Is it closer to the actual object to the sketch, or is the gouache closer to the actual object?

To put it simply, you can show the entity, the sketch is black and white, the gouache is color, I have seen the realistic painting of gouache painting in the art exhibition, it is very realistic, similar to **.

It depends on the effect you draw In fact, whether it is sketching or gouache painting, it pays attention to some techniques, such as: perspective (near real and far virtual, near large and far small), etc., so the essence of painting is the artistic processing of actual things, if the painting is the same as the actual object, then there is no need to shoot.

The best way to do this is to experience it.

There is no contrast. can be realistically a black and white**. A color ** medium is different only in the material. But there's also the purpose of your painting. If the light is realistic, then shoot **.

Gouache can also be sketched, and I think you're referring to color. If it is a realistic color work, then it is good to add color to the sketch.

Would love to explain, but too much time waste.

Do you say that the object in the mirror is closer to the actual object or **closer?

Leonardo da Vinci said that painting is a mirror of mirrors.

Ingres says that sketching is everything.

Gauguin said that color itself could completely replace sketching.

The Chinese say that the five colors blind people.

Both gouache and sketch are representations of actual objects, and it is difficult to say which one is closer.

Agree with the opinion of the 2nd floor, the difference between painting and ** lies in the feelings, and you feel the work, or buy a camera to finish, why pursue the image and get close to the real thing, what is the ultimate purpose of the picture, A. My own understanding and feeling of beauty.

Two different effects are available!

What are you going to draw? Personally, if you have a high level of gouache, you can try gouache.

Oh, then it depends on LZ's technology.

1. Different definitions: watercolor painting is painting with water and pigments, while sketching is painting using a single color; 2. The painting tools of the tong stool are different: the brush is the main tool for watercolor painting, and the pencil is the main tool for sketching; 3. Different characteristics:

Watercolor painting focuses on the transparency of pigments and the fluidity of water, and sketches are monochrome paintings; 4. Different techniques: There are two kinds of watercolor painting techniques and six kinds of sketching techniques. What is the difference between watercolor painting and sketch 1. Definition of different watercolor painting is a painting method that uses water as a medium to blend pigments, while vertical sketch is a painting method that uses a single color to express the change in brightness.

2. Different painting toolsWatercolor painting is generally painted with a brush on handmade special watercolor paper, and the best brush is made of red sable hair. The drawing tools for sketching are generally pencils, charcoal, pens, brushes, ink, chalk, paper pens, etc., and the brushes are made of thick paper. 3. Different characteristicsThe main characteristics of watercolor painting are two points, namely the transparency of the pigment itself and the fluidity of water in the painting process.

The biggest feature of sketching is that it is a kind of monochrome painting, which uses monochrome to express things, and can also express thoughts, emotions, attitudes, etc.

Summary. The nature and technique of gouache painting are closely related to oil painting and watercolor painting. It is a genre between oil painting and watercolor, which uses water-soluble pigments like watercolor painting, and the pigment composition is the same as that of transparent watercolor paint[1] .

Opaque gouache paints can also produce different degrees of watercolor effects when mixed with more water, but in terms of the activity and transparency of watercolor, it cannot be compared with watercolor painting. Generally, the reflective effect shown by gouache painting is very different from the bright effect of transparent watercolor painting, therefore, gouache painting generally does not use the method of multi-water color mixing, but uses white pink to adjust the brightness of the color, and uses the method of thick painting to show its own unique color effect. This is similar to the way oil paintings are drawn.

Because opaque gouache and oil paint are both pigments with hiding power, gouache is a kind of painting between watercolor and oil painting, which develops its own technique system by absorbing certain methods and techniques of watercolor painting and oil painting.

The nature and technique of gouache painting are closely related to oil painting and watercolor painting. It is a genre between oil painting and watercolor, which uses water-soluble pigments like watercolor painting, and the pigment composition is the same as that of transparent watercolor paint[1] . If opaque gouache paint is mixed with more water, it will also produce different degrees of watercolor effect, but in doing so, the activity and transparency of the watercolor are pure and blue, and it cannot be compared with watercolor painting.

Generally, the reflective effect shown by gouache painting is very different from the bright effect of transparent watercolor painting, therefore, gouache painting generally does not use the method of multi-water color mixing, but uses white pink to adjust the brightness of the color, and uses the method of thick painting to show its own unique color effect. This is similar to the way oil paintings are drawn. Because opaque gouache and oil paint are both pigments with hiding power, gouache is a kind of painting between watercolor and oil painting, which develops its own technique system by absorbing certain methods and techniques of watercolor painting and oil painting.

If the destruction is covered or superimposed on the colored base, then this process is actually an addition, and the color of the bottom layer will have an impact on the color of the surface layer, which is where it is more difficult to master. However, experienced painters often use this special remnant to express the gouache color itself and its unique artistic charm.

Gouache is a type of painting that is made using water and powdery pigments. Its performance is characterized by a wide gap between opaque and translucent, and the color can produce artistic effects such as bright, soft, bright and rich on the picture. The presence of powder limits the fluidity of the water.

When gouache is wet, the saturation of the color is very high, and after drying, the color loses its luster due to the action of the powder, and the saturation is greatly reduced, which is the limitation of its color purity. Learning gouache painting can be a good understanding of color, have a new understanding of the transparency of color, in the process of learning gouache painting, you can learn how to mix colors, and further understand the importance of color to gouache painting.

I'll summarize it for you in two ways.

Generally two textures.

First, matte, rough surface, no obvious highlights, matte expression is to maintain the symmetry of the tone, just like the performance of the gypsum ball, the normal proportion of black, white and gray on three sides, do not leave the highlight point, over and over again to spread the tone, until the tone reaches the expected darkness, it is recommended that the pencil do not use more than 6b, although the blackness above 6b can be, but the pencil is too soft, draw out the oil, it will affect the matte performance effect.

Second, the glossy surface, the surface is smooth, there are obvious highlights, the surface environment color is more, and the reflection of environmental objects is stronger, this can be the same expression as the above, but the difference is that this kind of glossy equipment should pay attention to white space, observe the influence of environmental objects on it, the highlight point is obvious, the outline is clear, the contrast is strong, and the pencil of 8b can be used when depicting the boundary between light and dark, which can set off the performance effect.

And then when it comes to the problem that some metal or dark objects are not easy to find the boundary between light and dark, this is a common sense thing.

If it is difficult to distinguish between light and dark objects, you can refer to the light and dark boundary of the surrounding objects, the projection of the object, and the construction and shape of the object.

and the angle of the light.

Pay attention to the performance of black jars! In order to ensure the three-dimensional sense of dark objects, the position of the boundary between light and dark can generally reach the primary color, and the bright and reflective parts should pay attention to reducing the color tone.

If you don't understand, please continue to ask.

Hmm, wipe your sweat.

Points to note:1in the layout of the picture.

2.The relationship of each object (spatial relationship).

3.The main body of the picture should be drawn carefully.

4.Adjust the whole thing (make it look harmonious).

You first have to draw the position of the objects you are painting on the picture, and then draw their dark parts (from dark to light), then one by one (pay attention to the relationship between front and back, left and right, primary and secondary), then focus on the main body of the picture (the object in the middle of the picture), and finally adjust (make the picture harmonious).

Conceptualization is thinking that you are hyping up too much and not understanding the structure of the object. (e.g. dark color is not enough) and so on.

The first point is to find the relationship between light and dark of the object. That's half the battle.

While looking for the relationship between light and dark. Draw the space in the background. You can make a fuss about the grayscale of the foreground and background.

Because what your human eye sees is at a distance. The farther away from you. The more gray things are.

I'm not talking about gray colors. It's the grayscale of the feeling. Senior Ash knows.

That's how it feels.

Because there is air between the eye and the object. Dust and other things. Then the farther away. The more things that are spaced. So you paint the background a little more gray than the foreground. Or to put it another way. The color of the background should not be of the same purity as the color of the foreground.

Then it's about finding the relationship between light and dark and adding the ambient color. Because as long as it's an object. It will reflect the light.

Whether it is rough or smooth, it will reflect light. Only the degree of reflection is different. The degree of reflection of porcelain bottles is relatively high.

At this time, it is necessary to draw the reflection more obviously. The color tone is raw. One can feel that he is porcelain in the painting.

Rough tubes are not very reflective. At this time, the ambient tone is familiarized. Let the color of the tube itself include the ambient color.

In a word. To draw a three-dimensional sense from the space. The three aspects of volume and texture can be painted well.

Of course, the color must be drawn correctly, even if the color tone is not accurate. But it's okay if the color contrast and feel good. The color must be pretty. Don't get the color dirty. Because the color is dirty. It will give a bad feeling.

First of all, from the sketch: to understand the structure of the object, have a three-dimensional understanding of the characteristics of the body, and solve the problem of expression on the basis of understanding

1. With the help of light, grasp the boundary between light and dark, distinguish between light and dark systems, and 2. study the influence of the five major tones on the structure.

Secondly, from the point of view of color: to understand the relationship between colors, organize the juxtaposition of several color blocks in a unified tone

1. Cut into the five major tones in the language of cold and warm, the combination of cold and warm and brightness (black, white and gray), generally speaking, the indoor light, the bright part of the object is warm (high light cold), the dark part is cold (reflective warm), the light and dark junction line and projection are cold and heavy. , 2 local shaping: pay attention to the use of brushstrokes, the combination of brushstrokes and shapes, use the brush according to the direction of each face, and do not let the brushstrokes float outside the shape.

3. The upper part of the object should be depicted, especially the depiction of the mouth of the jar is more important, and the brush of the bright part should be clear and affirmative, clean and neat, and can not be painted sticky (dragging mud and water or called grinding).

Through the lines, cloth, painted with gray base, the lines are slightly delicate, the gap is generally OK, the texture of the cloth is soft, fluffy, and diffuse. If it is a black cloth, you can basically ignore the light, as long as the dark part is breathable, and the light and dark handover do not need to be deliberately stuck. If the brightness of the bright part is low, it is OK.

Bright cloth should not be painted very heavy on the light and dark handover, the dark side of the bright cloth is enough to paint to the gray level, the texture of the cloth is still in front of the place, the pen is not too heavy, medium strength layer by layer to paint, do not wipe too oily, painted like silk is not good-looking.

Fruit texture, fruit, apple and other surfaces are relatively smooth, draw slowly with thin lines, wipe with toilet paper more, avoid obvious lines, pay attention to the light sense, the highlight of the fruit surface, the reflection is more obvious, the color factor in the reflection is eliminated, and the relationship between light and dark is distinguished. Pay attention to the inherent color, and the excess should be soft.

Ceramic, subdivision, terracotta and porcelain.

Pottery, the surface is rough, medium thickness lines, the gap is slightly wider, the line is slow, according to the structure to determine the excessive light and shade, the reflection is relatively weak, there is no highlight.

Porcelain is more difficult, the surface is very light, the reflection is obvious, you can reflect other objects, sometimes it looks like the bright part is darker than the dark part, it is easy to mislead people. The thickness of the line gap can be arbitrary, the details of the part must be fine, the volume shaping with a thick line, more rubbing, even point, the shape of the reflection should be complete, to be soft, the overall relationship between light and dark can not be messed up because of the reflection, if you find that the bright part is very black, it must be that the bright part of the place has a very big and heavy color. When you are basically finished, just pay attention to the thin lines again so as not to affect the light and shade.

There is also only the distinction between soft and hard objects, mainly looking at the handover of light and dark. Very hard things light and dark junction is obvious, sometimes it will be very thin and dark, and gray and dark parts are clearly distinguished, soft things light and dark junction is not obvious, it will be very weak, the softer things light and dark junction line is weaker, sometimes even as long as a light single line hook, sometimes you don't have to draw. According to the degree of softness, the cloth will generally be weaker. When encountering linen, the transition between light and dark and the pre-exam part need to draw some details, such as a trace of twine.

When drawing a thicker line, the direction of repeatedly drawing along the line and cutting the line is not the same.