灰
ash
一幅素描畫得灰，是指畫面效果平淡，調(diào)子層次拉不開，顯得沒有精神。
A sketch is grey, which means that the picture is insipid, and the level of the melody can not be pulled out, showing no spirit.
造成畫面灰的原因主要有兩個(gè)方面：一是來自客觀對象，由于寫生的對象處于光線比較平均或微弱的地方，影響了物體的立體感，缺少層次上的差異和節(jié)奏感。
There are two main reasons for the gray picture: one is from the objective object, because the object of sketch is in a place where the light is relatively average or weak, affecting the three-dimensional sense of the object, the lack of hierarchical differences and rhythm.
如果依樣畫葫蘆，沒有對物體結(jié)構(gòu)的深刻理解及對畫面明暗作恰當(dāng)處理，就必然導(dǎo)致畫面出現(xiàn)灰、平的毛病。
If the gourd is painted according to the pattern, without a deep understanding of the structure of the object and proper treatment of the light and shade of the picture, it will inevitably lead to the gray and flat defects of the picture.
糾正的方法是，根據(jù)對物象結(jié)構(gòu)的理解和分析，對明暗層次進(jìn)行排隊(duì)，根據(jù)物體結(jié)構(gòu)轉(zhuǎn)折的強(qiáng)弱，大膽地加強(qiáng)明暗對比效果，使物體的結(jié)構(gòu)關(guān)系更加明確而強(qiáng)烈。這種主動(dòng)的藝術(shù)處理在素描寫生中是非常必要的。
The correct method is to queue up the light and shade levels according to the understanding and analysis of the object image structure and boldly strengthen the contrast effect between light and shade according to the strength of the turning point of the object structure so as to make the structure relationship of the object more clear and strong. This active artistic treatment is very necessary in sketching.
造成畫面灰的第二個(gè)原因是作畫者寫生方法存在問題，主要表現(xiàn)在作局部觀察和局部表現(xiàn)時(shí)，缺乏對整體明暗層次的把握，忽略大體，到處都畫得一樣，導(dǎo)致明暗層次拉不開。
The second reason for the gray of the picture is that the painter's method of sketching exists problems, mainly in the partial observation and performance, the lack of grasp of the overall level of light and shade, ignoring the general, everywhere painted the same, eventually leading to the level of light and shade can not be pulled apart.
糾正的方法是把亮面、中間面及暗面反光 幾大區(qū)域明礁區(qū)別開來，同時(shí)在各明度區(qū)域進(jìn)行更深入地比較和表現(xiàn)，這樣就能畫出結(jié)構(gòu)分明、明暗層次豐富、結(jié)實(shí)響亮的素描作品。
The correct method is to distinguish the bright reefs, the middle reefs and the dark reefs, and at the same time to make a more in-depth comparison and performance in the luminous areas, so that a well-structured, rich in light and dark layers, and a solid and resounding sketch can be drawn.
碎 ：
Broken:
有些同學(xué)的作品中，經(jīng)常會(huì)看到這種情形，畫面中的物象的比例、結(jié)構(gòu)、特征都不錯(cuò)，但是物體的結(jié)構(gòu)轉(zhuǎn)折關(guān)系及明暗層次畫得瑣碎、花亂。
Some students often see this kind of situation in their works. The proportion, structure and features of the objects in the pictures are all good, but the structural transition relations and the light and shade levels of the objects are trivial and confusing.
這里的主要問題是整體意識(shí)薄弱，缺乏歸納和概括處理能力。
The main problem here is the lack of overall consciousness and the lack of generalization and generalization.
整體感在素描造型中是重要的的能力之一，決不能輕視。
The sense of wholeness is one of the most important abilities in sketch modeling, and must not be despised.
克服碎的弊病主要的方法是加強(qiáng)對物象結(jié)構(gòu)、明暗的整體比較，加強(qiáng)歸納能力，善于概括，敢于忽略次要細(xì)節(jié)的微小變化，從而加強(qiáng)和突出關(guān)系。說到底，只有看到整體，才能畫得整體。
The main way to overcome the disadvantage of fragmentation is to strengthen the overall comparison of image structure and light and shade, strengthen the ability of induction, be good at generalization, dare to ignore minor changes in minor details, so as to strengthen and highlight the key relationship. In the final analysis, only by seeing the whole can we draw the whole picture.
浮 ：
Floating:
這是指畫面雖然表現(xiàn)了很多明暗層次，也注意到了主次的明暗對比關(guān)系，但是給人感覺物象表現(xiàn)不結(jié)實(shí)，抓不住結(jié)構(gòu)的具體關(guān)系，顯得很空泛。
This means that although the picture shows a lot of light and shade levels, but also noticed the primary and secondary contrast between the light and shade, but give people the impression that the performance is not solid, can not grasp the structure of the specific relationship, it is very empty.
這主要是對物體的結(jié)構(gòu)理解不深刻，沒有真正的把握物 象各部分結(jié)構(gòu)的具體轉(zhuǎn)折、起止、穿插關(guān)系，從明暗大塊面上表現(xiàn)了層次的差別，但沒能抓到具體的結(jié)構(gòu)點(diǎn)。
This is mainly due to the lack of a deep understanding of the structure of the object, without a real grasp of the specific turning point of the structure of the various parts of the image, starting and stopping, interposition relations, from the light and shade of the large surface of the level of differences, but failed to grasp the specific structural points.
應(yīng)該加強(qiáng)對結(jié)構(gòu)的理解和分析，搞懂各部分關(guān)系，并用 明、暗體現(xiàn)這些結(jié)構(gòu)關(guān)系，這樣，作品才能畫得結(jié)實(shí)和實(shí)在。
We should strengthen the understanding and analysis of the structure, understand the relationship between the various parts, and embody these structural relations in light and dark, so that the work can be painted solid and real.
僵 ：
Deadlock:
造成僵的毛病主要是對于物體結(jié) 構(gòu)的理解不口表現(xiàn)過于機(jī)械，缺乏靈活性，對物象的形體摳得太死、太概念化，沒有表現(xiàn)出物體在空間中的虛實(shí)變化。
The main reason for the stiffness is that the understanding of the structure of the object is too mechanical, lack of flexibility, the image of the body cut too rigid, too conceptual, not showing the change of the object in space.
糾正的方法是除了對結(jié)構(gòu)與明暗關(guān)系作理解十 生的分析外、還要抓住物象在特定光源下的變化關(guān)系，同時(shí)，對那些關(guān)鍵性的結(jié)構(gòu)細(xì)節(jié)的微妙變化也要牢牢抓住。“盡廣大，致精微”，這樣才不致流于概念化和僵。
In addition to understanding the relationship between structure and light and shade, we should also grasp the relationship between the changes of objects and images in a particular light source. At the same time, we should also grasp the subtle changes of the key structural details. "To the greatest extent, to be subtle," so that it does not become conceptual and rigid.
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