1. Observation Method:
When we sketch, we always combine fresh visual experience with analysis of research objects, long-term trial and error, correct observation methods, and constantly improve observation ability.
2. Overall concept:
When drawing, if you just draw what you see, you will lose the big and make a mistake in the overall proportions, and when you look at the object, you should look at the whole picture.
For example, when drawing the head, we should pay attention to the relationship between the shoulders and neck and the head, as well as the light and shade treatment, if the boundary between light and dark is depicted little by little according to the picture, the final picture will be particularly messy, and the painting will be unclear and without a sense of structure. When drawing the head, whether it is the relationship between black and white, the relationship between blocks, the relationship between proportions, structure, and the relationship between surfaces and lines, they are all unified and mutually restrictive as a whole.
3. Three-dimensional concept:
All objects in the universe are made up of a combination of its height, width, and depth, that is, three-dimensional space. Due to the lack of the principle that the volume of an object is made up of faces, many test takers can only draw the two-dimensional space of width and height, but cannot draw the depth and express the three-dimensional sense despite their normal vision. It is worth making it clear that any object must be measured in three dimensions, and all of them are indispensable.
4. Artistic Expression:
Artistic expression depends most on the author's feelings and artistic accomplishments, and on the author's spiritual expression, that is, the expression of the inner world. The deeper the author's feelings, the more clearly he can feel the spiritual beauty of the object and the beauty of the image, the more effective the artistic generalization can be.
For example, at the beginning of painting, first observe and study, whether the picture is strong or weak, whether the tone is bright or deep, etc., on the basis of feeling the object, analyze the relationship between primary and secondary, the relationship between the front and back, the relationship between the virtual and the real, so that the understanding of the appearance rises to the rational grasp, and the image on the picture has artistic expression and artistic appeal. Painting training is both technical and artistic training, and the two are inseparable as a whole.
In the practice of painting, the activity of depiction is also an expressive activity, which is the same thing in the eyes of the painter, in the mind, and under the hands of the painter. The practice of drawing only talks about technique and not art, and can only be said to be training painters. If plastic arts do not pay attention to the laws of art and artistic expression, there is no art education, let alone artistic creation.
Artistic expression should be put into form, becoming a concrete image of visual experience. The primary and secondary virtual and real processing of the composition of the picture, the modulation and frustration of the brush, and the harmonious rhythm and rhythm constitute the formal beauty. In the process of learning, various forms of beauty factors are also sublimated from observing and feeling objects and applied to artistic practice. If you deliberately fiddle with the mystery regardless of the object and engage in formal games on the screen, this is not advisable in basic training.
5. Sketch head and head shape structure:
If you want to draw a good sketch head, you must first recognize this image. How can we understand and master it? This requires us to start from the structural characteristics of the image and conduct a comprehensive analysis and understanding of the shape and structure of the figure, so as to make gratifying progress in future learning.
The basic means of sketch modeling: There are many ways to express sketch modeling, and here we will think twice about it, and only talk about two methods of expression: line and light and shade.
6. Lines:
Line is a clear and expressive means of modeling, which can directly and generally outline the physical characteristics and structure of the object, and it has rich expressive power and formal beauty. Depending on the object, it is required to use different lines. From the comparison of the different painting styles of the masters, we can realize the breadth of this field of expression.
The lines also have a role in expressing rhythm, light and heavy undulating ripple lines, or rigid and soft, long and short interspersed, straight and curved, and subdued lines, giving people a sense of rhythm of music. Menzel's painting "The Iron Roller" gives us this psychological effect.
In sketching, lines can not only effectively grasp the form, but also make powerful judgments about the object to be represented. Whatever the means used in sketch training, all relationships must be determined with lines at the beginning.
Use different kinds of lines to find shapes, such as using a number of important auxiliary lines to divide proportions and determine positions, long straight lines to draw large shapes, tangent lines to draw small structural transitions, heavy lines and solid lines to represent near and dark parts, and light lines and dotted lines to represent the bright parts and distant parts. Through the exploration of lines in the sketching training, students gradually understand the role of lines in painting, and can create beautiful shapes through lines.
7. Light and Shade:
Light and shade is a powerful stage for expressing the three-dimensional sense and spatial sense of objects, and it plays an important role in the real representation of objects. Chiaroscuro sketching is suitable for three-dimensional expression of the shape and structure of objects under light irradiation, various textures and chromaticities of objects, and the sense of spatial distance of objects, etc., so as to make the picture image more specific and have a strong intuitive effect.
In early paintings, there were people who used this method to varying degrees. By the Renaissance, with the development of science, the maturity of this method was promoted, and the scientific law of chiaroscuro was formed. The research and practice of the three masters of this period: Leonardo da Vinci, Michelangelo, Raphael and other masters of art have developed the experience of their predecessors to a new stage.
The generation of chiaroscuro is the reflection of light acting on an object, which is based on physical optics. Without light, there can be no light and darkness. If the light shines on a three-dimensional object, it is not difficult to see different light and dark phenomena. It can be seen that the phenomenon of light and dark is the result of the object being irradiated by light.
Although the same object has different changes in brightness and darkness due to different angles of light, light does not change the structure of the object, because the structure of the object is fixed, while light is variable. Therefore, the change of the brightness tone of the object, the structure is the subject, and the light is the object. After the object receives light, there is a light-receiving part and a backlight part, that is, two major systems: light and dark.
Due to the various ups and downs of the structure of the object, there are many changes in the light and dark levels. We summarize the certain laws of this change as the five tones of light and dark, namely: the bright part, the intermediate color, the boundary between light and dark, the reflection, and the projection. Among them, the bright part and the intermediate color belong to the light-receiving part of the object, and the light-dark boundary line, reflection and projection belong to the backlight part. They constitute the two major relationships of light and dark objects.
The law of the five tones is the main law for shaping the three-dimensional sense, and it is also an important means to express the sense of texture, volume and space. If the sketch model correctly expresses this relationship, a very realistic effect can be achieved. The boundary between light and dark is the part that turns from the light part to the dark part.
This darkest part cannot be simply understood as a heavy line, it has changes in width and narrowness, shade and void, etc., and its characteristics are determined by the strength of the light source and the physical characteristics of the object. We attach great importance to the change of the boundary between light and dark because it plays a very important role in the shape.
The boundary between light and dark is an important marker to distinguish the different orientations and undulating characteristics of the object image surface. The dark part and the reflection are one and the same. The reflective part is naturally unified in the dark part. Painting too bright or too dark will affect the volume and space of the object, and if the painting is too bright, it will be repeated with the middle color of the bright part, which will appear isolated and affect the unity of the overall coordination.
The intermediate color is the central area of the intrinsic color of the object, which is also more detailed and complex, it is the transition surface of the shell of the dividing line between light and dark, and it is an important part that is not easy to observe clearly and needs to be carefully studied and depicted, and at the same time, it should be naturally connected with the dark part. Projection plays an important role in shaping the sense of volume and space of objects, so in the study of sketching, attention should be paid to mastering the shape change of projection and the relationship between virtual and real.
8. Modeling characteristics of facial features:
In order to draw these parts correctly and vividly, it is necessary not only to be familiar with their basic structure and features, but more importantly, to understand the interrelationship of the facial features due to the changes in facial expression. If you don't pay attention to the changes and interrelationships of the muscles around your facial features, you will behave unnaturally.
Eye:
The eye is composed of a pupil, cornea, and corner of the eye, which is embedded in the eye socket, and the upper and lower eyelids are wrapped outside the eyeball, and the edges of the upper and lower eyes and face are radially shaped. On the upper eyelids, the eyelashes are thicker and longer, and the lower eyelids are thin and short, curved downward.
The movements of the two eyes are united, the viewpoint is in the same direction, and the eyes have different perspective changes due to the twisting of the head.
The shape of the eyes is different, and there are round, flat, wide, double eyelids, single eyelids, etc.
Depending on the age group, the shape of the eyes is also different. Some people have low inner and high inner and outer corners, and some people have flat inner and outer eye corners, and careful attention should be paid to distinguishing them.
Eyebrow:
The eyebrows start from the inner corner of the upper orbital edge, extend outward, and pass over the orbit to become the tip of the eyebrows, divided into two columns, the lower is radial, the inner is thick and the outer is thin, the upper column is covered above the following, the upward trend is downward, the inner side is straight and rigid, and often appears dark due to the backlight, the outer side is arc-shaped, and it appears softly curved because of the light. Human eyebrows vary in shape, direction, shade, length, width, and width, and are powerful markers of age, gender, personality, and expression.
Nose:
The nose is raised on the face, which is triangular in shape, and consists of two parts: the base of the nose and the bottom of the nose. The bulge in the upper part of the nose is the nasal bone, which is small and strong, and its shape determines the length, width, etc. of the nose. The lower edge of the nasal bone connects to the nasal cartilage, including the septal cartilage, nasal cartilage, and alar cartilage, and the nasal alar cartilage, which can be expanded and contracted with breathing or expression. There are many shapes of the nose, which vary from person to person, from tall to thick, to slender or flat, etc., which are all generalizations of image characteristics. The shape of the nostrils varies with the shape of the nose, especially the alar of the nose.
Beak:
The mouth, in terms of shape, is determined by the lips that cover the upper and lower skulls and teeth. The curvature of the jaw and teeth directly affects the straightness of the lips. The shape of the mouth is determined by the arc of the skull and teeth. The lips are made up of orbicularis oculi muscles, and the upper and lower teeth are born in a semicircular alveolar of the upper and lower skulls, and are rounded on the outside. There is a concave strip on the surface of the skin in the middle of the upper lip, which is called the philtrum. The surface of the lips has lip lines, and the shape of the lip lines varies from person to person. The upper and lower lips are very flexible and echo each other, which not only plays a very important role in pronunciation, but also has a direct impact on expression.
Ear:
The ear is composed of an external ear wheel, a pair of ear wheels, an ear tragus, a tragus, and a lobe, which is cartilage tissue with a certain elasticity and resembles a dumpling. The ears are slightly oblique on the sides of the head. In addition to figuring out its structure, you should also pay attention to its volume when studying.
Head Structure:
The structure of the human head is more complex, and we should study the shape for the purpose of geometrically inducting the human head in order to better understand the volume of the head. The skull bone path is the essence of the head shape. It is between a sphere and a cube, and can be summarized as a composite between a sphere or a cube or a wedge.
Summarize the head with a cube to make it easier to grasp the spatial structure of the head. The skull has several protruding points, which we call bony points. These bone points are shown through the facial muscles. The connection from the frontal tubercle of the forehead to the brow arch, temporal line, zygomatic tubercle and mandibular tubercle bone points constitutes the transition of different sides of the head. It can be seen that the eyebrows, eyes, nose, and mouth are on one side, and the ears are on two sides.
9. Head Proportions:
The position and morphological characteristics of people's facial features are different, which is the basic proportion of the head summarized by the predecessors, with three long stops and five horizontal eyes. Looking at the head of the character from the front, from the hairline to the eyebrows, from the eyebrows to the nose, from the nose to the jaw, the three segments are three stops.
The distance between the two ears is the length of five eyes. The eyes are in the half of the head in adults, and slightly less than a third in children and the elderly. The outer angle of the brow arches to the lower orbit and then to the upper edge of the alar of the nose, the distance between the three points is equal, and the ears are within the parallel line between the brow and the tip of the nose. These ordinary proportions of the head can only be used as a reference at the beginning of sketching, and the most important thing is to use them flexibly in practice and correctly distinguish between different morphological structures in order to reflect the personality characteristics of the depicted subject.