灰
ash
一幅素描画得灰，是指画面效果平淡，调子层次拉不开，显得没有精神。
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.
造成画面灰的原因主要有两个方面：一是来自客观对象，由于写生的对象处于光线比较平均或微弱的地方，影响了物体的立体感，缺少层次上的差异和节奏感。
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.
如果依样画葫芦，没有对物体结构的深刻理解及对画面明暗作恰当处理，就必然导致画面出现灰、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.
纠正的方法是，根据对物象结构的理解和分析，对明暗层次进行排队，根据物体结构转折的强弱，大胆地加强明暗对比效果，使物体的结构关系更加明确而强烈。这种主动的艺术处理在素描写生中是非常必要的。
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.
造成画面灰的第二个原因是作画者写生方法存在问题，主要表现在作局部观察和局部表现时，缺乏对整体明暗层次的把握，忽略大体，到处都画得一样，导致明暗层次拉不开。
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.
纠正的方法是把亮面、中间面及暗面反光 几大区域明礁区别开来，同时在各明度区域进行更深入地比较和表现，这样就能画出结构分明、明暗层次丰富、结实响亮的素描作品。
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:
有些同学的作品中，经常会看到这种情形，画面中的物象的比例、结构、特征都不错，但是物体的结构转折关系及明暗层次画得琐碎、花乱。
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.
这里的主要问题是整体意识薄弱，缺乏归纳和概括处理能力。
The main problem here is the lack of overall consciousness and the lack of generalization and generalization.
整体感在素描造型中是重要的的能力之一，决不能轻视。
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强对物象结构、明暗的整体比较，加强归纳能力，善于概括，敢于忽略次要细节的微小变化，从而加强和突出关系。说到底，只有看到整体，才能画得整体。
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:
这是指画面虽然表现了很多明暗层次，也注意到了主次的明暗对比关系，但是给人感觉物象表现不结实，抓不住结构的具体关系，显得很空泛。
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.
这主要是对物体的结构理解不深刻，没有真正的把握物 象各部分结构的具体转折、起止、穿插关系，从明暗大块面上表现了层次的差别，但没能抓到具体的结构点。
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.
应该加强对结构的理解和分析，搞懂各部分关系，并用 明、暗体现这些结构关系，这样，作品才能画得结实和实在。
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对于物体结 构的理解不口表现过于机械，缺乏灵活性，对物象的形体抠得太死、太概念化，没有表现出物体在空间中的虚实变化。
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.
纠正的方法是除了对结构与明暗关系作理解十 生的分析外、还要抓住物象在特定光源下的变化关系，同时，对那些关键性的结构细节的微妙变化也要牢牢抓住。“尽广大，致精微”，这样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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