Portrait composition is the most important in sketch. To draw a good sketch portrait, we must first lay a solid foundation for portrait composition.

Portrait composition is also called takeoff. First of all, you should find a suitable position in the picture and draw your head, chin and shoulders with simple straight lines. Then, you should find the ratio of eyebrows to eyes according to the top of your head, and draw your nose and mouth with straight lines according to the ratio. Remember to keep observing and comparing.

Introduction to Head Sketch-Shape and Proportion

After the head portrait is positioned in proportion, you will find the specific position of the outline and the five senses. These all depend on the situation, and you can only locate them by careful observation and comparison. And the lines can't be drawn too dead, otherwise it won't be easy to modify them later. The brush strokes should be light, simple and direct, and the specific position is convenient for later in-depth description. Relatively speaking, this step will be relatively simple, mainly based on the subdivision composition after the general appearance, in short, based on the general composition of the previous step, deeply depicting the five senses.

This step is to let everyone observe and compare repeatedly, so that each part has an accurate position, and then the next step can be entered after the position is determined.

Introduction to head sketch-perspective/light-shade relationship

After drawing the facial features and outlines, simply use diagonal lines to show the main sensitive relationship of the avatar (don't draw it too dirty and dead), or wipe off the dark edge effect with your fingers.

According to the article "Steps to Learn the Sensitivity/Perspective Relationship of Sketch", combined with perspective, draw a simple sense of space of the head portrait, subdivide each part with the relationship of light and shade (black, white and gray) to express the three-dimensional sense, and then gradually decorate it according to the lines and main colors of the whole picture.

Introduction of Head Sketch —— Depth Description (Five Features/Whole)

The key step of head sketch, depth description, is simply to modify the summary of the previous steps, erase unwanted lines, the softness and hardness of hair, avoid painting too much plaster on the nose and mouth, coordinate the overall tone, and have a three-dimensional picture. This step is analyzed according to specific pictures, and there is no certain theorem.

Basic requirements for sketching portraits

1. Observation method:

When we start sketching, facing the model is only a preliminary feeling. Although this feeling is profound, if you only paint on the initial impression, you will be confused by the details on the surface of the model, which will make you unable to go deep and sometimes even lead to various errors in the picture. Therefore, this initial visual experience must be deepened, that is, from the initial perceptual stage to the rational analysis stage, and a correct observation method must be established. The reason is that when we sketch portraits, we always combine fresh visual feelings with the analysis of the research object. Through such long-term repeated practice and correct observation methods, I will constantly improve my observation ability.

2. Overall concept:

It is a very prominent problem in portrait sketch training to always observe the object as a whole when painting. Because there is nothing isolated in the sketch, it is a harmonious whole formed by order and comprehensive relationship. It is necessary to undergo long-term and strict training to cultivate the overall observation ability and the ability to look at the overall situation when sketching. When painting, if you draw what you see, it will not only make the picture lose the primary and secondary relationship between reality and reality that must be observed in painting, but also lead to ignoring this point, losing the big with the small, resulting in the error of figure proportion. There is an artistic motto called "Draw your nose to see your ears", so it is of course impossible to draw all parts at the same time in actual sketch, but when looking at objects, you should look at the overall situation, and the relationship between all parts should be based on what you have seen once, not on what you have seen several times and at different times. When drawing the basic shape of the head, we must also pay attention to its relationship with the neck and shoulders. The same is true when dealing with light and dark tones. Sometimes this part is painted deeper to make another part lift the shell; Weakening this part is to highlight that part, which is enough to focus on the overall relationship. In a word, because the object we describe is an inseparable whole with internal interrelation, whether it is structural relationship, proportional relationship, black-and-white relationship, decent relationship, surface-line relationship, they all exist relatively and restrict each other. If we treat it in isolation and one-sidedly, we will eventually lose the overall unity of the picture. Thus, overall observation, it is not only a method of observation and expression, but also a way of thinking.

Since ancient times, successful painters always put the overall relationship in the first place, and seek local subtle changes on the premise that the overall relationship is basically correct. Draw parts, see the whole, alternate repeatedly and promote each other. If the part destroys the whole, the picture will be chaotic, but only the big relationship, without the in-depth description of the part, the whole is empty. The richness of the whole is reflected by the exquisite performance of the parts, which are mutually causal and complementary.

In order to work out the "proportional relationship" between bureau-department and part, part and whole, we must first determine the people who have a big relationship, follow the painting steps of whole-part-whole, and gradually deepen from big to small. At the same time, we must pay attention to the progress between the parts of the picture and always maintain the corresponding relationship, so as to carry out effective comparative inspection and adjustment.

Connor once said, "I'm never in a hurry to draw details. I first pay attention to the effect and characteristics of a painting ... "

3. Three-dimensional concept:

Everything in the universe is made up of its height, width and depth, which is three-dimensional space. Many candidates lack the principle that the volume of an object is composed of a surface. Although they have normal eyesight, they can only draw a two-dimensional space with width and height, but can't draw a depth to express the three-dimensional sense. Obviously, any object must be measured in three dimensions, and both are indispensable.

At the beginning of learning sketch, students should be trained to treat all objects in the objective world with a three-dimensional concept and express them in various ways. Through repeated study and practice, students' requirements in this respect are more clear. Because, although sketch also has the task of expressing the texture, sense of body and different colors of objects, for example, when drawing an avatar, the eyes are transparent, the hair is fluffy and the color is dark; But first of all, we must have a three-dimensional sense. When students begin to observe, they always can't see its volume, only see the different colors of the object. So he can't make the dark light receiving part bright, and he can't make the light backlight part dark. The concept of various inherent colors of objects influences them to study the changes of light and shade of objects after receiving light. In order to facilitate learning, we can take the sketch of gypsum geometry to understand the principle that objects are composed of curved surfaces, which is of universal significance for expressing other complex shapes. On this basis, it is not easy to establish the concept of shaping the body in the depth of space rather than depicting it on the plane. We should not only master perspective knowledge, but also cultivate the habit of observing and understanding objects, so as to correctly grasp the proper position of objects on the screen and realize three-dimensional viewing of paintings.

Extension: A Common Tool for Sketch

There are many kinds of sketching tools, such as stone pen, charcoal pen, iron pen, chalk, writing brush, pencil and pen. There are also paintings of diamonds and diamonds. Different tools are related to the nature and composition of sketch, and tools will also affect the painter's mood and skills. The choice of tools depends on the artistic effect that the painter wants to achieve. Generally speaking, dry pen is suitable for making clear lines, and ink pen is suitable for expressing planes; Exquisite strokes can be brushed with a brush, and vast fields can be outlined with a pencil or chalk. Charcoal pen can be used for both. From the size of the work, large-scale sketch works are suitable for drawing with charcoal pen, and the outline and carefulness can be carefully studied and analyzed for a long time. As for pencils, they are suitable for smaller sizes. There are few large pencils, while pen-and-ink drawings are even smaller, and they are often used for illustrations. The monochrome performance of sketch makes the tool very random, and it can often be used comprehensively to create a variety of picture effects, so it is a very broad world.

(1) pencil:

Pencil is the simplest and most convenient tool. Beginners often start with pencils. The main reason is that pencil can be very accurate and clear in line modeling, can be modified at will, and can depict details in depth and detail, which is due to strict physical requirements and in-depth and repeated research. At the same time, there are many kinds of pencils, hard, soft, deep and light, which can draw more colors. The color of the pencil is also convenient to show many silver-gray levels in the tone, which is effective for basic training operations such as plaster and easy for beginners to master. So it is more suitable for the initial application of basic training. The existing domestic pencils are divided into two types, with HB as the center line and B to 6B from soft to dark. In order to better meet the needs of painting, we added 7B-8B, which we call drawing pencils. HB has developed from h to 6H, which is mostly used in precision design and other majors. Because there are many kinds of pencils, they can show rich shades.

(2) Charcoal pen:

The carbon pen is neither brittle nor hard, the carbon rod is burnt through soft black, and the carbon rod is soft and sand-free.

(3) Pen:

Including all fountain pens with hard tips. You can also draw with strokes used in daily writing. Generally, with a little treatment, bend the nib inward about 30 degrees with small pliers, so that the forward writing is fine and smooth, and the thickness of the reverse writing can be controlled freely.

(4) Paper:

White, thick, textured paper. Pencil drawing paper should not be too thick, charcoal drawing paper should not be too smooth, and pen drawing paper should have a smoother paper surface and a certain degree of water absorption.

How to express the structure of sketch head clearly? For sketch, the understanding and application of structure is very important, especially in figure sketch. Every complete and mature picture has a reasonable and solid structural relationship with musculoskeletal.

Structure can be said to be the skeleton of portraits and pictures. Without structure, it is impossible to talk about the sketch relationship of characters, such as the sense of volume, texture, weight, the relationship between reality and reality, black, white and gray, and naturally it will not become a work.

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Moreover, looking at structure sketch from the picture alone, a complete structure sketch has its own sketch aesthetic feeling, which also reflects the artist's modeling ability.

What our classmates often encounter is that the tone is ok, but the structure is too poor. This question is very important but common, so it is clear. It seems that we don't know the internal structure of the avatar, or we know it, but we can't remember it, and we won't use it in the actual sketch.

No matter how good the music is at this time, there will be no good results. We often hear that tunes are structural, and it doesn't make much sense without structural sounds.

Therefore, it is important to master the basic knowledge of head planing, practice more and memorize important facial structures in order to lay a solid foundation for skilled use of sketch in the later stage.

In structure sketch's study, we should use our brains and think more. Structure sketch's study can't be limited to using a line to hook the position of each body. Although the structural factors are simple, and the emphasis is on the expression of structure, it should be noted that structure sketch is more rigorous in expressing bones and muscles, and more importantly, it is very important to connect various structures naturally and reasonably, although it is difficult.

When sketching a structure, you can't save trouble, just pay attention to the big structural relationship and lose the details. Structure sketch also has a high demand for details. As long as it is expressed in a structured way, it can be used in the actual sketch exam. Otherwise, there may be problems.

For example, when drawing eyes, we should show the relationship between eyeball and muscle, and also show the relationship between muscle and orbital bone, nasal root, eye bags and face. The lack of some parts is not the correct structural expression, and the quality of the work will be reduced.

Therefore, structure sketch is very rigorous and tests the artist's skill. Whether the structure is good or not is directly related to how far your sketch can go. This is very important. If you want to draw a good sketch, lead to a master and be admitted to an ideal academy of fine arts, you must try your best to master the structure. Furthermore, sketches and colors are the same. What did you say?/Sorry?

How to Become an Illustrator Conditions for Becoming an Illustrator 1 _ What the world has not given us, we will give it ourselves. As long as we are willing to learn, there is no illustration that we cannot learn.

Children, if you want to learn illustration, start learning it. Don't worry about this condition and that condition. Can some people learn without education? Some entanglements can be learned without art foundation? Some people are obsessed with whether they can learn when they are old. In fact, these are not big problems. There is no foundation. If you work hard for another month, won't you have a foundation? Is no one born? What does it matter if you don't have a degree? What others see is your work, not your education, but your strength. No matter how highly educated you are, it's no use drawing rubbish. The so-called age, not to mention troubles, can be learned at any age. Learning illustration has nothing to do with age, but with hard work. What matters is whether you are willing to learn, which is very important.

We should remember that what the world has not given us can be given by ourselves. Calm lake water, comfortable environment and skilled illustrator are the best learning conditions.

Two _ _ Ann are sewing disks and practicing climbing over eaves and walls.

To learn illustration, we must first lay a good foundation. If you have no foundation, you can study and practice basic skills before going to school. This will become very easy. Don't be impatient when studying. You should settle down and learn illustration. Only down-to-earth, step by step, quantitative change can cause qualitative change.

A good teacher will make your illustration study advance by leaps and bounds.

Many students asked me if I knew any excellent illustrators. Of course, I did. Let me tell you one that is more suitable for everyone. For many years, he has held an open class of board drawing illustration at 8: 00 every night. Every night, many people come to listen, and there are also many friends who have no foundation. Because it sounds good, easy to understand and fun, it is better to listen to the teacher's class than to waste time playing with mobile phones. You can see his idealism (homophonic): the first group is: w9_ Walk slowly, knock on the bag, Kaka _ Yan-Step, and make up the obstacles, which is very simple.

Many students always think too much, do too little, and are too impetuous. If so, let alone learn illustration, it is difficult to learn anything. Once again, we must keep our feet on the ground. This is a kind of persistence. Only by standing the test of time can all our efforts not be in vain. Without persistence all the way, there is no set goal. Even if we have a heart that is not impetuous, we may not succeed.

Four _ lying down to create a world of your own?

A person's success depends not on his wisdom, but on his perseverance. No one is born to be an excellent original painter or illustrator.

1 lay a good foundation.

Only by laying a good foundation can we climb higher and go further. This is why students with zero foundation should start with the basic art, that is, sketch. Just like building a house, if the foundation is not solid, it will be difficult to continue later. The higher the level, the more dangerous it is and even unable to continue. Understand black and white, composition, perspective, human anatomy/musculoskeletal, color argument, shadow contrast and so on.

Without these foundations, you'd better not call yourself a painter. If you want to go further, you should not only learn the basics, but also learn the essence and learn thoroughly. Many students are eager for success, so they spend a little time on the basis of art, because they think the basis of art is boring and want to go to the computer. When they draw on the computer to a certain extent, they still feel that the foundation is not solid, which leads to the bottleneck period. When I went back to learn the basics of fine arts, I knew that I had laid a good foundation, and then I could climb higher and go further in painting.

2 Broad vision.

When you broaden your horizons, you will have more daydreams. Never be a frog in the well. High vision can completely open your broad mind, keep up with the times and the trend of the times, constantly explore new styles and different painting methods, and learn to draw inferences from others. In fact, all the cultures in the world and the artistic movements in history are the sources of your inspiration. Combining the artistic styles of different times and cultures may produce unexpected effects.

3 learn to think.

Painting, like language, is a way to express one's heart. I say what I think, I write down what I mean, and I draw my feelings. But occasionally I will stop writing and think about whether my works express my true thoughts or reflect on the world. The thoughts you put into your work will make your work more profound and meaningful.

4 cannot be mechanically repeated.

Simple things are not easy to repeat. Why do people make mistakes is because they are unfamiliar, just as people don't think that one plus one mistake is two. Yes, art comes from life and is higher than life. Your painting should tell a story, express an emotion and reflect a mood.

Don't just make superficial remarks, seek truth from facts.

No one can take the shortcut to success, and success cannot be copied. Successful people have one thing in common: realism and pragmatism. Novices generally like endless soft skin textures, all like porcelain dolls. It is necessary to exclude the good and the bad.

In fact, whether the surface texture is perfect or not is not important.

It's true that the surface painting is good. It looks like your work is very shiny. However, if the composition ratio and perspective ratio of the human body are wrong, it is useless for people to draw beautifully and have delicate skin. Like a multiple-choice question. If you make the wrong choice, no amount of explanation will help! Wrong direction will only be the opposite!

Have confidence in yourself and keep learning!

Masters need time and experience. Rome was not built in a day. You can't be a fat man in one bite, and you can't be a good painter in one day. Many people like to brag about how talented they are. They never take a brush, and they draw as well as Leonardo da Vinci as soon as they come up. Even if you draw a sketch book or two, it is just two small steps in the Long March.

Take the painter as an example. Drawing more than a dozen hands won't let you know how to draw hands overnight. No matter what the painters say, I have never held a brush before and so on. . A really good painter can only draw hundreds of hands before he can really draw them. If you draw a few exercises and feel that there is no breakthrough, that is normal. Don't feel that you have no talent.

Five illustrations learning need to master some basic knowledge:

1. Illustration basis and description:

Learn illustration on a zero basis, focusing on a variety of expressions and treatments of lines, including the use of modeling, because the requirements for lines are higher in the early stage of illustration drawing.

2. Illustration sketch:

Interpolation modeling and perspective must be accurate, boundary line is the most basic requirement for sketch, three aspects and five tones are also the basis of illustration animation, and the material practice of illustration should also be mastered.

3. The human body:

Learn animation illustration from scratch, but also master the basic human body proportion, skeleton, block generalization, at the same time, be able to establish the human body frame of illustration animation, understand the meaning of muscle and fat in illustration animation, master the standard drawing idea of structure and dynamics, and understand the five senses structure of the illustrator and the light and shadow drawing method of the head of illustration animation.

4. Clothing:

Master and be able to draw different types of clothes commonly seen in illustrations; The folds are clearly shown; Have a certain understanding of role design in illustration and clear thinking; Able to independently express and complete the role design in illustration animation.

5. Composition:

Finally, it is to understand the common composition rules in illustrations, draw a line draft of illustrations according to the roles, and make a reasonable composition. Familiarity with color selection, color matching and illustration coloring skills, mastery of popular illustration animation coloring methods and conscious illustration picture accuracy can improve the picture completion of illustrations and draw high-completion illustrations.