15 oil paintings, do you understand painting?

15 oil paintings, do you understand painting? The first step is to conceive and compose the picture. Before starting the sketch, develop the habit of observing the characteristics of the subject and brewing their emotions. According to the subject's occupation, age, temperament, hobbies, etc. to consider how to perform, and finally want to achieve what kind of effect. Cheng Zhu on the chest, write a bold and chic. Don't rush to draw. Pay attention to whether the position of the character is appropriate and the space in front of the character is larger. Although this is a cliché, it is the key to determining whether or not the entire sketch is complete and comfortable.

 

 

 

The second step is to scratch the outline. This point is very important. From the tall building to the flat ground, there is no solid wall base that could be disastrous. The outline is the wall base. To grasp it accurately, we must grasp the basic shape of the head, the position of the five organs, the position of the light and dark line, and the relationship between the head and the shoulder.

 

In order to draw a quasi-contour, it is necessary to make an overall observation. As a whole, more auxiliary lines are used to help determine the position. Grasp the characteristics when you grasp the shape, to draw like. The appearance of the initial appearance, the image is ready to come out. Just as the entertainer at the entrance to the park uses a scissors silhouette, it is easy to show the character. Although we can't see the detailed internal structure, we can still recognize him. Some did not pay attention to this step, but they were still very ambiguous and they rushed to paint their five organs. How can a painting drawn like this approach an object?

On the basis of the quasi-shape, the position of the five organs must also be done. When drawing facial features, we must pay attention to the use of the central axis. Except absolutely positive, the central axis is lined with the head according to the dynamics of the head. Many students do not understand this point. When drawing a slight side angle, the head is always unacceptable. Of course it feels very difference. The position of the five organs can be based on the basic laws of the three stops and five eyes, find out the image characteristics of people and people in commonness, and draw people's differences. Pay attention to the length and width of the eyebrows, eyes, nose and ears, and the thickness of the contours during contouring. If this step is not allowed, don't go deeper, let alone light and dark. The eyebrows should pay attention to the bone points at the upper and lower parts of the eye socket, and the brows and eyebrows that are expressed by the convex transition at the cheekbones. To draw an eye, you must place the four eyes in a parallel line, otherwise the eyes will be high and low, and you will feel uncomfortable. It is very important to draw an eye. There is a difference between the upper eyelid and the lower eyelid. Generally, the eyelids are heavier because of the thickness. The eyelashes are deeper and the shadows are cast on the eyeballs. This is often the deepest point of the entire painting. Easy to pack eyeballs in the eyelids. The lower eyelid receives light and must be bright, otherwise it is like a playful makeup. The mouth's characterization is also related to people's expressions. First of all, to determine the thickness of the upper and lower lips, but also pay attention to the lips can not be used to hook the line to die, the mouth upturned sagging, very delicate. The ear should be linked to the eye, nose and mouth. Some candidates are reluctant to draw more ears and even use the ear as a burden. Either the imaginary or the past will affect the space, or it will jump badly and destroy the whole.

The boundary between light and dark is the key to determining the depth and volume of the head. The sacrum is at the most prominent part of the junction line, with high or low, prominent and soft, depending on the visual characteristics. Although the zygomatic bone is less visible in the light, it must be painted symmetrically with the dark part. By the way, it is very important for the character sketch to be symmetric, such as two eyes, two ears, and two nostrils.

The inherent color of hair is black. As long as careful analysis is not a dark one, there is also a contrast between light and shade. Hair is formed on the skull. Hair style, light and shade must all consider the structure. The hair strives to be fluffy and full of texture.

The third step, in-depth characterization. At this point, we must take a good look at it and see which parts are the deepest and the strongest. Start from these places, generally start from the eyebrows, eyes, nose, and cheekbones. Grab the characteristics at once and draw a big relationship. However, we must avoid grasping one point and stare at the painting repeatedly, making the part too lopsided and disoriented. The first thing to draw and what to draw can be considered based on the characteristics of the object. If the angle is somewhat skewed, the cheekbones are more prominent, some swordsmanship is thick and rich, and some eyes are divine.

In the process of deepening, we must always maintain the overall relationship. Understanding whether a picture is good or bad depends on the overall feeling of the entire picture and the sense of completeness. If we only hold brushstrokes on facial features, we think that it is the finishing touch and ignore other aspects. The entire picture is Not good. When we looked at the exhibition, we always stood far away and looked at the entire picture. We were interested in certain parts and went closer to the microscopic view. No one looked straight at the painting and stared at the partial view. If so, Not funny?

In depth, first of all, focusing on the contrast between light and shade of the entire picture, I compared it as a major contradiction. Then it is the ratio of darkness to darkness, and the ratio of brightness to lightness. I treat it as a minor contradiction. The main contradiction determines the minor contradiction, seizes the big relationship, and also pays attention to the delicate relationship. The entire picture is subjective and subtle and can be carried out in an orderly manner. Every deeper layer, starting from the most convex point, drives the next light. Draw attention to the relationship around the entire orbicularis oculi, draw the mouth to consider the face of the orbicularis muscle, draw the nose and note the connection between the nose and the nose and cheeks. At the same time, the proportional relationship of this part in the entire face must also be considered. In short, consider the whole from time to time in depth, and give priority to each other.

 

The fourth step is to adjust. In general, when an examinee draws a sketch, he always likes to draw it down and draws it down until the end, feeling breathless. How do you have time to ponder and set aside 15-20 minutes to adjust the big relationship. In fact, this kind of idea is very important. The adjustment is both in-depth and general, so that the overall effect of the picture is more complete, subtraction is to be done, trivial details are integrated, and the big relationship is strengthened. The adjustment is still a comprehensive embodiment of the candidate's artistic accomplishment. What kind of screen effect is presented in front of the examiner, and what kind of screen effect is outstanding in many candidates is worth pondering.

If you want to draw a good portrait, you must draw it especially. To avoid formulating and conceptually depicting characters in a stereotyped and mechanical manner, it is as if characters are carved out of a model, and they are always so dull and lifeless. To draw like a figure, first of all, it is a combination of form and spirit, focusing on character's intrinsic character and emotions. As long as the usual practice, pay more attention to the expression of the emotional changes of the eyebrows, eyes, and mouth, and paint in the most natural and vivid moments of expression, you can make the picture angry. I think the combination of form and spirit is the highest requirement for portraiture. It is definitely not after the improvement of skills.

 

In short, it is necessary to draw a portrait sketch, get a solid foundation, accurate modeling ability, or rely on more paintings to get. As the saying goes, “Practice makes perfect,” and the technique is derived from hard work. At the same time, we must also look more at good paintings to improve our appreciation, and then boldly and multi-facetedly try to continuously improve the level of painting and realize our ideals.