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The key to sketching on the calligraphy and painting teaching website! The fusion of lines and surfaces in sketching. The form we face originally has no "lines" and "points". It is the existence of the "surface" that we feel, which is also attached to the ever-changing ups and downs.

Structural and physical.

The "face" facing us becomes a compressed line when viewed sideways. When viewed vertically, the line becomes a point.

These sketching elements provide us with an effective means of capturing the object's form.

However, in the process of sketching, it is very easy for us to use lines too freely, which leads to impetuous smoothness.

In the patience and boring practice of finding the correct body structure, it is difficult for us to escape the boringness of drawing lines; at the same time, it is also difficult to resist the temptation of swaying.

It can be said that any line we draw in sketching should have the properties of physical structure to have real meaning.

Otherwise, it will become a waste line or a group of waste lines; and of course the surface composed of these lines will become a meaningless dirty gray.

You may also feel some gray "faces" in sketching. Because our feelings are still in the illusion, we mistakenly think it is a piece of "face" and draw it. The result is still dirty gray and not part of the form.

How to avoid this kind of error requires us to always focus on the structure of the object. We cannot passively copy the object, but we must actively and subjectively analyze and judge the painting elements provided by the object, and complete the painting through the overall structure.

Control the drawn form.

Whether it is "points", "lines" or "surfaces" we use, they are all means. They have no meaning in themselves. When they are used on the shapes we depict, they become elements of the human body structure.

Eventually it becomes a part of the human body being drawn, rather than just a point, line or surface.

Chinese figure paintings use lines to depict clothes folds, and summarized the "eighteen drawing" methods such as gossamer drawing, string drawing, iron line drawing, and bamboo leaf drawing.

The use of Western painting space makes the use of lines incorporate surface components and become more colorful.

In the observation of form and structure, I believe that everyone's perception is different.

How to use the fusion of points, lines and surfaces to carve out your understanding of the form will be a process of your creation.

Before that, you might as well use the traditional Chinese training method - copying learning, to experience the pens of senior masters, and then integrate your own experience. I believe your sketching will be more interesting.

Sketch - Structure is real. In sketching and painting, the most important thing is of course structure.

In reality, many painters, due to a lack of understanding of the structure of characters or objects, can only follow the formal approach, and it is difficult to produce masterpieces with depth in their creations.

Although we already have convenient cameras (digital cameras are now used) and scanners, which can process graphics in computers and save a lot of trouble in modeling, shape is shape and structure is structure, and it is not a concept.

For the process of painting, form is an appearance attached to the structure, and the structure is the support of the object; the outline of the external form cannot truly express the inner beauty of the object.

The shape of the object we observe is an appearance, an outline.

Once the object changes position and we lack understanding of the structure, it is difficult to start.

In the beginner stage, almost everyone has experienced using stable triangles to determine the general position and composition of the body, and then using small virtual triangles, squares, etc. to decompose the local position of the painted object. In the end, this method can only be compared to

Gourds and scoops are used to depict objects as if they were photographs.

Just like we have gone through the era of satisfying hunger, we have gone through the era of lack of pictures and are entering an era of reading pictures.