to the whole.

First of all, you have to do a good job of the eyes, the eyes are very important, the highlights of the eyes, the dark part and the projection must be done, if you can't, you will draw the approximate relationship, and then take your time, and there is the hair, the hair is the blackest place in the head, the hair is black, so that even the gray of your face can be slightly covered, the nose and mouth are the same, to separate the three relationships, bright and gray, the dark part of the face is mainly in the bones, if you want to draw the head well, you have to understand the head ** to be dark ** to gray, you know, the muscles of the face, If you have something to draw the dark part, you must draw it boldly, otherwise it will not be dark.

First of all, whether it is a plaster head or a character head, try to keep the picture clean, and experience is that it is better not to paint a background with blurred colors.

The structure of the plaster head is obvious, the relationship between light and dark is clear, the bright part is kept bright and depicted with a pencil of 2B and below, and the dark projection should be aggravated, and the light and dark form a sharp contrast.

Pay attention to the portrayal of facial features in the portrait, the facial portrayal should be meticulous and do not have waste lines, the hair is first weighted with a dark trumpet pen and then used a light-colored hard lead to depict the lines, or use plastic eraser to make a sense of hair.

Don't wipe your hands around while drawing.

In fact, smearing is also a kind of painting effect.

Erase them with a good eraser, such as the Faber-Cascade eraser.

Properly use plastic eraser to stick off some rubber scraps, and blow them off.

In the end, your hands can't wipe it on.

Where it should be black, where it should be black, where it should be bright, where it should be bright.

Black and white should be in place, heavy colors should be heavy enough, white should be white enough.

When drawing, you should choose the best drawing pencil.

When the painting is completely finished, it is sprayed with fixing liquid as a protective layer.

After the solution is completely dry, it can be framed and equipped with plexiglass, and it must be avoided from long-term direct sunlight.

This kind of problem is one of the most common problems in sketch learning. When a sketch is painted gray, it means that the picture effect is flat, the tone cannot be opened, and it seems to be unenergetic.

There are two main reasons for the gray of the picture: one is from the objective object, because the object of the sketch is in a place where the light is relatively average or weak, which affects the three-dimensional sense of the object, and lacks the difference in level and rhythm. If the candidate who paints the gourd in the same way, without a deep understanding of the structure of the object and the proper handling of the light and shade of the picture, it will inevitably lead to the gray and flat problem of the picture.

The method of correction is to line up the light and dark levels according to the understanding and analysis of the structure of the object, and boldly strengthen the chiaroscuro effect according to the strength of the structural transition of the object, so as to make the structural relationship of the object more clear and intense. This kind of active artistic treatment is very necessary in sketching.

The second reason for the gray picture is that there are problems in the painter's sketching method, which is mainly manifested in the lack of grasp of the overall light and shade level when making partial observation and local expression, ignoring the general situation, painting the same everywhere, and finally leading to the inability to pull the light and shade levels. The method of correction is to distinguish the bright reefs in the bright, middle and dark reflective areas, and at the same time compare and express each brightness area in more depth, so that you can draw a well-structured, richly shaded, strong and loud sketch.