Hangzhou Studio: A comprehensive analysis of high-score bust human pixelation
composition
Bust sketching is generally divided into four steps: composition, large tone, in-depth portrayal, and adjustment and unification. In order to make each step grasp the essentials and highlight the key points, and in order to make the narrative analysis more concentrated and convenient, we carry out sketching steps according to composition, shape, portrayal and arrangement. The composition of the bust requires the full representation of the head, neck, torso, upper limbs (especially the hands) and thighs of the lower limbs, sometimes taking into account the performance of the props and their ambient atmosphere. Through the careful organization of the composition, it is necessary to concentrate on the modeling characteristics of the characters.
contour
In the process of sketching and contouring busts, always pay attention to the structure of the human body itself that is not affected by clothes.
According to the determined small composition, the length of the top of the head is first determined on the screen, and as a standard, the width of the head is determined in the comparison, as well as the perspective position and proportion relationship of the joint points such as the shoulders, elbows, wrists and hands, and the general image and composition form of the bust are outlined. In the composition of the frame, even if it is a simple approximate shape, we must pay attention to expressing the overall feelings of the appearance, momentum and modeling characteristics of the image, and be good at capturing the natural and vivid momentary image.
Form
On the basis of summarizing the approximate form, the basic form of the figure is further drawn. The basic shape of the block dynamic is determined on the basis of the central axis (midline) of the human body. The midline of the trunk is seen from the front, from the neck socket in the middle of the sternocleidomastoid muscle, through the sternum, the median groove to the umbilical hole, the abdominal muscle and the midline, the midline of this model is slightly inclined, so that the analysis can obtain the momentum of the object and determine the basic physical relationship.
Portrayal - finishing
In-depth portrayal should pay attention to the whole, grasp the primary and secondary, virtual and real relationships of each part from the whole, and make the local details portrayed naturally and harmoniously into the overall relationship. In-depth portrayal should grasp the main points, and must not see what is painted in every way. Generally speaking, the image of the head and hand of the character is the focus of the bust portrait portrayal. The first is the portrayal of the facial features and demeanor of the head; The second is the shape and "personality" of the hand, and the third is the clothing pattern.
·Head depiction·
The depiction of the head is basically the same as the portrait sketch, the difference is that the head of the bust is not the only part of the picture depiction, so the shape and tone of the head must be placed in the corresponding space to recognize and portray.
On the whole, the eyes, nose, and mouth should be weakened sequentially in terms of image shaping. Hair, face and neck happen to be three shades of black, white and gray, and it is necessary to analyze and represent the turning of the head, cheek and chin; The portrayal of the five features should be coordinated, the depiction of the eyes should take care of each other, and the dynamics of the character image and the spiritual temperament should be combined, and its natural implication should not be too limited to details such as highlights.
According to the volume relationship of the head, it is necessary to deal with the virtual and real relationship between the hair and the background, the hair and the face, and strive to draw to eight or nine points once or twice, so as to facilitate the depiction and adjustment of the face and make it more charming.
The depiction of the neck is associated with the head and collar. The treatment of the neck should be virtual, and the head should be formed with a virtual lining effect, the treatment of the collar should be simple and real, and the neck should be formed with a real lining effect.
Hand carving·
The depiction of the hand begins with the recognition of the general styling characteristics and movement rules of the hand. To draw the image and dynamics of the hand, you must look at the big picture and determine the basic shape of the wrist and palm, including its perspective and contraction and the transition between light and shade. The fingers are divided into three groups, namely the thumb, the middle three fingers and the little finger, which have their own postures. Pay attention to the twist of the finger joints, and have priority in the portrayal. In short, the portrayal of the fingers is closely related to the image and dynamics of the hand and must not be ignored.
·Depiction of clothes·
The depiction of clothing patterns should be analyzed and selective, not copied and traced, and should be related to the dynamic trend of the characters, the space before and after and their perspective changes. First of all, we must grasp the large turning relationship of the armpits under the shoulder joint, the elbow wrist and other parts of the coat, and selectively express the straight curve, denseness, and length of its form. Generally speaking, the depiction of clothing patterns in the parts closer to us should be deep and fine; The performance of the coat pattern in the farther parts should be summarized and briefly omitted. The undulating changes in the waist of the chest are closely related to the volume shape of the chest, but they should also be concise and accurate.