Hand-painted representations involve various decorative materials and furniture furnishings. They occupy a very conspicuous position in a painting and directly affect the authenticity and artistry of the representation. Therefore, on a daily basis, During the training, they will be used as key objects to describe them in a more complete, detailed and in-depth manner, so as to master various means and rules for expressing them.

Performance of masonry

Polished stone is hard in texture, smooth in surface, calm in color, and stable. The texture naturally changes into a cracked or random tree shape, with staggered depths, and some are still Sesame dot pattern

(1) When painting a red brick wall, the background color of the red bricks should not be too even, and the oblique light and shadow strokes should be intentionally retained. The duckbill pen should be arranged in a straight line to draw dark shadow lines on the brick seams. Then draw bright lines below and on the sides of the seams, and finally scatter some concave dots on the brick surface to express the roughness of the clay products.

(2) The pebble wall is mainly black and gray, combined with other colors of gray to emphasize the oval three-dimensional effect of the pebbles built into the wall. The depiction of highlights, reflections and shadows is indispensable. The light and shadow lines should fluctuate with the protrusion of the pebbles

(3) The shape of the stone wall is relatively square and slightly incomplete, and the stone is rough and has chiseled marks. , the colors are divided into blue-grey, red-gray, yellow-gray and other colors. The stone seams do not need to be too neat, and can be outlined with a wolf brush.

(4) The stone flake wall is built with natural stone flakes, so that the dust is not exposed. The gaps between the stone flakes are particularly obvious, with varying widths, and the ends of the stone flakes are uneven and sharp. According to the above characteristics, when painting, the pen should be broad and irregular to show the natural taste

(5) The colorful stone flake wall is slightly more regular than the natural stone flakes, and most of them are processed and selected before being built. Shape, size, length, horizontal and vertical combination, well-proportioned. As you paint, notice the color changes. There are two types of convex and concave joints between the stone chips. The shadow of the convex joints is under the joint ash, and the shadow of the concave joints is above the joint ash. The performance method of using granite (marble) scraps to tile the stone wall is basically similar to the colorful stone wall

(6) The glazed brick wall is a mechanized production of decorative materials, size, color They are all relatively standardized. When expressing, you must pay attention to the simplicity of the overall color. You can use neat strokes to draw light and shadow effects on the wall. It is more appropriate to use a duck-bill pen to express the concave seams. You can draw high-gloss lines when depicting close-up scenes.

Wood performance

Wood is the most commonly used in interior decoration. It is easy to process and has natural and delicate texture. When combined with paint, it can produce color effects of different shades and glosses.

(1) The wood grain depiction in the performance picture must be symbolic;

①The tree knot shape starts with a tree knot, and spiral radial lines are made along the tree knot, from the beginning to the The tail is uninterrupted.

② Flat-shaped lines are curved and smooth, and the arrangement density changes with a strong sense of rhythm. Use shaking lines in appropriate places.

The color of wood can change due to dyeing and paint. According to most situations, it can be roughly divided into dark brown (such as walnut wood, rosewood), maroon (redwood, sleeve wood), and yellowish brown. (camphor wood, teak wood), milky white (oak wood, ginkgo wood) and other colors, see Figure 7-3 (color picture in front of the text).

(2) Expression of wooden board walls

① Steps to express wooden tongue-and-groove board walls (all painted with markers and fresh water color):

a. Use a ruler to draw the contour line, and you can also use a ruler to draw the background color of the board to leave some highlights;

b. Use a marker pen to make the wood grain brown, and accentuate the color of some parts of the board to break the monotony. ;

c. Draw the deep shadows under each board line to enhance the three-dimensional effect, and then use a ruler to draw out light and shadow lines that gradually fade from solid to virtual to connect the horizontal slats to enhance the integrity. .

②Performance of the original wooden wall:

a. Draw the contour line with freehand and slightly undulating. When applying the background color, pay attention to the reception of the semi-curved surface and the light and dark depth of the backlight;< /p>

b. Embellish tree knots, accentuate the boundary between light and dark and the shadow lines under the wooden strips, and bring out reflections;

c. Emphasize the curved wood grain on the front end of the wood, following the curved surface of the log. The ups and downs draw out lines of light and shadow. This kind of original wooden wall has a primitive appeal. The brush used for depiction should be rough, generous and unrestrained.

Performance of metal stainless steel

The following points must be mastered:

(1) The surface of stainless steel is very sensitive to light and reflects color. Only when receiving light and reflecting light There is a slight hint of natural color (various neutral grays), and the polished metal almost entirely reflects the color of the environment.

In order to show the existence of its own form, its own basic hue (such as gray, golden) and the light and dark of the form can be appropriately and conceptually expressed when drawing.

(2) The basic shapes of metal materials are flat plates, spheres, round tubes and square tubes. Affected by various light sources, the contrast between light and dark on the light surface is great, and has a flickering and changing dynamic, depicting Don't be too rigid with your pen. Removing faint strokes and quickly wiping dry brushes will have a certain effect. The reflection of the backlight surface is also extremely obvious. Pay special attention to the turning points of objects, the boundary between light and dark, and the exaggerated processing of highlights.

(3) Most metal materials are solid and smooth. In order to express their hardness, it is best to use a ruler (quickly draw straight) strokes (such as using an airbrush, you can also use a ruler to stabilize it) Pen holding gestures), and the use of pens on curved and spherical shapes is also required to be decisive and smooth.

(4) The light reflection on the polished metal cylinder and the image deformation of environmental objects on the cylinder have their own characteristics. Daily practice should strengthen observation and analysis to find out the deformation rules of the up, down, left and right scenery. .

Glass and Mirror

Glass and mirror are both made of the same basic material, but the mirror is coated with mercury to create a photographic effect. The surface features vary between transparent and opaque, and are also very sensitive to light reflection and smooth.

The expressions of glass and mirror in the indoor renderings are relatively close to each other. The main difference is the depiction of light and shadow.

(1) The right side of the indoor space is a glass wall. You can press The outdoor scene is painted directly, and then a few white-gray strokes are drawn with a ruler on the invisible glass wall to break up part of the outdoor scene to show the existence of the glass.

(2) The mirrors on the front and left walls directly reflect the scenery in the indoor space they are facing. The shapes and colors between the two maintain symmetry in the perspective relationship, and the scenery on the mirrors is also reflected. Properly express light and shadow lines. For gouache paintings, it is advisable to add light and shadow diagonal strokes later, while watercolor and marker pens should be reserved in advance or washed out with pens.

(3) The ceiling is composed of small mirrors. The light and shadow are arranged vertically according to the perspective vanishing line and the dividing lines between the lenses to show the slight differences between the small mirrors. The shape and color reflected by the mirror have appropriate differences (i.e. slight misalignment). The reflected image is in a reflection relationship and is symmetrical up and down.

(4) The light and shadow lines on the mirror and glass wall should change the tilt direction and angle with the turning of the space shape, and should have width, length, and rhythm changes of virtual and solid. At the same time, attention should be paid to maintaining all the elements. Reflect the relative integrity of the scenery.

Leather (sofas and seats)

A large number of indoor sofas, chair cushions, and backrests are made of leather. The texture is tight, soft, and shiny. The performance is based on different shapes and Use brush strokes for tightness. The following introduces the performance steps of several different styles and techniques for practice reference

Dining table and carpet

(1) Dining table

The dining table is divided into square and circle In both shapes, tablecloths are generally laid out, and the expression of the tablecloth focuses on turning wrinkles. The folds of the tablecloth on a square table are mostly concentrated at the four corners and sag downwards in a radial pattern. The wrinkles on the tablecloth on a round table are scattered along the circumferential edge and naturally droop. They are expressed with colored pencils and markers respectively, emphasizing that the direction of the lines drawn with the strokes should be consistent with the turning of the shape.

(2) Carpets

The texture of carpets is mostly soft and has a certain thickness. The convex and concave patterns and the fluff on the edges can be expressed with short, trembling dot-like strokes.

Carpets are divided into two types: full coverage and partial laying. The floor as a whole sets off all the furniture and furnishings, and plays a very important background role in the picture. The focus of the depiction is the contrast between the bright parts illuminated by the top light and the shadows falling under the furniture. Partial laying refers to carpets that play a regional limiting role in the spatial division of the indoor floor or are specially installed in the middle of the sofa, under the coffee table, and above the aisle. The focus of the two types of laying performance is the texture and pattern of various carpets. The depiction of the pattern does not need to be too detailed, but the perspective changes of the graphics must be accurate, otherwise it will affect the space and stability of the entire picture.

Curtains

Curtains are an indispensable part of the bedroom expression. They are often in a prominent position in the picture and play a very important role in the style and interest of the bedroom. How to draw curtains

(1) Ruffle-style curtains are named because their edge folds are like lotus leaves. The main point of the upper horizontal strips is the undulating shape of the fabric pleats. The curtains hang diagonally and The waistband should be explained clearly.

The watercolor expression uses a halo effect to leave the highlights, gradually deepen the dark parts, and finally paint shadows to bring out the reflection, and accentuate the lower color to express the changes in light intensity.

(2) Curtain type curtain This kind of curtain is made by tightening the two ends of each section of cloth to form a series of semicircular shapes drooping in the middle. The painting steps are to first use light colors to lay out the tone of light at the top and dark at the bottom, then use medium light colors to paint the semicircular shape that is not exposed to light, and then use darker colors to paint the transitions and shadows, and then the reflection will appear. Finally, adjust the changes in light and shade up and down, and use white to highlight the protruding semicircular light-receiving surface on the upper part of the drapery to enhance the feeling of top light.

(3) Hanging curtain This is a kind of curtain decoration that is highly flexible and easy to make. The horizontal bar ends in the middle, and the two ends are overlapped with the sharp corners drooping. It is easy and natural. The coloring process is similar to watercolor, first shallow and then deep. The overall depiction is completed in one go. Use the ruler to draw the arching effect of folds with colored pencils.

(4) Use gouache to express drooping curtains. This is the most common indoor form. There are guide rails in the curtain box, and the hanging curtains droop naturally. The fabrics are mostly heavy silk and linen. fabric. The steps for expressing with gouache are: first lay out the base tone of the curtain with light on the top and dark on the bottom, then use a ruler to draw the folds on the curtain vertically, and then paint the second line of dark parts while the first middle color is still wet. The dark boundary line between the shadow and the cylindrical groove wrinkles is then raised on the light-receiving surface, and the shadow of the light undulating with the folds of the curtain is drawn. Finally, the bright line on the edge of the curtain box pressed against the curtain is completed. If you want to carve patterns on the curtain, you can draw the pattern on the already drawn curtain with the ups and downs of the folds. The pattern does not have to be complete, and the color must change light and dark with the turns.

(5) The painting method of using markers to express drooping curtains is: first use markers or pens to outline the image, use light colors to draw the semi-light surface and dark surfaces, leaving highlights, and then use dark colors Paint grooves to wrinkle the shadows and focus on the light and dark lines. You must be decisive with your pen and don't get hung up on the details.

White gauze curtains White gauze curtains look luxurious and elegant in the living room. They do not affect the entry of light and can add a layer of hazy poetry to the outdoor scenery. The painting method is: first draw a few vertical strokes of dark gray (the shadow of the gauze curtain) on the picture that is completed according to the actual scene, and then use white to draw vertical strokes unevenly and at intervals. The color can be drier and some will appear. The flying whiteness of the dry brush seems to obscure the background, and finally depicts the places with floral decorations and the beginning and end, reflecting the shape of the white gauze.

Lights and shadows

Almost all indoor expression pictures are inseparable from the depiction of lamps and light. The style of lamps and their performance directly affect the style and grade of the entire interior design. In particular, chandeliers and ceiling lights are often located in particularly conspicuous places in the picture. The various colored beams of light in dance halls and karaoke rooms are indispensable conditions for creating an environmental atmosphere. Partial light sources in the bedroom or study can better reflect the warmth of the small environment.

The performance of lighting mainly relies on the contrast between light and dark, and the background of the key lighting can be intentionally made deeper. The description of the lamp itself does not need to be too detailed (mostly in the backlight, it is necessary to use its own darkness to set off the brightness of the light.

Light and shadow complement each other. The shape of the shadow should change with the turning of the space interface, and the image of the shadow should be It is consistent with the shape of the object. Generally, the shadow of the front light falls straight; the shadow of the side light falls diagonally. The shadows of multiple groups of lights in the ballroom spread out in a slant, long, and radial shape.

In addition to relying on a darker background for light-sensing treatment of the light source, you can also use the special effect of the airbrush to perform spot spraying (local spraying with a toothbrush also has a similar effect). You can also apply a thick white spot to the light source and push it to all directions. Draw cross-shaped emission lines

Indoor greening

In order to gain the vitality of nature, it is common to introduce green leaves and flowers growing outdoors into the interior. They are the main part of the design. The embellishment and foil play a role in balancing the gravity of the picture space in the composition of the picture. For example: next to the back of a sofa in the near corner of the picture, or on the side of a large pillar that feels too exaggerated, stick out some leaves or graceful phoenixes. The tail bamboo not only adds to the natural interest of the room, but also has the effect of pressing corners, closing the head, and loosening the picture.

Because the plant composition is relatively fragmented, the morphological changes are difficult to control. Although it is a background, it is It is often located at the front of the picture, so improper handling of the brush will destroy the effect of the entire painting. Therefore, it is very useful to master one or two stylized means of expressing greening.

Indoor furnishings

Here mainly refers to wall decorations such as: paintings, calligraphy, wall hangings, clocks, etc.; desk furnishings such as vases, antiques, fish tanks, water cups, etc. These things all show design The taste plays the finishing touch in rendering the indoor environment. The specific treatment should be simple and clear, with few strokes but still able to reflect its texture and charm. It should be based on the basic skills of still life sketching and emphasize the ability of general expression.

Character sketch

Some indoor representations need to be embellished with characters to show the scale, function and atmosphere of the indoor environment. For example, in dance hall design representations, the center of the picture is often relatively empty. With the addition of dancing people, the atmosphere immediately becomes lively and the weight of the center of the composition is enhanced. . Another example is the entrance in store design. There are several people coming in and out (more people coming in and less leaving) inside and outside, and people on both sides are walking towards the entrance, which will give the owner a sense of satisfaction.

However, characters are a kind of embellishment after all, and should not be drawn too much, so as not to obscure the main shape of the design. Generally, some characters suitable for the scene are painted in the middle and long shots. The proportions are accurate and there is no need to depict the details of the face and clothing. If you need to draw a person in close-up, it must be conducive to the composition of the picture. Although it is possible to depict the face, it does not need to have excessive expressions, and the clothing and colors do not need to be too bright, so as not to overwhelm the guest. To draw the characters well, you must understand the structure and dynamics of the characters. Learn more about proportions:

(1) Head structure and proportions: The head has bones and muscles. The head is shaped like a complex between a sphere and a cube. A longer hexahedron can be used to summarize. Three pavilions and five eyes are the proportions of an average human face.

(2) The appearance characteristics and facial expressions of the head.

The appearance characteristics of the head are different, some are square, some are round, some are longer, some are shorter. Traditional painting methods use Jia, You, Shen, Tian, ??Mu and Guo. , is summarized by the eight glyphs “wind”. Facial expressions are very rich, which are the reflection of human emotions and psychological activities on the face. They can generally be summarized into four types: happiness, anger, sadness, and joy. However, changes in people's expressions are often very subtle and require careful observation and experience.

(3) Human body structure, dynamics and proportions

The human body is composed of bones and muscles. The bones serve as a scaffold to support the human body. The muscles connect the bones and various parts through the muscles. And it produces the effect of movement, which has a great influence on the appearance of the human body. The human body can be divided into several parts: head, chest, buttocks and limbs. The proportions of the human body usually use the length of the head as the standard to determine the height of the whole body. The average height of adult men and women is seven and a half heads high. The characteristics of a child's body shape are a large head, short lower limbs, and a slightly longer upper body.

(4) Key points of character dynamic sketching:

<1>Be familiar with the object. The first is to be familiar with and understand the anatomical structure and movement patterns of the human body; the second is to understand the different image characteristics and mental changes of people, so that we can capture the typical moments of character dynamics, choose the best angle for painting, and grasp the vivid postures.

<2>Use the main line and branch line of momentum to observe and analyze the dynamics of the human body. The main line is the momentum of the trunk and lower limbs, and the branch line is the change of the upper limb. Pay attention to the position of the center of gravity.

<3>Use solid lines and dotted lines to show the relationship between clothing and the human body. Use solid lines for parts of clothing that fit the body, and dotted lines for parts that don't fit the body. Solid lines represent human body structure and momentum characteristics, and must be drawn accurately and positively; dotted lines can be drawn to exaggerate according to momentum.

<4>Seize typical moments and improve them with understanding and memory.

(5) Character sketching method: Grasp the proportion and structure, start from the whole or just the parts, and always emphasize and maintain the big relationship. The lines are required to be smooth and beautiful, and can be slightly light and dark.

(4) Selection of perspective angle;

The perspective angle of the indoor performance drawing should be selected according to the content and requirements of the interior design and the characteristics of the spatial form. A suitable angle can not only highlight the key points, clearly express the design concept, but also avoid monotony in the artistic composition. Viewing the layout of the same space from different angles will produce completely different effects. Therefore, before formal drawing, you should choose several angles or viewpoints, sketch several small drafts, and choose the best one to draw the formal drawing.

(5) Light and shadow;

Any object will produce shadows under the illumination of light. The three-dimensional sense and sense of space of the interior rendering are inseparable from the depiction of shadows. The shape of the shadow has the basic morphological characteristics of the object itself, while remaining consistent with the ground environment.

When drawing in perspective, the relationship between light → object → shadow must be comprehensively considered.

1. Artificial light and natural light

Artificial light refers to relatively close artificial light sources such as lamps, candlelight, torches, etc. The light projected onto objects is radial light.

Natural light refers to light sources in nature that are extremely far away, such as the sun and the moon. People cannot feel its radiation, but can only feel it as a kind of parallel light (see Figure 4-16 ).

2. Shadow

The perspective drawing method of shadow is the same as other perspective drawing. In more important and detailed renderings, the requirements for shadow shapes are also strict, and the drawing steps must be followed carefully. The same is true for fast renderings. Generally, I draw based on my familiarity with the rules of perspective and my basic sense of accuracy. Sometimes, for the sake of certain surface effects, I can better highlight the key scenes without violating the principle of reality, and consciously expand or shrink the shadows appropriately. It is also possible to increase the area and enhance or weaken the contrast between shadows. Of course, to accurately grasp this point, we must have an understanding of various light source conditions and the laws of object projection, and we must observe, analyze, summarize, and memorize various light sources, various forms, and patterns in long-term life and drawing practice. Light and shadow changes under various environmental conditions so that the ideal light and shadow effect can be quickly and accurately drawn.