There are many students who draw sketches and have brain pain
Let's send you a sketch dry goods
And then go and draw hundreds, thousands
Points to note about the relationship between virtual and real
The whole is virtual and real
The awareness of the sketch as a whole is very strong, and it is necessary to pay more attention to the overall relationship, so that the picture is full of artistic sense and beauty. When taking shape, it is necessary to construct a large sketch relationship, that is, the spatial relationship, the virtual and real relationship, the primary and secondary relationship, the shape relationship, the change before and after, and the coordination of the composition.
The order of the relationship between sketches must be the whole and then the part and then the whole, and the sense of the picture needs to be grasped as a whole. In the interlining, in the background or in the distance, it is virtual, so that it is far away, so that the still life in front can be highlighted, forming an obvious relationship between the virtual and the real. The background of a painting is to cater to the relationship between the picture.
Local virtual reality
When painting some still lifes, it is impossible to cover everything, otherwise such objects are solid, and there is no change in the sense of space in the picture. If you are close to the line of sight, you should make an object change between the virtual and the real, and then more detailed, on the still life of a single object, the dark part and projection are virtual, the bright part and the highlight are real, and the boundary between light and dark is also real, so that the shape of the picture can come out and the object can be more three-dimensional.
Virtual and real concerns
The light-receiving area is often much more solid than the dark part, and the structural transition is more solid than the transitional structure. The line arrangement is more than wiping and plastering, etc., these are the rules of the picture that have rules to follow, and special attention should be paid to when dealing with it, and the rhythm of the picture is enriched through the performance of virtual and real.
So in the dense test papers,
How to make your exam paper stand out?
Learn to unleash your sparkle!
The picture is shocking enough
Let the picture be shocked, and the contrast between black, white and gray must be handled well. You have to think about which black and which white ones first. The dark places generally have hair, pupils, and then the dark parts and projections caused by the relationship between light and shadow, the bottom of the hair and the projection, the bottom of the eyebrow arch and the projection, the bottom of the upper eyelid and the projection, the bottom of the lower eye bag and the projection, the bottom of the nose and the projection, the bottom of the upper lip and the projection, the bottom of the lower lip and the projection, the bottom of the chin and the projection, the bottom of the whole head and the projection, the bottom of the collar and the projection.
Many teachers ask students not to touch a little light in the first 40 minutes of drawing, and to draw the heaviest color first, and to pull the black, white and gray effect of the picture to 80% in these 40 minutes.
After 40 minutes, use the rubbing technique, when wiping, you should fold the paper out of a corner, because you need to find the shape, the boundary between light and dark is tangible, and the projection will also be tangible. The heaviest place at the junction of light and dark and the deepest part of the projection, the middle is empty, and the bright part should not be wiped with a napkin first.
Then start to go deep in the part, of course, but also take into account the whole, when you go deeper, you still have to draw the darkest place first, and develop a habit - from time to time to draw the darkest place. Mood is very important when drawing, a good mood must come from a good picture, and having an overall shocking picture at the beginning will make you feel more confident.
The characters are exaggerated enough
It doesn't matter if the drawing is exaggerated, as long as there is no problem with the internal structure (which requires an understanding of the skull), a thick lip, a teasing or confused look may make your picture attract the attention of the teacher. The premise is that you must have a certain ability to sketch and observe.
The composition is fresh enough
The composition of the head is generally to draw the head slightly upward, leaving more blank space in the direction of the gaze. Don't draw your head too big to make the picture look crowded, or too small to look too empty. In addition, if it is too big, it is easy to draw too empty and without content, and if it is too small, it will make you feel not relaxed enough because of the restriction of using the brush.
But you can put more effort into the relationship between the head, neck and shoulders, the orientation of the face, the height of the shoulders, the size of the collar, the shape of the collar projection, and the direction of the neck twist are all places where you can make a fuss, and you can usually accumulate more interesting compositions.