Many students have misunderstandings about the "edge line", and of course, there are many teachers who do not pay attention to the processing of the "edge line" in teaching, and then there will be too many contour lines in the picture, because too many lines destroy the formation and contrast of the surface. Hurry up and follow the compilation to learn
01
What is an edge line
The so-called "edge line" of an object refers to the black-and-white contrast between an object and other surrounding objects or surfaces that are in contact with and occluded by the background in the spatial position relationship of the picture.
Therefore, the "edge line" of the object is not a thin or thick line, but the contrast between the color block at the edge of the object and the color block similar to it in the surrounding environment.
02
Edge line processing
When dealing with the "edge line" of the object, it is necessary to follow the principle of "near real and far virtual" in the law of perspective; the two faces that form the "edge line" near are very strong, and the "edge line" is very clear, and the object is visually pulled very close;
03
Frequently made mistakes
The edge line is too dead, at this time, you need to deal with the edge line to be more virtual, then you can only use paper and pen to knead, according to the relationship between light and dark, really can't take the eraser to erase the edge line and start again.
The edge lines are too flowery, that is, those fluffy pictures, the whole picture looks particularly frizzy, for a space, close to real and far from virtual. The objects in the near distance are solid, the contrast between black and white is strong, the decent transition is clear, the shape and contour are concrete, and the clarity is high. The distant objects are empty, the contrast between black and white is weakened, the decent transitions are relatively blurred, the shape and contour features are not obvious, and the clarity is weak.
The edge lines are too messy, and the whole painting looks like all the still life images have just finished fighting, the decent transitions are not clear, and the shapes and contours are not concrete, resulting in low recognition. In the shaping of the sense of volume of the object, the more clearly the basic relationship between these five tones is expressed, the more clearly the decent transition relationship of the object is explained, so the stronger the sense of volume of the object itself.
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