How to draw a good sense of space in a sketch still life

You can rub it with the help of toilet paper, and then adjust it. The sense of space is to pay attention to the virtual and the real. Near reality and far away from fiction, it should be understood, right?

Let's say a jar, the light comes from the left. The projection on the right, at the bottom of the jar mouth near the jar, should be the heaviest. Second, it slowly weakens.

Distinguish the five major tones. If there is a lining in the back, it should be virtual. Only the emptiness of the interlining cloth can bring out the solidity of the still life, and there is a sense of solidity.

Also pay attention to perspective relationships. Pay attention to the near large and far small, near wide and far narrow, near high and far short. What is close to your eyes is real, and what is far away is empty.

There are still questions to add.

To draw a sense of perspective, the more correct the perspective you draw, the stronger the sense of space.

Clause.

First, the structure. The structure looks very simple, but in fact, there are a lot of things inside, and in actual operation, there will be some different problems, so the solution of the structure is actually relatively difficult. However, when solving the structure, you also need to know some basic perspective principles: to put it simply, it is near and far small.

It's a little more complicated. Clause.

Second, the color tone. A lot of beginners, see a lot of paintings, the tones on them are nice and beautiful. I think that the color is applied well, and the three-dimensional effect appears. It is the reason for this that leads them to misunderstand.

As a result, you have embarked on a misunderstanding, and under the misunderstanding, no matter how you draw in the future, you will not be able to draw well. This is also a misunderstanding that many self-taught students often fall into. So, be sure to pay attention to this aspect.

Tone, like decoration, he can only add icing on the cake, good tone, he will only make your painting more beautiful, and in terms of three-dimensionality, he is the same. So, when I was teaching drawing, the first thing I focused on was getting everyone to draw the structure first. I usually put the color tone in the back.

Third, background.

A lot of times, another way to highlight a space is to use a background. When some objects are depicted, it is very difficult to depict the structure and tone, or for some other reasons, the sense of space of the object is difficult to shape, and in this case, we need to use the background to set off.

However, when he painted the background, he had many factors. It is necessary to combine and understand each other according to the sense of beauty, sense of space, composition, physical objects, etc. Generally, to create a sense of space, after you integrate the above three points, you can draw a good sense of space, three-dimensionality, etc.

If you want to show the three-dimensional sense of space of the object, you must draw the relationship between light and dark on the three sides of black, white and gray!

You have to pay attention to the grasp of perspective, light and shadow effects, light and dark dividing lines, and outlines, and you must know that the current sketch is no longer limited to the connection between lines and planes, you can express the existence of an object through subtle twists and turns in a parallel set of straight lines.

Everything in the sketch is "black, white, gray" three colors of light and shade clear, perspective is done well.

The line drawing is accurate, the drawing is fine, the light and shade are excessively clear, and the layers before and after are clear.

The sense of space in the sketch follows the principles of geometric perspective and air perspective, and the relationship between objects such as distance, level, and interspersing is depicted and drawn, so that it conveys a deep three-dimensional spatial feeling on the flat painting.

The spatial sense of the sketch is aimed at subjects of the same size, and it can be large when it is close and small when it is far away. It can be touched by the lead to be aware of its sense of distance and proximity. The degree of this varies depending on the wide-angle lens and telephoto lens, but with a wide-angle lens, you can get exaggerated shots that are larger than the real size.

To record the beginning and size of the subject correctly.

In the three-dimensional space we live in, each object exists by occupying a certain space, and through the observation of our eyes, we can see that the object is not flat, but has a sense of three-dimensional and space.

In the creation of sketches, the three-dimensional sense and sense of space of the object should be presented on the drawing paper through the brush.

If we depict an object that is flat and free of tension, then we can safely say that the work is a failure.

The so-called "three-dimensional sense of sketching" refers to the somatosensory representation of the three-dimensional space of the object itself, which is determined by the structural properties of the object itself.

Therefore, before painting, you must first have a clear understanding of the structure of the object, and you can grasp the structural characteristics of the object by practicing more structural sketches in the early stage.

The other is to deal with the transition of the relationship between light and dark, and also to find the right perspective relationship.

Another point to note here is that we need to grasp the relationship between the object as a part and the whole, that is, we cannot shape the three-dimensional sense of the object in isolation, but must unify and obey it to the corresponding environmental space, which is the key to obtaining a sense of space and wholeness in the picture.

The so-called "spatial sense of sketching", in layman's terms, means that the picture looks layered and not flat, creating a sense of depth and distance between the front and back.

There are two aspects to pay attention to in shaping the sense of space, that is, the spatial sense of the shape and the spatial sense of color, the former refers to the distance between objects, and the latter refers to the change in the intensity of light and darkness due to the distance.

In short, the creation of sketching itself is a process of cultivating and shaping beauty, and the sense of three-dimensionality and space plays a very key role.

For beginners, it is necessary to practice and observe more, if you do not grasp it well, you can first copy some excellent works, and constantly deepen your understanding of the structure and space of the object, feel the structural changes of the object, explore more, and finally reach the level of proficiency in expressing the three-dimensional sense and sense of space.

Because I just want to change chapter by chapter every day, so if there are children's shoes that can't be tolerated, you can go to my personal space to see, the personal space has been a year, and it is recommended that beginners and zero-based children's shoes start to look at the back.

Individual. Personal Space Links.

The way to draw a sketch still life is as follows:

1. Establish the composition. Carefully consider the arrangement of the composition, so that the objects on the picture are properly prioritized, the composition is balanced and varied, and the disadvantages such as scattered, chaotic, empty, and stuffed respectful are avoided.

2. Draw a large body structure. Draw the shape and 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 must be accurate. Then draw the shape position of each light and dark level (highlights, highlights, midcolors, shadows, shadows, and light and dark lines).

3. Gradually deepen the shaping. Through the depiction of light and shade of the form (from the whole to the part, from the large to the small), the sense of volume of the object is gradually deepened. The key details of the text should be carefully depicted.

4. The adjustment is completed. When you depict it in depth, it is inevitable that it will be bright and look at the interrelationship between the whole and the parts. At this time, it is necessary to make a comprehensive adjustment (mainly referring to the shape structure also includes tone, texture, space, primary and secondary, etc.), so as to make trade-offs and highlight the subject.

5. Sketch of the body. A sketch that depicts an object with structural lines is called a body sketch for the time being. In this kind of sketch still life, the artist simplifies and strengthens the depicted objects according to the principle of geometric structure.

Due to the depiction method of perspective cross-sectional analysis, the structural combination relationship of the object and the spatial state of the object are affirmed, clear and clearly visible on the screen.

When drawing a sketch still life composition, we should pay attention to the balance of the center of gravity, and the blank space of the picture should be "less at the top and more at the bottom, and balanced on the left and right". That is, the upper part of the whole picture is left less empty, the lower part is more, and the left and right blanks are basically equal. It makes the composition of the picture more reasonable, with a complete and stable visual experience.

The composition should not be too full or too empty, and the objects should not be loosely placed.

1. The main and secondary are clear

The principle of composition needs to consider the visual center of the picture, the position of the subject object is usually around the ** division line of the picture, do not place it in the center of the picture, ** segmentation is the first vision of people to see the picture. The area contrast and position layout of the main object and the secondary object together constitute the visual effect. The area of the main object and the secondary object are contrasted with the area size to highlight the visual effect of the main object.

2. The composition is full

Full composition means that the objects should be placed in a proportional way to fit the drawing paper, so that the visual effect of the picture is full of tension. The size of the object needs to be determined according to the shape of the subject, as far as possible to avoid the object exceeding the border of the drawing paper, the composition can make the picture have a strong attraction, and the object in front and behind need to open up the spatial relationship.

3. Black, white and gray layout

The black, white and gray layout of the picture is also the main link in the composition, which is very important to the black, white and gray layout of the object. First of all, heavy color objects need to be set off by light-colored interlining, light-colored objects need to be reflected by dark interlining, and dark and heavy-colored objects should not overlap before and after, left and right. Objects also need to be contrasted between dark and light colors.

All in all, in the process of composition, we can follow the principle of "black on white, white on black".

4. Balance the weight and weight

The balance of light and heavy in the picture is the relative balance of objects on the left and right and up and down, rather than the absolute balance. Place a group of still lifes, with the main object on the left, and generally arrange the relatively large secondary objects on the right, rather than all the larger objects on the left.

5. Points, lines, and surfaces

A complete set of pictures must have the constituent elements of "points, lines, and planes". The function of "dots" is to make them scattered and decorate the picture; The function of "line" is to break the "wholeness" of the picture, making the picture more tense and flexible; The role of the "face" is to make the object expressive and complete. The combination of "point, line, and surface" is the most basic constituent element of a group of still lifes.