1, the shape and composition of the head;

Structural characteristics of (1)

The skeleton of the head is a hexahedron inside the outer circle, which consists of four basic parts: forehead, cheekbones, upper and lower jaws and cheeks. Geometric characteristics of the head and its parts.

(2) Appearance characteristics

That is, the facial features, the external contour shape of the front of the head. People's faces vary widely, but they can be summarized into eight basic types, namely, God, Jia, Guo, Tian, Sun, Yong, You and Feng.

(3) Proportional characteristics

A, hairline to eyebrow, eyebrow to nasal bottom, nasal bottom to chin are basically the same, called "three courts";

B, the widest part of the face is five eyes wide, that is, the distance between the eyes is one eye, and the outside of the eyes is one eye to two ears, which is called "five eyes".

C, eyes are usually located in the middle of the head 1/2.

(4) Modeling features of five senses

The five senses are an important part of the head and the key content to grasp the characters.

Eyes: Generally speaking, eyes are the core of a character's demeanor, including eyes, eyelids and eyeballs. The overall shape of the eye can be understood as a sphere embedded in the concave frame.

Nose: It is divided into nose bridge and nose head, and its overall shape can be summarized as a trapezoid cube. The nose is the key to grasp the shape of the nose and the most complicated part of the body. It consists of nose, alar, nasal septum and nostril.

Mouth: divided into upper and lower lips, with a gap at the junction and squab at both ends. The volume of the oral cavity is influenced by the upper and lower jaws, and the total volume is semi-cylindrical.

Ear: supported by ear cartilage, it consists of outer helix, inner helix, tragus, opposite tragus, earlobe and ear hole.

2. Main points of head sketch;

(1) Judging from the large turnover,

Facial features and hair are important manifestations of the head, but these local factors must be subordinate to and attached to the large volume of the head, and the relationship between them must always be paid attention to. The head modeling must pay special attention to several bone points that cause a decent turning point: parietal tubercle, frontal mound, eyebrow arch, cheekbone and mental tubercle.

(2) Dynamic and visual angle

The accurate grasp of head immobility depends on the correct understanding of its visual angle change. Eyebrow arch, nose and cleft palate can be regarded as three horizontal lines, and the centers of eyebrow, human and mandibular tip can be regarded as the central axis perpendicular to this group of horizontal lines, which together constitute the dynamic line of the head. We can observe and grasp the dynamic characteristics through their perspective changes in motion.

(3) Attitude and personality characteristics

Manner and personality characteristics are the spiritual content of incarnation. To make it correct and vivid, we must first rely on and understand the form, that is, "to write the spirit with form, to be rich with form, and to have both form and spirit." Grasping the form depends on keen intuition.

(4) the texture of each part.

Different from plaster head, different parts of a real person's head have different textures, such as silky hair; The nose, especially the alar, is waxy; There are wrinkles in the mouth and thin cortex. These parts are easy to produce highlights because of their bright texture. Keenly feeling and expressing the texture features of each part will make the picture more concrete and vivid.

1. Use less rubber. Too many erasers will blur the paper. Pencils are not easy to adjust. Pay attention to the overall relationship between light and shade and black, white and gray when painting. Try to adjust with a pencil, not an eraser.

2. Try to use soft lead when writing a manuscript or tone. As long as the effect can be achieved, the softer the better. Sharpen the pencil to make the lines as delicate as possible.

3. Don't be too slippery when choosing paper, it may be better to be a little rough.

Pay attention to the inclination of the pen when drawing lines, neither too big nor too small, which will damage the paper or make it slippery.

Practicing lines with various pencils may make great progress. If you are proficient, there won't be any serious problems.

6. Pay attention to the relationship between black, white and gray, strengthen the contrast and let the bright and dark gray go down. The boundary between light and shade is the heaviest, so when painting, you should lay tones from the boundary between light and shade.

The method of drawing light and shade with pencil:

1). When the pencil is drawn vertically with the nib, the lines drawn are clear and firm; When the pencil is tilted to draw with a pointed abdomen, the strokes and lines are vague and weak.

(2) Arrange the direction of brush strokes to avoid confusion.

Problems and skills in the process of sketch are the principles that sketch must abide by. This process is not completed at one time, but repeated, from light to heavy, from hazy to clear, and gradually deepened.

1. First, mark the composition as widely as possible.

When you start designing a composition, you should draw all the objects as a whole, not one by one. First, find out the salient points in the maximum range of up, down, left and right, or connect all salient points into triangles, polygons, etc. , so as to properly and evenly occupy the size of the picture. Generally, the "sky" is smaller and the "ground" is bigger.

2. Rough segmentation of parts

There are many objects in the picture, and the area occupied by each object is roughly outlined by a sketch representing each object; If it is only a large and complex object image, it is necessary to find out the shape characteristics of most parts of the object image and make a rough regional division, and the lines should not be too deep for easy modification.

3. Binary positioning

In the process from the whole to the part, from the part to the detail, draw a still life group, or for a single object with complex internal contour in the image, use the method of finding the bisector or bisector step by step to determine the coordinates of key points (such as the corner of the eye, the nose wing, the earlobe, the corner of the mouth, etc.). Are key coordinate points); That is, divide the image into equal parts, find the key points on the bisector, find some other key points from the bisector, find more key points from the quarter bisector, and so on. All equally divided points or lines (or points or lines near the bisector) can be located in this way, making it easier to draw the scale accurately.

4, pictographic analogy thinking

When painting still life composition, all still life (multiple objects) are regarded as a whole, which can be regarded as triangles and polygons, and can also be compared with pictographs. For example, use steamed bread, bread and steamed bread to compare the still life group; When drawing portraits, the features of faces are often compared with rectangular faces, oval faces, apple faces, A-shaped faces and inscribed faces. When inputting parts, they are divided into triangle, trapezoid, circle, parallelogram and diamond. Pay attention to the characteristics when inputting details, such as almond eyes, single phoenix eyes, willow eyebrows, lying silkworm eyebrows, aquiline nose, timid nose, garlic nose, cherry mouth and so on. Try to grasp the first impression of object characteristics.

5. Set a baseline

When drawing a still life group, when positioning each object, draw a baseline at the bottom of each still life (the observation method is to hold the pencil horizontally, the pencil must be perpendicular to the "visual center line", move to the bottom of each object, compare the heights of all baselines, and mark the observation results in the corresponding position on the drawing paper). If it is a perspective view of a cube, draw its baseline on paper first, so as to change the lines. The smaller the angle, the less the phenomenon of surface narrowing; The baseline of multiple objects is convenient to correct the spatial relationship between several objects.

6, based on the principle of perspective

Perspective is an important science to draw accurate images. The drawn objects must conform to the perspective principle-that is, "the near is big and the far is small" and conform to the perspective law-whenever parallel lines form a certain angle with the picture, they get closer and closer, and finally disappear at a point on the horizontal line. According to the principle and law of perspective, the farther an object is from the viewpoint (eye), the closer it is to the visual field. We usually draw still life below the horizontal line, so the farther the object is, the higher its position on the drawing paper. Then, if the object is above the horizontal line, the farther it is, the lower it is.

7. Measure the proportion and find the relationship.

First, for each object itself, we must first accurately draw the ratio of height to width, and then accurately draw the ratio of each part.

Second, compare two or more objects and compare their size ratio and height relationship.

Thirdly, it is necessary to find out the mutual distance and occlusion relationship between two or more objects.

8. Always proofread with four lines.

Horizontal line, vertical line, arbitrary straight line and arc extension are four effective "tools" to determine the exact position of each coordinate point (such as the corner of the eye, the nose wing, the earlobe and the corner of the mouth when drawing a portrait) (that is, compare several points that should obviously be on the same straight line or arc, whether to leave this line, and if they leave, it means there is a problem and needs to be modified). For the position of each key point, proofreading (using four-line tool) is accurate from many aspects and angles. Only when the coordinate positions of all points are correct can we draw an image.

9. The relationship between the "three sides and five tones" of light and shade and the spatial tone.

Light and shade is an important means to express the three-dimensional sense of objects. Light and shade are usually summed up as three sides and five tones-three sides are opposite light surface, side light surface and backlight surface, and five tones are bright tone (opposite light surface), gray tone (side light surface), dividing line between light and shade (backlight surface), reflection and projection. Sometimes the highlight of a smooth object can't be ignored, it will make the finishing point. Black, white and gray must be harmoniously reflected in the tone (color scale) of the picture, so that the picture is spiritual. Without black, it is gray, without white, it is boring, and without gray, it is dull and healthy. If it is not harmonious, there will be phenomena such as black, dirty, flowers, chaos and jumping that are taboo in sketch. The dividing line between light and shade is due to the white, whiter, blacker and blacker effect of the "opposite light surface" and "backlight surface", which plays a key role in grasping the structure.