Sketch still life In depth depiction, sketch still life expression steps

Your current situation is that you have a low level of eyesight, and you can see the problem, but you can't draw it. It is recommended to find a good sketch template to copy, learn the master's expression method, and over time, you will reach the realm of seeing what to draw.

If you want to paint the realism first of all, you need to observe the bit, the part that needs to be thought about is the shaping, painting things with texture is the embodiment of your shaping ability, at this time you should look at the master's paintings, open your eyes, and then observe their portrayal, practice yourself, take your time.

First of all, you need to know what it means to go deep. In fact, the word "in-depth" is to recognize or express the process of an object from simple to cumbersome, so in sketching, we first know that there are three major aspects (bright side, gray side, dark side) and gradually we understand the five major tones, and finally we can find some changes from the five major tones, ok This is a process of in-depth observation and performance.

Secondly, although we say that it is not necessary to paint things very realistically is an excellent work, for beginners, being able to express more of the characteristics and details of things they observe is always a manifestation of ability improvement, and it is very important to express the object more realistically, first, it is very important to consider all the factors of the object before painting, such as sunlight, background, environment, etc., if it is a combination of objects, it is necessary to consider the spatial relationship between the front and back of it; The second is that when painting, if you can draw the three major aspects, you will be forced to draw the five major tones, and if you can draw the five major tones, you will be forced to draw seven levels, and if you can draw seven levels, you will be forced to ......In short, on the upper limit of what you can express, and then carefully and carefully observe the object, so that you can have more expressive things, you may ask, what if there are some things I really can't see? So what I want to say is that the painting process should not only rely on three dimensions (head thinking, eye observation, hand expression) to consider, when we do not know the object, can we touch it with our hands, feel its temperature, whether its surface is smooth or rough, or we paint old wooden objects, if possible, we smell it, feel the sense of history conveyed by the smell, these all have a subtle impact on painting......Third, special techniques, such as some jeans, newspapers and other details with pencils are very time-consuming and laborious, then there are some special methods to express, the reference books mentioned upstairs are indeed a very good method, break through the bottleneck period, you will find a more brilliant sky.

In-depth Sketch Thinking Levels:

1. The level of visual analysis--- the structural refinement of the object; Classification of surface texture of objects: different textures adopt different line organization, the density of line cascading, and the transformation of line angles; The intensity and weakening of the light and shade and the background, the left and right front and rear environments, and the active and subjective adjustment of the clarity (ambiguity) of the spatial relationship, and the in-depth means a lot of reprocessing, rather than passive addition. This step requires careful analysis and active thinking, otherwise the sketch will accumulate and be blocked.

2. At the level of visual language--- the main point of this step is the visual upgrade, the sketch is not blindly analyzed, its purpose is to exist for a higher level of picture effect and creative purposes! Even if you are a beginner, you can still adjust the artistic effect of the picture, and ** play the basic skills are different, the five tones are not complete can not play a wonderful **! The autonomy of painting can be possessed from a young child, and a graffiti work can be a masterpiece of genius.

Sketching doesn't mean being realistic! This is the reason why China can't produce masters, from the beginning of the sketch education system to compress your genius consciousness, compress the trajectory and width of the sketch in the process of in-depth drawing, so, the in-depth process can also be a kind of original sketch process from analytical sketch to independent deduction, once you think about sketching in this way, you will enter the world of visual philosophy and will not be at a loss: **How good is the sketch of the Academy of Fine Arts and the China Academy of Art?

At best, it is just a sketch of religious precepts under the imperial examination system, and do not be constrained by existing dogmas! This is the lifeline and the only guide to how to go deep into sketching.

The most important thing is to be accurate. , and then pay attention to the relationship between black, white and gray.

The most important thing is to grasp the structure of the type.

First observe the proportion, primary and secondary, and intrinsic colors of the object, and then conceive the picture, and first sort the intrinsic colors of the objects (the first, second, and third in order), so that the color of the picture is rich in layers and will not be grayed.

Marking the boundary between light and dark: fixed point, starting from the whole, first determine the large frame (up, down, left, right, middle, and the bottom line of the main object) and then determine the position of each object in turn, and need to observe the proportion of the object. Then find the three lines, that is, the edge line of the object, the boundary line between light and dark, and the projection line.

Dark side and projection: first tiling and then following the shape, using soft carbon to unify the dark side and the projection, and then according to the structure of the object and the modeling line to distinguish the dark side from the projection. Gray surface: choose charcoal with different properties according to the inherent color of the object. The direction of the lines is arranged according to the shape structure.

Bright surface and background desktop: The bright surface is the same, the inherent color is heavier first, and the white object is left blank. The background desktop uses medium carbon to bring out the background color, and it is necessary to pay attention to the relationship between color levels (the background color of the heavy color subject is empty, and the background color does not need to be too heavy, and the contrast is a little stronger).

Spread the big color, first lay the object and then the frame, first lay the heavy color object, and find the three major hedral blocks. Wipe the dark side and the projected lines evenly, and if the dark side is brighter, you can fold a clean paper towel to brighten the reflection, and use the paper towel to bring out the gray surface.

According to the inherent color of different objects, charcoal with different properties is selected, soft carbon gray is used for heavy color objects, medium carbon is used for bright objects, and some details are usually made in the bright and gray places.

According to the inherent color of different objects, choose charcoal with different properties, follow the structure in the direction of the line, different textures need to use different lines, such as the wooden tabletop, you need to use rough lines to reflect the texture of the wooden board, the background is the space line behind, the sparrow calendar needs to be neat, and it is not appropriate to let the background retreat to the back.

The in-depth portrayal of the sketch is related to the modeling ability of the sketch.

If you are a beginner and have not mastered the basic knowledge and ability of sketching, you may not be able to go deep--- because you can't draw well, you need to make constant adjustments--- you can't talk about in-depth modeling without accurate modeling.

Only after you can accurately draw the shape of the object, accurately understand the structure of the object and the principle of perspective--- when you draw something well--- you will naturally be able to go deeper.

The so-called in-depth means that after a painting has a better composition and a better perspective relationship and a good relationship between light and dark, the local expression can be more delicate and accurate, and the structure and volume of the object can be more fully expressed.

The hardness of the pencil at the beginning of the composition is b--- drawing a large decent relationship can be 2b-4b--basic shape and large relationship are drawn--- a few meters back are more satisfied, you can go deeper--- with hb to depict details and deepen, there is already a light and dark big tone--- the dark part - the gray part can be painted again...

After each layer, take back a few meters to see the effect--- and then gradually strengthen the insufficient places--- repeatedly deepen and constantly adjust the incorrect ---details, the hardness of the pen also needs to be continuously increased--- from h-2h-4h-6h (more than 20 hours of long-term sketching, you need to constantly change the hardness of the pencil to be able to depict deeply, otherwise you can't draw the effect.)

Short-term sketches can be completed with 2-6b--- it is best not to use too soft brushes--- because the effect is drawn by your ability, not the color can be good, this truth should be understood.

Hello! In-depth depiction is generally to use HB, 2H pencils to make delicate line adjustments to the part.

On the issue of in-depth depiction, if purely theoretically speaking, a work can be infinitely depicted in depth, to what extent it can be depicted, and your ability to understand and the time of painting is inseparable, if you just blindly pursue in-depth depiction, but there will be a feeling that the more you paint, the worse it feels, I think the premise of general in-depth depiction is as follows: 1, the composition accuracy rate is basically satisfactory 2, the general outline of the whole picture is clearly visible 3, the structure of the picture has been accurately positioned 4, The overall tone of the whole picture is distinct, if your picture achieves such an effect, then you can start to depict it in depth, in-depth portrayal is a step-by-step process, the more profound the structure you understand, the more in-depth you may be much higher than others, I think there are mainly the following points about in-depth depiction: 1. Closely focus on the structure of the overall picture to go deeper.

Adjust the contrast between structures to enhance the sense of space in the picture. Misunderstanding: In-depth portrayal is not the heavier the color, the deeper the depth 2, the strengthening of the portrayal of the facial features, focusing on the depiction of the relationship between the near and the near virtual and the real, the structure of men is portrayed more than the facial features, and the portrayal of women's facial features is greater than the structure.

Misunderstanding: The depth of the two-way focus not only focuses on the depiction of the facial features, but also focuses on the depiction of the structure, which cannot pull the layer, weakens the sense of space and the relationship between the virtual and the real in the picture3, focuses on the portrayal of the hair, opens the sense of layering, and the texture should be prominent, misunderstanding: You can't die in the dark, that's all, I hope it will help you.

I think one sentence can be pointed: from part to whole, and then from whole to part, so that painting can make you feel more and more and more and be able to depict deeply.

To understand a person's mental outlook, it is necessary to analyze the direction of his facial muscles, the head is a complex and multi-turning body, the expression is rich, vivid and touching is the key to express the character's demeanor, pay more attention to and observe different changes. Then it is to grasp the three eyes of the character, and pay attention to the structure of the shoulders. "Writing God in form, having both god and form" is also a requirement for sketching avatars, enriching the subjective feelings of the characters and their own associations.

The expression area is between the eyebrows and eyes, including the frown muscles, eyebrows, eyelids, and orbicularis oculi muscles. For example, the annular orbicularis oculi muscle in the eye can lift the cheeks and pull down the forehead to close the eyelids when contracted, and at the same time produce radial crow's feet wrinkles around the eyes.

Expressions such as closing the eyes and thinking can affect the orbicularis oculi muscle.

These details are all about the completeness and delicacy of the picture, so be sure to practice a lot.