Humbly ask all friends who have learned sketching!

The teacher said that you can't let go.,It means that you don't have the courage to draw.。。 The painting is too restrictive, the effect can't come out, and it's okay to be cautious. Be bold in sketching, make progress quickly!!

When you draw, don't be afraid to break the painting, after all, it is a daily practice, it is not important to destroy a painting, it is important to learn from it. Be bold and express your feelings! Sketching, the main thing is to draw feelings!

But on the basis of expressing feelings, you have to understand the structure, light and shade, volume, and so on, you are almost in your third year of high school, and I won't be too verbose about the basics.

How can you become bold in painting? This is your problem now, when you are drawing, you draw shapes, you can make lines, you can do whatever you want. Brush wildly with a pen!

Crazy painting! It's called serious doodle! If you draw it like this, it will look loose!

Breathable! But the tight place. It's time to be restrained, but it's better to come slowly.

You can also change some tools to paint, such as charcoal strips, charcoal pen, and ink. Wait, after using these tools, come back with pencils, charcoal, it will help you to let go of the courage to paint.

Hurry up and draw. It's almost the third year of high school, and timidity will slow down the progress of sketching.

Each teacher has their own approved painting style Painting must not stop painting As long as you don't paint for 2 weeks, there will be a significant difference from the previous level Sketching is still more practice in the final analysis, find out the feeling and style in the non-stop training.

You don't have to think about art now, just think of a way to take the exam If you want to change the status quo in a short time, you have to copy the work that you think is open, please don't scold me I don't blaspheme art No way, China is such an exam-oriented education If you want to go to a good university, you have to be proficient You can only find such a shortcut People who love art also have to make such a small sacrifice for art Hehe Admitted to university Then take a good look at it Fundamentally change your thinking Study painting Remember Copying is the only way to take the test.

You draw boldly first, no matter how bad you spend, don't care, and then use your restraint to modify it at the end, because your heart is more detailed.

So I must be able to revise it well, as long as I believe in myself, no matter how difficult the painting is, I can do it freely, I miss it, and I used to draw very restrained.

Later, I practiced my speed, and I could draw a portrait of the beginning of 4 in about 30 minutes, and I had to draw everything I needed in 30 minutes, and I couldn't cut corners.

Slowly let go.

You can't let go because you're afraid that the drawing will be broken, and you'll always have a limitation that you can't break through. You are practicing looking for breakthrough bold paintings.

It's just crazy, and moldy paintings, art, that's what it is

I'm the opposite of you, and the teacher said that my greatest strength is that I am bold.

First, your composition is too big, try to grasp the overall size when painting still life in the future, and don't let the objects fill the picture.

Second, the shape of the object is not well built, this is because you draw too little, and it will be better to draw more in the future, observe carefully.

Third, the perspective of the object is not drawn well, and the perspective of the wine glass and bowl on the painting is completely wrong, so it is recommended to draw more perspective, and then start painting still life.

Fourth, the relationship between light and dark in the whole picture is insufficient, the dark part of the picture is too shallow, the three-dimensional sense of the picture can not be revealed, pay attention to the dark side of the picture and the relationship between the light and dark of the object when painting in the future, you are too dark in this painting, it is obvious that you have not noticed the highlight points on the surface of the items, the highlights on the jar and wine glass are very inconspicuous, you should pay more attention in the future.

Fifth, the lining is not sorted out clearly, the relationship between light and dark of the interlining, the direction, etc., need to be carefully observed, the lining on the painting has no strength, and the direction is not very clear, it is recommended to practice more.

Sixth, you still stay in your own imagination when you paint, and one of the important things about painting is to draw exactly what you see, and don't be afraid to draw badly, which will be very helpful for you in the future.

What I said above is my opinion, I hope it will be helpful to you, maybe it is a little different from what your teacher taught you and what I said, but the purpose of painting is the same, I wish you can continue to paint well and draw good works.

If you're just starting to learn, it's good to draw like this!

Pay attention to the change in the relationship between light and dark!

Keep up the good work!

The picture as a whole feels that it is not layered enough, and the three sides and five major tones must be combined.

The sketch should be viewed from a distance and then modified, your jar is very asymmetrical, a good sketch should be carefully drawn, and it is better not to cut it.

The shaping of the body is the essence of sketching, and more efforts are made to grasp the shape. Light and shade are also based on type, I hope it can help you.

1.The shape and structure are inaccurate. Several glassware have perspective problems, and the curvature of the bottom is not as large as the top, which will make the bottom appear flat. still tilted to the left;

2.There is no difference between black, white and gray. It is recommended to compare the tone at the beginning, set the deepest part of the tone first, and use this as a standard to compare step by step.

black and gray, white and gray, black and white; Comparison of the bright, gray, and dark sides of the same object, and comparison of the color of different objects. In this way, the picture has a sense of layering; The front and rear objects are distinguished by the contrast between strength and weakness, and the main object is highlighted by the meticulous shaping and do not be confused;

3.The sense of space is not strong. The front is real and the back is virtual, the upper is real and the lower is virtual.

Objects in the front are more contrasting (the contrast between the dark and light sides can also be enhanced by the deepening of the surrounding background), while the objects in the back are weaker. You can wipe the background in the early stage to increase the contrast, and then narrow the gap between the virtual and the real in the back (it is necessary to wipe the painting, which can make the picture unified, and any time there is dirty, greasy, and gray is not the reason for not wiping it, but the contrast is not grasped well);

4.The tone is too rigid, and the line between light and dark is carved like a knife. You can do this when you are a beginner:

The longitudinal light and dark transition is toned on a horizontal line, and the horizontal one is a vertical line. When you become proficient, you don't have to be stubborn. I think the tone is just a representation of volume, you just draw circles, as long as the effect is achieved.

But there must be no "knife carving" feeling.

5.The texture is not strong. The cloth is soft, the jar is rough, the porcelain bowl is smooth, and none of this is shown.

Adjust the tone to the cloth to blur the light and dark lines, and use a painting of about 6b, so that it looks soft (hard in key parts, such as turning points. That's how rhythmic it feels). Hard things are shaped with a hard pencil more often, hb or so, 2h 4h can be.

The focus is on the edges, which must be clear and look hard enough. Smooth and rough focus on highlights, and scattered highlights make them rough; Focused, well-shaped highlights look smooth.

6.The composition is not reasonable. The object is so scattered that you have to adjust it yourself, even if it is the still life itself. It is necessary to have tightness and looseness, and a degree of relaxation. I can only cultivate my own feelings, and I can't tell what kind of triangular composition or something like that, I can look it up by myself.

I think you've just started to learn how to sketch and you're doing a great job! However, it is recommended that you pay more attention to the perspective in the performance of the body, the glass is a little crooked, the part above the red wine in the glass should be relatively transparent, it is recommended to strengthen it a little, draw some simple plaster when you just start learning, if you don't have it at home, it is very good to draw fruit, first practice a single object to strengthen the shape and texture, step by step, little by little, and then add cloth pleats. Then that's good!

Let painting be happy".

1.The picture is gray, the tone of the jar is a little dead, and the sense of volume is not strong (the boundary between light and dark must be drawn accurately and clearly).

2.The structure of the object is a little inaccurate, and the fruit is a little dead.

3.The priority is not very clear, it is slightly unified, and the bowl painting is too empty.

ps: Don't use your hands or say toilet paper to wipe the picture on a large area, you must know in your heart, what effect you want to make the object into, and then start it. Shadows must be natural.

Overall pretty good.

It's just that the highlights aren't noticeable.

There are also shadows that should be directed in one direction.

The boundary between light and dark is not obvious.

Hey, there's Cézanne's style. I hope that next time, the transition between light and dark will be more natural, and the harmony will not be destroyed by the stiff black lines.

Brother Bai is the teacher, the upstairs are all naïve college entrance examination candidates, which will only mislead you.

Find some tutorials and some books on your own, and practice the exercises.

Find a studio and consult for yourself.

You can go to the old loach sketch forum. Everyone learns together.

It's better to find a teacher to learn sketching.

You can choose to teach yourself to buy a book to copy.

Sketching is just starting to be very simple, the light and shade, structure, perspective relationship can be clear, the posture of holding the pen should be accurate, and, to use the wrist force, practice more lines, you can buy a basic sketch to see, the posture of holding the pen has a picture.

Belch... The concept is the same as upstairs, because sketching can't be learned without a teacher to teach, and you can't teach it online at all, or you buy a sketch book of "Stepping Stones" to teach yourself!

It's better to find a teacher to learn.

It's better to go to the studio in Beijing to see Zhu Legend. . .

At home, find a bottle and try to draw it yourself.

I don't really value the clarity of the strokes, if the paper is too rough, it is better to draw, and the smoother the sketch paper, the harder it is to draw.

It's not a paper issue. Everyone has a different style of painting, some people paint with a fresh feel, and some have a thicker painting style. Depending on each person's personality, the highlight part of the ball is too unnatural, so the three-dimensional sense is not very strong, and the boundary between the projection and the sphere is not clear enough, giving people the feeling of floating in the air.

Accentuate the part of the shadow that is close to the sphere, and it will feel like the sphere is on the ground.

It has nothing to do with the painting method, I have seen some people sketch with a block surface painting method, and then in 98 years, Liu Xiaodong's sketches became famous in major universities, and then this kind of chiaroscuro painting method with many lines is very clear. In fact, if the relationship between light and dark is right, the structure is right, and the picture will naturally be three-dimensional and good-looking, and it has little to do with painting methods and genres.

In fact, I think geometry is more difficult to draw, compared to still life, the proportion is relatively fixed, and it is easy to see at a glance if the painting is not good. Lines are not the most important thing.

This is a stage that beginners have to go through, in fact, the touchpoints you mentioned do not have to deal with it without affecting the overall relationship, on the contrary, sometimes these brushstrokes are helpful to the picture, and they are essential for the shape of the block.

If you want to get rid of this problem completely, you should re-understand it from the point of view, the picture does not have to be too craftsman, you don't have to shape something too sleek, you should focus on the volume, as the picture continues to deepen, the situation you are worried about will disappear, and it will be replaced by a stronger three-dimensional sense and impact.

Also, in many cases, the background should not be too dark, if the contrast between light and dark in the front and back scenes is too large, it will have a bad consequence, with a mobile phone with bad pixels, in black and white mode, take a picture, take a look, you will see the approximate sketch relationship of the object, person, and landscape you depicted, and you can refer to it. But in the future, you must observe intuitively with your eyes. Someone said:

In fact, the process of learning painting is to train a pair of artist's eyes.

Hope the above helps.

It is estimated that the penmanship is wrong, and if you hold the pen correctly, there should be no such problem.

Control the strength and hold the pen correctly.

You don't have to push so hard at first, and if you make a mistake, it's hard to fix it, but you can start by tapping it to paint layer by layer.

If you wipe it with a paper towel, it will be much lighter after wiping, and you can try to add a thin layer of tone on it.

Adjust the direction of the pencil and the angle of the paper, and leave a dot at the beginning of the line because the angle between the direction of the pen and the paper is too large. Adjust the direction of the pencil and the angle of the paper, and the angle is smaller, no problem!

The way you hold the pen needs to be improved, and if you can't grasp the pen, don't use the normal way of writing.

It may be better to use a plastic eraser, but what I don't understand is why there are so many points.

Be careful, practice makes perfect, you don't have to work so hard, you can have black, white and gray.

If you want to make a strong contrast, you can use charcoal instead.

You're drawing the wrong way.

You still have to draw right, and you can solve the problem naturally.

Don't draw too hard at first, layer by layer, and eventually draw to the depth you need

Sketching is the starting point of every art practice, which can exercise the foundation and modeling of art. /

If you want to avoid the problem you mentioned, I think there are two ways, one is to practice drawing a crescendo line, so that the line will be connected naturally, and there will be no dark dots. The second is to use a softer pencil, such as a 4b to 6b pencil, to paint multiple times, when drawing dark areas, layer by layer, layer by layer, the number of overlaps, you can cover up the dark spots in front. In fact, the truth is like this, in fact, if you draw more and become familiar with your hands, the above two methods will be used, and if you draw more, this problem will be solved naturally.