Methods and steps of sketch practice

Sketch practice is a comprehensive process from feeling to understanding, with its special laws and scientific and rigorous methods and steps. Therefore, whether it can follow its rules and regulations and guide sketch practice in an orderly way will be very important to the effectiveness of learning.

The methods and steps of sketch practice are composed of the following parts: observation, composition, outline, relationship-building, in-depth description and arrangement.

Observation: First of all, it is almost necessary and quite difficult to really learn to observe physical objects. -Many beginners often overlook this point, and they are in a hurry to start painting before sitting down. Like this, it is very harmful to think that the success or failure of painting depends mainly on the performance of kung fu at hand, or rely on accumulated knowledge and methods to gradually develop a problem that is difficult to correct. Not only is it not conducive to the solution of the essence of the problem, when we practice sketching, the whole process seems to be realized by hand operation, but the hand is dominated by the eyes, and how to observe the eyes is restricted and controlled by the way of thinking of the brain. So what kind of observation method will have what kind of performance results. Therefore, in sketch practice, it is not only required to train one's unarmed skills and accurate and keen eyesight, but more importantly, to cultivate a well-trained overall consciousness and comprehensive observation methods. As the name implies, the overall observation method is to have a comprehensive feeling and understanding of the overall appearance of the object to be expressed in sketch practice. The specific methods can be divided into the following two aspects.

1. Open your eyes and see the whole object at a glance, instead of focusing on a certain part of the whole object, as if staring at the whole object in a daze, but ignoring the details of each part. Because we can't focus on a certain part of the whole object, our vision is forced to get a clear and fuzzy overall impression, which is exactly what we want. In this overall feeling, we can easily feel the basic modeling characteristics, dynamics and demeanor, proportion, structure, appropriate contrast between light and shade and the relationship between reality and reality. When you look at the whole, all the superfluous things disappear, leaving only the necessary and basic things.

2. Comparative method. If the former method gets the overall impression, then this method will be a concrete supplement to the former method. It can get the exact relationship and connection between the parts of the whole object and the whole by comparing with each other. When observing and comparing, you can talk to yourself, ask yourself and answer yourself, just like talking to yourself silently. For example, the dynamics of this object is like this, its basic head characteristics and demeanor are like this, what are the positions of the five senses in the head, their respective characteristics, the size ratio, the shape transition between them, the contrast between light and shade and the relationship between reality and reality, and so on. Just like talking about yourself. In other words, before we started painting, we had already painted with our eyes in our minds, and we had the impression that we had finished our sketching homework. That's what the ancients said-make up your mind before you write-. If beginners can notice this and do it seriously, they will have clear learning methods and clear goals, so as to avoid detours and get twice the result with half the effort-the soul will be enlightened. Change the way that beginners usually focus on a certain detail of an object in isolation, and draw a little, and you can go where you draw. Or there is no correlation and no contrast in each part, which is very important for training and cultivating good artistic feeling and painting ability.

Composition: When we turn the image feeling we get when observing an object into a tangible picture, we need to arrange it properly on the sketch paper according to the author's intention through composition. Whether composition can give people a suitable and comfortable feeling visually is closely related to the arrangement of objects and the different feelings of personal choice. When you determine the best composition scheme and start to position the manuscript, you must see and find the most prominent points of the top, bottom, left and right shapes of the objects to be represented, and then gently determine the top, bottom and left four points of the picture according to the basic large-scale characteristics of the objects you feel and observe. And based on these four points on the map, the next step of contour drawing, such as adjusting the proportion of shapes, can only be limited by these four points. The four points on the screen are drawn by strokes, and these four points on the screen are taken as the boundaries. No matter how to draw the outline in the next step, it can only be carried out within the range set by these four points, and it is absolutely not allowed to expand beyond the boundaries at will. Some students don't pay much attention to this problem. Although at the beginning, the positions of the four protruding parts were found and determined during composition. However, with the deepening of the wheel knocking and the adjustment of the proportion of characters, people consciously or unconsciously crossed the border, resulting in the problem that the object is either more benevolent or too big to catch up with painting, and there is no room for objects in the West. Finally, either turn around and do it again, or feel the fly in the ointment.

Contour: Before we often say how to draw a contour, it is necessary for us to know what the so-called contour is. Some students will say that the outline is a needle and thread. This statement is not accurate and comprehensive enough. It should be said that the contour line is the edge of the body turning point. The edge of this turning point is enough to see the wheel twine. It is divided into outer wheel line and inner contour line, which are different because of the decent ups and downs of the car body itself. The edge lines at their respective turning points will also produce different clear left solid to hemp lines. For example, we will find this different change by observing the contour lines of the field ball and cube in simple geometry. Since simple shapes are all like this, what's more, how about people's hooks with complicated shapes? Therefore, no matter who can't see the shape, they can't draw the line correctly. When we know this principle, and then draw the so-called outline with lines, we will give it a convincing and expressive sense of rhythm, so as not to turn the outline into a cold iron frame lacking space and expressiveness. When drawing an outline, we should follow the method from the whole to the part. According to the concrete feelings obtained from the overall observation, long low-profile straight lines are often used on drawing paper to draw the large basic shape characteristics of objects gently. In order to better capture the correct large shape, sometimes we can use a generalization method similar to geometric shape to understand pinch, so that we can simply see and draw the most basic features of the whole object. For example, determine what the basic shape of an object is, whether it is round, regular or irregular, what is its big dynamic, and so on. While determining the big basic shape of the object, we should also pay attention to determining the position, proportion and characteristics of the main internal basic shapes, such as eyebrow arch, nose and bones. Here, we should pay special attention to the cross line formed by the intersection of the middle line drawn from the nose and the eyes. Its height and inclination will determine the basic dynamic proportion of the head and the position of the five senses.

After the basic big shape, proportion and dynamic relationship are determined, the pictures must be placed in the distance for inspection. Because it is difficult for us to check whether the big basic shape, proportion and dynamics are correct in front of the picture. When the picture is pushed away, all the details become less clear locally. This makes it easier for us to see the dynamic relationship of the whole body proportion at a glance, rather than a certain part. When checking, we can adopt the following two methods:

1, it's best to put the picture next to the object to be painted, and don't look at your own picture first. Instead, you should use the method of observing for the first time in sketch practice to feel the object you are facing, and then quickly turn your attention to your own picture, but you must remember that what you see is the whole picture, not a certain detail of the object in the picture. At this time, if you correctly capture the basic large-scale relationship in painting, the feeling of the object in your visual impression will be consistent with the shape of the object in the picture. If you don't capture the basic large-scale relationship correctly, it will immediately make the visual residual image you feel deviate from the shape in the picture. If this error dislocation phenomenon is equivalent to a shape, then the basic shape, dynamics and proportion you draw are all wrong, for example, the basic characteristic shape of the head of an object is wrong. If this phenomenon occurs in a certain part, you will find that the proportional position of the objects in the painting, such as eyes, nose, middle mouth or any other shape, is high, low, big, small, too much or not enough, and so on. In order to confirm the reliability of this error protection phenomenon, you can check it several times in this way. Once the above problems are confirmed, the player will not hesitate to take the face to the front to modify it. Then put the painting in the distance and check it in the same way until the overall sensory afterimage of the object matches the large-scale relationship of the object in the picture. After the first method is used to determine the basic shape of a large object, in order to further check the accuracy of the corrected shape, especially to have a reliable basis to confirm the specific position points of some shapes, we can use vertical or horizontal auxiliary lines to check the outline. When using this relatively ideal method, which is somewhat similar to marking a certain azimuth point with latitude and longitude on a map, you should try to sit up straight, and it is best to face up to the object. We should draw a vertical or horizontal line on the assumption of bright eyes, and use it to measure and correct the proportion and dynamics of objects and pictures. For example, when using a vertical line from a point on the upper part of an object to the lower part, we can determine which shapes are located on this vertical line and which ones are on its left or on the stone. If we use a horizontal line-,we can start from a point on the left of the object and extend parallel to the right of the object. Through it, we can determine which shapes are parallel to it, which are above or below it, and so on. -Vertical line from here to here, horizontal line from here to here. Visible objects are so inclined. In this way, the first sensibility. The method of correcting the shape by post-image inspection has a more reliable and accurate basis.

In addition, students who have just come into contact with painting mainly rely on feelings to observe and compare when nailing the outline, and focus on strengthening the training of vision, so that it can judge the distance more accurately than straightedge or bipedal gauge. But sometimes we also need to use the pencil in our hands to determine and correct the shape. It can not only be used for vertical or horizontal inspection methods, but also be used to determine the relationship between the proportion of human body and the length and distance of each part of the object. When using, the arm should be as straight as possible, with the top of the pen as the upper point and the thumb tip on the pencil shaft as the lower point to measure the position and check the corrected shape. If you want to measure a plaster statue with a body and a seat, you should first measure the length from the top of your head to your chin in this way, and then measure the length from your chin to the base along the pencil shaft. In this way, we can determine the proportion of the head in the whole plaster statue. At the same time, we can also use this method to determine whether the shapes of eyes, nose and mouth should be in a fraction of the whole head. It's just that we should always remind ourselves that painting is a visual art, which mainly depends on feeling rather than rationality, so it can be said that the so-called accuracy it requires is relative to visual sense, not absolute in mathematical sense. If I rely too much on pencil or other tools to measure the left and right, the female image is not painting, but seems to be making a mapping.

In addition, there are some technical problems that need to be paid attention to when sketching. For example, the pencil used when striking 4B should be slightly smaller, the nib can be cut longer, and the hand should be as far away from the nib as possible when holding the pen. In this way, the lines drawn by the pencil gently float on the sketch paper. If there is any mistake, you need to modify your elbow, and use a soft cloth or handkerchief to pat off the lead powder before drawing. Don't scratch the surface texture of the paper with a large number of erasers too early, which will affect the effect of deep drawing and completion in the future. In a word, sketching is a key step in the whole process of sketching. If the requirements are not strict, it is like a building without a good and reliable structural foundation. So at this stage, please be sure to do it in strict accordance with the requirements. Only in this way can we ensure the smooth progress of the next process. Remember: a good beginning will guarantee success.