What are the evaluations of the value of sketch works?

1.The composition is scattered and has no center of gravity, the position of the still life in the picture except for the interlining is too full, and the still life group has no primary and secondary status.

2.There is a problem with the three-dimensional structure of the still life, especially the nozzle of the black tank.

3.The light and shade of the picture explain that the light can be seen clearly, but the transition of the light and dark side is too hard and too unclear, especially the light and shade of the pear. Although there are highlight, light and dark dividing lines, reflections and other consciousness, but the processing is too rough.

4.The shades of the two colors of interlining, apples, oranges, and pears were not opened, except for the jar which was black enough, the shades of the other colors themselves were not expressed.

5.The lines are too long, too stiff and straight, and the contours of the still life should be reflected by subtle changes in shades of light and shade, rather than rigid black lines.

In the end, this painting needs to be more detailed, calm down and grind. The progress of painting requires constant self-denial, improvement and negation. The artist as a whole already has some basic awareness and mastery of painting principles, but it needs to be continuously improved bit by bit.

I wish the author can love painting more and feel the beauty of still life with a more detailed and beautiful mood.

Just learned, right? You should start with structural sketching, your biggest problem is that the shape is not accurate, resulting in your tone being scribbled, and finally the painting is out of shape, of course, you still consciously distinguish between light and dark, you can see the general relationship, this is good, it is recommended that you first study the perspective and draw a structural sketch. Come on!

1。Stiff lines 2There is a problem with the perspective of the object 3 Excessive lack of light and shadow 4 Unclear spatial relationship 5 The texture is not well reflected. Wait, you're just starting out.

Why no one emphasizes the highlight part, the dark side of the altar is not obvious, the transition between the top of the altar mouth and the cloth is too hard, and in addition to the whole picture of the altar is very gray, it is recommended to use a 3b or 4b pencil when drawing shadows or dark sides of objects.

The line is too messy, not delicate enough, and needs more practice.

The shadow part needs to be changed, pay attention to the boundary between light and dark, and the line needs to be improved、、、

The evaluation of the value of the sketch work is as follows:1The most important value is originality, i.e.:

Art history has never had a new sketch language system that takes into account Nawei's visual thinking, visual behavior, and expression skills. 2.The significance of the sketch is presented as an independent work, namely:

Comprehensive and mature basic sketching skills and thinking patterns, and then cultivate independent subjective creative sketching. 3.As a series of sketches for sketches, copying works, and sketches for the imperial examination (college entrance examination sketches).

Art itself is priceless, and if I had to measure it in terms of money, I think.

In the case that the foundations are relatively solid.

The greater the fame of the author, the greater the value.

Well, at least that's the case at home.

Sketching is like black and white**, depicting three-dimensional and flat, reflecting beauty in the dark. It is also like an ancient Chinese painting, which pays attention to charm and is the most perfect and primitive embodiment of art.

Can't rate. Sketching is only a manifestation of basic skills, and if you are not a master, it has little value to refer to. Unless the finished product is drawn in a manner similar to a sketch, the work itself cannot be called a "sketch", but a form of work.

Is a sketch painting valuable? Actually, this question is very wide, but one thing is for sure, as long as you draw carefully, such sketches may not be of much value to others. But it's the most valuable work for me.

Artistic value mainly refers to the artistic personality and style of the author represented by a work of art. The more typical the national and regional characteristics reflected, the higher its artistic value.

The artwork contains artistic value, historical value (cultural relics value), economic value; And they are relatively independent of each other. Artistic value is an important component of a work of art.

One is true. The authenticity of the artwork is the main premise of sales. We all know that due to ghostwriting, copying, imitation and forgery, the artwork is mixed up and silent

Therefore, buyers attach great importance to the difference between authenticity and fakeness. Ordinary galleries sell them as if they were genuine, but auction houses have much higher requirements.

The second is the name. There is a big gap between famous and non-famous artists. Throughout the ages, there have been countless artists and craftsmen in China, but there are not many who are really famous, so the famous and non-famous artists are an important boundary, which also determines the level and value of the artwork.

The third is fine. Porcelain and calligraphy and painting are two of the world's most popular categories of Chinese art. Porcelain was often produced in batches, and at that time it was mainly circulated as practical objects, and it was very historical and artistic, and it was difficult to find.

Although calligraphy and painting are different due to the different personalities and styles of each painter, the works are also different, a painter has many works in his life, and most of them are general paintings or entertainment works, and there are not many high-quality works.

The most important thing in sketching is structure, because a good chiaroscuro relationship and perspective title are reflected in the accurate structure, so sketching still life is the same, the first and most important point of the evaluation criterion is the accuracy of the structure, and then to the perspective relationship, and finally the chiaroscuro relationship, because a painting has an accurate structure and perspective relationship only after it has the capital of in-depth depiction, and only then can it give people the value of evaluation, so no matter how good your chiaroscuro painting is, There is no accurate structure and perspective relationship to reflect how good the light and shade are useless, only these two aspects are done well to deeply reflect the relationship between light and dark, so that people can clearly see what you want to express, will have the value of evaluation, of course, this is not to ask you to blindly seek the perfection of the structure, as well as the accuracy of perspective, sketching is originally a kind of art that adds your own understanding of beauty to the embodiment of style, he does not matter to express the objects you paint, In general, the accurate structure and perspective relationship can lay the foundation for a painting, and the in-depth portrayal of the relationship between light and dark can add soul to your work, and this soul needs to have a good carrier, so the evaluation criterion for sketching still life is your understanding of the basic skills, that is, the understanding of the relationship between structure and perspective, as well as your painting style and emotion. That is, the bright spot of understanding your light and dark relationship.

1. First see whether the shape of the object is accurate, only the shape of the object is accurate, on this basis, you can enter the next step.

2. After the shape of the object is laid, look at the relationship between black, white and gray in the overall picture, black is like a shadow, and the black one must be black, otherwise the overall picture will be very gray. The ash also has to be divided into multiple layers, like a gradient. The white one is equivalent to the bright part.

3. Finally, it depends on the details of the objects in the picture, whether the shape is very good, like the pattern on a vase or something.

Note: Sketching should also depend on whether the painting is expressive or not.

Appreciating sketches is similar to drawing sketches, and we should also look at them as a whole.

Let's see if it has an attractive atmosphere.

Then take a closer look at the rhythm of its tone, the layering of the tone, the air flu of space processing, the sense of light, texture and so on.

The premise of all this is that the painting should be unified and complete.

The big relationship is chiaroscuro as well as the details.

Space, light and dark three-dimensional, black, white and gray, structure, etc.

I'm an art student, and I dare to say a few words, the shape structure (that is, the shape and size of the object) is quite accurate, but the relationship between light and dark (that is, the object is formed by the light is three sides, the relationship between light and gray) is not well handled, and the texture (that is, the light and dark effect determined by the material of different objects) is not strong.

When drawing light and dark, start from the boundary line of light and dark and arrange the lines in the direction of the structure line, from heavy to light, and pay attention to the direction of the line to change with the structure. Don't die black in the dark part to pay attention to the change, after the dark part of the line should be rubbed with a paper towel, and then use a thin line to row again. The highlights should be thin and clearly visible, and the direction of the lines should also be paid attention to.

In terms of texture, the contrast between light and dark is strong in metal objects, the gray part is weak, and the reflection is strong, and the contrast between light and dark in your painting is not enough.

Wouldn't it be too monotonous?

The three-dimensional sense is not strong, non-professionals, can only say these.

The contour line is too heavy, (I usually use 6h and 3h to draft) if the painting is lighter, it will be more realistic, and the shape feels a little weird, the three sides are not the same length, the left side is a little longer, the picture is a little dirty, the line should be patient, the shadow is not obvious, the line is a little rough, you should carefully distinguish the line one by one, carefully lay the shadow over and over again, it will give people a fresh feeling. It's better not to paint than to be in an irritable mood, because your mood affects the effect of the whole picture at any time.

Of course, you can also buy a sketch book by yourself, you can copy it first, and then you can sketch on your own when you think your foundation is solid, but if you don't have the perseverance to do so, it is recommended that you hire a teacher.

Finally, I wish you the better you draw.

I'm not a master, but I'm a painter. Let me say a few words of my own

1. The outline is very good, but the lines are a little thick. I guess I drew it back and forth many times. Next time, let's see if I can do it with 5 strokes on one outline.

You can gently sweep the large line with the back of the pencil in your hand, and then sweep a large line at a different angle. Repeatedly, the large outline of the plaster body is punched out. It doesn't matter if you cross it, just wipe it off with an eraser at the end.

Isn't it much lighter to draw like this?

2. The edge where the bright side and the dark side meet should be the deepest, and the contrast between the light and dark sides should be greater.

3. Should the shadow of the part closest to the plaster be deepened? (*There seems to be a deliberately added frame at the edge of the shadow.) Maybe that's what you copied in the book. Something misleads you.

4. Draw a few sets of lines on the back, if you focus on Beijing, it will be a bit noisy.

In the end, you must be a very drawing child. Keep practicing. Someday you'll find that you'll improve a lot. It's a life's treasure. Typing word by word, I hope it can help you.

I'm an art major, but not a master; A few comments for reference.

I helped you. Remember to adopt it!

The painting is okay, but the line of this plaster is too dead, and the weight of the line is not the same, and the line is originally produced by the junction of the surface and the surface. In addition, the projection should also be kept real and virtual. It's a transition and shouldn't be too rigid.

Whether you need a special teacher to guide you depends on what you want to do. If it's just entertainment, it's not necessary, if it's an exam, of course, it's good to have a special teacher to tutor you. It depends on the actual situation of the individual.

You don't need it from the little cylinder you draw, but you need to look at the pyramid you draw. I don't know what you're doing, the former is quite natural, the latter is too rigid, I mean the shadow part. It means that you are still a little rusty.

Practice a lot. If you are completely self-hobby, don't look for it, isn't it more rewarding to figure it out yourself! If you are looking for an exam, it is recommended that you find a tutor who specializes in it.

After all, the teacher is professional and can save you a lot of time.

The picture is too stiff, the shadows are not well drawn, and the boundary between light and dark is unnatural.

The shadows are too obvious, the lines are not too delicate, the background is not well drawn, and the picture is a little messy

Try to melt the thread into the dough. The front of the gypsum body should also have a black, white and gray relationship. and the relationship between light and shadow. And the most taboo is the tic-tac-toe line.

The shade is wrong ... Also, don't use a line to hook the edges, but use "faces" to compose the picture.

Use the thread embedding method, bury the lines, and there are faces in the sketch to distinguish each side clearly

Not bad. That's what I started with.

I feel like I can't find your desktop... And the three lights are too obvious...

The most important thing is the shape, and then, the black of the black, the gray of the gray, the bright of the bright.