Sketch how to draw the transition of the object bottle and can into a block, draw it as a curved s

The teacher is talking to you about stiffness, not craftsmanship. The teacher means that you are very stiff and not vivid and flexible enough, the teacher asks you to draw the block surface in order to train your chiaroscuro relationship and color scale contrast, when painting bottles and cans, you should pay attention to the accurate modeling of objective objects, perspective, turns, light and dark junctions, texture, sense of volume, these are all basic and very important, you draw a little stiff, may not have mastered the relationship between reality and reality, sense of rhythm. The curved kind you spend more time drawing round plaster high spheres, paying attention to the smooth twists of the object.

This kind of thing, only more painting, more seeing, more thinking, will make progress, now is the basic stage, if you want to paint as a professional painting in the future, now is the time to work hard, the foundation is very important! Go for it!

Pay attention to the usefulness of the junction line, there is a surface is a flip, there is a flip will produce a junction line, it should be a junction zone, pay attention to some overly smooth color blocks as a flipped surface, it will solve the problem of your ingenuity.

Use an 8b pencil to line up the dark side.

The effect is achieved with a rub of paper.

Then use 2b and 4b to line up the lines.

Don't make the twist too strong, pay attention to it too much, and don't cut it to death.

Friend, let me have a question about you, first of all, you said that you always say that you are a craftsman, I don't know what it means, it may be your term, but I think you should always say that your painting is too soft, that is, you have no power, because he said that you should draw a block, have you ever painted color? The color is a round object, and you have to draw some angular color blocks, which may be what he means, if you don't understand what I mean, you can find a color still life on the Internet and look at it (to paint a still life with gouache).

In one of the ways you said how to behave on a curved surface, of course, the tone should follow the direction, that is, the arc of the tone should follow the arc of the still life, can you understand, that's it.

When drawing a curved surface, the lines should be soft, light, and deepened a little bit, and the rounded lines are also cut from the lines.

The east-west light and dark boundary of the square has a larger turn. The shadows are excessively soft, a little softened, and some are mainly in light and dark.

I don't know, I suggest you send a picture.

Big brother doesn't know how far you draw.

First of all, black, white and gray are not prominent, the relationship is weak, and secondly, the hair needs to be carefully portrayed, a little stiff, you can refer to this colored pencil If it is a design sketch, you can change the technique, abandon realism, and it is also a good choice to have a two-dimensional space.

I don't know how to draw, but I think it's more like a lion.

Pay attention to the proportion of the overall facial features, the structure, some changes in perspective, seek a method that suits you, the picture is in the primary stage, don't be too selfish, should be stable, and when it reaches a certain level, then subjectively judge, there is another method, which I summarized in the painting, it is very effective, you have to remember: correct attitude, correct method, quantitative change causes qualitative change. Keep it up.

First of all, you must be confident, regard yourself as a painter, and paint to have strong observation ability, to see who you paint, what characteristics, his characteristics can be transformed into your own emotions, to your initial feelings about him to paint, don't be too conceptual, imagine that you are the first time to paint, and the line in the distance is a little bit empty, the highlight line is best rubbed to the line can not be seen, leave your own imagination for the first person, the painting should be with the story, the turning point should be emphasized, and the type should be accurate, Finally, in-depth depiction (it is recommended to take 2b or 3b pencils when depicting in depth), but also to wipe the painting combined, hehe, what I said seems to be a little messy, try hard! Don't give up.

Aesthetics is very important, and probably the most important thing you can do after you've mastered the basics, is that aesthetics are directly expressed in the picture.

Pay attention to the sense of form.

Practice more, draw more, and then you need to realize the realm.

The main thing is in their own efforts.

Character sketches are generally drawn heads or busts, if so, it is recommended that you paint more plaster heads, copy and sketch, because the tall head is known to everyone, as long as you have a little bit of the wrong flower, you can see it at a glance. The human head portrait is different, everyone looks different, and there are some differences that people may not know, unless they are painting celebrity portraits. After the plaster head is drawn, the real person head is painted, but it is just to deepen the hair, eyes, eyebrows and other things by a few shades, so to draw a good character sketch, it is best to practice the plaster head!

There is also the ability to grasp the structure of the character, the structure of the human head is generally talked about more in sketch books, and the structure of the human body is more talked about in sketch books, so you can choose according to your needs. If you are a beginner, you can buy a sketchbook of Ye Jun to see, because the drawing method in his book is more concise and clear, which is more suitable for beginners, and there is a copy of Yang Liuqing Painting Society (I forgot how many volumes it is), the kind of about 4 open, the plaster head is very good, you can go and see it! Hope it helps!

Clause.

1. Body. The form is the external form of the existence of the objective object in space. Any object is distinguished from other objects by its specific physical existence.

The form is the basic basis and constant factor of sketch modeling. To grasp the basic shape of an object is to grasp its physical characteristics. An accurate grasp of the physical characteristics of the image lays the foundation for sketch modeling.

Clause. Second, the structure. The structure in the sketch mainly refers to the internal structure and combination relationship of the object. Form and structure are the relationship between appearance and connotation.

Structure is the internal basis for the formation of foreign trade of objects, and without understanding it, it is impossible to accurately grasp a series of external characteristics of images. In a sketch, structure consists of two aspects: one is the anatomical structure or the constituent structure; The second is the physical structure.

The grasp of the structural relationship of the object in painting mainly lies in the use of the surface to reflect its basic physical characteristics, which is convenient to understand and grasp the complex structural relationship, which is conducive to the shaping of the image volume.

Clause. 3. Proportion. The structure, shape and other modeling factors of the image are inevitably related to a certain scale in the appearance and form, and the relationship between different scales is manifested in a certain proportional relationship. The shape of any object is connected according to a certain proportional relationship, and when the proportion changes, the shape of the object becomes the edge.

With the improvement of observation ability, this method should be gradually abandoned, focusing on feeling and eyesight, comparing with each other, and training the accuracy of observation ability.

Clause. Fourth, perspective. The spatial phenomenon of seeing objects in the natural world presenting a large and small space is the phenomenon of perspective. In sketching, the use of perspective is to determine the depth of the object on the picture, that is, the spatial position of the object and its parts in the picture, which is the basic factor in expressing the three-dimensional sense of the object and creating the spatial effect in painting.

Clause. Fifth, light and dark. Light and shade is one of the basic elements of sketching, and it is an important factor in depicting the three-dimensional and spatial effects of objects. Any object will exhibit a certain relationship between light and dark when illuminated by light.

The strength of the light source, the distance from the light source and the different illumination angles will make the object appear different brightness and darkness. In addition to the three-dimensional sense of the image, light and shade are the main factors in the overall spatial effect, and the hierarchical processing of light and shade and the contrast between virtual and real, strength and weakness are the basic means to express the spatial relationship between the front and back and the overall atmosphere.

Sketching is the foundation of fine art painting, and to learn it well, you must do the following:

1. Patience + perseverance: Sketching practice in the design studio is a very boring thing, you must have enough patience and your perseverance to find fun in painting.

2. See more, listen more, think more, practice more: do not work behind closed doors, communicate more, and read more information works will help you a lot.

3. Pay attention to methods, practice diligently: sketching, as a basic discipline, does not have any shortcuts, and there will be gains if you do more, but you must also pay attention to methods, which will get twice the result with half the effort! Sketching is a good choice, it will be a great help for modeling ability, and it is important to combine long-term assignments with short-term assignments!

4. Be good at summarizing: after a stage, it is best to make a summary of your own experience, and it is best to make some simple notes and essays.

The main point of the line 1Light 2Straight 3Long 4Powerful 5Divide the weight.

Drawing Step 1Positioning 2Find location 3Distinguish between light and dark.

This needs to be studied systematically, and under the premise of being taught by a teacher, it is very important to improve one's appreciation ability, and when analyzing works, you should pay attention to comparison.

It should be to grasp the overall space, because sketching is to create a beautiful space through the change of light and shade levels to give people the enjoyment of beauty.

Master the big black, white and gray. Reflection can be the picture to see transparently, not betting, it is also very necessary (this many people will forget, to remember the last reflection).Projection.

The key point is that a painting has a big feeling, to give people a very atmospheric but delicate feeling, to paint more and observe more, to have time to read the master's paintings, to broaden your horizons, to exercise more, to remember more different characters and different angles of painting, and then to understand. You can sketch your own more proficient angles to deepen your memory. It's better to learn.

This key point contains a lot, to put it simply, composition, perspective, modeling, whole, black, white and gray tones are clear, the space is expanded, the subject is highlighted, etc., for reference only.

Sketching is the basic building block of the training screen.

Light and dark composition, point, line, and surface distribution composition, etc. and even the atmosphere of the overall picture, the style.

If you think of a piece of color as the effect of decolorization, you will know that although color is also important, it is only a little color on the basis of sketching, so it is said that sketching is the foundation of painting.

The focus of the sketch is on the observation of the painted object

The focus is on feeling, grasping the light and dark tones, letting go of the drawing, and experiencing it with your heart.

The chiaroscuro relationship is reasonable, and the composition is reasonable.

The structure of light and shade is the focus of the real and the relationship between the virtual and the real.

I don't know where the first floor is copied so much What to say about the key body perspective light and shade.

Focus on depicting the light and dark boundary of the characters The dark part should be unified Just can't draw too many things The bright part can focus on depicting the main things... If you can't draw a three-dimensional sense because you don't have many layers, the gray level of the bright part should be drawn, but you can't draw too hard, you must not draw it as black as the dark part, and the dark part should have a sense of retreat in the picture, that is, it will gradually blur, and the background is generally black at the top, gray in the middle, and the bottom is a little black, not black over the top.

Light and dark need to draw the boundary line between light and dark, and the sense of hierarchy needs to be made out of layers of grids, of course, it needs to be replaced.

Let's talk about the folds on the clothes first,,In fact, it's very simple to want to be three-dimensional.,Pay attention to the relationship between the near real and the far virtual.,The relationship between the near strength and the far weakness.,It means that when you paint, the dark part of the place close to you or away from the light source is strengthened,,The distance can be blurred.,You can vaguely see the folds on the line.,And then according to the material of the clothes.,That is, the quality of the bottom painting.。。 The three-dimensional facial features of the characters require your understanding of the structure, and you will be able to draw more skulls and muscle diagrams, and finally wish you success!! Look in the mirror more every day, make more facial expressions, and see the changes in your muscles.

I've learned, it's like this, starting from the handover line, from heavy to light, slowly hitting.

In order to better express the three-dimensional sense of the object, be sure to pay attention to the boundary between light and dark!

The boundary between light and dark is the heaviest place in the whole painting, and the dark part cannot be heavier than the boundary between light and dark.

The second is the highlight. The dark part also has a reflection, that is, the bright part of the dark part, pay attention to the bright part of the dark part must not be more than the direct light of the bright side, an object is composed of countless faces, of course, each side is different. The brightness is also not the same.

Of course, you can't draw all the same, and then the painting will look flat. It's not about redrawing light and shade. You first line up a light and dark line and then extend along the light and dark curve to both sides!

Connect the glossy side with the gray side, otherwise it will be very artificial!

In fact, many people just see the quality of light and shade from the connection between the two sides and the gray surface (comfortable), and you look at it from a distance when you paint.

Wherever it is bright, it will be lined up from light and dark to bright! In this way, it is excessively even.

This belongs to the problem of transition, in fact, this is divided into the style of the Academy of Fine Arts and the style of the joint entrance examination, the style of the Academy of Fine Arts is relatively delicate, the transition is not very obvious, but the whole is very three-dimensional, the level of the joint examination style is very clear, and it is quite obvious one by one, it depends on which one you want to learn.