Red 呗～～～～～～

Just painted for fun

Or children's paintings

Red

Requirements to paint like the real

Or the kind of competition

With black, it's

Hope to take

Thank you ～～～～～

Question 2: Color the crabs, color the crabs

Question 3: What colors are there for the crabs in the sketch sketch What colors are there for the crabs in the sketch

Please look at the following sketch of the crabs: (with and without color)

Question 4: How to draw the crabs in still life color In the gouache still life sketching, we often encounter the drawing of the crabs with a "chalky" look. "Powdery" this problem, often to be on guard, worried about the picture is not handled properly and fall into the "powdery", "pale" situation. Caused by the picture "pink air" is due to a variety of reasons, summarized in three main reasons. The first reason is that in the performance of the object's color layer of gray differences, everywhere in white to reconcile, so as to distinguish between brightness, so that the weight of the whole painting flour is too large, resulting in a "powdery" feeling. Especially in the performance of the color of the lighted surface of the object, some candidates in order to make the lighted surface to show a higher brightness and add white, thus losing the inherent color tendency of the object, the picture of the "pink" also comes. It must be known that, even if the painting object highlights, should only be dipped in white with a little light source color and inherent color, so that the painting of the object highlights will be consistent with the object's color tendency relationship. And the highlights of different objects should be different colors, do not use white to paint all the object highlights. The second reason for "chalky" is the inappropriate use of more white color in the dark parts of an object. Generally in gouache sketching, the dark color is more taboo to add white. Because the gouache white and other dark colors, drying will be particularly "powdery", heavy not down. Therefore, usually with lemon yellow, pink green, earth yellow, orange, lake blue and other colors, according to the dark part of the warm and cold tendency to reconcile the dark color to show the dark color changes. In addition, the use of wet thin color mixing method can weaken the brightness of the dark part, as a way to show the dark reflections and performance of the dark side of the brightness of the difference, thus avoiding the use of white. Of course, not absolutely can not use white to show the dark color, some of the brightness of the object is very high, such as white porcelain plate, of course, the dark part of the need to use white and other colors in tune. Even if the performance of very dark objects, experienced authors in the performance of the dark color of different brightness layers of gray, but also with a small amount of white color mixing dark colors, colors do not have to adjust the familiar, just flexible performance of some reflective parts and in a small range of a few strokes, so that instead of generating a "powder gas" feeling, on the contrary, will form a rich, full-color beauty. This will not produce a "powdery" feeling, but will form a rich, full of color aesthetic. The third reason for "powdery air" is that the pigment in the palette box is dirty when the brush is dipped into the color without washing, or because the palette is not cleaned in time during the long painting time, or the white powder-containing brushes are dipped into the palette, which affects the strength of the pigment and makes the picture produce the feeling of "powdery air". "The painting looks like this. Painted like this Remember to paint as a whole First of all, the color is similar to the large block lay out the premise of attention to the warm and cold tones, nothing better than to paint the deepest place, the palette is dirty do not be busy to wash away, perhaps the following will be used it, a color the second time to adjust is not necessarily the same Oh, and must not be reluctant to use paint, that will make people feel frivolous. You just learned a semester do not give up so quickly oh ~ you say you sketch good that you must also be great color oh . I like square brush strokes, but also to have their own characteristics, the color can not be adjusted, slowly, more adjustments will have experience! Don't feel bored, don't doubt your own sense of color, believe you can do it! Supplement: I am also learning color feel okay to show you a picture of my own painting the first step of painting this Remember to paint as a whole, first of all, will be similar colors of the block lay out the premise of attention to the warm and cold tones, nothing better than to paint the deepest places, the palette is dirty do not be too busy to wash off, may be the following will be used, a color the second time to adjust may not be the same, oh, and be sure not to be reluctant to use the paint, so that it will feel like the same. And don't be shy about using paint, it makes people think it's frivolous. You just learned a week don't give up so quickly oh ~ you say you sketch well then you color must also be great oh . I like square brush strokes, but you have to have your own characteristics, the color can not be adjusted, take your time, more adjustments will have experience! Don't feel bored, don't doubt your sense of color, believe that you can do it!

Question 5: how to draw crabs First of all, take out a piece of white paper, draw an irregular circle, the upper part of the small lower part of the big point, highlighting the image of the crab. This irregular circle represents the body of the crab.

Then draw the eyes above the crab's body, left and right separately, with two lines and a small circle on behalf of. Note that they must be drawn close to the body.

In the crab on the left and right sides of each spend four triple fold line on behalf of the crab's legs, pay attention to the folding line of the drawing, triple fold line in the middle of each line is best a little concave.

Then draw the crab's most famous pair of pincers, with an ellipse and missing a piece of the circle can be satisfied, according to human understanding of the big arm and small arm out can be partially overlap.

The small crab has been painted, and then embellish a little, in the crab's back to paint two vertical lines, these details are to give the crab points, and then add some small bubbles, to this crab has been painted.

Question 6: how to paint crabs Chinese painting techniques Painting crabs One to sketch, and then create, the second is the pro master brush and then create, the third is to watch the famous painting crab video to listen to the explanation to see the demonstration and then their own creations, and the fourth is to learn to paint crabs of the techniques of the atlas.

Question 7: how to use gouache painting crabs to take pictures when the hemisphere painting ah

Question 8: how to paint crabs

Question 9: who painted the best crabs As far as I know, in addition to Qibaishi is good at painting shrimp, crabs are also painted very well, which the most famous works of crab painting is called "Drunken Crab Figure", painted by three male and one female four crabs were boiled and placed on a large plate next to a pot of chrysanthemum wine, the crabs, although the chrysanthemum wine is a good choice, but it is not the only thing that I know of. Chrysanthemum wine, although the crab pincers are wide open, but can only wait for people to taste. This painting later became the "Gang of Four" of the greatest irony, the art world are said to be "Whitehead old man has the eyes of heaven ah".

Question 10: How to paint a good crab in Chinese painting Chinese painting in the composition, brush, ink, color, etc., also have their own characteristics. The composition of Chinese painting generally does not follow the golden rule of Western painting, but either as a scroll, or as a vertical axis, the length and width ratio is "out of proportion". However, it can well express the special mood and subjective interest of the painter. Meanwhile, in terms of perspective, Chinese painting is different from Western painting. Perspective is a term for painting, which means that when painting, the method of representing all objects correctly on a plane, so that they have a sense of space and three-dimensionality of distance, height and height, is called perspective. This method is called perspective. Because the phenomenon of perspective is near, big and far, it is often called the "near and far method". Western painting is generally used in focal point perspective, which is like taking a picture, fixed in a footing, subject to spatial limitations, into the lens on the truth down, otherwise it will not be photographed. Chinese painting is not necessarily fixed at a fixed point of painting, but also not subject to the limitations of a fixed field of view, it can be based on the painter's feelings and needs, so that the point of movement of the painting, to see and see the scenery into their own picture. This kind of perspective is called scattered perspective or multi-point perspective. For example, the famous painting of the Northern Song Dynasty, Zhang Zeduan's "Along the River During the Qingming Festival", which we are familiar with, uses the scattered perspective method. The painting reflects the rich and complex scenery inside and outside Bianliang, the capital city of the Northern Song Dynasty. It takes Bianhe River as the center, and draws from the distant countryside to the bustling "Rainbow Bridge"; the viewer can see both the city and the countryside; the pedestrians on the bridge and the boats under the bridge; the buildings and trees in the near distance, and the deep streets and river ports in the distance. And no matter which section you are standing on, the proportion of the ding objects are similar, if you follow the Western method of focusing on the perspective to draw, many places are simply impossible to draw. This is the ancient Chinese painters according to the content and artistic expression of the need to create a unique perspective method.

The use of brush and ink is an important part of the modeling of Chinese painting. Brush strokes emphasize the changes of thickness, speed, staccato, twists and turns, squareness and roundness in order to express the texture of the object. Generally speaking, the starting and stopping strokes should be forceful, the force of the wrist should be firm, the air in the middle should not be broken, and the stopping strokes should not be lightly picked. When using the pen, the light force is floating, the heavy force is Tingtun, the fast movement is slippery, the slow movement is stagnant, the partial use is thin, the positive use is board. To do curved line like a bow, straight line like a ruler, which is the meaning of the pen. The ancients summarized the eighteen strokes of the outline, which can be said to be a summary of the experience of Chinese painting with the brush. As for the use of ink, it emphasizes on chapping, rubbing, pointing and dyeing interactively, dry, wet, thick and light reasonably deployed, in order to shape the body and color the atmosphere. Generally speaking, the Chinese painting of the ink is wonderful, lies in the thick and light, all thick and light are no spirit, there must be thick and light, thick place must be wonderful and not stagnant, light place must be beautiful and not obscure. Ink is also like using color, the ancient experience of ink in five colors, there are also ink as gold painting style. The use of ink should also be thick and talk about each other, so that there is light in the thick, light in the thick; thick to have the thickest and the second thick, light to have a little talk about the lighter, which is the flexible use of the brush method of Chinese painting. As Chinese painting and calligraphy in the tool and pen have many **** the same place, the two have formed an unbreakable bond, the ancients have long been "painting and calligraphy from the same source," said. However, there are also differences between the two, calligraphy is a lot of changes in brushwork, especially cursive, to be better than painting, and painting ink colorful, and more than calligraphy. The word "brush and ink" is used as an umbrella term for Chinese painting techniques, which is not only a means of shaping an image, but also has an independent aesthetic value in itself.

Chinese paintings also have their own way of applying color, and the pigments used are mostly natural minerals or animal shells, which are resistant to sunlight and wind, and remain unchanged for a long time. The method of applying color is mostly flat, pursuing the effect of the inherent color of the object, and seldom changing the light and shadow.