I am an art examiner, focusing on art examination research and sharing art examination experience.
The sketch head is a bright pearl in the joint examination of fine arts, which carries the role of a bridge to undertake geometric plaster and still life sketches, and is also the cornerstone of the bust with hands and the whole body portrait.
On the stage of art in the college entrance examination, the learning Xi of sketching avatars is particularly important. If these stubborn problems in the process of sketching avatar learning Xi such as "fancy, chaos, greasy, wooden, and inaccurate type" are solved, today's sketch avatar joint examination will definitely get a high score.
Let's take a look at the solutions to these common problems, and I hope you can understand them carefully!
Problem 1: The cause of inaccurate type
1.The line of sight of the two eyes is not uniform, and the observation of the head is not whole, and drawing too wide the distance will inevitably widen the basic shape of the face;If the drawing is too narrow, the basic shape of the face will become thinner.
2.If the facial features are drawn too small, the face will be crowded together, resulting in a bloated faceIf the facial features are too large, the face will become relatively small, which makes it unable to accommodate the facial features, and therefore, the avatar will become deformed.
3.If you draw the left eye when you move the eye to the right, and draw the right eye when you move to the left, the two eyes will not be in the same line of sight.
Workaround:
1.Adjust the observation method, first macro and then micro, and look at the shape rather than the line.
2.It takes time to compare the lines and find the correct proportions of the size and length.
3.Fixed focus on the change of perspective, do not change your position at will when observing the shape, and pay attention to the relationship between the overall relationship of the body and the perspective change.
4.In the process of painting, once the basic shape is not accurate, we should immediately stop, think carefully from the perspective of grasping the integrity of the picture, and repeatedly analyze the changes in the general dynamics of the basic shape, as well as the changes in the overall tone of the shape.
Problem 2: Causes of "flowers" and "chaos".
1.The portrayal of the part is too much and does not take into account the interrelationship of other parts, and the east and west are disorganized.
2.The color of the paving tone is not uniform enough. 
Workaround:
1.When laying dark tones, it's important to make sure you use the pen evenly to avoid leaving too many white gaps. At the same time, in the process of gradually increasing the tone, it is necessary to always pay attention to the combination with the structure to make the picture more three-dimensional.
2.If there are too many spots in the highlights, you can use an eraser to gently erase them to keep the picture neat. If there are too many dark areas, you can gently rub them with your fingers to make the tone more uniform.
3.When painting, it is important to avoid blindly using lines, but to pay attention to the relationship between lines and the transition of form and structure. Through accurate depiction and performance, the picture is more vivid and three-dimensional, and the perfect artistic effect is achieved.
Question 3: The causes of "greasy" and "wood".
1."Greasy" refers to the fact that the face does not find obvious body turns, and it is polished smooth everywhere and there is no chromatic change.
2.The contrast between "wood" and "greasy" is that it exaggerates the turning surface of the form, as if it is composed of pieces of wood that have been cut.
Workaround:
1.In the process of painting, we should pay attention to the shape and structure of the figures, and grasp the expression of squares and circles. When depicting the image of the character, the lines of the square should be hard and the lines of the circle should be softer according to the characteristics of the character.
2.In addition to pursuing a specific style of form transition, we should also pay attention to the three-dimensional space of the picture when painting. By reasonably arranging the front, back, middle, far and near elements of the picture, the picture is more three-dimensional and layered.
To express the volume of the head, we should pay attention to the explanation of the top, side and bottom surface of the head. The transition between these large surfaces needs to be depicted in detail to show the transition between the faces.
For example, the spherical volume at the top of the head can be represented by depicting the shape of the hair and top, while the shape of the side can be represented by depicting the ears and neck. The shape of the underside can be expressed by drawing the contours of the chin and neck.
Properly handle the delicate relationship between rubbing and arrangement, and use rubbing on dark sides or distant places with a strong bokeh effect. When the rubbing effect is intertwined with the wire effect, they create a unique contrasting effect.
The rubbing part has a blurry texture, while the wiring part is very clear. Therefore, at the edge of a color block, we often use lines to shape the color shape, and on the inside of the color block, we use rubbing to distinguish the color block from the shade of the color block.
If the sketch joint examination can solve the above problems, it will definitely not be a problem to get a high score, let me wish the class of 2024 a great victory in today's joint entrance examination, and the test is possessed by God!
Thanks for reading!