Equipment and materials: paper for drafts (any size and quality); thick paper for painting A-3, (or A-4); a simple pencil, washing, sharpener; visual aids: several well-known, simple in form, vegetables (potatoes, carrots, onions, beets), or their dummies or images; gouache at least 9 colors; jars for water; squirrel brushes (thick - for the background, medium - for objects, thin - for strokes and small details): reproductions of still lifes with vegetables (simple but compositions), negative example schemes with typical compositional errors.
Lesson objectives: consolidate the concept of vegetables, introduce the concept of "still life", consolidate the knowledge gained about the layout of the main subjects of the image, further acquaintance with the laws of composition - learn to harmoniously arrange objects on the plane of the sheet in the frontal composition, taking into account free space and format, teach drawing simple geometric shapes and to feel their connection with a real object, to acquaint them with the techniques of working with gouache, to acquaint them with the sequence of work when drawing with paints, to develop thinking, observation, attention, memory, fine motor skills of the hand.
Lesson progress
1. Organizational moment: we check the availability of materials and their readiness for work. (The paints are closed, no water is drawn in. Open the paints and draw water just before coloring!)
2. Lesson topic message. Guys, what did we draw in the last lesson? Is an apple a fruit or a vegetable? What vegetables do you know? How are they different from fruits? Today we will draw a still life with vegetables, like real artists.
The teacher shows a reproduction of a painting or a photo still life depicting vegetables.
What is still life? This is an image of non-living objects: fruits, utensils, flowers, vegetables, or all at once. We will draw vegetables. Shows which ones.
3. Workout. In order for the picture to turn out beautiful, we will first practice - on draft sheets we will try to draw the shape of different vegetables. Look guys, what shape are the potatoes? These are uneven circles or ovals. Let's draw a potato in one motion (shows on his sheet). Now try to draw it gradually, from many strokes (shows). While the guys are trying to draw on a draft, the teacher helps, reminding them that the hand is relaxed, that the pencil does not need to be pressed hard, that the line should return to the point it left.
Well done! Now, let's see what shape the carrot is. It looks like a very elongated triangle, only its corners are not sharp, but rounded. The teacher shows on his sheet, the guys are training - they draw several carrots of different sizes.
Note: for small children with a low level of training, two types of simple-shaped vegetables are enough. If the lesson is held with older children, with a higher level of knowledge, skills and ability to concentrate, then you can complicate the task: add vegetables and even introduce simple objects into the composition.
4. Work execution. The teacher distributes paper for work. To practice layout skills, a free sense of paper space, it is better to take A-3 paper for this work. The teacher draws a straight line in the middle of his sheet and, comparing with a reproduction, asks: Guys, what line did I draw? What did I draw? Then he explains that this is how the plane of the table is indicated when we draw many objects. Further, he shows how to arrange the vegetables on the table in a free order, recalling the law of the location of the main characters in the center of the picture.
Introduces several new laws: on the relationship between the horizontal arrangement of objects and the horizontal arrangement of a sheet of paper, on the effect of blocking distant objects by nearby ones. Since at this age the visual abilities of children are just being formed, they may not feel well the connection between the shape, size and relative position of objects with the free space of the sheet. The task of teaching is the gradual formation of this feeling. To this end, in the first lessons, the teacher gradually explains and shows the simplest laws of layout and then gently controls their implementation (by reminding and drawing the child's attention to mistakes) until the children learn them.
Typical mistakes in still life painting and how to overcome them:
- Objects are drawn too small - correct their size to harmonize with the free space of the sheet.
- Objects are "stuck in one pile", or strongly displaced in any direction so that in other places the sheet looks unreasonably empty - we freely and harmoniously redistribute them across the sheet, with an emphasis in the center.
- Objects are unreasonably shifted to the edges of the sheet, “fall out” of the sheet, or even cut off by the edge of the sheet - we move them to the middle so that the central visual zone is filled, and all objects are fully visible.
- In order to avoid these three typical layout errors, it is advisable to have negative examples of such erroneous compositions drawn schematically, and show them when explaining how to do it wrong.
- The contours of objects are not closed - we remove the gaps, bring the lines to the point from which they came out.
- You constantly have to remind yourself of the need to wipe out extra lines where the near object covers the far one. (This topic could be covered in a separate lesson.)
Lesson options: can pose a more complex compositional task - the arrangement of small vegetables along the periphery of a larger object in the center - a potato around a head of cabbage.
After the still life is lined up, you can draw water, open gouache and start coloring. At this stage, we note the following significant points:
The quality of paper, brushes and gouache paints - the paper should be thick, suitable for painting; gouache must be fresh, plastic, at least 9 colors; squirrel brushes, soft, several sizes for different types of work. If the quality of the drawing materials is low (thin writing paper, synthetic brushes and 6 jars of old dried gouache inherited from the grandmother), the child will experience the joy of creativity, but it is illogical to expect any aesthetic result from such activities.
Kids, as a rule, begin to color the work not from large to small details, but vice versa - not the apple itself, for example, but the tail of the apple, not the landscape behind the person, but the eyes and mouth on the person’s face, etc. This feature of children's perception needs to be rebuilt. Picturesque compositions of any content begin to paint from the background, successively moving from. increasingly large objects, to small details! In this topic, this is the background behind the table and the plane of the table. To the main "heroes" of the composition, in this case - vegetables, we go last.
Immediately, from the first painting lessons, it is important to teach the children to mix paints! To do this, the teacher invites the children to choose their favorite color for the background, then choose related colors (for example, all blue and green, or all warm ones - yellow, orange, ocher) and, mixing them in any sequence, paint over the background so that a colorful vibration is created. , the flow of one color into another, the neighborhood of different shades of one or more colors.
At the first lessons, the teacher himself shows how this is done, and then he monitors and helps the children master this pictorial rule. The same is done with the table: if it is a wooden table, all colors corresponding to the tree are selected (all warm, plus shades of green), and the texture of the tree is transmitted with separate strokes of different shades. If you plan to depict a tablecloth or napkins, we select colors based on the background and the color of vegetables, with elements of a simple pattern.
- Paint strokes, like pencil strokes, are placed in the shape of objects!
- We unobtrusively draw the attention of the guys to the presence of shadows, and make them by adding cold blue tones, or by adding black.
- If it is difficult for the guys to achieve tone and color contrast, and the objects are “mixed” and difficult to distinguish, you can and should use the technique of stroking with a dark tone with a thin brush.
5. Summary of the lesson. Children should consolidate the concept of fruits and vegetables, know what a “still life” is, know the above layout rules, the order of performing painting work, the rule of mixing colors, and learn to draw several vegetables that are simple in shape. At the end of the lesson, a general exhibition is arranged, the works are discussed. Praise should be given to all those who tried, regardless of the result.
6. Completion of the lesson: cleaning of workplaces.
Still life- an excellent choice for learning the basics of drawing and painting. There are several important rules that will tell you how to draw a still life. These rules are simple, and quite feasible, but few write or talk about them. Experienced artists use these rules intuitively. Beginners - guess and rejoice at a successfully created picture, or vice versa - worry because of a bad experience in creating a simple plot.
The following tips will help you create a variety of harmonious still lifes, in almost any technique, and avoid annoying mistakes.
How to draw a still life rules for beginners
Naturally, still lifes are very different, they carry different goals and perform them in a variety of styles. Today we will talk about the basic rules for depicting inanimate objects on canvas or paper.
To create a harmonious picture, you need to know at least the basics of composition and color.
Painting technique A la prima
What should a beginner do who wants to create something beautiful with his own hands right now? Will you delve into reading books on painting and drawing?
It will be enough for you to know a few important rules in order not to make mistakes and get an excellent result.
Location of items
A still life always looks more beautiful, harmonious and interesting, voluminous:
- Well and combine these two types of arrangement: overlap and distance.
Examples of item placement
All objects overlap each other, or are located at a great distance from one another.
Vector illustration. Here, too, all objects intersect, overlap, or are located at a great distance.
Boring and boring arrangement of objects
Even rectangles can be arranged in interesting ways.
Composition with rectangles
When you place one object after another, overlapping part of it, you thereby create a certain depth in your work. The more forms intersect, the more “deep and voluminous” your still life will seem.
Space
If you are just drawing a vase of flowers, and it seems there is nothing to cover, think about it!
- Perhaps some leaf fell in front of the vase, or maybe a flower, maybe you should lay a napkin or tablecloth, or maybe scatter berries on the table.
For example, the work of Alexander Sergeev:
In the foreground are leaves and a flower. These, at first glance, insignificant elements lead the viewer's eye from the very front edge of the plan, first to the fallen flower, then to the glass with the vase, creating space, making the work more interesting.
Colouristics
In creating a still life, it is important simply not to overdo it with the number of colors used.
2-3 color rule
Choose 2-3 primary colors, you can safely use shades close to them and do not worry that you will have problems with the color. I usually use 2 primary colors- and a little bit of extra paint.
Examples of colors
Here I used only yellow-orange (warm) and blue (cold) shades. Green optional.
"Boots" by Van Gogh. Two colors predominate here too.
Here, green and white clearly dominate, complemented by strokes of blue and pink.
Still life with fish. The main shades are red-brown (warm), and blue (cold).
The rule of 2-3 colors is not always possible. Frequent heroes of still lifes - flowers or fruits come in a variety of colors and shades. In such cases, you should use the following advice: The picture should not have all the colors equally
Color ratio
Even in a colorful picture there are one or two dominant colors.
For example, if you have flowers in red, blue, white and yellow, plus green foliage. Some flowers and colors should prevail, the rest should be in the minority.
Here are some examples:
Painting by A. Sergeev. The bouquet is dominated by white and red flowers. Blue, green, yellow are optional.
Still life by Vincent van Gogh. Red poppies dominate.
We highlight the main
Having a certain idea, drawing a still life from nature or according to the idea (from the head), you must:
- highlight what is the main thing in this plot, what subject dominates?
This rule is not always used, but your work will benefit from its application.
Ask yourself the question: on what subject would you like to keep the focus, the attention of the viewer?
The main subject should stand out in some way: shape, size, color, position relative to other.
The work of A. Sergeev. The "main" flowers are identified unmistakably.
Even at the sketching stage, when you look at the sketch, you must determine exactly - what is the most important thing in your work?
- If a it is intuitively possible to determine the main thing is excellent.
- If look jumps from one to another, not knowing what to grab onto- so you still need to work on your composition. something to reduce or enlarge, rotate, rearrange etc. Choose what suits you best.
Probably, many now have a question: And if I draw one vase with flowers?
Here, this rule does not need to be applied? After all, we have the most important and main only our heroine "a vase of flowers"?
And here it is necessary and quite possible to apply this rule.
In a bouquet of flowers there is always a main flower.
If this is a bouquet of many flowers, it is worth highlighting a small group of flowers that are most successful illuminated, or most look expressively on the viewer, differ by color, size or form.
If you have empty walls in your kitchen and such an interior does not suit you, then it is easy to fix it yourself. We will find out how to draw a summer still life with fruits, it's easy even for beginners.
We will do it in stages. The result should be such a bright fruity picture with peaches and strawberries, painted with acrylics. This is the most affordable material, you can buy anywhere, it is inexpensive.
You just need a little time and desire to draw on your own, and you will succeed!
Materials for a kitchen still life with peaches and strawberries
The size of the motif is about 40 x 40 centimeters.
The size of the finished painting is 60 x 40 cm.
This is how the finished canvas will look like (photo below).
A frame for this still life with fruit is not required, as it looks good without it too. But whoever wants, of course, can arrange the finished work in a suitable frame.
Choosing a frame is not an easy task, so my advice is that it is best to go and choose a baguette right along with your painting. This way, you can immediately see what works and what doesn't.
- canvas with stretcher (60 x 40 cm)
- acrylic paints: white, normal yellow, dark cadmium yellow, cadmium red, cobalt blue, light blue, rich green, Neapolitan yellow, ocher, sienna and umber.
- flat brushes with synthetic bristles No. 6 and 10
- watercolor brush, no. 6
The contours of the picture with fruits, which are presented here, can be copied and enlarged in any graphic editor to the desired size, in this case, to a size of 40x40.
We draw a still life with acrylic for the kitchen
To begin with, we will transfer the contours of our still life drawing to the canvas. Small details, light, shadow will be worked out at the very end. How to do it? Yes, whatever you like, even with the help of carbon paper.
To cover the surface of the background of a fruity still life, we use Neapolitan yellow mixed with white, for the front - clarified ocher. Take a large amount of white on the palette first, in order to lighten each color a little.
Since a base that is too dark reduces the luminosity of the next layers of paint. Draw the bowls with cobalt blue and green-blue, respectively, while now apply more white to the light illuminated side.
Peaches are primed with yellow-white, on the right side add shadows with dark yellow. Strawberries primed with pastel red, with different amounts of white to impose contrasts of light and dark.
Cover the peach pit with white and immediately add the sienna on top. Draw leaves with a mixture of white and green, stems with white and brown. Leave the whole canvas thus primed with the intended fruits to dry well.
Now we will work on the light and shadow of the objects (fruits and bowls) of our still life, paints of slightly different colors. Make the shadows on the edges of the bowls and their right side blue (left) and green (right).
Draw all the shadow sides of the peaches and the lower edge of the half of the fruit darker with cadmium yellow, lighten their light sides with white. We model the strawberries in red, and then put reflections on top of the berries with white.
Mix a drop of green into red and darken the shady sides of the strawberries. With diluted umber, plant small dark dots on the fruit - these will be the bones on the strawberries. Work out the leaves in green, draw a line in the middle of the sheet with diluted umber.
Lighten the background on the right with white, apply ocher on the left in the upper part, make a transition to blue to the bottom edge. Draw the foreground on the right side with sienna and blue.
Now it remains only to work out the small details of the still life. To do this, take quite a bit of blue and enhance the shadow edges of the peaches with it, work out the “roundness” so that the fruits seem voluminous, real.
With diluted umber, mark the structure of the peach pit. Take a little red on the brush, poke it on the paper until there is very little color left. With this brush, draw red peach sides - make a very gentle transition.
Here is our summer still life with fruits - velvety peaches and ripe strawberries - ready. Don't forget to put your signature on the picture! You can look for a place in the kitchen and hang on the wall.
You may be interested in:
Here is my method of creating picturesque pictures to decorate a room using the example of a bouquet of tulips. Drawing is easy, you only need to have a digital photo of what you want to depict, Photoshop or another photo program, canvas, paper, watercolor, acrylic, brushes - with what and on what you will draw.
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 well! 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.
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 borders 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:
