Embossment human skills _ figurines technique

Core tip: relief of human aesthetic knowledge techniques the author: check in. 。 2010 - 01 - About 1 meter high proportion, the thickest and bottom elevation difference is 15 cm. Materials prepared relief of human aesthetic knowledge techniques the author: check in. 。 2010 - 01 - About 1 meter high proportion, the thickest and bottom elevation difference is 15 cm. Materials for nails, Manila, small DiaoSuDao, thin films, watering can, etc. Shelves shelves with anaglyph picture frame, but bigger size, same tangle on nails, to hang a mud. Floor with anaglyph face &broom floor, just slightly thicker, so you can better retain water, so as to reduce the mud contractility, well control the cracks. Portrait ( As shown in figure 4, 42) As anaglyph face production to set a first light source, so that the plate into middle tone, and selected a point of view, the beginner is best half side or side, and then describe accurately the object with lines, at the same time, pay attention to the proportion of objects, dynamic and perspective, as well as the composition of the picture. Add mud ( As shown in figure 4, 43) And mud is carefully and are bold, after careful observation, strive for a add dimension, shape and reach the designated position, pressure on solid, with a small DiaoSuDao slightly. After all adds a layer of mud, first check the contour line, remove the excess, small make up; Readjustment between different form the edge of the line, and then find out the form of bedding face turning, gently clap a big face. Good line when many paintings are covered, so, should also be on after add good mud like to draw a shape or mark, at the same time adjust the perspective of the form. The performance of the background has two meanings, one is as avatars can speak should be vertical with a certain thickness of mud, to indicate that the form was partially covering. Second, the environment space behind the model. It includes some simple props, such as the human body in the chair and lining cloth and so on, the chairs and lining cloth is shaped like the human body, according to the compression space order, ready to form the perspective of at the same time, as well as the turning point. Further shaping ( As shown in figure 4, 44) First of all is the adjustment of the composition, proportion, movement and perspective. As its composition form, rhythm and the layout of the arrangement, the density should be first examination, and has the intention, to adjust the proportion dynamically, make the head, chest, pelvis, three general in the interaction and the relationship between the perspective cases should include the proportion of each other in proportion to the size and amount of visual sense. Then induce large space level, and the near, middle and far and background. As close shot for: head, left arm, left shoulder, left leg, right leg, pelvis, chest, far right shoulder and right arm, but close to, in the far the three hierarchies and have change, like a close shot of his left knee was highest, followed by the left forearm and his left hand and left leg, the last is the left shoulder, left arm and left leg and left foot, such close shot and level before and after the change, so that the statue more delicate, more subtle. Anatomical shape, from outside to inside, should pay attention to the position of the bone and bone length, symmetry, and the location of the meat and the meat, start-stop, thickness, and the relationship between the flesh and bone, explicit joints, clear, hard, twist, is covered by meat place to round, thick and full body. Finally, summarized for turning and basic form, and do not be destroyed. Thorough mold this step is mainly about features, image quality and the shape of hands, feet and joints. Detailed anatomy to rich and accurate, and the relaxation of tension and contrast, the relationship between the surface texture, squeezing and pulling, etc. To deal with. Knee joint of square, hard, tibia, hard, patellar position direction, inner thigh bone in the knee joint, embryonic bone, fine relationship fibular head and the 'party' and the thigh muscles of the knee joint comparison 'circle' ( But at the same time, the muscle is also 'in the circle with party') Such is also must pay attention to in the process of thorough mold. The compression of the waist, relaxation and upper arm pull force. At the same time cubits away while arms extrusion; Wrist and upper arm into a 'square' form recently, after a period of forearm flexing muscles into a 'round' shape, strength is left foot flabby and so on, these small clear relationship step by step, so as to make the object more fully, more exquisite. With the deepening of the work, bedding face appears simple alone cannot fully explain, so according to the internal structure, muscles, bones, interspersed with covers variable into many small face and transition surface makes statue more rich, more detailed. Accurate physical structure, dynamic precise, accurate perspective, small nearly coscodl, near body fully, the body weak. On the surface of the skin texture, such as the skin texture, fabric texture, the texture of the hair, bones hard feeling, the flexibility of the muscle feeling, background of the actual feeling, and so on. Smooth, coarse, delicate, simple, rules, irregular, intentional, unintentional, and so on. The relationship between human and cloth, primary and secondary, strong or weak, cloth and the background, the relationship between the relationship between bone and flesh, due to further weaken the relationship between the large, square of the 'soft' change 'circle', and 'circle' become 'hard', is the local details too jump, too. In short, this step is to think seriously about, repeatedly adjust until the whole effect is best.