Portrait painting is not only complex in structure, but also rich in expression. In the step-by-step sketch, we should first train the grasp of "shape", and after mastering the basic laws of shape skillfully, we will gradually achieve the goal of "writing spirit with shape and having both shape and spirit", which requires us to pay attention to the image characteristics of the model when shaping the avatar.

Rudolf Asheim proved in his book Art and Visual Perception that there are two habitual tendencies in human vision, namely flattening and sharpening. Those who tend to be flat tend to emphasize symmetry, eliminate details and inclination, while those who tend to be sharp tend to separate, strengthen differences and emphasize inclination. These two tendencies are not conducive to modeling, and the disadvantages of flattening are even more harmful. Its inflexibility is a serious obstacle to portrait personalization.

The capture of the vivid expression of the avatar mainly depends on the description of the facial expression area of the five senses. Angel said: "When painting an avatar, the artist is most concerned about making the eyes speak. Even ordinary eyes should draw eye sockets first, and then transition to a protruding nose. The movement direction of eyebrows is also the key to expression, and the corners of the mouth reflect the changes of subtle expressions more carefully and accurately.

(2) In addition, the conscious reaction of the hand in a certain mental state will also reveal what the face wants to hide. What the painter does is to unify the concept of the opponent with the concept of the real hand ―― using the concept of the real hand to study the purpose, usage and law of the hand. To draw a hand, we must first understand its structure, from the geometric structure, that is, from the cylinder and cube to understand the correct method, hand and performance, hand and gender, and so on.

(3) Clothing grain: The appearance of clothing grain comes from the structure of human body and its own texture. The reasons of clothing grain are: (1) It is consistent with the body structure of human body, and it is the function of force, which is related to human movement or external force; (2) It is related to the style of clothing itself; (3) formed by long-term folding; (4) The vertical feeling caused by the vertical force of clothes.

(4) Linearity and texture of materials

The different texture of a material affects the shape of clothing lines, such as silk-like clothing with thin texture, which has many and dense lines and softer lines. Linen and other hard clothing lines are mostly broken lines and straight lines, and the lines are square and short, while wool and chemical fiber fabrics are few and straight. China's traditional painting also has a high evaluation of the modeling of clothing, and summed up a complete set of performance styles and systems different from western painting. Shen Zongqian said in "The Painting of Mustard Seeds and People's Talk": "The surrounding bones should be seen from the outside of the clothes, where are the shoulders and where are the elbows ... These are hidden in the clothes, but they are written in prose when making patterns." "Let's agree on bare bones first, and then apply clothes." The relationship between clothing structure and human body structure is revealed.

Mainly to draw clothing lines, but also pay attention to the training, generalization and selection of clothing lines. When sketching, we should give full play to the effect of line density, length and rhythm of reality, and sometimes it is decorative. This point has the same effect in Chinese and western painting.

(5) wearing sketches all over.

It is a kind of portrait painting and an important means to collect creative materials. On the basis of bust, the painter is required to understand and master the whole and improve the ability of describing and coordinating all parts of the whole character. The embodiment of the character's personality will be comprehensive, even including the scene.

(6) The specific painting method of the hand I will briefly talk about my experience:

Now we usually draw people in the following forms: head, bust and full-length portrait. The usual painting sequence is from the basic head portrait to the bust and then to the full-length portrait.

1) The problem to be paid attention to when drawing is to imitate nature as much as possible, draw whatever you see, with the face as the main object, followed by the hand.

2) When painting, the body needs to be treated simply, and the lines and lightness of clothing should be careful not to be too eye-catching, full of body feeling and highlight the face.

3) The hair should be treated deeper and the face should not be too dark.

I'm afraid it's too difficult to elaborate, because it needs to be evaluated and guided according to your paintings. In short, at the beginning, portray the model as a lifeless plaster statue or still life, so that you can put it down. Because everything you need to express is the same, don't be wary because the other person is a model, just draw the first feeling directly.

1 is a composition; 2 in order to find the structure; 3 is the effect after characterization and adjustment.

Light and shadow painting and structural painting

1. Representing objects through the influence of light and shade changes is called light and shade painting. As shown above: nose, eyes and mouth. (emphasizing the change of light and shade)

2. Describing the structural features of an object to express it is called structural painting. As shown above: ears. (Emphasize the internal relationship of the structure)

3. For beginners, they can freely choose their own painting methods according to their own preferences.

Part two: nose, eyes, mouth and ears

I. Composition (Figure 1)

1. Composition is very important in the whole process of the work. The size and position deviation or inclination of the composition will affect the final effect of the painting.

2. Use more horizontal and vertical auxiliary lines in the process of composition. With these auxiliary lines, you can easily find mistakes in the process of painting in time. Be careful not to erase these auxiliary lines in a hurry. Most of them will be integrated into the picture in the future.

3. Writing is a highly generalized step. It is necessary to grasp the big shape trend, generalize it into simple geometric shapes with straight lines, and try to abandon local details. For example, the nose can be summarized as a cuboid; Eyes are spherical and so on.

4. In the whole composition process, the pen should be light, that is, the lines should be flexible (live lines), and the position of each line is not required to be accurate, leaving room for future modification.

Second, the structure and relationship (Figure 2)

1. On the basis of the previous step, make a detailed description, pay attention to the structure of the object to be described in a straight line, and summarize the local shape and turning point. At the same time, we should emphasize the key objects to make them conspicuous. This is to let yourself always understand the relationship between primary and secondary, and make good arrangements for the next work (stop at any time, and the painting in front of you should be prominent and orderly)

2. In the process of finding the structure, we can make the light and shade slightly, put a pen at the turning point of the light and shade boundary structure, and make a few transitions to the dark part to form a turning point.

3. Looking for a structure should also consider the whole, and the part should always be subordinate to the whole.

4. Check whether the shape and structure of the whole part are correct repeatedly with various auxiliary lines. If you find any deviation, you should correct it immediately, even if it is a small deviation, because it is relatively easy to modify it at this time, and it will be a lot of trouble to modify it after entering the in-depth qualitative stage.

Besides using auxiliary lines, there is another way to check from another angle, such as turning the picture upside down. The advantage of this is that because you look at a painting from the same angle for a long time, you have become visually adapted, and your reaction to what you see tends to be slow, so it is easy to find problems from another angle.

Third, in-depth characterization (Figure 3)

1. When you enter the drawing stage, you should always pay attention to the primary and secondary relationship of the drawn object, and the primary and secondary relationship should always be superior to the secondary object. Generally, the order of describing human five senses is: eye-nose-mouth-ear. But the relationship between primary and secondary will be different according to different situations. For example, the model's mouth features are particularly obvious, so the description of the mouth can be placed in the main position.

2. "Close to reality, far from imagination" is also a general law that should be observed when depicting. But as far as the primary and secondary relationship of the picture is concerned, the main object to be portrayed is better than "close to reality and far from imagination".

3. It is also important to emphasize bone points when depicting. Grasping the bone points well will give you an inner substance, which will be solid and powerful, so that the objects represented will not stay on the surface.

In the whole process of in-depth description, the overall relationship is always superior to everything. Only under the coordination of the whole relationship will there be a correspondence between primary and secondary, and this correspondence is close to reality, not empty.

Four. Adjustment (Figure 3)

1, adjustment is the last step, and it is also a very crucial step related to the final effect of the work. After a series of previous work, looking back, we will find that there are many discordant places, such as insufficient painting in some places, too much painting in some places, and even mistakes in some places, which will affect the overall effect of painting and the performance of primary and secondary relations. It is very important to adjust and repair them properly.

2. In the process of adjustment, we should always aim at the overall effect. We should make unremitting efforts to correct the disharmony, and don't be unwilling to modify a part just because it is beautifully portrayed. You know, it is the wonderful things that should not be wonderful that undermine the overall coordination, thus causing the whole painting to be not wonderful.

Part III: Gypsum Statue

Gypsum sketch is the beginning and introduction of learning sketch, and a beautiful gypsum sketch is conducive to cultivating and improving students' aesthetic ability; Moreover, because gypsum has no color change, it is more conducive for beginners to concentrate on grasping the overall characteristics, proportional relationship and light and shade changes.

Next, let's take practicing the plaster statue "God of War" as an example.

1. Composition: The quality of composition directly affects the final effect of the whole work. Pay attention to the balance of position when drawing the frontal image of God of War. Because the visual center of gravity is higher than the physical center, in order to prevent the work from sinking, this factor should be taken into account when composing, so that the composition position is higher;

2. Perspective: Pay attention to the relationship between the whole and the part, and the changes in proportion and perspective.

3. Overall relationship: In the whole painting process, we should pay attention to grasping the overall relationship from beginning to end;

4. Tone: In the whole painting process, we should pay attention to the tone of the picture at the same time;

5. Pay attention to depiction: on the basis of obeying the overall relationship, pay attention to depiction to make the picture clear and hierarchical; (Figure 4)

6. Adjustment: In the process of painting, it is inevitable to fall into local areas, and it is particularly important to make overall adjustment when painting is basically completed.

Figure sketch is of great help to train learners' observation ability and shaping ability. At the same time, learning from character sketches is also laying the foundation for creation. Whether there is a good sketch foundation in the future will often determine the vitality of one's painting art.

In figure sketch, we should not only pay attention to the composition, tone, overall relationship and key description of plaster portraits, but also work hard on the texture (including skin texture, hair texture, clothing texture, etc.). ) and characteristics, grasp the uniqueness of the characters, and make appropriate exaggerated descriptions to make this feature more prominent, so as to respect the description of real people, transcend photographic copying, and increase the appeal of art.

The study of figure sketch is a long-term process of continuous training and improvement in practice. This lesson is just a little experience I have accumulated in the process of learning, for beginners' reference only. In short, the best way to learn painting is to paint more by yourself and accumulate experience from your own feelings in the process of painting.

The hand consists of twenty-seven bones and sixteen relationships. The shape of the back of the hand is almost determined by the bones. Hand bones are composed of wrist bones, metacarpal bones and phalanges. There are eight carpal bones, which are as irregular as the tarsal bones of the feet. They are combined into a whole.

When describing the hand in detail, we should master the proportion, volume and volume of the hand. The volume of the hand has two parts, (1) the palm; (2) Thumb, hand flat from the side, wrist high, tilting from the knuckles, called "price reduction" down the steps.

(7) Summary

Sketch (line drawing) figure sketch, in one sentence, is the four stages of sketch training, including head portrait, bust and full-length portrait. The requirements of each stage are different, but the method from whole to part and from part to whole is unchanged. Only by more training, more research and more comparison can we make progress step by step. Three hospitals and five eyes, three highs and four lows. This is the most important thing for beginners to do a good job in modeling, and the type must be grasped accurately.

Then you must learn the method and proportion of observation. You can stand back a little and grasp the proportion by comparing the distance between the pencil and the drawing paper in your hand.

Modeling is the key. Usually, it can be improved by combining sketching and copying.

Solve the modeling problem first, so that the light and shade and tone can be grasped later. If you don't allow it, everything will be in vain. The key is to practice more! It is best to practice painting with a large class of people with different levels. Beginners usually have to solve the problem of form first. If there is only one teacher and three or four students, although the teacher pays high attention to you, the progress is very slow. It takes a long time to make a fine work slowly, but the foundation is solid. If you study in a large class, people at different levels will be very inspiring to you, even those who are worse than you. High-level masters, even if they don't tell you anything, you should be able to learn a lot of skills from their pictures! In this way, while solving the problem of form, we can learn the knowledge of light and shade, tone and so on. To achieve multiple goals. Learn sketch. There are three common problems. .

The first one. . It's just that the body can't hit correctly. . It's like painting a woman as a man and a young man as an old man. At this time, it is necessary to adjust the observation method, observe first and then investigate, and look at the shape without looking at the lines. Obviously, some people usually only look at lines without looking at shapes or only look at the edge changes of shapes without looking at the big features of shapes. Then find out the correct proportional relationship of different sizes and lengths.

The second problem is that I love painting and can spend. That is, the dark side is full of bright areas, or the bright side is full of dark spots, which makes people feel that the light receiving surface and backlight surface of the fuselage are extremely messy. The color tone and chromaticity of the pavement are not uniform enough, and the first layer is not uniform and the lines are too messy. At this time, it should be noted that when laying dark tones, the pen must be even, so as not to leave too many white holes, and pay attention to the combination with structure while gradually emphasizing the tone. When painting, we must avoid using lines blindly, and pay attention to the fact that lines must show a turning point in shape and structure.

The third question is. Everywhere is polished and smooth without discoloration, but the teacher likes to say that painting is tiring. . Pay attention at this time. . The characters are all bone and flesh, square and round. Therefore, in the process of painting, one side of the painting is slightly harder, the round painting is slightly more Microsoft, and the turning point of light should be light and accurate. This problem can be overcome with appropriate lines.

These three are the most common problems in painting. . You remember these questions clearly. . Avoid appearing in painting. Other minor problems will be reminded by the teacher. . . Painting skills will gradually improve. . Start (a disease) .......................................................