Sketch lining problems, how to draw a sketch of interlining

When you take shape, the pen is lighter, especially the fold of the cloth, use some curves, don't always use straight lines...The projection can be properly supported by the interlining, the pen must be loose, light, if it is too ruthless, it is a dead line, it is painted like an iron sheet, and you can also rub it by hand as needed. In this way, the drawing is harmonious. The lining is the main body, and the light and shade are also changed to support the main body, so study it well, but don't be intimidated by this small difficulty, come on.

The so-called interlining cloth must remember not to grab the camera with the subject!

The most common mistake you make when painting a backing cloth is to paint the cloth very gray and dirty. This is the color palette of white or some high-purity colors mixed in, so at the beginning of the primer should be used to sink the point of pen and ink focus (dark colors can be covered with light colors)! Generally I base like to use vermilion and gappland or darker dots in addition to the tartrazine answer supplement == sketch!

If you sketch, it's easier to get results with charcoal! After the general outline is roughly outlined, according to its fold light and shade, use a carbon strip with a small hardness to erase the light and shade, ** In terms of virtual and real, I suggest that you first set a point yourself, and draw the lines around that point Details Perspective Light and shade in detail, so that the whole picture is more beneficial for scoring!

When pressing the canvas, the virtual and the real are combined with the painting, do not be dead, there is reality in the virtual, and there is virtuality in the reality, so that the expression can not be blunt.

It's better to find a book to read, why bother to blow it here, the brain is big, and the effect is not necessarily good.

The interlining sketch is as follows:

Step 1: First of all, respect the shape of the interlining and draw the shape of the interlining. Be sure to draw the shape of the interlining accurately.

It is only possible to draw a good interlining sketch if the shape is accurate. The dark side of the interlining with obvious undulations is darker, and the painting should be "heavy at both ends and light in the middle". The heavy "two ends" indicate the dark junction and the projection, and the light "middle" refers to the reflection.

Step 2: Next, draw the relationship between black, white and gray of the interlining. The lightly undulating interlining can only see the bright and gray surfaces, and the gray surfaces should also be drawn, according to the structure.

Thickness and folds are expressed by light and shadow. The overall dark side and projection are important to grasp. Note that it is the dark side of the whole, and do not show the dark side too much in pieces.

Step 3: Dig deeper and adjust the details. When the interlining is bulging, there must be a place to concave it, and the place where the interlining turns the most strongly is also the center of the picture.

Grasp the elastic rhythm of it. The elastic is just right, so that the interlining has a kind of strength and rhythm in it.

Step 4: Finally, in order to avoid painting "flowers" on the interlining, you must also learn to take the main priority and treat the virtual and real interlining. Use a paper towel to unify the tones of the entire picture. Pull apart the tones of the inside and the flat surface to distinguish the overall light and dark.

Don't pay too much attention to the shape of the interlining, as long as the general relationship is right, the type is too accurate, but it will affect your painting interlining. The second is to figure out the ins and outs of the interlining, and the tone must form a perfect combination with the trend of the interlining.

Because the interlining is a relatively soft thing, the excessive tone should be natural, and the subtle light and dark changes of the interlining should also be noted, the contrast of the lining in the front should be stronger, and the contrast of the interlining in the back should be weakened. While painting the interlining, we should also pay attention to the overall effect, because after all, the interlining only plays the role of setting off the main object and enriching the picture, so the portrayal of the main object is still the most important. There is also the texture expression of the interlining, and the texture of silk, linen, and cotton is different.

The painting lining should be generalized, concise, and just right. Except for a small number of pictures in which the lining is the main body of the performance, in general, the lining is in a secondary position in the picture, but the sketch relationship of the lining is handled well to highlight the subject, strengthen the overall relationship, and enhance the interesting performance of the picture plays a great role. The portrayal of the interlining should not dominate, and the wrinkles of the interlining should be carefully selected, and the real can be real, and the virtual can be virtual, otherwise the overall effect of the picture will be affected.

In addition, in the process of painting with light and dark tones, we must first deal with the three major relationships of the bright side, the gray side, and the dark side. The strength of the tonal contrast determines the overall effect of the picture. Sometimes if the contrast is too strong, it will feel rigid and stiff, and if the contrast is too weak, it will feel that the tone is too dark.

In general, deliberately portrayed transitions should be contrastingly strengthened, while secondary areas should be weakened. It should also be noted that the interlining is to set off the main object, don't deliberately emphasize it, bring out the main object, strengthen the contrast, and unify the picture.

Pay attention to the tone of light and dark gray, there must be a dark color and a light color relative,,, so as to show the wrinkle of the interlining...

The undulation of the interlining, the scientific way to observe it is to draw it as a volume. Think of it as an entity, with the same light-receiving surface, light-dark interface, and reflective surface. It should be noted that the interlining is the background, and the background is used to set off the still life in front.

The interlining has undulations, that is, the folds of the cloth pattern, how to draw the cloth pattern?

Canvas pattern, many students draw very stiff, can't draw the softness of the canvas, but the volume can't be found. To draw the volume, it is to find the boundary between light and dark, reflection, and projection, so that the volume will naturally come out.

When drawing, consider the different textures and volumes of the cloth according to the fabric of different materials, and pay attention to it.

Fiction and reality, etc. 1. Texture.

Mainly through the speed and thickness of the thread, and whether the tone is too soft or hard. But in the process, be sure to respect your intuitive feelings.

2. Sense of volume. Mainly from the point of view by using the key. For example: eggs and table tennis balls, the light and dark junction of eggs is heavy, and the dark part is heavy, the reflection is weak, and the projection is heavy.

Table tennis is the opposite. In this way, they feel heavy and light. The same goes for the inch cloth.

3. Fiction and reality. As long as you grasp the reality well, the feeling of the cloth will be real, it will not be stiff and thin, and the feeling will have thickness.

The village cloth is not the key, and it is not a decorative painting, the environment is good, the main object is highlighted, and the coordination is good.

You can lay the major key first.

Then the canvas pattern.

From a chiaroscuro perspective.

Painted in black, white and gray. Then wipe it again with a napkin.

Finally, brighten the highlights.

Interlining interlining, the so-called interlining is to play a foiling role. Just a brief explanation.

Draw a good interlining, to explain his ins and outs, the three sides of the explanation clearly, pay attention to the light and dark priority can not be robbed with your subject matter, the relationship between the front and back levels, black and white contrast in place, do not reverse the priority. Because you need it for the exam, the interlining doesn't need to be portrayed too much, and if it's a long-term work, it's necessary to pay attention to details. The reason why it will be grayed out, I think we need to strengthen the contrast between objects, the heavy ones should be heavy, and the bright ones should not move, so the picture is loud and the light source is unified, and sometimes subjective adjustments are needed to strengthen, don't blindly copy it.

The lines are thick in the middle and thin at the ends.

You can rub it with your fingers.

There is no need to overemphasize the interlining, and don't pick it out.

The interlining is for the purpose of lining the still life, so there is no need to overemphasize the light and shade of the interlining, and try to paint it together with the dark part and shadow of the still life.

After determining the dark part and shadow of the still life, first use a 4B or 5B pencil to gently apply a layer of gray tones as the dark part of the interlining, and the tone of the still life in contact with the interlining cloth needs to be aggravated. Sometimes, the dark parts of the interlining are also affected by the position of the still life shadows.

You can also use your fingertips or toilet paper to wipe the dark part of the interlining to make the dark part of the interlining a few times and repeat the upward adjustment, according to the light and shade of the cloth under the light source, slightly increase the shadow of the interlining, and after brightening the highlight of the interlining, you still need to wipe the surface of the interlining to make the interlining virtual. Remember, the highlights of the interlining should not be brighter than the still life highlights, nor should the shadows be darker than the still life shadows.

The teacher taught us that the interlining is for the purpose of highlighting still lifes, so there is no need to explain the ins and outs of the interlining clearly, only the general trend of the interlining needs to be drawn, otherwise the interlining will be painted very dead like a stick and a branch. After all, still life is the protagonist!

The drawing method of the interlining is the same as the cylinder and geometric painting, and when we master the modeling rules, the interlining is easy to express, and the same is true for painting other still lifes.

Notes:1The trend of the interlining, the shape of the structure, interspersed.

2.Black, white and gray on three sides, the boundary between light and dark, and the projection relationship create a sense of body. The virtual and real changes from the head to the tail create a sense of space.

3.Go to the second and leave the main one, and deal with it subjectively, so that the picture can avoid the feeling of "flower" caused by too many interlining folds.

Drawing steps: Step 1: Summarize the shape trend of the interlining.

Step 2: Outline the dark part, including the dark side and the projection.

Step 4: Continue to distinguish between black, white and gray levels, paying attention to the overall contrast.

Step 5: Accentuate the light and dark junction at the turning point, and distinguish it from other places.

Step 6: The interlining in the distance should be bold and empty.

Part 6: Depict some details in the front, summarize in the back, and adjust the whole.

Look at the teacher's demonstration and learn from your classmates' skills.

The boundary between light and dark is the boundary between the light place and the shadow place, which is generally the darkest and deepest;

Then one side of the dark part is the boundary between light and dark, and the other side is the reflection, the reflection is brighter than the dark part, but the wood has a bright part;

I think these questions should be ...... all taught by your teachers

Painting the lining cloth is really annoying, ask the master if it is for the examination, you can sketch and copy the cloth pattern painting simpler, anyway, when you read the paper, there is also a teacher to see if the cloth you painted is the same as the still life; If you're interested in painting, I think it's okay to pick a few good sketches of your favorite cloth pattern paintings.

Personally, I feel that the feeling of painting the cloth is that it must be drawn in the reflection there, and when I feel bored, I imagine the cloth as a thick sheet like its shape, and then work on it like drawing the light and shade of a geometric body.

You can really ask the studio teacher you are learning about these knowledge points, and it will be more effective to explain them to you on the spot according to the existing objects and interlinings.