1 fig. So, in this master class, you will change your attitude to colored pencils altogether! Colored pencils are a very convenient material to use, because you can have a very large number of shades at your disposal, including those that appear by superimposing colors on top of each other. But when using pencils, you need to know their features, for example, you should not put pressure on the pencil at the beginning of the work, otherwise you won’t erase or cover it with a different color. With this material it is necessary to use the principle - from light to dark. But first, let's arrange the still life. Let's start with the horizon line. Then, using a line of geometric shapes, we outline the approximate shape of our composition objects. Let's start with the dish.
2 fig. You are great! And now it is important for us to build a dish for fruits of the correct shape. We find the central axis, it should be straight and even, on it we find a point at the level of the supposed neck of the dish and draw a horizontal line through the point, we do the same at the base of the dish leg. Very good! We take a ruler and measure equal parts from the axis horizontally. Making ellipses and connecting lines. See drawing. Erase the auxiliary lines and circle the dish.
3 fig. Find the direction of the fruit using the diagonal axis and refine the shapes and details of the apple, pear and plum. And start drawing grapes with a brush, after it in shape, adding oval grapes from top to bottom, some of them overlap each other for realism. Draw ponytails.
4 fig. Before you start working with color, let me remind you that this is not a coloring book and you should apply a stroke, not paint! At this stage, the pencils must be pressed halfway. It is necessary to hatch only according to the shape of the object. We take pencils and apply the main shades of objects, look at the picture.
5 fig. At this stage, you must add density to the objects of the still life, by introducing new shades. Your stroke now matters more, as it is important to make the still life more real. We need to deepen the shadows using blue, purple, green and brown. Show the drop shadow from the objects and the table with strokes. Work on the details.
Did you know that the process of drawing not only instills a sense of beauty in a person, but also helps to cope with stressful situations, calming the nerves and giving birth to peace in the soul? In view of this, it is recommended to devote at least a little of your free time to this lesson. Let's learn how to draw a still life with fruit with a pencil.
General information
To learn how to depict a still life with fruit, you must first understand what the term itself means. In addition, you need to know what attributes a future artist should prepare to create his own masterpiece. A painting depicting inanimate objects (it doesn’t matter, one or more) is called a still life. Translated from French, this term sounds like "dead nature". Depending on the flight of fancy, flowers, household items, fruits and vegetables can be used in the paintings. In a still life, there is often such an element as fabric (of any color and texture).
Required Attributes
To cope with the upcoming work and master all the nuances, you need to prepare the necessary tools in advance. You will need:
A sheet of paper or canvas (it all depends on what size you want to create your first masterpiece);
Simple pencil;
Fabric and items that you will use as nature;
Good lighting.
If you are going to paint a picture, then, above all, you must decide what type of paint you will use (watercolor or oil) and, in accordance with this, choose brushes and a palette. And, of course, don't forget the water.
Graphics technique
In order for your picture to turn out to be the most similar to the selected composition, you must first master the technique. You should learn to convey highlights, shadows and texture. A still life with fruit in pencil begins to be created from a sketch. It is shown on a separate sheet. Here they simply fix the arrangement of objects, without drawing them completely. When the sketch is ready, you can begin to depict the elements on the main canvas. While drawing, do not press too hard on the pencil. Otherwise, when you delete an incorrectly drawn line, traces will remain on the paper. When creating the outlines of objects, you should not draw every line, apply a sketch with chaotic movements. You should be aware that artists use pencils of different softness for individual lines. During the image process, the set allows you to create various effects on paper. That is why, if you want to do everything right and depict a beautiful still life with fruits, approach the choice of "tool" with great responsibility.
Create a sketch
As everyone understands, in order to start working, you first need to create a composition. You must decide on the main background of your painting, as well as what elements will be present in it - whether you will depict one object or decide to use several. For example, you can paint a still life with fruits and vegetables, or diversify your picture with a bouquet. As a background, it is desirable to use plain fabrics. Next, on the drawing paper, determine the center of the composition and sketch out a sketch of the future picture. The first thing to draw is simple elements: an oval or a circle. For example, an ordinary apple is depicted using a circle; details in the form of small balls are used to sketch grapes. The main thing is to make sure that the objects are located in their places, that is, observe proportionality.
Depicting objects
When you managed to correctly position all the objects on the sheet, it's time to move on to drawing them. To do this, enter fruits into the figures shown using clearer lines. Make clear all the details, contours and remove auxiliary lines. To create the right image, do not forget to place the shadows correctly with a pencil. This action is performed using hatching, initially darkening the darkest places with a gradual transition to lighter ones. Shadows are drawn with an extremely sharp pencil when applied layer by layer. The final step is to check the image of all objects, special attention should be paid to the tone layout.
Still life with fruit - step by step
Let's learn how to create a painting using the example of an orange, grapes and kiwi. For this purpose, it is better to use real items, so purchase them in advance. Believe me, for the acquisition of skills and training, it is better to draw from life. To make it easier for you to create your first masterpiece, strictly follow our instructions.
Drawing details
First, we outline the location of the fruit on paper. To depict the halves of a kiwi and an orange, you should draw slanted lines and only after that draw ovals. Now you can proceed to the direct drawing of fruits. Let's start with the orange. To do this, we divide its sketch with the help of an auxiliary line into two parts. After that, in each half we draw slices, depicting them as triangular sectors.
The area where the grapes should be located is filled with circles, and for kiwi we draw only the core. It is advisable to start hatching a sketch with grapes. To do this, using the softest pencil (8 "M"), draw each circle in a circular motion. Please note that the lightest place in the grapes should be the middle, as well as the edges. This is done so that the berries do not merge with each other. Now let's move on to drawing an orange. To begin with, we shade the peel. To do this, with the help of a pencil "T" we will impose hatching in the shape of a fruit. Then we will apply spots and dots. This is done with a "TM" pencil. So you can convey the texture of the orange.
Draw fruit slices with a "T" pencil. At the same time, we move from the center to the edges. To more accurately convey the image of the fruit, we draw "feathers" with a "TM" pencil. To make the drawing more similar to the original, use an eraser to make the corners more rounded and wipe a small circle in the center. It's time to portray kiwi. For this purpose, with a "TM" pencil, we apply strokes to its surface (without pressure). And to give the fruit more realism, we will make small lines on the surface with stronger pressure. Now let's draw the core. In the center of the kiwi with a "TM" pencil, draw rays (several layers). So we will convey the texture of a real fruit. With a soft pencil we draw the seeds, then with the help of an eraser we make the middle lighter.
grape leaf
If you have free space left on the working field, you can add an element such as a grape leaf to the still life. To do this, we depict the shape of the sheet in the form of a spatula. After that, we will create veins that must necessarily come out of one point (this is a characteristic feature of a grape leaf). We make a more accurate sketch of the leaf shape. Now you can add smaller branches to the veins and create the corners of this element. Let's start shading. With a pencil "T" from the point of convergence of the veins, draw dashed lines to the ends of the element. Next, let's add volume.
To do this, apply an additional layer with a "TM" pencil. But you need to do it only at the edges and the top of the sheet. The final stage of drawing includes the application of shadows and a clearer image of the veins of the leaf. Your painting is ready. Many people think that drawing a still life with fruit is much easier than drawing, for example, a still life with a bouquet. In principle, there is no big difference between these pictures. When creating both of these drawings, it is necessary to depict every detail. The only difference is that still lifes with fruits and flowers have more elements.
Description:
The introduction is a long, boring and uninteresting read, so I'll get straight to the point. 1. Tools. First of all, we need a reference. In this case, this is a photo found on the Internet. You can set the nature yourself - it’s much more useful to draw. Try to look for such a reference, where you could roam around and painting (drapery, apples) and...
The introduction is a long, boring and uninteresting read, so I'll get straight to the point.
1. Tools.
First of all, we need reference. In this case, this is a photo found on the Internet. You can set the nature yourself - it’s much more useful to draw.
Try to look for a reference where you can roam around with both painting (drapery, apples) and tasty details (leaves). Some details, you know, are not always good, especially in the early stages of learning - the picture itself is lost behind their drawing. Do you want realistic drawing? Take your camera and take pictures. Our task is to present the nature (or reference) as we see it, and not as the camera sees it.
(the ref has a rather poor color scheme, so I decided to depict the nearest apple in yellow)
Also, of course, we need various art supplies, such as:
- watercolor (in braces, in tubes - as you prefer);
- watercolor paper prepared for work (that is, stretched on a tablet), size - more than A3, quality - again, to your taste, we don’t have much choice in the city, so I can’t advise anything here;
- masking liquid (not absolutely necessary in this case);
- an easel (I personally hate to draw on the table, I'm more used to working on a vertical plane);
- stationery - brushes (preferably squirrel, No. 2, No. 3 and No. 4 for the background), a jar of water (which should be changed as often as possible), a palette (what kind of palette to use is a matter of your habit), pieces of paper for proofing, clean a rag, and a ruler, a pen (if you use a masking liquid).
2. Pencil sketch. Beginning of work.
In building a pencil sketch of a still life, this lesson can help you: Linear-constructive drawing of a still life.
First, we define the boundaries of our still life: the lower boundary is where the yellow apple lies; top, right and left - where the leaves reach the maximum. With the help of a pencil (ruler, but better train your eye), you can immediately determine from the photo how much larger this rectangle will be in width than in height. Measure distances in comparison with some specific value. 
Then mark the places (footprints) where each of the items on the table stands - evaluate how far the glass is from the red apple than the red apple is from the yellow one. Then, again, with the help of a pencil and an eye gauge, determine the boundaries of each object (since the glass is a symmetrical object, we also outline the center line for it - exactly in the center of the rectangle). I advise you not to use the ruler at all at these stages. 
Schematically outline the main branches of the autumn bouquet, which hold the leaves. If you go a little beyond the intended border - it's not scary. The main thing is a little. 
We are building an apple. For the first time in my life, I decided to try drawing; faceted; fruits. It turns out interesting, although many of my friends (including my dad) did not like it. I probably cannot tell you the algorithm for constructing an apple in this way - you just need to feel its shape, all the bulges and dents. Apple fit into the boundaries outlined earlier. Also determine the width of the bottom of the glass (even if the bottom is not really visible - by eye) and symmetrically draw two inclined lines - the future walls of the vessel. 
The second apple is the same: 
Here I immediately outlined a fold of fabric that slightly covers the bottom of the fruit.
Assess the location of all the leaves and try not to draw them separately, but to fit into the overall picture. Mark your imaginary boundaries of this bouquet. Of course, a lot of things will not converge with the reference, but it does not matter. 
At this stage, you can already erase the general boundaries of the still life, which we outlined at the very beginning.
The most time-consuming step is drawing the leaves. Just take a closer look at the reference, the abundance of sizes, shapes and slopes of each leaf. Don’t bother too much with the composition - it’s already well set in the photo. Do not get hung up on one branch - draw the whole bouquet at once, first schematically, in sketches, later - drawing the details. I advise you to start drawing a leaf from two lines - the main vein, which runs along the entire length of the leaf, and, in theory, a parallel vein of the middle line, which characterizes the widest part of the leaf. But since the leaves are mostly inclined towards us at an angle, these two lines will not intersect at a right angle. 
We also outline the tails of apples.
And the last stage of the pencil sketch is a little stylization. Just an insert in the form of a straight ribbon with elements of red and reddish leaves. 
Lighten a little with a rubber band such moments as the edges of apples, for example, or the same stylized insert so that they do not hurt the eyes and do not appear strongly under the layers of watercolor.
3. Let's start watercolor.
To get started, "buy" future work in clean water - just evenly moisten the entire surface of the paper. It is advisable to do this on all watercolor works before starting with paints: during pencil drawing, the paper is covered with a thin layer of fat from the fingers, and it can sometimes interfere with the water and the watercolor itself on the surface. 
(I wetted the work twice - in the evening, after the sketch, and in the morning to paint in a wet background; you can safely do it once)
For the background, we use ONLY a palette and ONLY diluted watercolors in order to prevent the appearance of bright colored spots, which you can’t wash or extinguish without dirt. We interfere on the palette with the colors that you see / would like to see in the photo. For example, I decided to make the background not blue, but more bluish, and leave the rag behind the stylized insert completely white. The background did not work for me, but I'm sure you will do much better.
I took such colors - bluish-blue, grayish-turquoise, orange (with the addition of a small amount of purple to reduce brightness), heavily diluted lemon, a little purple.
With vertical strokes, we begin to paint the background. I saw the folds there quite abstractly, especially considering that the background should be minimally contrasting and light (since the leaves and apples are dark). We write wet. Make sure that the paint does not flow where it is not necessary - I; it only on some leaves. If you notice that a drop is gathering below and is about to roll down - quickly soak the brush with a rag / mouth and collect this drop without touching the paper. If you need to lighten something - while wet, you can also get the brush wet and dry to collect moisture from the paper - the paint will brighten, but you will not be able to completely remove it.
On the first coat of paint, I would not advise you to strongly distinguish between tones and smear anything. The first layer is a kind of lining under the main one: it gives direction to color and shape. 
On the right, I left torn edges - the habit of not painting to the end. They are made with a semi-dry brush with paint, sideways, on a dry or slightly damp surface.
I remind you: the first layer is drawn with very diluted paint, and it comes out very light in the end. 
(I did not specially process this photo in Photoshop - I did not increase the contrast so that it was clear how light the background really was)
We draw the second layer already in a dry way (we wait until the first one dries), and we paint far from everything that was painted over first. Here I added shadows and "folding" to the right of the leaves, to the right of the glass I began to draw a fold (by the way, we add raspberry shades here and there - as they will be on the leaves - so that the image harmonizes in colors, and the bouquet later does not look cut out), added the shadow from the apples and from the leaves on the left (there is also a red color on the fold to the left of the apple - then I "muffled" it a little - washed it out with water as it dried). I also started to draw the drapery under the apples - it is white, which means that reflexes are very clearly visible on it. In this case, I deliberately exaggerated these reflexes by adding such pseudo-reflections from apples so that the rag does not stand out strongly with its “purity”, so to speak. 
Next, with the third layer, I added a shadow to the fabric from the rightmost leaf (large), strengthened the shadow of the fold above it, and muted the place that I thought to leave unpainted (where the torn edges are). Do not be lazy to step back from time to time, put your work and evaluate it. I do this, probably, after every two or three strokes, especially on the background. 
Then I saw an epic fail in this work and thought to abandon it altogether. Is the background terrible? Still would. But, in fact, the background here plays practically no role - that's what it is the background for. In addition, it is necessary to evaluate the work already completed, but for now this is only the beginning.
I decided to leave the drapery for now and proceed to the objects and leaves themselves.
As I already said, I leave the background, since I will always have time to finalize it, but in no case should I mess up anything. In general, if you don’t like something in your work, leave it, draw something else, but don’t try to fix it several times in a row. The work will lose transparency and watercolor.
A little about planning. The drapery is the background, the glass with the leaves is the middle one, and the apples themselves are the foreground. How to submit plans? There are many ways.
One of them is layers of watercolor paint. The fewer layers, the farther away the object is. To reduce the number of layers, you need to immediately draw with more or less concentrated paint, try to convey all the colors, shapes, tones of the object the first time. To add the number of layers, we use highly diluted paint, achieving brightness and saturation of colors by overlaying these layers.
Another is contrast and detail. Look at the finished version of this work. Notice how loose the drapery is, especially behind the leaves and on the left. Literally one coat of paint, and almost no contrast. Now switch to leaves. Are there any details? A lot of. Layers? Three or four at the closest leaves, and at the distant left and below - two or three. Is that a big minus - too light streaks, which should have been even more muffled. Apples themselves are very stingy with details (I can’t convey the spotted texture of their skin with watercolor, that’s for sure), but their segmentation, clarity and strong contrast (especially in a yellow apple - a white reflex, a very dark shadow) move them forward.
And one more thing is color. Remember that red brings things closer and blue makes things farther away. That is why I liked this photo - I knew that the picture would turn out to be voluminous due to the fact that the drapery is blue and the main objects are red. But still, I painted the leaves, often adding blue so that they did not climb into the foreground.
I'll start with a glass. In it, I also liked the glare on the right in the photo, and the way leaves are visible through the glass. This is what we are trying to convey. First, fill the glass with water (it sounds good, if anything, I mean - we wet the surface of the paper within the boundaries of the glass) and draw a color lining, leaving almost white places on the right for the masking liquid, on the left - a blue reflex from the fabric, and on the bottom, closer to apple, also the color saturation and tone subsides - to visually move the glass away.
We use the blue, left from the drapery, orange-brown "Mars Brown", for dark shades an indispensable mixture of purple and orange, a little raspberry and just orange. 
We also take into account the drawing on the glass. True, by inattention I bent it in the other direction, but no one has noticed this little thing yet
We apply a masking liquid - on the right, where the glare is - abundantly, a little in the picture, just a little bit on the left and on top, along the edge of the glass. ATTENTION; We wait until the paper is COMPLETELY dry before using masking on it - otherwise the film will peel off along with the paper (many people had this problem, including me). 
It is better to apply with an iron pen - as soon as you dip it, shake the pen a little on a piece of paper (lightly tap it) to throw off the excess. After the liquid on the pen dries, it is very, very easy to tear it off with a single film, unlike a brush. In addition, the pen can draw very thin and neat lines.
With more saturated tones, we add contrast and shadows inside the glass, but do not forget to leave some places (for example, orange - where the leaf inside the glass hits the light). Also, along the way, I worked out a little white drapery under the apples - added colors on the right, finalized the folds. 
The film of liquid can be removed, where it turned out too light - to muffle.
Leaves.
We draw them according to one general principle: wet with water -> wet color lining -> apply veins with a masking liquid -> two or three more layers of dry finishing.
The most important thing to remember is that when finalizing, you should not change the color that was on the lining too much. Here, for example, we started with large leaves on the right (and some small ones at the back). As you can see, there are blue, and yellow, and raspberry, and orange colors in the lining, except that there is no green. Firstly, do not forget about the total volume of the bouquet of leaves - the light falls on the right and from above, and from the front, and not from the side - that is, the leaves (especially the central one) will be light and contrasting both in color and in tone. Secondly, as you paint the second layer, you should not go orange or yellow on, say, a blue lining - dirt is created. Try to simply enhance the brightness of colors, adjusting it here and there. This is a watercolor - in this technique, everything from the very first layer will be visible through subsequent layers. Thirdly - do not rush and do not mess with the leaves. Better, if it doesn’t work out, leave it for later - you will always have time to finalize it. Fourth - in subsequent layers, leave more and more "unpainted" space with this layer.
Wet lining: 
Veins with a mask (not all veins are visible on all leaves): 
Second layer (orange-yellow on yellow lining, blue on blue): 
The third layer - leave the places where the second looks through: 
The fourth layer enhances some shadows. 
Then carefully remove the film (only when the paint dries!). We see that the veins came out too light. Then I will mute them at some stage.
Another tip - apply the next coat of paint only after the previous one is COMPLETELY dry in order to avoid dirt and grime.
And so, piece by piece, we are working on the whole bouquet. It would be more correct to write all the leaves at once, but I'm not at that level yet - my nerves would not stand it.
We add variety along the way: green and blue colors, vary the tone of each leaf. 
Now there are more distant leaves from us. For them, we will not use masking fluid. The veins were obtained because I tried to get by with a lining and one (maximum - two) layer, in which I skipped places "manually". 
I also added a shadow from the right large leaves on the drapery, to the right of the cup. Along the way, I kept working on the background here and there, where it did not suit me.
In approximately the same way as the leaves, we draw a stylized insert (without masking). 
Nothing left.
Apples.
There will be many layers on apples, especially on yellow. Do not be afraid. Just use less saturated colors.
I'll start with yellow. To begin, as with the leaves, wet the apple and draw the lining. 
And then I - in pieces-sectors, and you - try to fully work out the apple with the second, third, fourth, fifth and even sixth layers. Do not overdo it. Remember that you are using relatively dilute paints.
In order for the fruit to shine, you need to take into account a lot of reflexes and highlights (I applied it at the very end with white gouache).
Scheme, where, from where and what color should be reflexes: 
So is the red apple. With the last layers, as well as on the leaves that we painted without a mask, try not to cover the entire apple, but leave the “below” layer somewhere to look through. 
Still life is a genre of fine art in which the artist captures objects of inanimate nature. Translated from French, this is what it sounds like: “dead nature”. More accurate, however, is the English phrase still life, which translates as "still life."
The beauty of the genre
Still life art originated as a genre in the 17th century in Holland. Depicting ordinary objects, the artists sought to express their plasticity, and even poetry. Throughout the history of painting, masters freely experiment with the form, color, texture of things, compositional solutions in the execution of the drawing.
Perform in stages - for novice artists, the task is not so difficult. The main thing is to choose the right composition and see it in a spatial perspective. This small lesson will help to realize the indicated attempt.
How to draw a still life with a pencil
Let's take a step-by-step look at where to start work, how not to make a mistake with the arrangement of objects in the space of the picture and correctly depict light and shadow. The very first thing to do is to select objects for the still life. You should not start drawing too complex objects, it is better to take the most ordinary things with geometrically understandable shapes for drawing: a cup, a fruit, a box. You can use photographs, but it is preferable to pay attention to nature, because only with it you will have more opportunity to examine objects in detail and clarify the details. As you master the art of still life, you will be able to complicate the forms and compositions.
Let's take care of the lighting
Before drawing a still life with a pencil, we will gradually place objects next to each other, not forgetting about the light source. Objects can be located at some distance, but it will be more interesting if they slightly overlap each other's edges. The stream of light from the lamp will allow you to more expressively accentuate the contrast of shades and highlights. Better if it falls sideways. Relying not on artificial, but on sunlight, it is necessary to remember that the luminary does not stand still, so the angles of light and shadow will change.
Let's start drawing
Before drawing a still life, we will gradually mark the locations of objects with a pencil, how their edges and lines intersect mutually. Let's refine the plane on which the objects lie with a horizontal line behind the composition that delimits the table and the wall. Let's outline the perspective: in order to depict objects in three-dimensional space, we will remember that they cannot be drawn on the same line. The sizes of objects that are closer to us will be depicted larger than those that are further away.
We make a sketch with light sliding lines. In order not to be mistaken with the proportions of objects, mentally imagine the central axis for each of them. You can depict it on a sheet on which we draw a still life with a pencil. Step by step, we will sketch the geometric shape underlying each object, and from it we will create the object itself. The apple and the cup will be based on circles, the boxes are made of parallelepipeds, the sugar bowl is based on a square, and its lid is an oval.
Once the shapes are defined, we will begin to refine the objects with neat and confident lines. With the help of an eraser, get rid of the initial strokes.
Final Steps
How to draw a still life with a pencil, gradually creating the volume of objects? Here the main role is played by shadows and highlights. Let's copy them from nature, shading the darker parts of the objects more densely. It is also important to pay attention to where in the composition the darkening is more concentrated, how and where objects cast shadows on another object and on the plane.
We will bring the finished sketch to perfection, correcting the details of the drawing, sealing the shadows and texture of objects with strokes.
How to draw a still life - let's start with a simple, say, preparatory stage and gradually approach the drawing of the still life itself. At this stage, for a better understanding of what we are doing, I suggest the following few exercises. You do not paint the only still life, and especially not for speed? After all, you need good knowledge that can provide a good practical base, right? Then consider the topic - how to draw a still life with these exercises.
Development of proportional vision abilities through comparative analysis of volumes:
Find either bottles or cans - no matter what, just not very complicated. You line them up, hardly four or six, and train your eye. Try to analyze the height and width of each item and their relationship to each other. At first, you can only draw outlines. All objects are drawn on the object plane. Like this:
Another task:
You make a drawing of a crumpled sheet of paper, cardboard, with an analysis of the fracture planes. Note that each face resembles a face of a cube. When you understand this, the task does not seem difficult. This exercise is very useful for the development of the eye. Like this:
The task is more difficult:
How to draw a still life
So we smoothly moved on to drawing the still life itself. But now you are more prepared to perceive the material well. We draw a still life, taking into account the placement of the composition in the sheet (see the composition in the figure). We catch the nature of the still life - whether it is elongated in length, or in width. Be sure to take into account the object plane, because all objects lie on it, and do not hang in the air. We find the boundaries of the still life in the sheet, retreating from the top of the sheet by 10 centimeters, on the sides by 7 centimeters, from the bottom - 3 cm. Do not rush, the main thing is to start correctly, so that later you do not "screw up" all the work. Do not rush, because now we are finding the main proportions of the still life:
When, taking into account the proportions, you have determined the boundaries of the still life on the sheet, it's time to find the boundaries and proportional ratios of each item individually. We set the proportions at three points. In no case do not begin to draw the details of a still life, lay down hatching. If later you notice that somewhere you didn’t catch the proportions, you will have to erase everything that you painted there. As a result, the work at the very beginning will be overwritten and it is not known what it will be like at the end:
If you did everything right, take a break, drink tea, in a word, do something so as not to look at work and give your eyes a rest. Believe me, in 20-30 minutes you will see something that you have not seen before. If you find a mistake somewhere, correct it, it's not too late. If everything is in order, we move on.
When you have found a place in the sheet for each item in your still life, look at the composition: each item carries geometric shapes or a combination of them. Draw each object more clearly, understanding that each object carries the basis of some geometric shape. Draw with perspective. There is no need to overdo it with the pressure of the pencil. Draw with a graphite pencil T, TM so that the drawing is transparent and clean.
We lay down the hatching:
Next, let's start shading. Let's determine where we have light and shadow in the still life. Now we don't need semitones. We do not touch the light, but shade the shadow with all the halftones with a pencil. Don't blacken or you won't have the power of a pencil for the last darkest drop shadows.
After we have defined the light and shadow, it's time to remember all the exercises that we learned in the drawing basics section. We lay down hatching on the subject, where chiaroscuro will be distributed according to the shape of the subject. Objects receding into perspective will be drawn softer. The foreground is highlighted. If it is difficult, then return to the page of the basis of the drawing and repeat everything again. Basically, you should end up like this:
