To accurately grasp the characteristics of characters, we must first master the basic structure of the head and make clear the shape and position of bones and muscles; Secondly, it has both form and spirit, and pays attention to the portrayal of the inner character and emotion of the characters. As long as we pay more attention to the subtle changes of eyebrows, eyes and mouth when the model's mood changes in the usual practice, and seize the most natural and vivid moments to portray, we can make the picture full of life.
It takes a lot of practice to draw a good sketch portrait and gain a solid basic knowledge of sketch and accurate modeling ability. As the saying goes, "Practice makes perfect", and skills come from hard study and hard practice. At the same time, we should read more excellent sketches and portraits to improve our appreciation ability, and then make bold attempts in many aspects to constantly improve our painting level and draw better works.
Basic proportion of head:
The basic proportion of the head can be roughly summarized as "three courts and five eyes", that is, the length of the face is about the length of three noses and the width is the length of five eyes, which is very helpful to grasp the proportion of the big head. Different people will have different differences, which is the characteristics of personal image. Some people have a longer nose and some people have wider eyes, but they have not changed since their ancestors, and the proportional relationship between the size of the five senses is basically the same. When sketching, you must determine the proportion of your head according to your perspective, and you must not copy it mechanically. If you want to draw a good shape, the best way is to exercise your eyesight. On the premise of knowing the basic proportion of the head, we should also compare and observe the models.
Analyze the basic proportion of the head from the perspective of looking up;
Summarizing the basic rules of the head when looking up will play an important role in observing the head from other angles. Half of the head height is eyes; Eyebrows are located at 1/5 of the distance from the eyes to the top of the head; The length from eyebrows to the bottom of nose is equal to the length from eyebrows to hairline and the length from the bottom of nose to chin. 1/2 of the distance from nose to chin is the lower lip; The length of the ear is equal to the length from the eyebrows to the bottom of the nose. Divide the width of the face into five equal parts by the length of the eye shape, and from the left hairline to the right, there are five eye shapes; There is an eye-shaped distance between the eyes, and the distance from the outside of the eyes to the side hairline is an eye-shaped, accounting for 1/5 of the overall width of the face.
Analyze the basic proportion of the head from the perspective of looking up;
The basic structure of a person's head will change with the change of observation angle, and the shape will also change greatly because of the change of angle. Looking up will cause changes in facial structure and five senses. First of all, the chin of the head will be lengthened and the height of the forehead will be shortened. Pay attention to the relationship between the bottom line of the nose and the upper edge of the ear; The five senses as a whole will show a trend of upward bending radian; The position of the five senses of the head will be improved, and the position of the ears will be reduced accordingly; There is also the area at the bottom of the chin will increase, and the turning point will be clearer and you can see it clearly. On the basis of mastering the frontal observation of the head, we should flexibly handle the changes of other angles.
Analyze the basic proportion of the head from the top view;
Looking at a person's head from a higher position will have a overlooking effect. The intuitive feeling is that the forehead becomes bigger and wider, the chin becomes shorter and narrower, and the whole body of the head is shrinking. Look down and pay attention to the spatial relationship between eyebrows and the upper edge of ears; Looking down at the model from the side, pay special attention to the spatial relationship between nose and earlobe, and the spatial relationship between eyes and chin; It's hard to express half the overlooking angle. We should not only pay attention to the characteristics and trends of the downward radian of the five senses, but also pay special attention to the angular relationship between the five senses, which is also an objective basis to help us check the accuracy of the body.
Perspective:
Through the movement of the neck, the head can be tilted back and forth and rotated left and right. With the change of space and the change of sight and angle of view when observing objects, various perspective phenomena occur between the head and the five senses. If the head leans forward, the top of the head is enlarged, the face and facial features are shortened, and the proportion of mandibular face is increased. The constant rotation of the head produces various changes in the perspective arc.
To grasp these perspective changes, we must first determine the midline of the head and the auxiliary lines of the five senses, and then take this as a starting point to grasp the law of head movement.
When grasping this law, we should pay attention to the following points: First, grasp the changing law of visual angle, such as near big and far small, things above the line of sight are near high and far low, and things below the line of sight are near low and far high; The second is to understand the structural coherence of the head. The head movement causes structural perspective changes, and it is necessary to rely on structural auxiliary lines to find out the changing rules. Third, the judgment of visual position should be accurate, observe the overall perspective, and infer the changing perspective range. As long as you grasp these three points, no matter how your head moves, you can find some rules from them.
Front:
Head-up viewing angle law:
Generally, both head-up and frontal head portraits maintain the normal proportion of the five senses, and there is no obvious perspective change.
Look-up perspective law:
Generally speaking, looking up, the top surface of the forehead becomes narrower, the face and facial features become shorter, the jaw protrudes, and the volume increases. This is the effect of raising your head.
Overlooking perspective law:
Looking down is just the opposite of looking up. The top of the head gets bigger and the face and facial features get shorter. This is the overlooking effect.
Side:
Head-up perspective law:
Due to the change of perspective rotation, the aspect ratio of head-up half-profile head has obvious perspective influence, and several auxiliary lines of facial features change from near to far.
Look-up perspective law:
The influence of this perspective is obvious: in terms of horizontal lines, several horizontal auxiliary lines of the five senses have changed from near to far; In the vertical direction, the top surface is reduced, the mandible is enlarged, and the upper part is small and the lower part is large.
Overlooking perspective law:
The influence of this perspective is obvious: horizontally, several lateral auxiliary lines of the five senses have undergone subtle and great changes; In the vertical direction, contrary to looking up, the top of the head becomes bigger, and the face and facial features become shorter, reflecting the overlooking effect of giving priority to the big and giving priority to the small.
Front:
Head-up perspective law:
Generally, both head-up and frontal head portraits maintain the normal proportion of the five senses, and there is no obvious perspective change. Due to the influence of horizontal rotation of perspective, the aspect ratio of frontal head-up portrait changes in vertical direction, while the aspect ratio in horizontal direction remains unchanged.
Look-up perspective law:
Because only half of the face can be seen on the front, the perspective change of the five senses in the horizontal direction is not particularly obvious, while in the vertical direction, the look-up effect is more prominent.
Overlooking perspective law:
Because only half of the face can be seen on the front, the perspective change of the five senses in the horizontal direction is not particularly obvious, but in the vertical direction, contrary to looking up, the top of the head becomes larger and the face and five senses become shorter, which reflects the overlooking effect of taking the big ones with the small ones.
The perspective relationship of profile sketch avatar will be more complicated, so we should try our best to grasp it accurately, otherwise the distant face will turn over, which will seriously affect the accuracy and sense of space of the head shape. Pay attention to the auxiliary lines of the facial features structure should be basically parallel, so as to ensure that the perspective of the facial features is at the same viewpoint and angle, and the perspective relationship between the facial features and other facial structures should be consistent and unified. Note that the lateral structure of the face should also basically maintain a certain parallel relationship, otherwise it will cause the phenomenon that the front five senses are out of touch with the lateral structure of the face. Such mistakes are very obvious and need special attention.
Composition:
Composition is also the management position of the picture. This step is the first problem to be solved before sketching the avatar, and it is also a very important and key problem.
1. From the point of view: in the training process, we should consciously train from different angles such as looking up, looking up, looking down and front, side and three quarters.
2. Self-media should consciously train in the form of short hair, shawl long hair, braids, hats, glasses, beards, scarves and other auxiliary materials.
3. From the method (subject to the test paper):
Generally, 1.5-2 cm is left on the octagonal paper, and the head height is about 22.5 cm.
Generally, 3 cm is left on the quarto paper, and the head height is about 25 cm.
In terms of composition, under normal circumstances, there is more space in front of the head line of sight and less space in the back. Of course, this rule is not immutable. For example, when showing women's long hair, ponytails and three-quarters side angles, the head can move forward appropriately, leaving a relatively suitable space for ribbon braids to ensure that the hair in the picture is the heaviest color block, and it is visually unbalanced in the picture.
Emphasize the integrity of picture composition. We can control and adjust the picture from the height of managing works, and avoid many disadvantages in composition due to lack of active overall observation and thinking, passive and inert treatment of the relationship between portraits and pictures, and lack of overall layout and arrangement.
In principle, the characters are arranged in the visual center of the picture, and the size is appropriate to maintain the balance of the picture, and pay attention to the relationship between the head, neck and shoulders of the characters in the picture. Avoid being too biased, too full and too empty.