没有天赋？NO，离一幅栩栩如生的画，你只需要7个技巧

Knowing how to draw is something most people feel is mostly about artistic talent. You can either draw or you can’t.

知道如何画画，大多数人认为这是需要艺术天赋的一件事。你能画，或者不能画。

I disagree.
我不同意。

Instead, I think drawing is mostly about having a set of specific techniques, that anyone can learn, which make it a lot easier to draw something realistically.
相反，我认为画画更多的是需要一系列的技巧，任何人都可以学习。技巧可以帮助你非常容易滴画一幅栩栩如生的画。

I’m not a professional artist, and so my experience comes mostly from drawing as a hobby. However, as many professional artists have long-since mastered these basic skills, they often struggle to teach them.
我不是一个专业的艺术家，最多算一个有着许多画画经验的爱好者。然而，很多资深的艺术家已经长时间地掌握了这些基本的技巧，所以这篇文章很难去教他们。

I’d like to share what I think some of these basic skills are, along with resources you can use to master them. If you do, I promise that you’ll be able to draw much, much better than you do now.
我要分享的是一些技巧，你需要使用并掌握他们。如果你掌握了他们，我保证你的画画能够比现在好太多，太多。

Seven Core Drawing Skills

七个核心画画技巧

Skill #1: See How Things Look (Versus How They Are)

技巧1 ： 观察事物的外表（相对于他们是什么）

The most basic skill of drawing is to notice how things actually look, instead of what you know they’re really like. This sounds vague and hand-wavey, but it’s really not.
画画最基本的技巧就是，注意到事物实际上看起来的样子，而不是你认为他们应该的样子。这听起来有些含糊不清，但实际上并非如此。

Consider drawing something simple like a table.
考虑话一个简单的东西，譬如桌子。

Question: How big is each leg of the table?
问题：桌子的每只脚是多大？

The obvious answer is that they’re all the same. That’s how tables are built. If they weren’t it would be all wonky.
显而易见的答案是，他们都是一样的大小。桌子就是这么建造的。如果他们不一样，桌子就会摇摇晃晃。

Yet that’s not how a table actually looks. Because some legs are in the background, and viewed at different angles, the lines you put down to represent the table legs aren’t actually the same size.
但是一张桌子的四个腿，看起来并不是一样大小的。因为有些桌腿在后面，从不同的角度看，你画出来代表哪些桌腿的线条并不是同样的大小。

The first question to ask when drawing is always, “what does it actually look like?” How do the edges of the object actually look, (i.e. what angles do they form and what size are they) rather than what you “know” them to be like as 3D objects.
当我们画画时，第一个要问的问题，始终是，“这个东西看起来是什么样子的？” 最为一个3D物体，物体的边缘实际上是什么样子的，（即他们形成的角度和大小） 而不是你认为他们应该像什么。

For a great resource on mastering this core skill, I suggest Drawing on the Right Side of the Brain.
有些资源可以帮助掌握这项核心技巧，我推荐《Drawing on the Right Side of the Brain: The Definitive》

Skill #2: Block In By Comparing Angles and Sizes

技巧2：通过角度和大小来画草图

If seeing how things actually look is the first skill, the second is using this knowledge in a precise way to make accurate drawings.
如果说，观察事物事实上看起来的外观是第一个技能，那么第二个技能就是，以精确的方法使用这些知识来绘制精确的图画。
There’s a few different ways you can do this.
有一些不同的方法可以做到。
The easiest is tracing. You copy over an image to preserve the lines and structures in the original. If you have a piece of glass and a dry-erase marker you can even do this to “trace” a real-life scene rather than an image.
最简单的是描摹。 复制图像以保留原始图像中的线条和结构。如果你有一块玻璃和一支干擦笔，你甚至可以用它来描摹真实的场景而不是图像。

The next level up is drawing from a grid. Apply a grid to your scene or image you want to copy, and then draw into a grid on your paper. I did this a lot when I started, and it’s a good way to get better at drawing without feeling like you’re cheating as much.
其次是从网格中绘制。 为你想要复制的图像和场景提供一个网格，然后再纸上画一个网格。刚开始，我经常这么做。这是一个很好的方法，可以让你不觉得自己是作弊的情况下更好地画画。

The final level is to triangulate. This maintains precision without relying on grids and tracing is to block in the shapes by locating reference points and then meticulously building up the scene by comparing angles and sizes of lines. This requires some effort, but it’s my favorite because it allows arbitrary degrees of accuracy and transfers better to looser sketches which don’t use the technique (unlike tracing or grid drawing).

最后一关是三角化。 这会保持精度，而不依赖网格，描摹是通过定位参考点来草拟形状，然后通过比较线条的角度和大小来精细地构建场景。这需要一些努力，但它是我最喜欢的，因为它允许任意程度的准确性，并且可以更好地转换成不使用这种技术的更松散的草图(不像模拟或网格绘图)。

The basics of this technique are as follows:
这项技术的要点如下：

• Locate a point on the top and bottom of the thing you want to draw. They should “bound” the object on the 2D scene. If you’re trying to draw a flower vase, you might pick the bottom point on the vase and the top of the highest flower.
• 描绘出两个点，高点和低点。他们会限制出2D场景的事物。如果你尝试画一个花瓶，你可能要获取两个点，花瓶的底部点，和最高的花朵的点。
• Sketch a rough line on your paper on the top and bottom.
• 在纸的顶部和底部画一条粗线
• Measure the angle between those points by closing one eye and holding your pencil up to line it up with the two points in your scene. Holding your arm steady, bring it down to your paper and try to copy this line. Do it a few times to make sure you got it right.
• 闭上一只眼，拿起铅笔让它与你场景中的两个点对齐，测量这些点之间的角度。保持手臂稳定，画到纸上，试着复制这条线。做几次，确保你做对了。
• Now pick a point on the left or rightmost side of the object. Do the same thing estimating the angle between it and the point from the bottom. Transfer this line to your paper. Do the same with the top.
• 现在在物体的左边，或右边选一个点。做同样的事情，估计它和底部的点的角度，把线条画到纸上。顶部也要这样做。
• This makes a triangle, which geometrically means that, to the extent your transferred lines were accurate, you have successfully copied the point on the page. Repeat this with a point on the opposite side (left or right) of the object.
• 这就形成了一个三角形，从几何上来说，这意味着，只要你的转换线是精确的，你就成功地复制了页面上的点。在物体的另一侧(左或右)重复这个动作。
• Now you have four points. See if the angle between the left and right point on your paper matches that of your scene.
• 现在你有四个点。看看你的纸上左右点的角度是否与你的场景相匹配。
• To add more points, you just need to measure angles between two points you have on the page, to the one you don’t have yet. Tracing these out slowly can build more and more reference points, which are collectively more and more likely to be accurate as you go on.
• 要添加更多的点，你只需要测量页面上两个点之间的夹角，到一个你还没有的点。慢慢地草拟这些数据可以建立越来越多的参考点，随着时间的推移，这些参考点越来越可能是准确的。

The best resource for learning how to apply this drawing technique is Virtruvian Studios course on drawing.
学习如何应用这种绘图技术的最佳资源是《Virtruvian Studios的绘图课程》。

Skill #3: Get Some Perspective

技巧3：获取一些透视

Drawing is hard because lines which are perpendicular in the real world, become weird angles on 2D scenes due to perspective.
绘画是困难的。现实世界中垂直的线，在二维场景中由于透视而变成了奇怪的角度。
Perspective is particularly important when drawing a scene of regular objects which recede into a distance. Therefore, it’s very important for things like drawing buildings, landscapes or big scenes. It’s less important for drawing faces and still lifes, where the subject doesn’t change all that much in terms of distance to the viewer.
透视法在绘制远处的规则物体时，如画建筑、风景或大场景时尤为重要。透视法对于画人脸和静物不是那么重要，因为在静物中，主体与观者之间的距离不会发生太大的变化。

While you can apply the same method as the one above to accurately draw a scene with buildings, it is often more useful as a shortcut to consider making vanishing points instead.
虽然，你可以使用与上面相同的方法精确地绘制建筑物的场景，但是作为一种考虑使用消失点的快捷方式，它通常更有用。

There’s three main types of perspective drawings you might consider:
你可以考虑三种主要类型的透视图：

One-point perspective has a single vanishing point. This can happen when you’re looking down a road, for instance, and the buildings, lampposts and statues on the side are receding into the distance. The idea being what in the center is smallest, with what’s on the left and right being bigger and bigger.
单点透视只有一个消失点。比如，当你往下看一条路的时候，你会发现路边的建筑物、灯柱和雕像都在向远处退去。中心的东西是最小的，左边和右边的东西越来越大。

Two-point perspective has two vanishing points. This happens when you’re looking at the corner of a building, and you want to consider two streets going off in each direction. The idea here being that what is in the middle is largest, with everything to the left and right getting smaller and smaller.
两点透视法有两个消失点。这发生在你看着建筑物的一角，你想考虑两条街道在每个方向上分开。这里的思想是，中间的是最大的，左边和右边的都越来越小。

Three point perspective has, you guessed it, three vanishing points. This is like two-point perspective, except now it also recedes above you. This is often the case when you’re looking up at a tall building and the top of the building takes up less room than the bottom, even thought each floor is (in the 3D world) the same size.
你猜对了，三点透视法有三个消失点。这就像两点透视，除了现在它也在你的上方后退。这种情况经常发生在当你抬头看一幢高层建筑时，即使你认为(在3D世界中)每一层楼的大小都是一样的，但当你抬头看一幢高层建筑时，你会发现它的顶部比底部占用的空间更少。

The Logic Behind Perspective
When I started learning about perspective, I found it very confusing. When should I use one point? Two points? The dreaded three?
透视背后的逻辑
当我开始学习透视法时，我发现它非常令人困惑。我什么时候应该用一点?两个点吗?可怕的三个?

The logic behind vanishing points is that all the lines that go “into” one vanishing point are actually parallel in a 3D scene. Look back at the above images. In a one point perspective, all the lines that go “into” the picture are all parallel. In a two point perspective, in contrast, there are two sets of lines which are themselves pointed in different directions.
消失点背后的逻辑是，所有“进入”一个消失点的线实际上在三维场景中是平行的。回头看看上面的图片。在单点透视中，所有进入画面的线都是平行的。相反，在两点透视中，有两组线本身指向不同的方向。

This means that a scene can, in theory, have any number of vanishing points, each corresponding to the parallel lines themselves. If you’re doing a sketch of an old European city, for instance, you may have buildings that sit at strange angles to each other, resulting in a set of lines and vanishing points for each.
这意味着，在理论上，一个场景可以有任意数量的消失点，每个消失点对应于平行线本身。举个例子，如果你在画一座古老的欧洲城市的草图，你可能会看到一些建筑彼此以奇怪的角度坐落，导致每一组线条和消失点。

Don’t get hung up on the technicalities of vanishing points when you get started. Instead, use them as a benchmark for blocking in your scene. If you know a group of lines (say all the tops of windows for a building) are going to be parallel, you can quickly estimate the vanishing point and sketch them all in more accurately than trying to guess the angle of each one on its own
开始的时候不要纠结于消失点的技术细节。相反，将它们用作场景中阻塞的基准。如果你知道一组直线(比如建筑物所有的窗户顶部)是平行的，你就可以快速估计出消失点，并把它们都画出来，这比试图猜测每一条直线的角度要精确得多

Use Perspective Lines to Make Better Guesses
You can get started with this by actually drawing vanishing points and making your buildings or objects fit. A quicker way, once you’re more experienced is simply to expect the lines in your buildings to be self-consistent.
使用透视图行进行更好的猜测
你可以从绘制消失点开始，使你的建筑或物体适合。一个更快的方法是，一旦你有了更多的经验，简单地期望你的建筑物的线条是自洽的。

If you’re sketching a building for instance, and decide to draw the top of a roof at a 15 degree angle, and you know it recedes off to the right, then you know the tops of your windows can’t be at a sharper angle than that one.
举个例子，如果你在画一个建筑的草图，决定画一个15度角的屋顶，你知道它向右倾斜，那么你的窗户顶部的角度不能比那个更尖锐。

This rule-of-thumb can help you make self-consistent drawings much faster than the painstaking method of triangulating points, by exploiting the regularity in the structures you want to draw.
这条经验法则可以帮助你通过利用你想画的结构的规律性，比艰苦的三角剖分法更快地画出自洽的图。

Skill #4: Don’t Get Tricked by Relative Contrast

技巧4:不要被相对的对比欺骗

We’ve already seen how applying our knowledge of the 3D world to 2D drawings can lead to misleading images. But, that was relatively minor to the problems relative contrast can cause.
我们已经看到，将我们对3D世界的知识应用到2D图纸中会导致误导图像。但是，相对于对比可能造成的问题，这是相对次要的。

Consider this famous optical illusion:
想想这个著名的视觉错觉:

The two squares are exactly the same value, except one looks light and the other dark. Relative contrast makes it very easy to overestimate the lightness of light objects in shadow and the darkness of dark objects in the light.
这两个正方形的值完全一样，只是一个看起来是亮的，另一个看起来是暗的。相对的对比使我们很容易高估阴影中浅色物体的亮度和浅色物体的黑暗度。
How can you avoid this problem? One way is to take a photograph and open it up in an image editing program like photoshop. There you can use the eye-dropper tool and actually sample the local value and see how it compares to other things you’ve already drawn.
你如何避免这个问题?一种方法是拍一张照片，然后在photoshop这样的图像编辑程序中打开它。在那里，您可以使用滴管工具，并实际采样局部值，看看它如何与您已经绘制的其他东西进行比较。
Except that feels a bit like cheating. Plus it doesn’t really train your mind to sense the correct brightness value just by looking at the objects.
只是感觉有点像作弊。另外，它并不能训练你的大脑仅仅通过观察物体来感知正确的亮度值。
How do artists overcome their brain’s tendency to adjust for relative contrast? By squinting.
艺术家如何克服他们的大脑倾向于调整相对的对比?眯着眼。

That may sound ridiculous, but it actually works. Squinting, so you’re seeing the scene as a blurry set of shapes through your eyelashes, reduces a lot of the information in the scene. It also turns the scene into splotches of light and dark which are easier to assess on their own without the distractions of relative contrast.

这听起来可能很荒谬，但它确实有效。眯着眼睛，所以你看到的场景是一组模糊的形状通过你的睫毛，减少了很多场景中的信息。它还将场景变成了明暗的斑点，在没有相对对比度干扰的情况下，这些斑点更容易单独评估。

Try it yourself, pick out two objects in the room and squint to compare their brightness. Now open your eyes and see how they look without squinting. Do you see a difference?
你自己试试，挑出房间里的两个物体，眯着眼睛比较它们的亮度。现在睁开你的眼睛，看看他们不眯着眼睛是什么样子。你觉得有什么不同吗?

Squinting is just one technique, but if you really want to understand how to draw lights and darks, I suggest How to Draw Light & Shadow by Will Kemp.
眯眼只是一种技巧，但如果你真的想了解如何画光和暗，我建议威尔·坎普如何画光和阴影。

Skill #5: Get the Big Stuff Right, and Let the Details Take Care of Themselves

技巧5:把重要的事情做好，让细节自己解决

A mistake I made a lot early on in drawing was putting in a lot of details on one section, without filling in everything else. I’d try to draw a boat, and I’d start putting in the lettering I see on the side of the ship before I’ve even sketched out any of the scene.
我在早期绘画时犯的一个错误是，在一个部分中加入了很多细节，而没有填充其他部分。我试着画一艘船，在我画出任何场景之前，我就开始在船的一侧写上我看到的文字。

One theory I have about why this often doesn’t work, is that people have expectations of accuracy. If I show you a really low-resolution photograph, or an impressionistic painting, you’re unlikely to say it lacks artistic merit, just because it isn’t photorealistic. The relationships it does portray are accurate enough that you can see what it is.
我有一个理论是关于为什么这经常不起作用的，那就是人们对准确性有期望。如果我给你看一张非常低分辨率的照片，或者一幅印象派的画，你不太可能说它缺乏艺术价值，仅仅因为它不符合现实主义。它所描绘的关系是足够准确的，你可以看到它是什么。

On the other hand, if you make part of your image extremely accurate, it makes deviations from accuracy on bigger things much more noticeable. A face drawn realistically will be judged much worse for slight imperfections than one done as a sketch.
另一方面，如果你使你的图像的一部分非常准确，它使偏差的准确性更大的东西更明显。与素描相比，逼真地画出一张脸的轻微瑕疵会被认为更糟。

A useful skill to learn when drawing, therefore, is to start by getting the big things right. How big is the thing you’re drawing? How much wider is it than it is tall? How big is it compared to the other things you’re putting in?
因此，学习绘画时的一项有用技能是从把大的东西画对开始。你画的东西有多大?它比它的高宽多少?它和你投入的其他东西相比有多大?

Once you’ve mapped those things out right, you can actually be pretty loose with a lot of details and still have a “realistic” looking drawing. Look at the windows on this painting. They are basically splotches, yet we accept it as realistic because the big things were done right.
一旦你正确地绘制了这些东西，你实际上可以非常松散地使用许多细节，仍然有一个“现实”的外观绘图。看这幅画上的窗户。他们基本上是污点，但我们认为这是现实的，因为大事都做对了。

Skill #6: Watch Your Curves Carefully

技巧6:仔细观察你的曲线

Curves are a lot harder to draw than straight lines. For starters, they’re more complicated than lines. You need more information to represent a curve than a straight line, so there’s more ways you can screw one up.
曲线比直线更难画。首先，它们比线条更复杂。你需要更多的信息来表示曲线而不是直线，所以有更多的方法可以把它搞砸。

Second, curves often are harder to freehand draw accurately. A straight line, with practice, isn’t too hard to do freehand, even if it doesn’t meet the accuracy of one done with a ruler. However, curves often go against the natural motion of your hand, so it’s often the case that you’ll draw it wrong if done in a single motion.
其次，曲线往往很难徒手精确绘制。一条直线，经过练习，徒手画出来并不难，即使它不能达到用尺子画出来的准确度。然而，曲线往往与你的手的自然运动背道而驰，所以如果你在一个单一的运动中画错了，这是常有的情况。

The starting point, as always, is to see how the curve really is. If you had to draw tangent lines on its surface, what would they be? Does it form corners, or does it stay curved the whole way? A common mistake when drawing vases in still lifes is to kink the corners at the end, not recognizing that it will form an ellipse instead.

和往常一样，我们的出发点是看看曲线到底是怎样的。如果你要在它的表面画切线，它们会是什么?它是形成角，还是始终保持弯曲?在静物画中画花瓶时，一个常见的错误是在画完后折弯了花瓶的角，没有意识到它会变成一个椭圆。

Next, you can sketch out a few line segments to break up a complex or sharply turning curve into a few straight-line segments as approximation. This will help you stay roughly in the right ballpark when you put curves in.
接下来，您可以画出几个线段，将一个复杂的或急剧转弯的曲线分割成几个直线段作为近似。这将帮助你保持大致在正确的棒球场，当你把曲线。

Finally, draw your curve, asking yourself how it is accelerating and slowing down at different parts of your line segment.
最后，画出曲线，问自己在线段的不同部分它是如何加速和减速的。

Skill #7: Don’t Be Afraid to Draw Things

技巧7:不要害怕画东西

All of these skills don’t matter if you don’t practice them. The biggest obstacle to drawing is fearing that it won’t turn out right—that you’ll put effort in and you’ll end up with something embarrassing.
如果你不练习，所有这些技能都不重要。画画最大的障碍是担心画不好——你会付出努力，结果会很尴尬。

This is why I think some people have convinced themselves they don’t have artistic talent.
这就是为什么我认为有些人认为自己没有艺术天赋。

At some point they received negative feedback about something they drew, either from a peer, teacher or parent (or even from their own expectations) and this made drawing something frustrating, instead of pleasant. They stopped doing it because thinking of drawing brings up those old fears and anxieties.
在某种程度上，他们会收到来自同伴、老师或家长(甚至来自他们自己的期望)的负面反馈，这使得画画变得令人沮丧，而不是愉快。他们不再画画了，因为一想到画画就会想起过去的恐惧和焦虑。

However, the truth is that drawing is mostly about cultivating a bunch of specific, learnable skills like the ones above. Anyone can learn them, they just require practice. In order to practice, you need to stop being afraid of drawing.
然而，事实是，绘画主要是培养一堆特定的、可学习的技能，就像上面提到的那些。任何人都可以学习它们，它们只需要练习。为了练习，你需要停止害怕画画。

There’s a few ways you can build up your confidence to master these skills:
有几种方法可以让你建立自信来掌握这些技能:

Start with easier subjects and methods. Drawing portraits with the triangulation method too hard? Try drawing a still life using the tracing approach or with a grid.
从简单的主题和方法开始。用三角法画人像太难了?尝试使用跟踪方法或网格绘制静物。

It’s okay to keep your first drawings private. You don’t need to show your mistakes, just the ones that turned out well. Even many professional artists often re-do things multiple times until they’re happy with them, so why can’t you?
你的第一幅画可以保密。你不需要展示你的错误，只需要那些结果很好的错误。甚至很多专业的艺术家也经常重复做很多次，直到他们满意为止，所以为什么你不能呢?

Making daily drawing a habit. Set yourself the goal of drawing something every day, even if it’s just a quick sketch of something lying around the house that you spend five minutes on.
养成每天画画的习惯。给自己设定一个目标，每天画一些东西，即使只是你花五分钟在房子周围画一些东西的速写。

Don’t give up and keep practicing to draw better!
不要放弃，继续练习，画得更好!