Plaster Sketching Problems Five major problems that beginners must avoid in children s plaster sketc

If you are a beginner, it is recommended to divide the face distance of the plaster before starting the draft, generally from the collarbone is a part, the clavicle to the nose is a part, from the nose below a part, the neck part, the base part, first determine the position of the top of the head and the base on the paper, and then divide it on the paper in proportion, and then there is a way to draw the nose and eyes first, (if you often go out of shape, it is recommended to use a straight line to outline the general shape, but it is easy to draw a transformer) After drawing the nose and eyes, hook the shape, draw the light and dark line, The other is to draw the outer frame first, and then go deep inward, the light and shade are generally very difficult to master, the usual solution is to use a brush or hand or toilet paper to grind the dark part (generally to wait until the facial features are roughly drawn, it is recommended to use less eraser pen, easy to plaster) with the side peak of the pen to draw the handover line, the handover line to draw the virtual and real, if you do not master well will not use the pen with the shape of the pen then more card cheekbones (cheekbones are forbidden to draw black!! The facial features are desperately strengthened, and how black can be painted (don't paint all black, generally there is a little bit of the eye and the nostrils are the blackest, and the eyes and nose of the plaster are not clear, so emphasize the nostrils and the junction of the upper eyelids and the eyeballs) Don't draw too many things in the dark as long as there is a large surface, you want to draw breathable, draw something close to you to be specific, far away can be wiped, aggravate the difference between light and dark and primary and secondary, beginners can use more lines, but try to use the surface to draw, don't draw too soft, try not to use the pen to draw. Don't learn the painting methods of those masters, they all have a high foundation in sketching and sketching, usually use sketch composition first, wipe the dark part, use the pen with the light part, and then emphasize the facial features.

The problem of inaccurate shape and light and shade mastery of flowers that are not good at drawing some people have not done well after learning for several years, so don't worry, slowly summarize the skills, and you will definitely draw well. (Your bounty score is staggering 0-0).

It's good to draw more and practice more Copying is to follow the drawing, Sketching is light and dark, virtual and real, and you are biased, so copying just lets you know which part and how to draw.

When you're sketching, you're drawing with the help of what you've learned when you're copying, like writing the ones you're copying, don't see the models.

You can draw whatever the light and shade are, and sometimes the light and shade that you deviate from are more three-dimensional, so that slowly you will make progress.

Fortunately, my joint entrance examination is not an avatar for the test of still life haha I wish you progress.

It's taken too long. You should first copy a few sheets, starting with the simplest Agripba, and then start sketching, the pirate Xiaowei Voltaire should draw more, and then look at the homework of the American High School in the United States, and study it carefully. The problem of inaccurate shape, when drawing, you should compare more and then brush.

Painting is all about the whole first, then the part, and then the whole, so your light and shade should also be done in this order. And the reality of the picture is your ability to grasp the line, which tests the basic skills, if you are an assault, you have to strengthen the training in this area.

How simple is copying, sketching can really exercise your modeling ability.

I think you should ask your teacher before you draw.

You can also look up tips for painting plaster casts on the Internet.

Practice more anyway. It's going to be fine.

You QQ is shown up, and you still don't show QQ for this kind of problem?

First, the body is not accurate. This is a typical mistake in the formation of factors that are unstable at the root. The problem is presented in two ways

One is that in the drafting stage of the sketch, the technical request for the cessation of the steps of the sketch was not strictly followed, and the stage of partial finalized description was prematurely entered; The other is that there is no complete control of the method of "finding relationships" in sketches, and the "straight line beading method" and similar methods will not be used to check the correct relationship between the proportions and angles of the structure. The way to deal with this is to return to the exercise of simple objects and carefully grasp the essentials of the step technique.

Second, the demeanor is wrong. Plaster head sketches often present this situation: after the shape of the head is fundamentally confirmed, the expression and demeanor of the head in the painting do not match the practical object, and after the shape measurement and inspection, no large proportional difference is found, so it is impossible to stop the clear correction.

The reason for this headache is that in the process of drafting, the painter stopped exaggerating the angle of the diagonal line on the structure and the curvature of the turn, and "slightly" reduced the shrinkage of the perspective on the side, so that the shape of the drawing was imperceptibly out of shape. This is the result of the painter's lack of overall concept of sketching and excessive emphasis on partial description. Here's how to deal with it:

In the process of shaping, less partial analysis is used, and more overall perception is used, focusing on the oblique angle of the structure, emphasizing the perspective shrinkage of the side, and delaying the shaping of the curvature of the turn.

3. The composition of the avatar is too large. There are two reasons for this: one is that the habitual painting is large, and the other knows the effect of the paper border on the composition, and when the composition is drafted, the logo is set too close to the paper border, which is too "economical" for the background area

On the other hand, although the appropriate composition was affirmed during the drafting stage of the haunting bureau, the signs of the composition were changed and expanded in the process of drawing. The latter situation is due to the fact that the painter did not affirm the proportional relationship of the head as a whole according to the "one-half" division and proportional method, and the drafting method was partially promoted. The method of dealing with it is to take the outermost point of the composition as the starting point, and strictly use the "one-half" proportional division method to divide the proportion of the structure, so as to draft the whole and finalize the shape as a whole.

Fourth, the picture is "gray". The reason is that there is no change in the brightness of the gray part in the middle, and we should use an analogy to find out the contrast between the light and dark of the gray surface, or check and correct the brightness change of the gray part from the overall perspective, and express the gray part differently and hierarchically.

Fifth, the body is "rigid". This is due to the lack of true and false changes in the avatar, and the comparison of true and false face construction should be enhanced.

1. Composition. First, determine the height, width and narrowness of the plaster statue, with a slightly smaller space above and a slightly larger space below. The space facing the face is also slightly larger. Then use straight lines to draw the large proportions and perspective relationships of the head, chest, neck, seat and facial features.

2. Scratch the shape. In the large proportional relationship, the facial features, bone points and muscles are drawn with the boundary line between light and dark. It is necessary to use the assistance of horizontal lines, vertical lines and oblique lines to draw the proportions and turning points, draw the outer contour from the outer contour to the facial features, and then use the external contour of the facial features, repeatedly correct it, and draw the shape and structure of the plaster statue with straight lines.

The line should have a change in weight, virtual and real.

3. Spread the tone.

Starting from the large boundary between light and dark, draw the two major parts of light, Qi, Heng and dark, and then spread out the four big (head, neck, chest, seat) and the large volume of the five or the envy of the official.

4. In-depth portrayal.

Starting from the large structural relationship, the light and shade of the facial features, bones, bone points, and muscles are changed.

Draw it out (note that void is not a blurring of the structure, but a weakening of contrast). In the shaping of the three major faces and five tones, it is necessary to find out the brightest spots, the darkest points and the strongest reflective places of the entire plaster statue, and the performance of the middle tone.

To be delicate, the facets should be clear, this part can expose the lines, and the lines should change with the structure

5. Overall adjustment.

In this step, you can see more and analyze more to see whether the overall sense of light, texture, and weight of the picture is expressed, and you can also carry the plaster image on your back to make analytical adjustments to the overall picture. In the end, the whole picture achieves a vivid and harmonious effect.

Plaster heads are considered to be the best place to train the basic skills of sketching, because most of the original plaster statues are sculptural masterpieces by masters of the past. The plaster statues copied from these sculptures have distinctive image characteristics, overall coordination, clear and definite body structure, and have the characteristics of still life, which can allow people to observe for a long time, change angles for all-round sketching training, and repeatedly compare and modify. In this way, beginners can understand the shape and structure characteristics of the avatar, study and comprehend its modeling rules, and obtain a variety of technical enlightenment, so that the sketching techniques can be further deepened, and lay a good foundation for the sketching of real heads.

Beginners can appreciate and comprehend the beauty of art, experience the spiritual temperament of the works and the processing techniques of art, and constantly improve their aesthetic taste and art appreciation ability.

Second, the modeling copying.

Plaster head sketching is a compulsory course in sketching that is more complex and requires high modeling ability. Before the sketching practice, it is necessary to carry out some sketch plaster head copying, appreciate and study the good sketch head works, and learn to analyze and appreciate, so that in the sketching practice, gradually have their own methods and opinions on how to observe and express the moving points of the object.

3. Style trends.

The sketching of plaster head does not advocate beginners to subjectively emphasize exaggeration and deformation too early, and pursue genres and styles, which will inevitably weaken the study of modeling laws, is not conducive to the improvement of modeling ability, and cannot meet the comprehensive requirements of basic training. Therefore, the sketch of the plaster head should express the real feeling of the plaster statue in a realistic way. In the process of painting, the correct methods and steps are used, the composition is appropriate, the shape is accurate, there is a sense of three-dimensionality and quality, and in-depth comprehensive analysis and repeated comparison are carried out in order to obtain an in-depth understanding and expression of the structure and modeling rules.

In addition, more research should be done on generalizing, refining, and highlighting demeanor, so that the picture has a perfect and harmonious effect. After having a firm grasp of the rules of modeling, cognitive ability and skill to reach a certain level of hail blindness, you can carry out diversified exploration and pursuit in artistic expression and style.

The aspects that should be paid attention to and improved in plaster portrait sketching are:

1. Observation: Observe the sketch object as a whole, analyze its structure, proportion and perspective relationship, and consider appropriate composition and expression methods.

2. Composition: First of all, draw up the center line on the drawing paper, that is, the vertical line and the horizontal line (horizontal line), and the center line can be used as a basis for comprehending the expression and observing the momentum of the circle. Then, with two penitential wrestlers, make a rectangle of the same scale as the picture, and include the plaster statue, and at the same time, draw a large outline above and below the center line.

By using a pen instead of a scale, you can observe angles and tilts, and if you are proficient, you can directly analyze angles by observing and comparing them.

3. Shape: Observe carefully, draw a large shape, and express the structure of the plaster statue according to the proportional relationship.

4. Spread the big tone: according to the law of light and shadow relationship, first lightly express the large light and dark relationship. Then, according to the analysis and comparison, the overall relationship, the structural relationship and the perspective relationship are considered to further strengthen this chiaroscuro relationship.

5. In-depth portrayal: strengthen the structural relationship, perspective relationship and black, white and gray relationship, and express the part on the basis of the overall performance.

6. Adjustment: Finally, adjust the relationship again, so that the parts serve the whole, so that the picture has virtual and real, primary and secondary, and the main body is prominent. It has a rich and touching texture, but also a magical sense of space, which can basically reflect our feelings about the depicted object and make the viewer resonate.

The composition begins by positioning the ratio of length and width (the ratio of the length and width of the entire plaster at your angle).To determine the base of the plaster on the paper first, that is, the lowest point is in **, be careful not to rely too much on the paper to put down, and the vertical composition is recommended to be 3-4 finger width distance.

Then determine the proportion of each part of the avatar, and the general plaster avatar is the avatar + base.

Or a bust.

If it is an avatar + base, then take a closer look at the distance from the chin to the top of the head and the chin to the base.

: If you are not sure with the naked eye, you can use a pencil to measure:

Method: Raise the hand holding the pencil to the plaster cast, and make sure that the arm is straight. Then squint one eye. For example, the width of the head is the distance of half a pencil, and the length of the head is the distance of two-thirds of a pencil.

No matter what you paint, the shape must be accurate, and after the shape is accurate, as long as the chiaroscuro painting is not very bad, you can generally pass, and if you are a college student, you can pass it with a better attitude towards the teacher.

Portrait proportions.

Three courts and five eyes. It's the majority of people, in parallel perspective. The distance from the bun line to the arch of the brow, from the arch of the brow to the bottom of the nose, and from the bottom of the nose to the chin, is equal. The widest part of a person's face is roughly equal to the width of 5 eyes.

Light and dark basics. Highlights. Light and dark junction lines. Reflective. Projection.

The best picture of the head is 3/4 of the side. It is easier to shape the body, and if the light is not very biased, the light and shade are easier to handle.

What are the practical strategies for character plaster sketching? This is also a problem that art students are more concerned about, I believe that many art students want to master the actual combat strategy of character gypsum sketching, we can not blindly learn art, we must cultivate keen observation ability and application ability, but also have the professional quality and literacy of art students, so let's learn the actual combat strategy of character gypsum sketching.

Before we come into contact with the sketching of the human head, we generally have to learn a sketching method, that is, the plaster sketching of the character, that is, the depiction of the plaster portrait of the character. The plaster statue is a work of art after the sculptor's summary and expression of different figures, which is conducive to our grasp of the proportion of human facial features in the future sketching of the human head. In actual creation, it should be noted that the plaster statue should not be painted too rigidly, and it is necessary to learn to express the characteristics and texture of the characters and hair, and deal with the relationship between the light and shade and composition of the plaster sketch.

First of all, in terms of composition and modeling, it is necessary to be accurate, rigorous and coordinated. In the composition, it is necessary to pay attention to the relationship between the space on the four sides of the paper and the main body of the plaster statue, the space on the four sides should not be too equal, and at the same time, the depiction of the plaster statue should be as full as possible. In terms of modeling, it is necessary to observe the whole more, try to outline the large shape, large proportion and large momentum of the plaster statue through a few large lines, grasp the proportional relationship of the five senses, and do not pay too much attention to local changes here.

The effect of this step is that the overall picture is more complete and coordinated.

Secondly, in the detailed depiction, after fully knowing and understanding the geometric structure of the plaster statue, it is necessary to intersperse the use of line method and chiaroscuro method to deeply depict the characteristics of the physiological structure of the plaster statue, especially the subtleties of the face and hair, such as virtual reality, space, light and shade relationship, etc., so as to make the depiction of this step more detailed and vivid.

In short, the way of sketching the plaster statue can enable us to better understand the sketch while learning the sketch, and vividly present the three-dimensional artwork of the plaster statue on the drawing paper. Once you can establish accurate spatial modeling and structural characteristics in your mind, and at the same time grasp the relationship between light and shade and the portrayal of facial details, then the sketching of a large number of plaster casts will be similar and easy, and it can also lay a certain foundation for future sketches of human heads.