How to draw light and shade in art, how to draw light and shade and three dimensional

The line is the so-called tone, the upper tone is one of the expressions of painting still life, the line is the foundation, the essentials are step by step, over and over again, from shallow to deep, can not eat a fat man over and over again, etc., to remember that the line is for the body, do not deliberately pursue the beauty of the surface of the line, to understand what the line is for, he is to shape the body, the relationship between light and dark, to create an atmosphere and other overall aspects, in summary, the line is for the overall service of the performance method, do not pay too much attention, so as to become a burden.

First of all, you need to draw the boundary between light and dark and the place of shadow, and you only need to draw a shallow layer to see the depth. You can't draw the tone at once, and you have to draw several layers of the tone over and over again.

As for how to arrange the tone on the line, it should be drawn according to the shape of the object, and it is important not to arrange horizontal and vertical tones.

These are all summarized by myself, I don't know if it will help you. In short, you need patience to draw, good luck!

In order to draw the three-dimensional light and shade of an object, it is necessary to first determine its light and dark junction line, where the light and dark junction line is the darkest, and then transition to both sides one by one. The lines should be arranged in accordance with the general outline of the object, so that there will be a sense of hierarchy, and the lines should not be messed up, otherwise the picture effect will not be reached. Draw patiently, and you will do it well!

Punch it out row by row at a 45-degree angle, note: the wrist should be relaxed, keep flexible, and the strength should be even. Add another layer to the place that needs to be added, and pay attention to enlargement or shrink the angle of the point when adding, that is, it is a little different from the original angle.

Practice the lines first, and hit him with ten pieces of paper. Nature would be fine.

Line up the structure of the object.

Under the irradiation of light, the object with volume will show a certain change of light and shade, and under the action of light, it will produce a three-dimensional sense of the object and a sense of space. Among them, the angle is different, the light and shade are different; Scatter far and near, feel different, light and dark tones; Different colors, textures, textures, and different light and dark sensations; The environment is different, and the light and dark tones are different. When an object is illuminated by light in space, its surface will form a light and dark tone, and the light and dark tones will enhance the sense of space and three-dimensionality of the object.

Sketch three sides: light, gray, dark, sketch light and dark five tones: light, gray, dark, non-self light and projection.

The use of light and dark tones to express the three-dimensional image of objects is a basic method of sketching, which requires careful observation, hard practice, and highlighting the key points.

The light and dark steps for color are as follows:

First, the basic knowledge of color.

Before we start learning gouache painting, we must first have a certain knowledge of color. The world is colorful, and anything that can be seen by our eyes is colorful. Because where there is light, there is color.

It's easy to recognize the original color of an object, such as a tree is green, the sky is blue, and an open watermelon is red, but that's just a simple concept of color.

When we learn color painting, we must first establish an understanding of color, that is, we must have a certain knowledge of color. In order to make it easy for beginners to understand and observe, as well as to master and use color, the following introduces some basic color knowledge:

a) Classification of colors.

1. Primary colors: The most basic colors in the color are three, red, yellow, blue, we call these three primary colors can not be adjusted by themselves, but they can be mixed with a variety of colors.

2. Intermediate color: refers to the mixture of two primary colors. For example, red and yellow are orange, red and blue are purple, and yellow and blue are green.

3. Compound color: refers to the color that is mixed by one intercolor and another intercolor. In color painting, colors are basically blended, and primary colors are rarely used.

b) Elements of color.

The colors of the objective world are ever-changing and different, but each color has the properties of hue, brightness and purity, which is usually called the three elements of color. When colors interact with each other, in addition to the above three basic properties, the hue formed by various colors with each other also shows their own characteristics. Therefore, hue, lightness, purity, hue, and chromaticity constitute the five elements of color.

Hue: refers to the different physiognomy of each color, and is the name of distinguishing the type of color. Red, orange, yellow, green, cyan, blue, and violet on the spectrum are the seven different basic hues.

Brightness: refers to the difference between the light and dark and the depth of the color. It has two meanings:

One refers to the light and darkness of a color itself; The second is that there is a difference between light and dark between different hues. Purity: Refers to the purity of the color.

It is not mixed with other color components to make the color bright and saturated. In the case of pigments, for example, when a pure color is added to white or black, the result is a corresponding reduction in the purity of the color, which tends to be soft or heavy.

Tone: A color work, the color matching of the picture always has an internal interconnection and a complete and unified color composition whole, and forms a certain color general tendency of the picture, which is called hue. There are many types of hues, including green tones, blue tones, red tones, etc. In terms of purity, it is divided into bright tones, light gray tones, dark tones, etc.; In terms of chromaticity, there are cool tones, warm tones, neutral tones, etc.

In addition, there are also common color tones that break the scope of the three.

Text October. Figure **Network.

The relationship between light and dark is one of the basic skills of painting.

Sketches, watercolors, gouaches, oil paintings, etc., no matter what kind of painting, the reasonable and coordinated relationship between light and shade can make the part and the whole of the picture more harmonious and unified, and the overall sense of the picture more intense.

The light and shade referred to in the sketch are generally divided into three major sides and five tones.

When an object is illuminated by light, it exhibits three states of light and dark, which are called the three sides.

Three sides: light, gray, and dark.

In the three major aspects, according to the different intensity of light, it is subdivided into five tones.

Five tones: highlights, gray surfaces, light-dark lines, shadows, reflections, and shadows.

Specular: Refers to the part of the object that is 90 degrees from the light source, showing strong reflections.

Gray part: At an oblique angle to the light, it is the middle ground between the light receiving and the dark side.

Light and dark boundary line: This part is the key part of the transition in the shape and structure of the object. Generally speaking, if you grasp the junction between light and dark, you can correctly grasp the relationship between the shape and structure.

Dark part: The relative brightness of this part varies due to the reflection of light from the surrounding environment. Accurately reticle the relationship between these parts of the line to enhance the sense of space in the picture.

Reflections and projections: The parts that are indirectly affected by the reflected light from surrounding objects are reflections.

Sketching practice is a long and boring process, but it is a very important basic skill in painting.

Practice more, watch more fan paintings, and constantly train your painting thinking, so that your painting level can continue to improve.

<> "The relationship between light and dark is a very important part of sketch painting, and its most basic function is to express the relationship between volume and space. The relationship between light and dark is divided into five major levels, which is often said: "five tones of light and dark".

The five tones of light and dark include: highlight, the brightest point on the light-receiving surface.

Bright surface: refers to the layer between the bright and dark gray surfaces of the light-receiving surface.

Gray surface: refers to the level between the light side and the boundary between light and dark.

Light and dark junction: refers to the turning point of the light and dark sides, and the general light and dark junction is the heaviest place.

Dark Side: Contains the backlit side of the object, reflections, and shadows.

These five levels can actually be summarized into three levels: the light side, the gray side, and the dark side. Of course, more and finer levels can also be divided into five tones of socks, which can be summarized and distinguished according to the degree of detail of the painting.

Let me first explain the relationship between light and dark of objects through the cube. You have to have light before you can have light and dark, so I'm going to assume a light source direction for now. The front of the auspicious surface that can be illuminated by the light is called the light-receiving surface, and the place where the light cannot shine is called the backlit surface.

The backlit side includes the dark side and the shadow side, and the clear light side includes the light side and the gray side. The shape of the shadow is directly related to the direction of the light and the occlusion of the object. According to the principle of near real and far virtual, the contrast between the front, especially the junction between light and dark, should be strong and clear, and the contrast behind should be weak and blurred.

Also, the shadow gets darker and clearer the closer it is to the object.

We all know that the earth is always half a world day and half a world night, and the time close to night is morning and dusk, and generally the light is brightest at noon. The same is true for drawing spheres, half a ball is bright and half a ball is dark, the position where the bright part is perpendicular to the light is the brightest, and the closer to the boundary between light and dark, the darker it will be, and these places close to the dark part are called gray surfaces. The reason why the dark area is not pure black is because it is also affected by reflections and other ambient light sources.

Either one doesn't.

Transparent objects will have light and dark changes under the illumination of light. In art, it is called "three sides", that is, we can see up to three sides of an object, and under the illumination of light, each side of the object will present different light and dark relationships. They are bright, gray, and black, and they all represent the depth of color.

Usually when we draw an object, we also have to consider the reflection of light. That is, due to the reflection of light, it will act on the part of the dark side, so that the "reflection" is formed. The specific expressions in the painting are:

Light, gray, light-dark border, dark, and reflective: light, gray, light-dark border, dark, and projection. Personally, I think that projection is not the relationship between light and dark on the object, but the relationship between light and dark is the most effective means to express the three-dimensional sense of the object.

This is a typical "ash" problem.

First, we should pay attention to the degree of light and darkness, the place of the junction line must be dark, and the bright part can be erased out with an eraser to highlight the contrast.

Second, we should pay attention to the block surface, highlight the large, overall feeling, and make the transition clear and hierarchical.

Third, we should pay attention to the detailed portrayal, and try to make the object realistic, informative, and rich in texture.

Deal with the transition place, the boundary between light and dark should be dealt with, the three colors of black, gray and white should be distinct, and the tone of the edge of the object should be played well.