I ve been sketching still life for a while, and the shape is fine, but the tone always feels simple

Very simply, there are two reasons for the simple surface of the tone: 1. I don't understand the structure of the body; 2. You can't see the details. Resolved:

1. Practice structural sketching, find subtle structural changes, and change the tone lines with the direction of the structure; 2. Practice the ability to grasp details, you can force yourself to draw a still life for 5 consecutive days - the roots of the trees picked up casually outside should be refined to the soil and slag. The tone is not simply used to distinguish the relationship between light and dark, but to use the tone to shape the structure, the structure is reflected by light and dark, and the most obvious tone that reflects the structure is the dividing line between light and dark, which is one of the deepest tones, and it is also a direct expression of light and shadow of structure and texture.

Whether copying or sketching, it is advisable to observe carefully and keep your eyes squinted when observing, so that the focus is on the chiaroscuro and the composition is neglected, which will help you grasp the depth of the tone. The second step is to boldly put down the pen after the observation is accurate, let go of the drawing, you may have drawn at the beginning, and after you are proficient and experienced, you will master the depth very accurately, so don't be afraid, let go of the drawing.

This does not mean that the structure is completely understood, because the tone is not good on the one hand, and on the other hand, it is actually a problem of unclear understanding of the structure. For example, you can draw the body well, but you still can't figure out the bones, so it is recommended that you work on the internal structure. Really figure out the structure.

You can draw in a position where the light and shadow effects are more obvious, find the boundary between light and dark, and then slowly transition, distinguishing highlights and reflections. Sketching is a basic job, the most exercise people's willpower, more observation, more practice, will slowly improve!

Look at other people's drawings and copy them many times, and you should have some experience.

Find the boundary between light and dark,,, which means you don't find the structure!! The tunes are lined up in groups and over again.

The overall picture effect is first of all the composition, after the still life is set on the black, white and gray, you must pay attention to the illumination of the light, from left to right or from right to left, whether it is backlight, and which direction the shadow falls. It is also important to note that the direction of light will change. Therefore, when you start writing, you should keep in mind the light perspective of the still life, so as not to be affected by the change of light later and draw inaccurately.

The most important thing in black, white and gray is the treatment of the gray surface, and the gray surface is well connected and looks natural. It is recommended not to use 8b when painting gray surfaces, it is too heavy. Sometimes the gray side is very stiff, and you can use your fingers or paper towels to make a blurry feeling, and you can also use an eraser.

And pay attention to the highlight position of white! It brightens up the whole picture!!

Tools to prepare for painting colors: gouache paper, gouache, small buckets for washing pens, paint boxes, paint trays, small towels are also prepared, painting boxes and the most important paints... There are too many pigment colors, and generally the basic color will be used at the beginning, whether it is 32 colors or 48 colors I forget...

However, white has to buy a big jar because it is consumed too quickly...

If the composition is okay, strengthen the chiaroscuro, black, white and gray separation, don't arrange the spatial tone too messily, don't draw the heavy places to death, there will be no problem, and the near real and far virtual Pay attention to it.

Kiss! We'll be happy to answer for you. 1. Still life sketching should enhance the dynamic feeling of still life through sketching techniques, so that still life can also show the level and sense of space of the object.

2. Still life sketches can be adjusted from the relationship between color sense and brightness: (1) Color sense and lightness: Three elements of color:

Hue loses sailing, purity, and lightness, each of which has a corresponding brightness and presents a corresponding difference. Yellow has the highest brightness, purple has the lowest, and the other hues are gray with different brightness. Although the sketch is a "monochrome" painting, in the sketch modeling, the color sense of the object can only rely on the difference in the brightness of the color of different objects to express.

2) Brightness of the relationship between sedan friends and color sense of expression Sketching is to shape the body with the help of rich layers of light and early darkness. The change of light and darkness of an object under the illumination of light is comparative. It is impossible and unnecessary to realistically express the absolute intensity of light and color of objective objects, what it needs is to correctly represent the proportional relationship between light and dark levels, that is, the relationship between lightness.

The junction of light and dark near the light source needs to be emphasized, and the five major tones should be distinguished: the bright part, the gray part, the boundary line, and the reflective projection.

The effect of wiping by hand is to make the tone soft, use soft lead to first put on the big key, open the light and shade, and then wipe it with your hand, so that you can make the picture not rigid, but you can't wipe it randomly, how to wipe me is not easy to teach, follow the direction, otherwise it is easy to get dirty, you can also use a tissue, I personally recommend using your hands, hehe, my habit, because it is not easy to paste off by hand, I will have a number.

The background cloth, the back should be blurred, but the line should be up, not to Java, the front of the interlining, just use hard lead, but you can't use too much force, to be soft, after all, it is the background cloth, he is not important to the object.

The tone is opened, the still life sketch is almost the same as the geometry, close to the light source, the junction of light and dark is heavier, because close to the light source his light and dark tones are pulled more open, bright surface, gray surface, light and dark junction, reflection, projection five major tones, one is heavier than the other, of course, the reflection is brighter but not bright than the gray and bright parts, to remember, just the junction is heavy, the more to the back to be slightly virtual, although the junction is heavy, but the importance is excessive!! Remember! You can't just draw at the junction all at once, otherwise it will feel like cutting a piece of black paper and pasting it, and you have to be bold in drawing.

1. Draw the relationship between the "three sides" and then the "five tones".

2. The junction of light and dark near the light source needs to be aggravated, and the five major tones should be distinguished: the bright part, the gray part, the boundary line, and the reflective projection.

3. The effect of wiping by hand is to make the tone soft, use soft lead to first put on the big key, open the light and shade, and then wipe it with your hands, so that the picture is not rigid, 4. The background cloth, the back should be blurred, but the line should be on the line, not to Java, the front of the interlining, with hard lead, but you can't use too much force, to be soft, after all, it is the background cloth, he is not important to the object.

5. Keep in mind that only the junction is heavy, and the more you go to the back, it will be slightly more virtual, although the junction is heavy, but the importance is excessive.

First of all, you should understand the structure, the best way to line is to follow the structure, especially the face, you should draw along the structure, and then arrange some horizontal lines, the transition on the cheekbones should be even and natural, almost that's it, the neck can be spread out of the color first, and then some lines to transition, mainly depends on your understanding of the structure, you will feel much easier to understand thoroughly, look at more books, videos, and fan paintings.

The main thing is to relax, casual will be better, too deliberately to paint will make the painting look old-fashioned Pay attention to the contrast between light and dark, the picture should not be too gray.

Draw slowly and slowly, you don't have to practice deliberately, you will naturally be able to master your own method, and when you draw, your mind should not be empty, you have to think about the things in the light and dark.

Practice more gradients, and don't always line up in one direction, a little more variation.

There are three main faces: black, white and gray, and then the three faces are divided into black, white and gray, and each side is felt with natural light.

Use 6b first, then 2b, and remember not to draw a positive cross.

Cross lines with relaxed wrist hangers Try to arrange them neatly The ends of the lines are not easy to be too heavy.

At first, try not to mess up, and then you can control it at will

Take your time, don't be too impatient, calm down, and add tones to objects layer by layer.

The lines should be crossed, but not the squares, that would be ugly.

Five tones of light and dark?

Draw carefully, with your heart, don't get distracted.

Be patient when arranging the lines and try to draw as much as possible.

It will be easier to draw the line diagonally, and the wrist should be flexible.

The relationship between light and dark is one of the most basic relationships in sketch training, and it is the main means of sketch modeling. Light and shade make up the tone of the sketch, and the ** in ** forms a regular and pleasant melody through the tune, and the tone of the sketch makes the relationship between light and shade rich in layers. "Sketch to see the dark part".

Although the words are one-sided, they are not unreasonable. The dark part is the part that starts from the boundary between light and dark and includes reflections and projections up to the edge. The dark part covers the dark part of the hair, the dark part of the face, the dark part of the neck, the dark part of the collar, and the dark part of the shoulders, and the relationship between the unity and change of the whole is particularly important.

They are first and foremost a whole, and to draw the dark part is to draw the relationship between them. The dark parts of different parts are coherent, which is not only a whole, but also has a certain tonal change between each other, forming a certain level difference.

The establishment of the overall relationship between the dark parts lays the foundation for the shaping and portrayal of the bright parts and facial features in the next step. The shaping and portrayal of the facial features also starts from the dark part, showing the volume of the eyes, nose, mouth and other parts, and then unifies the gray and bright sides of the whole to form the "three faces" and "five tones".

In sketching training, we should pay attention to the contrast between light and dark, not the brighter the better or the darker the better, but the chiaroscuro relationship should be coordinated with each other.

About the tone: There are three conditions for the formation of the tone:

1) The intensity, distance and illumination angle of the light source are different, and the tonal color scale changes from light to dark, and the intensity and shade are formed.

2) Due to the absorption of light due to the different intrinsic colors and textures of the objects themselves, the reflection presents different characteristics, and the change law of the tone is also completely different.

3) But the most important thing is that the structural ups and downs and transitions of the object itself are the fundamental reasons for the formation of light, backlight, increasing and decreasing tones, and changing the intensity of light and shade. Therefore, the change of tone is to express the structure with change.

Every stroke, every point and line, consider its role in structure. The shape of the painting is the ups and downs of the painting structure, the three-dimensional relationship, and the growth and connection between the parts. And it's not just blindly applying some black and gray colors.

About the boundary between light and dark: The boundary between light and dark is one of the key points of depicting the shape. The light rays are side-directed to the object, forming a top-down light-dark boundary at the obvious turning point of the structure, dividing the body into two systems: light receiving and backlighting.

Due to the different angle of light side rays, its position will also shift up and down, left and right) Because the structural transition is rapid and slow, and the light is strong and weak, this heavier boundary line has also undergone a change of convergence and dispersion, width and narrowness. Strictly speaking, the boundary between light and dark is not a line, but a changing surface between the receiving and backlighting systems. In the head sketch, the heavy color of the main parts of the structure such as the cheekbones, chin, eyebrow arch, nose floor, and lower lip is prominent, and the others are gradually weakened.

It is very convenient for us to grasp the large three-dimensional relationship with the help of this junction line and its variation. From the beginning to the end, the main structural transitions are dominant, and the others are driven. There's always room for improvement, and it's time to tweak and improve.

After the shape is laid, draw a crisp line of light and dark, and then start from the line of light and dark to tone up, because the line is the darkest part of the whole object, and it can best reflect the three-dimensional sense of the object.

First follow the diagonal line, and then slowly adjust it according to the structure of the object, the place near the structure line is deeper, and then slowly shallow, but pay attention to the forehead, the reflective place is shallow near the edge.

The glazed porcelain highlights are particularly noticeable, but don't deliberately leave a blank space, you can tone it up a little and then use an eraser to finally erase it, so that the effect is better.

Remember a few words:

As long as the lines are thin and neat enough, they will not be messed up.

There must be the darkest place next to the brightest place.

Actually, the tone is not a problem, it will be better if you draw more. When I first started learning to draw, I also thought the tone was ugly, and I kept drawing after class, but then I drew more and more. So you don't have to worry too much. Besides, sketching and toning is not the most important thing.

In fact, just because you don't look good doesn't mean that others don't look good. Sketching, after finishing a painting you don't have to look at the tone, but the whole. The overall beauty can be put together with all the tones that you think are not good-looking, and turn it into a good-looking painting.

You start by making a sketch.

Then use a pencil to trace it back and forth.

Be sure to draw a straight line.

It is not possible to draw with a ruler.

Wait until you're sure.

Start with the side and tone up.

After that, you need to use the strength of your wrist.

Sweep back and forth, do not sweep randomly.

There must be an order.

And then it's OK.