How to understand the concept of engraving relief by CNC precision engraving machine

As we all know, CNC engraving machine is a kind of high-tech automatic engraving machinery and equipment specially designed for customers to engrave relief. It can carve all kinds of complex relief works of art efficiently and quickly. It is also widely used in wood carving, stone carving, ceramic glass handicraft carving and so on. Although many customers have realized the high value of relief, they have bought CNC engraving machine equipment and are ready to enter the relief industry. But many people still don't understand the real concept of relief. Today, Qingdao Suba CNC Relief Engraving Machine Factory makes a simple overview.

Relief art is more and more widely used in China's contemporary urban construction and urbanization. As an art form accepted by the society and the public, there are still some problems and cognitive biases in the creation of relief works. In the long run, if we want to solve these problems fundamentally, I think we should start with education and students. Based on the problems I have encountered in teaching and practice, I will carry out research on the teaching of relief art.

Relief, as a modeling language and form in sculpture art, has its own unique modeling method. It reasonably compresses natural objects in a limited modeling space, and shows people more abstract spatial effects through perspective and illusion. Because the relief is compressed in three-dimensional space, the three-dimensional image is flattened and the shape is thin, so it is often easily mistaken for the relief as "half of the sculpture". At first, many students in this major also thought that sketching with relief head was to shape the half-head shape that the model could see. Therefore, the image produced is like a half-carved head stuck on a clay tablet, which is not only thicker and thicker, but also has a weak three-dimensional effect. The reason is that we haven't really understood and recognized the relief and the correct compression of the relief. So, what's the difference between relief and "half a round carving"? How can we truly understand and recognize liberation?

First, the shape and space of the relief.

The formal language of engraving machine sculpture is form. The so-called shape means that when we observe an object, we use our eyes to grasp the basic characteristics of the object. No matter how or where an object is placed, the outline of its edge reveals its shape. To understand objective objects, only by combining their shapes and bodies can we get a complete concept of perception. Moore once said: To strengthen the training of any form of "three-dimensional sense", mainly "sense of depth and distance", we must make further efforts to understand the changes of a solid in all spaces from the perspective of rationality and emotion, and think of that side while looking at this side, look at an object, and observe it in our minds as if it were around, and don't be satisfied with feeling the side we see. Although Moore's exposition of form and space generally refers to sculpture, it is the same as circular sculpture and relief. No matter how thin the relief is, its formal language is still a form. Like the circular sculpture, it expresses the complete spatial relationship between the object and the image by shaping the shape. The understanding of the shape and space should be consistent, aiming at respecting the objective spatial existence and realism of the object, but it is different in the expression and observation methods of the shape. Circular sculpture is a real three-dimensional shape to shape and express space. However, the expression of relief determines and limits its thickness. Therefore, according to the perspective principle, it produces a three-dimensional spatial effect visually on the limited concave and convex undulations through compression. However, although the relief is compressed in volume, it does not affect its overall image and the purpose of complete spatial relationship. Then, the so-called overall image not only refers to the half that we can see when we observe the image, but also includes the other half that we can't see or be blocked. We should admit that this half also exists objectively and is an integral part of the image we want to create. Even the space to be represented by relief is not only the physical space (real space), but also the environmental space (virtual space) where the image is located. Because the embossed image is molded on the substrate, it is also necessary to shape and express the environmental background behind the image and the spatial distance from the background, which is also the most basic requirement for the relief-three-dimensional sense and sense of space. Our common Great Wall commemorative coins are a good example. Designers show the landscape pattern of the Great Wall of Wan Li on the surface of coins with a thickness of less than 1 mm, with majestic Great Wall, scattered beacon towers and wide depth of field, which is very stereoscopic. It can be seen that the success of three-dimensional sense and space sense does not depend on its thickness.

Second, the "corporate position" and relief perspective

Because the thickness of the relief of engraving machine limits its modeling and display space, especially the shallow relief is close to the plane modeling, in order to make the characters feel distinct, it is necessary to rely on "line" to strengthen the contour image, and the relief usually uses "position" to express the outer contour line. "Enterprise location" refers to the outer contour of the relief image and the vertical elevation between the front and rear contours and the background. The height of "enterprise position" often determines the thickness of relief and the clarity of outline. At the same time, "enterprise location" is an important means to express space and distance in relief. Because the relief compresses the form, in order to show the overlapping and shielding relationship between one form and another, it needs to be handled by enterprise line. Therefore, it can also be said that the height of the relief lines of the two forms is different, which means the difference of the spatial distance between the two forms. Without relief lines, there is no thickness of the body, let alone the space and distance to be expressed. Therefore, the difference between true relief and "half-round carving" lies in whether it has the performance of enterprise position; One is that in the limited modeling space, although the modeling is compressed, it still shows the overall image and visual three-dimensional space effect of the object image, relying on enterprise positioning. The other one, though rough in shape, only shows half of the objects, that is, it doesn't make good use of the position of the enterprise. It can be seen that only through the location of the enterprise can we show the sense of volume and thickness of the invisible other half. This is an important role of enterprise position in relief, and it is also a unique spatial expression of relief.

In addition, the compressed relief needs perspective to express the three-dimensional space effect. Because after the relief is compressed, the feeling of insufficient body thickness is made up by perspective. It can be said that to understand and understand the relief, we must first understand and understand the perspective. However, in the first relief class, students who are used to circular carving are often only used to expressing thickness with real modeling, but not good at perspective on clay sculpture. This concept needs to be changed. This is also one of the most important differences between relief and round carving. When drawing a circular sculpture, observe it from multiple angles. In order to see the whole picture, we should try our best to observe every face. Therefore, in class, students should not only set up a model turntable, but also constantly look at the model up and down. However, when observing the relief sketch from a fixed perspective, only the first half of the image can be seen, and the second half is hidden. Then this should be objectively expressed in shaping: the part you see should be shaped and the part you can't see should be kept. The so-called "allowance" is to set aside a certain thickness position appropriately to show the complete thickness and spatial distance of this body, so as to achieve a three-dimensional spatial effect in vision and image.

In fact, the difficulty of relief is hard to see through, and the difficulty for people to understand the perspective of relief of engraving machine lies in its three-dimensional. Because in general modeling training, three-dimensional training is more difficult to master than two-dimensional, and so is perspective. It is not difficult for people who have received sketch training to master plane perspective, but it is not so easy to do perspective on mud. In the teaching, it is also found that in the draft stage of relief sketch, the perspective is first painted on the mud with a scraper, because it is still flat, and this time it is generally a "painting" perspective. With the deepening of the whole relief step and the increase of the thickness level, the perspective gradually disappears when it begins to move towards three-dimensional Finally, the true thickness of the round carving is used to replace the perspective effect of the relief body. It can be seen that students who have only been trained in sketching and carving are still accustomed to two extremes in the spatial expression of relief: either the perspective treatment of complete plane or the carving with the real entity of carving. The expression form and perspective treatment between the two are not so easy to understand or understand, but it is difficult to show. Therefore, to deal with the perspective relationship of relief, only through training, thinking, analysis and research can we deepen our understanding and understanding. I summed up an experience in making relief perspective: from painting to relief, we should follow the laws of being near thick and far thin, near big and far small, near real and far imaginary. On the basis of plane perspective, only the thickness level and fluctuation are deepened and adjusted, and the contour line should always remain unchanged.

In addition, due to compression and perspective, compared with circular carving, relief is different in the thickness of the blank, and also forms a certain slope change law on the surface of the blank. For example, an avatar is carved with a round carving, and its basic shape is a right-angled cube. After being compressed into a relief, its basic shape will become a flat cube or a flat diamond in different degrees. And each of its faces will also form different degrees of inclination due to the change of body angle of view, which is inversely proportional to the width of the face. If we divide the basic shape of the avatar into a diamond with six faces, the decent width and slope of the face and side will change because of different viewing angles. The wider the face, the smaller the slope of this face; On the contrary, if the face is narrow, the slope of this face will be large, and even if the front of the head is embossed, the front and back of the head will form a deep position. In other words, the dignity of the basic shape, from the slope to the position of the enterprise, can change with different perspectives and form a certain law.

From the above analysis, we can see that perspective and position play an important role in the expression of relief. Therefore, if you want to shape the relief, you must study, understand and master it carefully. Everything has duality, so does relief as a plastic art, perspective is scientific, and vision is unscientific. At the same time, compared with circular carving, there are similarities in understanding the relationship between form and space, but there are also great differences in form and expression. Relief is different from round carving. It is not a direct expression of image and form, but a three-dimensional image seen and perceived, which is finally transformed into an approximate three-dimensional relief image through the analysis and understanding of the brain. It is impossible not to think. Therefore, only by objectively understanding the relationship between sculpture and space, carefully studying the compression principle and perspective law of sculpture, and observing, comparing and analyzing more in sculpture and sketch, can the sculpture be as reasonable, true and natural as possible visually, and the sculpture which is not three-dimensional compared with the circular sculpture can be nearly three-dimensional, and the performance of the sculpture art can be more perfect and ideal.

Understand and understand the concept of relief, in order to better tap the value of relief, better choose the appropriate CNC engraving machine and equipment, and do a good job in relief carving technology.