What to do if the tone of the sketch character is gray, and how to solve the gray color of the sketc

The picture gray doesn't have much to do with the details, it's just that you don't have a good grasp of the big relationship.

For example, if you are dealing with the weak dark parts (this problem may arise because you don't draw enough dark parts, or if you draw too much on the bright parts).

It's simple, draw the dark part and make it light up in the light part (the light part can be not in key, or it can be less in key, and the highlight part should not be in key).

There is a method of observation that I use a lot. Squint, no matter how many tones there are in the bright part, no matter how many tones there are, when you squint, it is still in the whole of the bright part, and the brightest part of the dark part should not skip the brightness part of the bright part.

It's okay to be gray. Generally, the black, white and gray of the picture will be required when taking the exam. It doesn't matter when you actually research.

The so-called black and white comparison is actually a very lazy and ingenious way to take the exam. In fact, you just need to weigh your hair and clothes, and it looks good with a subtle gray relationship on your face, especially a light gray one. Take your time and experience it for yourself.

When you talk about the details, I want to say, the details are in line with the whole, and there is a rhythm. Sometimes more details may not make your picture become so-called gray, but become very unprofessional, very unintelligent, the trade-offs are very important, the details are never isolated, they serve the whole.

...Pay more attention to the details、And then use a pen that is not too thick、、、。

1. The change of the inherent color of the still life itself is formed, and the brightness rhythm of the whole picture changes.

2. To observe an object, we must first look at black, white and gray, black, white and gray are three color levels, and the five major tones can be subdivided, the most critical of the five major tones is the boundary between light and dark, in fact, it is a surface, from the perspective of the composition of the whole picture, the boundary line between light and dark should be said to be a heavier surface of the object on the picture.

3. The intensity and direction of light have a great impact on the shape and space of the picture, thus affecting the brightness and rhythm of the whole picture.

4. The use of different tools and techniques has a great correlation with the performance of the picture and the texture of the object. It is necessary to choose appropriate tools and expression techniques according to the content of the picture.

5. Brightness plays a leading role in determining the emotional expression of the painting, and forms a unified and harmonious picture effect through reasonable balance, contrast, pattern, rhythm, etc.

From the brightness of a picture, we can divide the tones of a sketch still life into: high key (the darkest relationship between light and dark), middle tone (the fifth order in the middle of the ninth brightness scale), and low key (the dark part of the lightness table that is not darker than the middle gray). In our usual sketch paintings, we generally use the expression method of full brightness to draw the brightness relationship of the picture, so that the name of the picture will be rich and harmonious.

"Ash" is one of the 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 reasons for the gray of the picture: one is from the objective object, because the sketched object is in a relatively average or weak light, which affects the three-dimensional sense of the object, and lacks the difference and rhythm in the layer. The correct method 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 relationship according to the strength of the object's structural transition, so as to make the structural relationship of the object more clear and intense.

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 comparison of the overall light and dark levels when making local observations and local expressions, ignoring the general situation, and painting the same everywhere, which leads to the inability to pull the light and dark levels.

The method of correction is to clearly distinguish the bright surface, the middle surface and the dark side of the reflection area, and at the same time to make more in-depth comparisons and expressions in each light area, so that you can draw a well-structured, rich shade of light and shade, strong and loud sketch.

I think the first thing you have to solve is the sketch relationship.

Sketching is not to say that you will draw ** when you see **, before preparing the words, first observe the big light and dark, separate the dark part and the light part (that is, black and white), after separating it, the tone of the dark part and the light part should be carried out at the same time, and always maintain this big relationship.

It is easier to paint gray in the place, when you depict the details, for example, find the details in the dark part, those details can have light and dark changes, but in the big black and white relationship, it will always belong to the dark part (I like to squint to see), when painting the bright part, don't ** all draw, but also remember the shadow in the bright part, no matter how heavy it is, it belongs to the light part, don't do it to the same extent as the dark part, (don't misunderstand it No more than anywhere in the dark part, because I just said, There is also black, white and gray in the dark part, but this feeling is the majority).

In short, pay attention to the large black, white and gray will not paint the gray.

It's a little simpler, it's heavy to make it heavy, and bright to make it light up.

Hope it helps!

1. Solve the picture "too gray": prepare a pencil for 3h---9b, the picture is divided into three major sides (black, white and gray) and five major tones (light and dark junction, dark part, bright part, reflection, projection), different levels with different pencil drawings, depending on the situation, for example, the boundary line between light and dark with 8b9b, the excessive gray part can no longer use 8b9b, you can use 4b5b6b, the bright hb2b, the highlight area is left blank, do not wait for the last eraser, it is easy to wipe the dirty picture, the lines of the bright part should be clear and detailed, The shadows are a bit more blurry. When painting, it is necessary to repeatedly compare and think, pay attention to the overall coordination of the picture, and subjectively strengthen the chiaroscuro, which is the most important thing in sketching!

2. Draw the characters to seek the gods, the expression of the person is the most important, the eyes are the best reflection, the requirements are vivid, under normal circumstances, the tone of the eyes and hair is the heaviest, the face of the character should not be painted too dark, the facial features can be painted well, distinguish the priority and treat it differently.

Strengthen the dark and light parts, expand the relationship between black, white and gray, and pay attention to the painting shaping of the main object of the picture.

There is no distinction between black, white and grey ... You can draw some simple plaster still lifes, don't draw people yet. Dark places are dark.

Bright place highlights... Then I started drawing apples. When you can draw apples full and round, there will be basically no problem...

Two words, bold. Don't be afraid that the painting will be broken, don't be afraid that the painting will be broken, isn't there an eraser, just draw the wrong one, don't worry about the wrong drawing and dare not draw deeply, pull the big light and dark relationship first, and then slowly transition.

The picture will be gray because the relationship between black, white and gray in the picture has not been handled well, and it is also necessary to pay attention to the proportion of the area of black, white and gray, and the black, white and gray levels should be separated, and the relationship between black, white and gray in the picture should be handled. The overall relationship should be grasped well, and the overall relationship of the picture should be paid attention to at any time, the three major sides and five major tones, and the relationship between black, white and gray is very important. Let go of the painting.

The boundary line between light and dark is separated, over and over again, the deep place should be drawn deep and the shallow place should be empty, and the clear and dark virtual and real should be distinguished, and the layers will be clear, and the sketch will be drawn well!!

The shadow should be darker, and the highlight should be left white as much as possible.

Subjectively, accentuate a small part of the gray tone, and highlight a small part of the gray tone, so that the contrast between black, white and gray will be larger, and it will not be so gray. It is also recommended that you use a movable pencil to draw the gray tones from the light and dark lines to the highlights, because that's where the excitement comes in. Use a pencil to draw the dark part, dotted a little.

It is best to practice plaster sketching first, which is very useful. Draw in a pendulum-style key.

Use an eraser to draw out the bright places, and draw slowly layer by layer, drawing the difference between black, white and gray, focusing on drawing the boundary between light and dark.

If you lack a sense of hierarchy, you need to increase the contrast of your picture, that is, let the heavy color go down, and the bright place will light up, and the color will be deep and shallow, so that the level of the picture can be expressed.

The easiest way to do this: strengthen the black areas, highlight the blanks, and strengthen the gradient.

You can try drawing a few pictures with charcoal to get a feel for it.

Well, the dark part of the shadow part should dare to press down, and the beginner of the bright part does not need to pay too much attention to details, and can leave it blank. Otherwise, you can't grasp the big black, white and gray relationship. What is a mechanical pencil?

Propelling pencil? Sketches have never used this painting. If you draw a sketch, you still have to test the basics, copy more good works, don't keep staring at a place when painting, take the drawing board away after a period of painting, you can squint to see the big effect, whether the level is open.

Practicing simple geometry can also help improve the sense of hierarchy.

It's very simple, squint your eyes to see, first separate the large pieces, don't care about the small details, pay attention to the whole, don't stare at one place, adjust the big feeling at any time, the picture is too gray, mainly because you always stare at a place to compare the painting, pay attention to the whole, draw a painting will take the painting to a distance to see if it is still a whole, if it is not a whole to adjust. Each piece is a black, white and gray, first understand the big feeling, and adjust the small details. There are also changes in the black place, not just black, the white place is not dead white, to pay attention to the overall feeling, and then go inside, it is estimated that you are too anxious, always want to paint faster, the first step is not completely good, start the details, so that the picture is easy to gray, always feel that the black place can not go down, the white place can not be white, in a word, pay attention to the whole, step by step, don't be anxious.

Hello, because your black, white and gray relationship has not been opened!

Solution: When you sketch, you need to know the three major ......Generate awareness in your mind at any time!

Then focus on the boundary between light and dark and the contrast between the background and the object!

It will be faster to buy a sketchbook to copy!

The deepening place is depicted and deepened as much as possible, and the black, white and gray are pulled apart.

Brighten the bright ones and draw the dark ones as dark as possible.

Whether it is a canvas or a subject, the use of the gray surface is to have several other elements to drag out the gray surface from the side... Gray surface is also the inherent color of the object from the perspective of color, the gray surface is used well, the whole picture will be very high-key, and the poor use will affect the level of the whole picture... Only by using the light, dark and reflective parts can we have a good grasp of the use of the gray parts.

I have to emphasize here that many people will confuse reflection and gray, and think that the two are actually about the same. . . In fact, it's a big mistake.,Think about it carefully.,No matter how bright the reflection is, it's in the dark area.,So no matter what, it won't exceed the gray area.,The gray part is just the excess of the light and the dark part.。。。 Don't stick to the details, calmly analyze all the elements of the whole picture, pay attention to the light source and grasp the overall tone.

Strengthen the grasp of the overall picture The overall picture should be strong All the local tones should be subordinated to the whole to paint Don't destroy the whole because of the part When facing a group of still lifes or a figure or a scene, then before sketching, you should do careful analysis and observation In the early stage of painting, you should know what to do, and you should be very atmospheric and quickly determine the three relationships of light, gray and dark, and then in the process of deepening, continue to deepen around the big relationship, which will improve the relationship between black, white and gray in your picture. . . Only by using large tones can you use the gray part well, I hope the above personal advice can help you.

The picture in the sketch is too gray, it may also be a problem of light refraction, and it may be different if you look at it from another angle, and it is also related to the artist's painting angle.

Hello, the main reason for flattening is that the priority of the object is not clear. The reason for the "broken" is that there are too many and too strong parts of the object. The reason for "flat" is that the object is not sufficiently depicted. The reason for the "board" is that there is a lack of variation in the depiction of the object.

Ask a question, help look at the problem, and send a solution.

Answer: Hello, this is too strong in portrayal, ask how to correct it, and whether this picture is flat Answer: According to the principle of near large and far small, the change in position can be produced by shrinking the elements, and the smaller the scale of the elements, the farther away from us visually.

We're not professionals either.

Thank you for your understanding.

Thank you Hope it helps.

The sketch is gray, which means that the picture effect is flat, the tone level cannot be opened, and it seems to be spiritless. There are two main reasons for the gray picture:

One is from an 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 and rhythm in the layer. 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.