上面说的几个常见错误和解决方法：

Problem: To go shadow - midtone - highlight on all shapes, regardless of location and angle of the shape.

Solution: Try to zoom out, flip it, turn your head upside down. Don't render each detail individually one at a time. Equally lit minor shapes flattens the painting and makes it hard to make out the important major shapes.



Problem: To mix black into the shadow and white into the light, and then smudge the in-between colors.

Solution: This makes the painting look grey and dull. I've encountered a few people asking for 'shading tutorials'. There's no such thing. There's no shortcut saying you should start with a dark color and end with a bright color, then do that on every detail. You must learn how light works and almost render as if you were a 3D computer program. Some might knee-jerk about that, but for me it's true, I often get the best result when I let go of my bias and habits and just follow the 'render rules'.



Problem: To render and highlight details that will only distract the viewer. Dodge brush is real a sinner here.

Solution: You will have to sacrifice a lot of details that could have looked awesome fully rendered. What's important is the wholeness of the painting. So, no flares on the belt buckle on the unimportant little guy in the corner. The eye homes in on highlight, contrast and saturation. You should lead the eye to the important parts of the painting.



Problem: Flat and stiff poses, figures look fly-swatted.

Solution: I do this a lot. It's so easy to draw people from the side or front with arms stretching out. This will end up looking very boring and undynamic, unless you have a compositional idea, or you're doing an icon. It's tempting to try to show all the details of a character in one drawing, but if you're going for a dynamic pose that is rarely possible. Letting the body obscure an arm might be sacrifice you have to make in order to get a good pose. Also, when hiding a detail, you'll let the viewer's imagination decide how it looks, which can be a good thing! It can look better in the mind than it ever could on canvas.
Anyways, Learn foreshortening and dynamic poses from doing studies of comics and real life models or photos. Fly-swatted characters will only get you so far.



Problem: Bad stroke economy, or attempt at artsy 'ooh, lookit I'm so spontaneous'-strokes.

Solution: Each stroke should be contributing to the piece. Some hope to get away with random artsy strokes. Random strokes makes random details. Random details distracts the viewer from the actual details of the painting or drawing. I know it seems like some artists paints a perfect scene with just a few swift well placed strokes, but I think they actually do a lot of cleaning up and optimising. Go over the entire painting piece by piece and remove/flatten strokes that aren't contributing. Make sure the motif gets the focus and not some artsy stroke. The major shapes and volumes are always the most important and many neat strokes will have to be sacrificed in order to make the whole thing work.

看过的目前为止最棒的一个理论教程，很感谢楼主分享，解决了我太多的问题。

作者主页上的自己的涂鸦几乎都是很解决初学者问题的范材。

我下载下来打了个包，希望这次能看。解压以后看那个arttheory.html应该就行了。
相关文件(rar)：点这儿打开

看不懂。。哎。。郁闷。

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