Except for a few countries and regions, figure painting is almost the first theme of artistic expression of human nationalities. It can be said that a history of western art is developed in the process of studying how to express people. What are the painting skills of oil painting characters? Let's have a look.
Because of its rich expressive ability, oil painting has unique functions in recording people's voices, smiles, social activities and revealing people's spiritual world.
Using oil painting as an artistic form to express the eternal theme of "people" can not be separated from character sketching. Portrait painting mainly includes portrait painting, semi-nude portrait painting (including nude portrait painting) and human body painting. Because of the complexity of the shape of "people" and people's familiarity with "people", people often put forward higher requirements than still life and scenery in all aspects of figure painting (especially in the accuracy of modeling). How to study effectively in a short time, so that we can master the expression method of figure painting basically and quickly, is a very complicated topic for teaching and learning.
portrait sketch
Human head is the basic feature that distinguishes people from others, and it is the most important key part to record their social attributes and convey their inner feelings. Because of the complexity of its physiological structure and the richness of the spiritual world it can convey, we must first learn still life and scenery, and have the corresponding knowledge and ability of oil painting sketch before we can proceed smoothly. At the same time, due to the modeling difficulty of portrait sketch itself, it also has a certain starting role in other aspects of figure painting practice. When we have a certain understanding of portrait sketch and can be adept in practice, it means that we have paved the way for further study.
We can organize and practice a portrait from the following aspects.
(1) Select the model.
When practicing oil painting character sketch, we should try to choose those models with outstanding personality characteristics. The clever and beautiful face in the eyes of the world is often not necessarily suitable as the object of painting performance. This is because the vivid expression of a prominent character helps to exercise our ability to boldly handle and summarize objects, while the smart image will hinder our grasp of the overall situation because of its exquisite facial features, especially for beginners who are cautious in painting, they are easy to fall into passive and follow-up description from the beginning. This is also an aesthetic problem. To distinguish the beauty of that kind of art from the "beauty" in life, we must establish this concept from the beginning of learning painting.
(2) Set the object
The setting of models is not just an isolated problem to show the head image. We should regard the tonal relationship among head, clothing and background as a unity. When establishing the model, we should not only emphasize the appearance characteristics of the object itself, but also seek an optimal color relationship by constantly changing the colors of clothing and background scenes. Just like still life painting, beginners should choose the light angle of the front or 3/4 side, and pay attention to make the model's head, neck and shoulders form a certain twisted relationship, so as to make the picture vivid and not appear stagnant.
(3) Picture composition
When practicing an avatar, we should first carefully study the angle and position of the image on the screen. Because the avatar assignment is based on the avatar of the person, there are not many additional components, so it is very prescriptive. It is difficult to make a major breakthrough in the composition of portraits, so as not to show too many formulaic traces. Even so, we have to start with some basic composition rules of figure painting.
Under normal circumstances, we often put the head of the character slightly above the center of the picture, so that the head will not appear sunken on the picture. But this treatment may bring the biggest problem, that is, if every character painter treats it this way, won't it lead to sameness? There are also some solutions, such as changing the center of gravity of the picture by using clothes, hairstyles, props, the direction of head movement, background wrinkles and other factors. Even some modern painters often change the proportion of the picture, such as using boxes, banners or vertical boxes to draw the heads of characters, so that the picture composition can be treated differently.
(4) Drawing and coloring
The basic drawing method of portrait in oil painting is basically the same as that in still life painting. First, the general structure, proportion and movement relationship of objects are outlined on canvas with monochrome (brown, black and ultramarine). Before that, a variety of schemes were drawn on small pieces of paper with pencils for selection and deliberation.
When drawing the general color of the head of an oil painting character, we should start with a large area of dark color, and then draw the dark part, bright part, skin color and clothing of the whole head as a whole to quickly determine the color relationship between the pictures. In this step, don't get caught up in the detail description too early, because any detail description is redundant before the big tone relationship is solved. Premature description of the details will only hinder us from establishing a big relationship, which is not worth the candle. This is often the biggest problem for beginners. Many beginners often draw a picture from the five senses or even the eyes.
When the hue is large, the shape restriction should be relaxed appropriately (especially, some subtle changes should be boldly abandoned). The key point is to carefully scrutinize and grasp the relationship between skin color, background, hair and clothing, the contrast between light and dark parts and the subtle differences between similar tones, and then gradually enrich various details on this basis.
When dealing with large tones, it is necessary to shape the interpenetration between the large volume of the head and various local shapes (in this respect, it is also necessary to strengthen the study of anatomical knowledge). The expression of the five senses should also be reshaped, rather than rushing to portray details. As mentioned above, for example, when drawing eyes, we should first try to shape the volume and turning relationship of the whole eye, and don't rush to depict details (especially pupils and highlights).
For the color treatment of face, we should also pay attention to the difference between the upper, middle and lower levels. Generally, the color of the forehead is somewhat yellow, the color of the cheeks in the atrium is relatively red, and the color of the chin is slightly green.
(5) in-depth characterization
When the tonal relationship of the whole picture is handled satisfactorily, we can begin to describe all the details needed on the picture in depth.
Because the practice of portrait is based on the head image of the character, we should pay attention to the details and rough differences of various factors in the picture. All our artistic treatment methods should not deviate from the fundamental purpose of highlighting the head.
For all parts of the head, eyes, ears, mouth, nose, forehead, pulp and cheeks should not be treated equally. Usually, the forehead should be painted and washed, and the key point is to show its large volume. Because the nose is the most prominent part of the whole face, it needs to be described in detail while showing its strong sense of volume.
The eyes are the most complicated and subtle part in the practice of incarnation. It takes a lot of effort to draw its complicated turning point, including the relationship between eyeball, orbit and eyebrow arch, the relationship between orbit, forehead and temporal bone, and the relationship between upper and lower eyelids and eyeball.
The expression of mouth should pay attention to the treatment of its reality. Inexperienced beginners often focus on describing the shape of red lips, ignoring the turning point and volume of the whole orbicularis oris muscle.
The handling of ears should be relatively simple. Especially when drawing a portrait on the front (or close to the front), overemphasizing the depiction of ears may greatly destroy the space of the picture.
The in-depth description of portraits should be carried out in a planned and step-by-step manner. There should be a basic estimate of the progress of each painting. Every time you choose a part to describe, you should find the least noticeable place on the screen like a plastic surgeon. If you can't finish the expected work that day, you should also use JJ to gently scrape off the thick paint on the picture.
Every time you draw depth on a color layer, you don't have to cover all the colors drawn in the previous step. You should try to keep the original color effect, and on this basis, little by little, so that the picture gradually deepens and appears rich and vivid.
Similar to the situation of painting still life, the oil painting portrait work completed by slicing may appear fragmented. Because at this stage we focus on the in-depth description of facial details, it is often inevitable to ignore the color relationship. At this time, it is necessary to comprehensively summarize and adjust the structural relationship of the picture, the physical changes of each part and the contrast of colors.
Adjusting pictures is usually done with a large brush. When we draw a big color relationship, our intention to finish the work is relatively clear, but because beginners generally don't have much ability to control the overall situation, they are often more interested in the details of the objects they represent. Therefore, when they try their best to list all kinds of details, they are often more likely to lose their earliest ideas than painting still life and scenery. At this time, the best way is to leave the painting for a while and let us return to our original passion.
In the process of our in-depth description, paying too much attention to detail description will make us unconsciously dilute the originally accurately sketched body structure and lose its close internal relationship. Therefore, if we say that it is more difficult for beginners to reluctantly give up what they want by removing some unnecessary details in portraits than to draw still life and scenery, if we don't take greater actions, we will probably let it go. Because big strokes can't produce so many details, you can use big strokes to cut down too many details and make the picture return to the whole quickly.
;