1. Observe and think about comprehensive observation, experience image characteristics, choose the painting angle, analyze the beauty of the plaster image; analyze its basic structural state, and anticipate the picture effect. Including composition, body beauty, light tone and expression methods.
2. The composition, proportion and basic shape are reasonably arranged in the picture, and the general position of the gypsum statue is determined, and the physical composition of the gypsum statue and the dynamic performance it embodies should be considered. Consider the arrangement of the space and the position of the visual center, and determine the position of the top, bottom, left and right edges. There is a difference in composition between the use of light and shadow and the use of structure to express and the background to be or not. Use the auxiliary line to find out the proportion and dynamic relationship of the head, neck, chest and base, determine the position of the five senses (the perspective of the five senses should be correct), and grasp the dynamic features. Check that the center of gravity is stable. Finding the centerline is conducive to the position determination of the five senses and the grasp of the head movement. Find out the large flat basic shape of the head, neck, chest and other parts, and appropriately exaggerate the basic shape characteristics of each part according to the feeling, and grasp the big relationship. Use a long straight line to paint, use the pen to loosen, follow the feeling, do not shrink your hands and feet, nor can you draw too heavy and too dead, to keep the picture in a flexible and variable state, so that it is easy to further adjust and deepen later.
3, the basic structure consciously determine the main structure of the gypsum statue bone point, the position of the high point, find the turn, use the concept of geometric shape to understand each shape; pay attention to find the correct position of the human center line, both sides at the same time, perspective should be accurate; painting each point or shape must pay attention to the surrounding shape at the same time, find the relationship between them. At this stage, it is necessary to start from the whole, find a big relationship, and small things can be solved in the in-depth stage; especially hair, beard, etc. should be grouped to find out the relationship between before and after, virtual and real, otherwise it will fall into the part prematurely. The large contour with the pen line should also have light weight, virtual reality, and rhythm to produce an overall harmonious and unified effect. The large outline should try to draw the correct shape structure according to its own feelings, and relying too much on comparison and measurement will lose the sensitivity of the senses and produce adverse consequences.
4, draw the general relationship between light and dark, distinguish the dark side requires that along the line between light and dark, all the light and dark sides are lightly coated with a layer of gray, and the background that contrasts with the white of the plaster is also lightly coated with a layer of gray, at this time the plaster image will initially present a three-dimensional shape and sense of light, and the space will also be presented. It can be regardless of depth, but the lines should be tightly arranged and should not be scrawled. The dark layers can be divided into several levels in order from heavy to light, such as the musical scale, starting from the heaviest point. At this time, it is still the general chiaroscuro stage, and each part of the painting begins at the junction of light and dark to the edge of the body projection. Slight changes, do not go deep into the part too early, especially the reflection of the dark side must stay in the dark side, and the gray side and the bright side can be ignored for the time being.
5. In-depth analysis and repeated adjustment gradually enrich the details, find the turning point of each shape, make the shape structure more compact, and the shape relationship between the head, neck and shoulders more clear and specific. Once the tones are arranged in order, you can go deeper and deeper over and over again. Each painting is added one layer, the content is rich, and the sense of form and body is getting stronger and stronger. The gray and bright tones gradually appear until they are completed. In the in-depth stage, we must cherish the tone of each stroke, and each stroke must be the physical structure and turn of the expression, otherwise it will lose its meaning just by aggravating. It is necessary to strengthen the understanding and understanding of the physical structure, use the modeling means of sketching and the contrast between light and shade and virtual reality, and subjectively express what you want to express, rather than simply copying the object. When painting, you should often use some concepts to examine your own pictures. Such as volume, thickness, light sense, whole, space, primary and secondary, rhythm, etc., especially the overall concept must not be forgotten at any time. Every once in a while, you must stand up and look at your own picture from a distance, so that you can find problems and correct them in time. It is necessary to avoid problems that are easy to appear such as gray, flowers, dirty, greasy, and floating. (Students with a good foundation and strong overall grasp ability can take the local promotion method after the light and dark are well divided, and the one-step approach is in place.)
6, back to the whole, the process of summarizing and completing the in-depth details will inevitably appear fine chips, gray, flowers and other ills, so finally it is necessary to readjust the big relationship, so that the overall shape is more clear and prominent. Each form is in its own proper position, and the effects of black and white and virtual reality are also more intense. At this time, don't rely too much on the objective object, don't dare to cross the thunder pool half a step, or only compare with the object. The picture should be primary and secondary, the center should be prominent, the shape should be strong, and the coordination and unity should be unified. The part and the whole are a pair of contradictions that will be encountered at every moment in the painting process. The purpose of local portrayal is to highlight the subject, and each time the details are deepened, it should be a deeper understanding of the whole. The relationship between the local and the whole is handled well or badly, which is a sign of the ability to identify the shape.