The common problems of surreal sketch can be roughly divided into four types: dirty, greasy, messy and flowery. Dirty is the most likely problem. The first thing in surreal sketch is to keep the picture very clean, and the second thing is to keep the object partially clean. Only when it is clean can the texture of the object be fully expressed. Most of the reasons for the dirty picture are related to the large area of the back of the hand touching the picture and rubbing back and forth when the painter draws. The reason for annoyance is very simple. First, there are too many repetitions of pencils. Second, soft pencils with a size of more than 6B are annoying. The arrangement and combination of lines should be regular, and there should be no random lines other than texture. The nonexistent line really doesn't exist, but the deepening of various complex relationships; If the tone transition is uniform, there will be no dark spots. Pay attention to the description of several links in surreal sketch. The first link is all the elements in the all-element sketch. In fact, surreal painting is to bring all-factor sketch into full play. The space, shape, texture and so on in all-factor sketch should be reflected. Without these factors, it is not a surreal sketch, and even a full-factor sketch is not a qualified work. The second link is to pay special attention to the performance of texture. In all-factor sketch, the expression of texture can actually be touched. For example, when we draw a glass jar, because the indoor lights are very chaotic and numerous, we usually take the method of generalization and only draw one or two important highlights. But in surreal sketch, it is necessary to draw all the highlights projected on the glass jar, no matter how many, no matter what shape they are, no matter how many subtle color differences there are between them. These should all be displayed. This is surreal painting. Other requirements are almost the same as those of all-factor sketch, but the texture expression is extremely in-depth. In addition to the true expression of light and shadow in texture, there are also various textures. What is hard and what is soft; What is rough and what is smooth; What is light and what is heavy; What is dry and what is wet; ……; What is metal, what is nylon, what is cotton, what is weaving and what is plastic; ..... The original concept of texture refers to the structural characteristics of materials. When it is introduced into visual art, the existence of texture is inseparable from form. As an element, texture is realized by comparing the structural attributes of different textures in artistic expression. There are basically two ways to grasp the difference in texture: one is tactile and the other is visual. The tactile experience is direct, wool feels soft, iron feels hard, lemon tastes sour, and dried jujube tastes sweet, all through tactile experience. The visual concern is that some surfaces are smooth, but visually people feel many unique texture features, such as different texture changes on the TV screen, different texture effects drawn on a piece of paper, and various textures imaged in photos. These are all experiences that awaken the sense of touch through vision. The surreal sketch we draw is to achieve this effect of awakening the tactile experience. When our works are too deep to be patient, you should think about it. Does your work show space, structure and texture? Can we awaken our tactile experience? If there is no doubt about all this, our work can be finished.