A comprehensive guide to speech-like techniques and knowledge
The mouth, which is the most faceful and moving part, plays a crucial role in sketching. Capturing good mouth-shaped depiction techniques is essential to enhance the vitality of the entire image. And then we're going to go into the mouth-style of the characters in the sketch and the related mouth structure。
Full mouth structure
The upper lip, the lower lip, the cracks, the horns of the mouth, among the humans
The structure of the mouth is complex and consists of the upper lip, the lower lip, the cracks, the mouth horns and many fine parts of the human medium. An accurate grasp and graphic depiction of these structures will directly determine the overall effect of the work. Next, we will look into the drawings and techniques of each of these key structures。
The upper lip is usually slightly darker than the lower lip, and the upper lip is painted in a way that is more sensitive to the veil of the upper lip and the angles of the mouth. The morphological changes in the lower lip are more round and consist of a small starting point of the knots of the lips on both sides, which can be divided vertically into the light of the light, the light of the light and the light of the bottom, and horizontally into the front and the side. Fragmentation is a wave line formed when the upper and lower lips are closed, characterized by fluctuations and false changes. The mouth horn, which is the dent where the mouth and mouth muscle intersect, is an important turning point in connecting the mouth to the face. As for humans, it is located on the upper part of the upper lip nostrils, a dent between the nose and the mouth and an important part of the change in facial expression。
When drawing the mouth, it is critical to manage its natural connection to the surrounding parts, such as the smooth transition between the upper part of the mouth and the nose, and the harmonious integration of the right and left sides of the lips with the contours of the face. At the same time, attention needs to be paid to the changes in colour levels, especially on the bottom of the lower lip, which should be lighter than the dark side of the upper lip. In addition, the shadow cast by the upper lip on the lower lip is the deepest part of the mouth, so the colour of the projection should be slightly deeper than the colour of the dark side in order to create a real, stereo-visual effect。
Draw process details
In drawing our mouths, we need to follow a series of drawing steps. First, to ensure a natural flow of transition between the upper mouth and the nose and to lay the groundwork for subsequent detail. Next, attention is paid to the integration of the right and right sides of the lips with the contours of the face, with a view to achieving harmony and uniformity. In addition, the use of colours is crucial, especially for the processing of colours at the bottom of the lower lip, to ensure that they are light and appropriate in contrast to the dark side of the upper lip. At the same time, the projection technique needs to be crafted so that the shadow cast on the upper lip is slightly darker than on the lower lip, thereby enhancing the stereotic sense of the mouth. Through the precision of these steps, we are better able to present the truth and the solidity of our mouths。
When drawing, the first step is to sketch out the overall shape of the mouth. The key in this chain is to capture the interrelationship between the outer form and the internal structure, including elements such as shadows, piercing and shielding, so as to create a prima facie surface structure and stereo feel in the mouth。
After outlining the overall shape of the mouth, the next step would be to establish a clear and dark relationship and lay out a big tone. This segment requires an in-depth analysis of the transformation of the surface, based on the geometric structure of the mouth, so that the shape can naturally be rotated from one side to the next and evolve。
Usually, we begin with a deeper picture from the dark and then gradually move to the grey. In the process of mapping, the relationship between black and white needs to be further emphasized, highlighting the bulging in the middle of the mouth and the permutation of both sides. At the same time, the decent relationship between the lips should be carefully separated and the light should be pre-empted in order to enhance the stereoty and hierarchy of the picture。
And then we're going to take the third step, which is to adjust the image and go into the details. At this stage, care needs to be taken to keep the pen loose and avoid too rigid. It should focus on the middle of the lips, so that they are tangible and distinct, while the two sides should be defunct and smooth。
