How to get into the details of a sketch? Sketches are the technique of in depth portrayal

I think how to go deep into sketching is a problem worth studying. Everything is based on an accurate relationship between light and dark, and there is no accurate big relationship, even if you pick out the pores, it will look uncomfortable like a pockmark. In my humble opinion, the details are not picking pores and pulling hair, but the tiny relationship between light and dark, and the more accurate these details, the finer the picture.

In-depth study of lines, lines are the root of sketching, anyone who has studied sketching knows that both sketching and sketching need to practice lines, and in sketching, only quality lines can draw better works. Especially in character sketches, the requirements for lines are even higher.

Sketching is to use a pencil to draw a flat and three-dimensional picture, close up is composed of dots and lines, far look is composed of dots and lines, the process of painting through the understanding of the structure of the target and further perceptual cognition of the target, the theme part to be detailed to grasp the outline of the virtual and real position, as long as the composition is accurate, the virtual and real are appropriate, each stroke is not a wheel or real to give people a sense of confidence.

Sketching is the basis of painting, and when comparing with other types of painting, you can find some detail problems. And then make up for it, which is also a way to get into the details.

Don't ask how deep the sketch is, all realistic paintings (the same goes for color) are based on the general light and shade after the determination of the local (generally starting from the part where the observation distance is relatively close), and then adjust the whole, if there is no depiction that meets the details, you can further start from the smaller part, and then adjust the whole. That is to say, the portrayal of the part should be subordinated to the relationship of the whole, and all realistic paintings are based on this method.

I am a student of sketching, for this issue, I would like to talk about some personal views, in sketching, structure is very important, in the expression of structure, you have to understand the perspective relationship, because in sketching, only by understanding the perspective relationship, can the work be three-dimensional. The perspective relationship is used more in still life, so that the whole still life sketch appears three-dimensional. Naturally, the details are much richer.

Observe repeatedly, be sure to pay attention to composition management! The most important ability in styling training. Draw a simple big relationship, a sloppy first feeling of a big relationship, put it on top of the long-term homework, and always remind yourself how you called your "daughter-in-law" in the first place.

In the forming stage, watermelons are selected first and then sesame seeds, and the spatial relationship between large ones is shaped, and the size, height, distance and proximity are staggered. Emphasize structure and perspective while loosening the contours.

Gradually deepening, comparing and collaborating, your daughter-in-law is gradually clear and "on the paper" in the looming. The relationship between the part and the whole should be contrasted and observed at all times.

The whole part of the whole, and gradually deepening is the traditional sketching method, but some time ago I heard about a gluttonous method, the whole part of the part, starting from a point and gradually expanding, slowly drawing the whole picture, very slow, not recommended to learn.

Spread the big tune, and pick up the big one first. The strongest contrast comes first, the space comes first, the angle of light and shadow comes first, in short, take care of the relationship first!

In-depth depiction is a step, for example, after you have assigned all the black, white and gray, separated the light and gray dark sides, reflective projections, and wiped them with tissues or makeup eggs, and then continue to depict in depth, your teacher should let you continue to emphasize the relationship between primary and secondary, soft and hard, elastic and many other relationships, as well as the inherent color and texture of the object.

Plush texture: The plush texture is mostly found in still lifes in clothes and dolls, as well as in the hair of human heads, and the plush is characterized by a soft look and an untidy edge line.

Key points of plush sketching: First, find the general direction and hierarchy of the hair, and compose the picture on the screen. Learn to use cotton swabs and lines to further draw the structure of the plush on a large scale.

Learn to look at the whole picture and use a soft pencil to draw out rough shadows. Then continue to strengthen the depiction of light and shade, using cotton swabs to soften the hardness of the picture and make the softness of the object come out.

Remember to further depict the dark parts, press down the weight of the object with the dark parts, and then use the eraser to create highlights. Use cotton swabs and erasers, so that the texture of the hair is very natural, observe while drawing, remember not to be too heavy at the beginning, showing the feeling of light hair.

Interlining texture: Interlining mostly appears in the background of still life sketches, and the placement of interlining is generally to depict folds. When painting, be sure to observe the structure and trend of the interlining, as well as the interspersing of some folds.

Gradually depict the spatial relationship between black, white and gray, always pay attention to the virtual and real changes of the overall picture, and do not draw the picture in the "frame".

Understand the arrangement of primary and secondary, when depicting, what is needed and what is not needed for light and dark, not all the folds in the object must be depicted, and know how to choose and arrange the picture. Be sure to draw a sense of virtual reality and space, summarize the color blocks, don't stick to the details, and remember to be "lazy" to remove the folds in the dark parts. In the interlining, you can not use a one-sided cable, even if the interlining is flat, you need to arrange the wire reasonably.

Xiao Zhu Sketch Class: Explanation of the details.

1. The shape must be accurate.

2. The structure and proportions should be correct.

3. Black, white and gray.

The relationship should be accurate.

4. Highlights. Out of demand.

Hit it out.

The in-depth portrayal of the sketch is related to the modeling ability of the sketch.

If you are a beginner and have not mastered the basic knowledge and ability of sketching, you may not be able to go deep--- because you can't draw well, you need to make constant adjustments--- you can't talk about in-depth modeling without accurate modeling.

Only after you can accurately draw the shape of the object, accurately understand the structure of the object and the principle of perspective--- when you draw something well--- you will naturally be able to go deeper.

The so-called in-depth means that after a painting has a better composition and a better perspective relationship and a good relationship between light and dark, the local expression can be more delicate and accurate, and the structure and volume of the object can be more fully expressed.

The hardness of the pencil at the beginning of the composition is b--- drawing a large decent relationship can be 2b-4b--basic shape and large relationship are drawn--- a few meters back are more satisfied, you can go deeper--- with hb to depict details and deepen, there is already a light and dark big tone--- the dark part - the gray part can be painted again...

After each layer, take back a few meters to see the effect--- and then gradually strengthen the insufficient places--- repeatedly deepen and constantly adjust the incorrect ---details, the hardness of the pen also needs to be continuously increased--- from h-2h-4h-6h (more than 20 hours of long-term sketching, you need to constantly change the hardness of the pencil to be able to depict deeply, otherwise you can't draw the effect.)

Short-term sketches can be completed with 2-6b--- it is best not to use too soft brushes--- because the effect is drawn by your ability, not the color can be good, this truth should be understood.

Hello! In-depth depiction is generally to use HB, 2H pencils to make delicate line adjustments to the part.

When working on the outer contours, pay attention to whether the center of gravity of the character looks natural, and it is easy to grasp the angle.

Draw the whole picture first, draw the cube perspective (downstroke), and then draw what you want to draw on the three-dimensional diagram.

Layering generally refers to the layering of lines, which is equivalent to layers of quilts covering them, so that the lines will definitely not be drawn at one time, layer by layer, from shallow to deep.

The space also has a sense of hierarchy, and the close-up, medium, and far-range views should also be distinguished, which is about the same as the depth of field.

The details are the depiction of the object, and if you draw the notches in the clay pot, you can make the picture richer.

However, since I have just started to learn, I still have the most important composition, shape and line, and the details are not considered for the time being.

Sketching begins with a pencil to draft the composition, and light lines draw a rough outline. Everything has to start from scratch, and the premise of learning sketching is to practice lines and learn sketching. Just like learning to write and practice strokes, practice the basics first.

With the foundation, this will not happen. Composition first draw the position of the object in your picture, while paying attention to the boundary between light and dark, preliminarily completing the large volume, paying attention to the light receiving side (bright side), backlight interface (dark side, that is, black side), backlight shadow side (gray side). Further sketch the structure of the object, express the light and dark tones of the object, determine the position of light and shadow, and generate light, backlight, and gray surface.

In-depth depiction highlights the primary and secondary relationships of the picture, such as the texture of softness, hardness, tightness and the inherent color of the object. Finally, the overall adjustment strengthens the volume, strengthens the light and darkness, and maintains the overall effect. There is no layer in the picture, so you can only use an eraser to wipe it to weaken the black side of the light, and wipe it on the shadow part to weaken the black and highlight the gray surface.

Practice more lines, good sketches are made up of lines, and copy more master works. Painting more and seeing more is the most important thing, and practice is experience.

Hierarchy is the rhythm of your picture, you can understand it this way, the key to the hierarchy is that the relationship between black, white and gray is correct, there is a contrast, there is a hierarchy, if you paint gray, there is no level, it seems that the picture is very flat.

The details are very important, such as how to depict the details of the bottle mouth of a jar, the thickness of the bottle mouth, the luster, and even the stains and cracks can be caught, but the details are not all depicted, but the trade-offs are required.

It is to look three-dimensional, not just flat, and accentuate the boundary between light and dark.

Sketching is about the whole, the big relationship, and the relationship between light and dark.

1. The phenomenon of light and shade is the manifestation of light acting on volume and space, rather than staying at the effect of light and shadow itself. In order to solve these problems, it is necessary to fully understand and recognize the phenomenon of light and shade, so as to avoid depicting the light and dark levels of objects in a flash.

2. Under the illumination of the light source, there are usually five levels, that is, the "five tones" in the common term of sketching. These five levels are mainly the light-receiving surface, the middle surface, the light-dark junction line, the reflection, and the projection. Among them, the light and dark lines and reflections are summarized on the dark face, and the light-receiving side has highlights.

3. For sketch sketching, the transition line between light and dark is very important, when painting, starting from the transition line of light and dark, combined with the structure of the body to express, it is easier to grasp the overall relationship and make the object achieve a strong sense of volume and space. The middle surface is the most layered part of the object, and it is also the main part where we express the texture and tone of the object.

Fourth, in sketching, special attention should be paid to the shape shaping of the middle tone, but pay attention to the difference with the dark side and the reflection level, and avoid painting similarly. The dark side of an object is affected by the environment and the object to produce reflections. Usually, the brightness of the reflection does not exceed the brightness of the bright surface, and these phenomena should be observed and grasped with special attention on the day of painting.