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Learning 6 kinds of consciousness

In this sketch of the painter thoams kinkade, the entire hand is treated as a block, with front A and side B. Each phalanx of each finger is also treated as a cube. When the face-to-face transition turns, Rubens deals with a strong contrast between light and dark, which is most clearly seen at the intersection of block c and block D. Notice the projection (E) on the front side,



this shadow disappears on the side, because the main light source leaves the projection on the side never seen. The projection of the reflected light may be on the side, but this is rarely allowed.

(by thomas kinkade prints)


Thomas Kinkade A New Day at the Cinderella

Although we must study the bones of our opponents separately, we must recognize the importance of the overall consideration of the bones of the handles (the feet, the thorax and the head). There are two arches - an arch (D) at the junction of the wrist and palm and a half arch (E) at the end of the palm, which are most useful for the structure of the hand. These arches can naturally be used as structural lines of the hand.


Our upper and lower limbs are very similar in many places. This seems to the painter to make sketching easier. If you have a lot of anatomy about the upper limbs, then the lower limbs naturally learn a lot, and vice versa. Our elbows are forward and the knees are backwards, which is good, but they have been screwed up during the long evolution. With this in mind, it is necessary to study the significant similarities between the upper arm and the thigh, forearm and calf in terms of muscle and bone, like Da Vinci, especially the similarities between the hand and the foot.



How to draw a character sketch

To draw a quasi-contour, you must look at the whole, and compare the whole, and use the auxiliary line to help determine the position. When grasping the shape, you should grasp the features and draw them like you. The shape is beginning to see, and the image is ready to come out. Just like the artist at the entrance of the park, with the silhouette of the scissors, the figure is easily revealed, and although we can't see the fine internal structure, we can still recognize him. Some did not pay attention to this step, and the shape was still very vague, so they rushed to paint the five senses. How can the paintings drawn in this way approach the object! By

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