Problems with sketching avatars. Ask for guidance from friends who know, thank you!

First of all, find out the light source of the whole painting from **, and secondly, practice the shape of the shape in the basic sketch head will have the analysis and interpretation of the facial bones and muscles (such as cheekbones, mandibles, deltoids, masticatory muscles, masseter muscles, frontal tubercles and other facial bones or muscle composition) It will be of great help in drawing the head.

Hair: first find the light and dark area, divide a large piece of light and dark side to find, find out the bright reflective area of the hair, and then according to the direction of the hair, light and dark, draw it with a pencil or charcoal with different forces, and then wipe it with a paper towel (*** some paper towels) according to the direction of the hair, erase the bright side with an eraser and then use a pen to roughly draw the hair, and it's OK.

Eyes: Pay attention to the thickness and natural drooping of the eyelids and eyelids, as well as the reflection of the pupils.

Mouth: Don't get too stuck in the lines when hitting the mouth type, the mouth is a component of soft tissues, its lines will be more delicate and soft compared to the rest of the face, don't use the line too hard, the line should be smooth and curvy.

If you can't turn around, it's mainly because the perspective relationship analysis is not quite correct, grasp the relationship between the near big and the far small, the near real and the far virtual, and imagine that everyone's avatar is three-dimensional and imagine that it will be good to paint.

It's supposed to be a bad positioning, like you're asking, it's about drawing a half-side portrait or a side image, and you have to set the proportions, the distance between the facial features, and draw the anchor points and lines, such as the distance between the eyes and the nose compared to the distance between the lips and the nose, or the physical properties of the lips. And the hair lines should be natural, not one stroke at a time, the three-dimensional sense of the hair is not eraser, it is drawn, and the most basic lines and lines are what you have to learn to draw beautifully, and it will be much easier.

The wrong mouth is a problem of perspective, and the structure of the mouth is not understood, so you need to practice the modeling of local structures. The hair is textureless because the boundary between light and dark and the edge of the virtual and real are not handled properly.

For the reason of body shaping and perspective, it is recommended that you step back a certain distance from time to time when shaping the body to compare the picture and the model. Regarding the hair, there is a reflection in the bun, don't depict the place where the hair and ** meet too solidly, reflecting the texture of the hair.

Is it that after looking at it from a distance, the dark part of the face and the mouth seem to be burned, which is a problem that the transition between light and dark is too real

I think it's a relationship between light and dark. Not very prominent caused.

When drawing, you should pay attention to the overall sense, and don't always stare at the parts.

Set the shape first, find three sticks: the chin to the bottom of the nose, the bottom of the nose to the middle of the eyebrows, and the middle of the eyebrows to the hairline, these three should be equal; Then there is the fixed mouth and eyes, generally the mouth is in the middle and upper position from the chin to the bottom of the nose, and the eye regret mirror is in the middle and upper position of the eyebrows to the hairline; Then there is the detail depiction When you are on the light and dark, remember the dark side in the eye socket, the bottom of the nose and the dark side, and the deepest part of the dark side on the substrate to take 6 8b to paint deeper, but remember that the hair is the deepest! Stupid before rotten.

First of all, you need to understand the structure of the human head, and then if you want to make an effect, it is best to pull the black, white and gray of the picture a little, for example, the hair is painted to the blackest The most important thing is to maintain the integrity when drawing! That's the key to success! The whole includes the whole of the metaphysical and the whole of the tone The whole of the metaphysics should often look at their own paintings, so that they can see the shortcomings, and they must often compare with the model to find the difference, and the eyes must not be too close to the drawing paper, so that it is easy to see the part and ignore the whole!

Focusing on the whole is the soul of painting! It must not be overlooked! The overall tone is mainly to rely on reason to distinguish Under normal lighting conditions, the deepest is the dark part of the hair, and the same color tone is regarded as a whole block So when painting the dark part of the face, don't paint too much This mistake is easy to happen Same as above, the highlight of the hair should not be too bright, and sometimes even subjectively deal with it so as not to let it jump out!

There is usually a reflection in the dark part, because the light may make you mistakenly think that it is very bright, but in fact, as long as you look at it, you will find that no matter how bright it is, it is still part of the dark part, and it will not light up the bright part! If you want to make the sketch three-dimensional, you should also pay attention to the use of light and dark junctions, which can magically make your painting stand up at once! There are many people who often only know to raise the light and deepen the dark part, in fact, the gray surface is quite quite important, this look at more CAFA style of painting you will understand The portrayal of the facial features is the finishing touch, if you want to paint the facial features, you must first understand the structure of the facial features, it is the kind of anatomy, the more you understand, the better, the whole head is, the painting itself must be three-dimensional in your heart, so that the painting is more vivid!

It's not difficult to portray facial features, if you can't do it well, just copy more! It would be a great help! In fact, if you want to draw well, copying is crucial!

It's definitely a word of thumb! If you don't know how to draw, if you can't draw well, you can go to it! The road to success!

Oh yes, delicate facial features painting often ignores its place in the whole, so remember! The five senses are the five senses of the whole, the far ones must be virtual, the close ones must be real, the highlights of the dark parts cannot jump out, and the dark side of the bright parts cannot be darker than the dark ones! Although the hair is painted deeply, remember not to apply it too hard, but to loosen it to make it more vivid!

Let's bring the people to life!

It is recommended to find some basic principles of perspective to learn the perspective of sketching is the most important perspective to draw a good shape Then it is the modeling ability Including the shape of the object and shaping the shape Then there is the spatial relationship Sketching is based on the contrast of the effect To sum up, it is (modeling + space + contrast + texture) About the contrast of the picture can be more I wish you success.

In the language of professional points, there is one word: "shape". "Shape" is the soul of a painting, and "shape" is not allowed to be in vain, if you ask a teacher or professor who teaches painting, he will say so.

When I was learning to draw, my professor used to tell me, "If you give me six years to train someone, I will spend five and a half years having that person do "physical training." Moreover, whether or not you can find the right "shape" in five and a half years depends on that person's understanding.

What texture, light and dark gray, are all afterwords, and can only be said to be the "decoration" of your "shape". It can be said that you can learn those things in a few months, but "form" is a thing that needs to be studied in depth.

I've been painting for more than 10 years, and it's really experience... Can you adopt it or believe it or not ...

The perspective must be accurate, the composition must be reasonable, and the shape must be accurate, and it is better to spend two hours to shape and one hour to raise the tone. You must look at the painting from a distance, and you can't see any problems when you look closely. The texture of the object should be properly expressed.

Also pay attention to the undulating light and dark changes of the bones and muscles of the head.

The first is the hair, to explain the ins and outs of the hair, not a mess, and then there is the problem of details, only the details are reflected, the painting will be lifelike, which requires subtle observation when drawing, to see the big from the small. The lines should be even, and the light and shade should be excessively moderate.

At the beginning, pay attention to the volume, light, and dark ratio.

The overall proportions, the black, white and gray of the hair, the fluffy feeling of the hair, and the facial features, the right line between light and dark, and the arrangement of lines.

The light source, the proportion, the light and shade, from the point of view of the effect, the first problem must be solved, but if you want to draw well, you must understand the bones.

Draw the skull first, then the facial muscles, understand the perspective, and most importantly, the facial features, especially the eyes.

In terms of professional belonging, it is:"Three stops and five eyes", the element of the bone point.

Do you know what the process of learning a real person's avatar is like?

If you want to draw a real person's head, it is very important to copy a large number of book headshots, and then it is the consolidation practice of semi-sketching, and finally the training of real people's sketching! You must always remind yourself in your heart that you must always be clear about what kind of effect you want to draw in each link!

As for whether you will use the same effect when painting a real person, this depends on your personal application ability! eg: When you paint, you can draw 80-90% of the feeling or effect, and when you paint a real person, you feel that you can paint 70-80% of the feeling, so in the actual use, due to the use of brush texture, eraser, plastic eraser, eraser, and the mastery of the mixing and grasping ability of different textures of drawing paper, maybe the effect of real life is 60-70%.

This is why, some students can draw their own feelings when they are ** half sketching, and at the same time they can also grasp this feeling when they are sketching, but some students can only sketch half of it, this is a lot of practice + consolidation + use + practice to compare and modify = the secret of the same effect as the book! This is my experience after the art college entrance examination, and it is also a topic that I talk about when I talk to my students when I teach them.

Practice well! There is only one goal, no matter what form of practice is drawn, the standard is one, and the effect is the same as in the book? What is the same? --Grasp the relationship between black, white and gray! Accuracy of proportions!

--I wish you the next level of art learning!

It doesn't matter, although people have various characteristics, the basic structure is still the same, and there is not much difference between painting ** or painting real people in the structure. Furthermore, the sketch real person should understand the painting, constantly think about the position of the light source, understand the structure of the object, and then analyze the brightest and darkest there, rather than simply copying, the scene in front of us is just to tell us the structural characteristics of the object depicted, it doesn't matter whether it is a real person or not, what we should depict is the image in our hearts, do not deliberately describe the scenery we see mechanically, do not say to yourself: what I see, but to say to yourself:

What should be in this place. So it doesn't matter if it's a real person or **.

That's what my mentor told me.

I feel that it is easier to draw a real model, easier than painting, of course, you are not a problem, and there will be a lot less problem with drawing a model, but I suggest that copying is more effective than **, and proper copying can also learn techniques, **It is flat, and the model is three-dimensional, all of which are to be practiced by themselves, to look like a god, or the model is more exercised.

Hehe, I'm just studying art, so I'll talk about my little opinion.

In my understanding of avatars. First and foremost, the big relationship should be opened, for example, drawing a three-quarter young woman, you can treat the hair to black, the face as a whole white, the face can be gray, and then you can remove other details under the premise of black, white and gray. Of course, you must not think of everything to death when drawing, you must be bold in your brush, and if you can't draw well, you can erase it and change it.

Secondly, it is the degree of coordination of the facial features, the so-called coordination is to put it bluntly, whether the facial features you draw are on a person's face, such as three-quarters of the side, the eyes you draw must not. It will be the same size, including the nose and mouth are very positive and different. Moreover, in dealing with some details, we should pay attention to the sense of space, to breathe, such as the face and neck to have a sense of space, to draw the nose to have a sense of space, how to have a sense of space, then pay attention to the painting when painting not to be too boring at once, to breathe, pay attention to the near real and far virtual.

Finally, you can also cook the use of techniques, you can use different techniques to paint a picture, you can use lines, rubbing, rubbing, rubbing, kneading, etc., choose the right technique, you can make the picture richer, like the neck relative to the face is more empty, it is not suitable to use special jumping lines, rubbing, kneading better.

A painting is mainly related to the big relationship, but also to have a sense of rhythm, such as the face, nose, mouth, eyebrow arch should not be the same black, there must be a difference, so that the picture will be more layered, and the sense of rhythm will come out. Read more books, often compare your own drawings with those in books, and see how the master paints. What are your shortcomings, this is very helpful.

I'm thinking about it so much for the time being.,You can refer to it.,If you have any opinions.,Hehe.。

I think you should buy a book to read, I think it is more intuitive to read books, and introduce you to two books "Perfect Teaching" and "Teaching Dialogue" (the paintings in these two books are from CAFA, Guomei, Seems and Guangmei), it is very important to understand the structure of the head, your understanding of the head determines the quality of the head you draw, so I suggest you read the book "Burriman" is also very helpful for sketching. (This is just my personal advice).