Sketch how the muscles and bones are connected

The essence of anatomical knowledge in painting is the bones and muscles, and we need to find out the connection and structure of the characters through the surface of the figures, and understand the structure as the transition and interspersing of the surface when sketching. These transitions and intersperses are not very clear due to the light source and perspective, and the object needs to be analyzed through the bones and muscles when painting. Understanding the modeling characteristics of these bones and muscles, combined with the sketching of the head, can better express the characteristics of the character structure.

The purpose of learning anatomy is roughly twofold: one is to further understand and recognize the composition of the head shape, and cultivate our overall observation methods and expression ability. The second is to cultivate modeling ability.

After having a deeper understanding of bones and muscles, the different factors that make up the shape and size of the musculoskeletal system, as well as the different requirements for spatial changes, are of great significance to the sketch training.

4-2-1 Skeletal dissection.

To learn to draw a portrait, you should understand that it is the skull that determines the shape of the human head. With the exception of the mandible, the rest of the skull is joined together as a whole. It is composed of the main skeletal structure and is composed of different body turning surfaces, and the protrusion points that directly affect the external features of the head are called bone points.

The skull includes the frontal bone (the two main groups of bone points of the frontal bone, the frontal mound and the anterior frontal arch, are the main turning surfaces that make up the forehead), the parietal bone, the occipital bone, the zygomatic bone (including the zygomatic arch, which is the turning bone point between the front and side of the head), the nasal bone, the temporal bone (which forms the dividing line above and in front of the upper half of the head with the frontal bone and the parietal skull bone), the maxilla (including the infraorbital fovea and buccal bone), and the mandible (including the mandibular angle and mental tuberosity). The upper part of the head is hemispherical, and from the edge of the temporal bone to the brow arch to the frontal mound, the frontal arch and the anterior frontal arch form an important turning point in the head. The middle of the head is composed of nasal bones, cheekbones, cheekbones, and zygomatic arches to form a flat and square structural framework.

The cheekbones and zygomatic arches are located on the two sides of the middle of the skull, the cheekbones and infraorbital concave are the branch bones of the cheekbones extending from the middle of the front, and the two bone points on the left and right of the cheekbones from the side to the front are the bone points that determine the basic shape of the lower half of the head. The volume and shape of the skull structure and the transition of the large and small bone points determine the three-dimensional frame of the figure's head, and also affect the external characteristics of the human body. This is the first basis that we must understand when painting and shaping the body.

How to draw a good sketch avatar 2 browse: 534 |Update:2013-05-15 10:

30 4-2 Anatomy Training The essence of anatomical knowledge in painting is the bones and muscles, and we need to look beyond the surface of the figure to find out the laws of their connection and structure,..

Ask the teacher, and the teacher must know that when I was studying art, I pestered the teacher for a long time to remember.

You can start by buying a book called "Burriman", which is a sketch book of human skeleton diagrams that are now commonly used, and the explanation is very detailed. You can copy more and combine different people's faces to classify them. Because everyone's bones are different, after getting acquainted with them, you can paint through the impression of the bones, which will appear more tough and clear.

Yes, you can search for anatomy directly, or there are art anatomy books that have the right door.

1.Learn to compose.

Before drawing a sketch head (of course, any painting is), composition is the first problem to be solved, which determines the success or failure of the picture. In the daily training process of the art examination studio, it is necessary to carry out effective training from multiple perspectives, such as head-up, up-and-down, bottom-up, side, front, three-quarter sides, etc., there should be different compositions, such as the front of the painting can arrange the characters to the upper middle position, and the side of the painting will leave the character's line of sight more empty, so that there will be a feeling of extending the character's line of sight, and the picture is more comfortable and thorough, not betting. In addition, you can observe different hairstyles (such as bald heads, short hair, long hair, etc.), and different clothes (such as cotton clothes, turtlenecks, shirts, etc.), and these should also be taken into account in the composition.

When arranging the position of the characters in the picture, it is necessary to ensure the integrity of the picture composition, the appropriate size and balance of the composition, and to determine the relationship between the top of the head, chin, neck and shoulders of the figure in the picture before painting.

2.Master head proportions and perspective.

When drawing the head, we should observe the basic proportions of the head from all angles, "three courts and five eyes" is the most commonly used method to observe the proportion of the head, which refers to the length of the face is the length of three noses, and the width is the length of five eyes. If you want to draw accurately, the best way is to observe more, exercise your eyesight, compare more when painting, and adjust in time.

When the head is moving, the perspective phenomenon will occur with the different angles when we observe the object, and the perspective change will be based on the midline of the head, and the auxiliary line of the five senses will be drawn, so as to grasp the movement law of the head. When observing, it is necessary to follow the principle of near large and far small, and rely on auxiliary lines to find out the law of change and the amplitude of perspective, such as the things above the line of sight are near high and far low, and the things below the line of sight are near low and far high.

3.Structure, light and shadow are dependent on the change of structure and ups and downs, mastering the structure is easy to analyze how to draw light and shadow, how to shape the shape, draw the volume.

In addition to the composition, head proportions and perspective, we also need to have a deep understanding and grasp of the internal structure of the head. The structure of the head is based on the bones and muscles, the skull determines the basic shape and physical characteristics of the head, and the muscles are attached to the bones.

The lines vary a little more, but don't mess up. It is recommended that you take a look at the tablecloth in Li Shengli's still life or the plaster head of Afterglow, which will help your sketch.

The most important thing in the avatar is the facial features, when you draw the avatar, spend 80% of the time on the depiction of the facial features, and 20% of the time on the face, the difficulty of understanding is that the anatomy book is not connected with the real avatar, reading is an aspect, observation is the essence, first observe, then read the book, and the understanding is fast. Just practice more.

Look at anatomical diagrams, bone diagrams, plaster casts, real people. Draw more and practice more, there is no good way.

In addition to rubbing dirty, it may be that your line drawing is too short, a small piece of paving, the head muscles are rich in light and shade is not easy to master, and you should be bold when you go up the tone, or look at the overall light and shade to draw.

Tone flowers because you don't understand the distribution of the masses.

For example, if you draw 1 cube with 3 sides of black, white and gray, because it is simple, you can distinguish the chromaticity, but on the avatar, it is like you draw the reflection in the black of the cube very brightly, so that the 3 sides become distorted 4 sides.

Reading an anatomy book is to give you an idea of the mass distribution and high points.

The easiest way to quickly understand the size of the face is to try to make 1 face out of that clay, many places are unthinkable to turn around, you are likely to do a good job on the front of the face, but the side is flat, and the eyes will become 1 point, not a backward line.

Bones give you an idea of the fast distribution.

Muscles give you an idea of how your expression changes.

If you buy a book, you can buy some Russian sketches.

There is a German human anatomy on the anatomical network, which has a head part, and the reason why I recommend this is because it is very crisp and the structure is very clear. Don't buy it yet, it's not something that a novice can understand.

Copy more of the master's works If you don't pass the exam, you have to work harder. . . And if you have passed the exam don't be too entangled in this kind of problem, draw a real structure to read more anatomy books, facets are like to understand the difference between the block and the space, and the real person should be interspersed with the bones and muscles, and don't learn too rigid, pay attention to the relationship between the left and right up and down with the pen, the bones and muscles should be looked at as a whole, scrutinized, what you said are all interrelated, don't solve the problem separately, and it will be solved naturally.

The academic school is basically based on the structural block surface, supplemented by light and dark tones, and the texture space must be there. Real people, more importantly, draw people's personalities, demeanor, and so on.

Finally, I wish you to overcome these problems soon. Hand hitting...

One way. It's just more drawing. The problem you're having is still in its infancy. After a while, it won't be a problem.

Maybe what you need is to look at the whole, grasp the strand point, the skull is mainly determined according to the hairstyle, according to the muscle image and skull you learn to grasp the human body perspective so as to grasp the skills of drawing the head, you need to think, just advice, I don't know a lot I hope to help you.

The bones are three-dimensional, and the human face cannot be flat. Muscles are attached to bones, and each muscle has a fixed direction.

Remember to adopt it.

I talk too much for fear that you won't understand Recommend a person's sketch to you Ran Maoqin He published a book called The Birth of an Avatar Published by Guangxi Fine Arts Publishing House The painting is quite smooth and relaxed I have been reading his sketches before I went to college, including now.

Relax your hands and arms, don't use too much force at the beginning, start with a large and long line, and start with a large and long line, and ignore the small details first, and then find a specific shape later. If you don't have a good handover, you can gently wipe it with your fingers.

In fact, first of all, you should learn to draw lines, try to draw your lines into two ends of the light and heavy lines in the middle, draw a day's line, after that, basically your sketch will look a lot looser, the upper tone should be in accordance with the direction of light, to highlight the bone structure, in fact, after drawing the line you can draw a structural sketch, skull, peeling people, this kind of one, step by step, slowly on the line.

Look at the techniques of good students who paint in the studio, imitate the painting yourself, and the key to sketching is to practice more. Whoever makes perfect.

I just started moving from scenery to avatars, and I couldn't draw them alive.

Looks rigid.

First of all, you have to learn to use curves and play with light and shadow.

Note that the direction of the line reflects the structure of the muscles and bones.

Don't be timid when it comes to up-toning.

Be bold and let go of the painting, and don't be afraid of thick lines.

As long as the structure and sketch relationship are right.

In this way, you will have the possibility of going deeper.

Sometimes you may use a pen (pen and paper) for bridging

However, if you are a beginner, it is not recommended to use it.

Because if you don't understand the structure of your face, the more you rub it, the more tired you get.

You should copy Li Jing's paintings in the beginner stage.

Hope you succeed soon!

Draw a sketch avatar.

Three pavilions: above the eyebrows is the upper pavilion below the eyebrows below the mouth and above the mouth is the middle hall below the mouth five eyes: the human face is seen from the front The width is equal to the width of the five eyes First, we make a vertical axis in the middle of the face through the forehead, the tip of the nose, and the chin of the human philtrum; Make a horizontal line through the arch of the eyebrows; Make a parallel line through the lower edge of the alar of the nose.

In this way, two parallel lines divide the face into three equal parts: from the hairline to the glabellar line; between the gbellar to the lower edge of the alar of the nose; From the lower edge of the nose to the tip of the chin, the upper, middle and lower parts of the nose occupy exactly one-third, which is called the "three courts". The "five eyes" refers to the length of one eye from the outside of the corner of the eye to the hairline edge on the same side, between the two eyes, which is also the length of an eye, and the other side to the hairline is the length of an eye.

This is the "Five Eyes". This is the most basic criterion.

Let's look at it again, on the vertical axis, there must be "four highs and three lows".

Four highs": the first is, the forehead, and the second highest point, the tip of the nose. The third highest, lip beads.

The fourth tallest with a pointed chin. The "three lows" are between the two eyes, and the junction of the nose and forehead must be sunken; Above the lip beads, the philtrum groove is concave, and the philtrum groove of beautiful women is very deep, and the philtrum ridge is obvious; Underneath the lower lip, there is a small depression, for a total of three depressions.

"Three courts and five eyes" is the general standard ratio of the length of the human face to the width of the face, and if this ratio is not met, it will create a distance from the ideal face shape: if the distance from the tip of the nose to the chin is the same. Nowadays, on the basis of "three courts and five eyes", a more precise standard has emerged, and all parts meet this standard, that is, beauty, as follows:

The width of the eyes should be 3 10 of the width of the face at the same level; The length of the chin should be 1 5 of the length of the face; The distance from the center of the eyeball to the base of the eyebrows should be 1 10 of the length of the face; The eyeballs should be 1 14 of the length of the face; The surface area of the nose should be less than 5 100 of the total area of the face; The ideal mouth width should be 50 100 of the width of the face at the same level. Whether it looks good or not, you will know when you do the math.

Sketching is the foundation of painting, so it's best to find a teacher to bring it.

The most basic is three courts and five eyes.

The human head is also mainly made up of muscles and bones (with the exception of brain tissue), and soft tissues such as the skull and numerous muscles of the face form the facial image.