"Long-term fiction" establishes the relationship between shape and rhythm. The first choice for the picture is the spatial logic between the graphs (before and after the edges are superimposed). The overlapping part of the edge line is the clue of the logic of the entire picture space, and the superimposed part between the graphics needs to be emphasized when deeply portrayed, that is, the edge line.
Under the premise of grasping the accurate silhouette, it is also necessary to have a clear understanding of the shape structure, and grasp the position of the key point (geometric perspective) and the relationship between the face orientation. The density and simplicity of pen and ink, the strength and weakness of light and shade are all based on this.
The core problem of sketching is the capture of "edge lines" and structural lines (architecture), and light and shade are effects (decoration). The edge line talks about the space, and the structure line talks about the volume.
When depicting specific cloth pleats and interspersing, the overall sense of structure needs to be maintained. The process of "whitening" requires attention to the orderly relationship between the primary and secondary strengths and the influence of the decent orientation, which is also one of the main shortcomings of my painting.
The hierarchical relationship of the picture space relies on the superposition of graphics, and the dense distribution between the graphics is the focus of the spatial level. I recommend that you analyze Verdon's "Unloading the Eucharist".
"Long-term fiction" determines the relationship between silhouette and situation.
Arrange the distribution of light and dark according to the construction relationship.
Depict the "concave surface" and whiten the "bulge", so that the shape has volume and spatial depth.
Use the method of "hood dyeing" to adjust the primary and secondary orders and strength and weakness of the picture.
"Burriman" is not only a "reference book", but also an acquisition of observation methods.
Master carving provides us with "modeling consciousness", and the "soul" of the sketch is in the master carving.
As Teacher Yu said, "Dürer is a door for sketching", and the folds of clothes painted by Dürer are the keys to open this door. My daily cloth pleat practice