Skull point: The shape of the skull determines the outline and fluctuation of the head shape, and some protrusions and depressions also affect the shape, which is the basis for determining the sketch. Some turning points and protrusions on the head surface are all formed by bones, and we call these parts bone points. The turning points of skull shape are vertex, bilateral parietal tubercle, zygomatic arch point, orbital margin point, zygomatic tubercle and so on. When we depict the heads of characters, we should show and emphasize these bone points, so that their bodies contain bones and are connected by flesh and blood. Otherwise, the head performance will appear without strength and vitality.
All the muscles of the head should be shaped as a whole.
When we shape the whole head, we need to know the structure, function, shape and movement of muscles besides the overall understanding of bone structure and bone points. The muscles and bones of the head are equally important for us to vividly represent the head of the character.
The muscles of the head can be divided into two categories: one is the expression muscle. The other is the masticatory muscles. Most expression muscles are flat and thin, distributed around the eyes, nose and mouth, and produce facial expressions when contracting. Expression muscles include frontalis muscle, orbicularis oculi muscle, frown muscle, nasal muscle, labial muscle, zygomatic muscle, orbicularis oris muscle, deltoid muscle, labial muscle and smiling muscle. Masticatory muscles are distributed on both sides of the head and are relatively thick, which has an impact on the appearance. Its function is to pull the jaw, shut up and chew. From the side, we can see two obvious muscles, one is the temporal muscle located in the temporal fossa, and the other is the thick muscle that starts below the zygomatic arch and ends at the bone point at the back end of the mandible.
When we portray a character, we should combine all the muscles in the head of the character into a whole to shape it, that is, the part should obey the whole, and the whole contains the part. At the same time, muscles and bones should be combined with muscles to make a phenotype.
Position of five senses and overall proportion of head
By observing and studying the heads of characters, we can sum up the proportion of their heads: from the front, half a head to the chin is the position of the eyes. From hairline to mandibular base, it is divided into three equal parts, the first equal part is from hairline to eyebrow line, the second equal part is from eyebrow line to nasal base, and the third equal part is from nasal base to mandibular base. These three parts are equal in distance and are called "three courts".
The upper third from the nasal floor to the mandibular floor is the position of the oral suture. The length of the ear is equal to the length from the eyebrow line to the nasal bottom line. The width of the face is equivalent to the length of five eyes, that is, the distance between the two inner corners of the eye is one eye longer, and the distance from the outer corner of the eye to the ear is one eye longer. This adds up to a * * * which is about the length of five eyes. We call it "five eyes". The inner corner of the eye and the lateral edge of the nose are on a vertical line. The connecting line between the two outer corners of the eyes and the tip of the nose is an isosceles triangle. The width of the mouth is equivalent to the width between the inner edges of the iris of both eyes. Viewed from the side, the position of the ear is half the width of the head, and the distance from the outer corner of the eye to the tragus is equal to the distance from the corner of the eye to the corner of the mouth. The front edge of the sideburns is about half of the outer corner of the eye to the ear, the distance from the tip of the nose to the ear is equal to the distance from the eyebrow arch to the chin, and the squabble is basically on the same level as the mandibular angle.
After we know these proportional relations of the characters' heads, we will consciously use them as a measure in the process of sketching. As leonardo da vinci, an Italian painter in the Renaissance, said,' Aesthetic feeling is based on the sacred proportional relationship between parts'.
Study on perspective relationship of head with cube
When we sketch the head of a character, we can generalize the shape of the head into a cube, which is established according to the structure and shape of the skull. This can increase our spatial understanding and three-dimensional expression of characters' heads, and it is convenient to study the perspective relationship of heads with the help of cubes.
The head of the character is a Parallel perspective cube from the front and side, and the perspective changes little; When looking up, they are all cubes looking up in parallel, with few skulls and hairs. You can see the bottom of the jaw and your ears are lowered. Seen from above, it is a cube of Parallel perspective, with few skulls and hairs, no mandibular base and raised ears. Three-quarters of the sides of the head are angular perspective. In the three head perspective shapes of head vision, head vision and head vision, both sides of the face are asymmetrical, and the horizontal lines of hairline, eyebrow, eye, bottom of nose and mouth seam are concentrated in the distance and disappear in the position of residual points in the eye line of sight. The characteristic changes of three angles of the three-quarters side head are the same as those of the front side.
Gender and age differences in head types
Different objects have different physical characteristics of the head. The male skull is large, the forehead is inclined, the eyebrow arch and nasal bone are obvious, the mandible and frontal bone are square, and the muscles are large and square, while the female skull is small, the forehead is inclined, the frontal tubercle is prominent, and the muscles are small and round. Because of the tooth loss, the old man's face became shorter and his chin became more prominent. Because the child's mandible is not fully developed, the chin is adducted, and the skull is larger than the facial skull. In addition, we should also consider the face differences of different characters. There is a saying in China's traditional painting theory that "the shape is similar, probably nothing more than eight patterns". In the ancient portrait painting method in China, "Heaven, armour, spirit, country, courage, eyes, wind, swimming" and other glyphs are often used to express the differences of various face shapes, which are called "Eight Diagrams". Knowing the theory of "eight diagrams", we can observe, recognize and remember in the process of portrait sketch, so as to grasp the external characteristics of the head of the character more accurately.
Tips for Art College Entrance Examination: Key Points of Composition
The composition of portrait sketch is very important, but its morphological changes are not complicated. Generally speaking, we need to pay attention to the following principles:
1, the avatar size in the picture should be moderate, neither too big nor too small;
2. The avatar position is generally in the middle of the picture, slightly on the upper side. Not too high, not too low, too biased;
3. When drawing a positive image, people are generally placed in the center of the picture; When drawing a half-side or side image, there is more white space in front of the image and less white space in the back direction;
4. Arrangement of black, white and gray tones (including background projection, etc.). ) be harmonious and changeable in composition, with contrast and echo, forming a certain rhythm and aesthetic feeling;
5. Sketch the image of the head and shoulders. Generally, you should draw it in a virtual way, not all the way to the bottom of the picture.