If you think that the stencil drawing will look "flat", then you are mistaken. In the same way, you are mistaken if you think that to give liveliness to screen painting - only artists are capable of this. In this tutorial, we will show two simple reception giving volume to a drawing made using a stencil.
We will not list ground rules We hope you remember them. In order for objects to receive volume and shadows, you need to follow only a few recommendations. First, start painting with light colors. For example, if you have an apple and you want to make it yellow, then first take the color that will be on the most illuminated side of it. Paint over the entire stencil with a light shade. Don't be afraid to make mistakes - the following dark colors will paint over your light shade where it should not be. If your apple should be bright sun glare, leave this area unpainted at all- white.
Can be limited to one color, starting to paint over your apple from the edges to the center, the brush will gradually lose paint and the color will become lighter and lighter. Paint the leaves yellow too, this shade will give them softness. If you want to make the figure more voluminous, or you have a very large one, then after the first pass you can add a little black to the main color and paint over from the edges to the center again.
Second color can be anything you want. In our case, it is yellow, with which we almost completely paint over the leaves and go over the apples a little.
third color take the darkest one. In our case, dark red. dark tint you need to walk along the edges of the stencil to clearly outline the contours of the picture. If the brush is almost completely on the film, and only a few bristles fall on the drawing, the outline will be thin and delicate. Note that most of the dark color is applied on the outside of your objects and not on the inside.
And the last. Drawing many identical repetitions, don't try to copy shades precisely. Remember that from an artistic point of view "similar" always looks better than "the same"".
Have you ever felt like you could walk right into a beautiful landscape painting? Like a magician, the artist has transferred the third dimension to a flat canvas, and you, the viewer, are attracted to the world created by paint.
Creation of believable landscape painting with depth is not really some magic trick, it's a technique. Over a century experienced artists used some of the following methods to carefully organize persuasive landscape paintings. Learn how to pull the viewer into your landscapes with these tips.
1. Layers and overlay
Word and overlay is effective when there is a noticeable contrast in the shadow or texture of two overlapping objects. This creates additional contrast and helps separate objects from each other. IN great picture Edgar Payne below, the small boats in the foreground are layered and partially overlap the larger ones. This creates a sense of depth.
2. S-curve and winding path
A meandering river or path that meanders in an S shape through a painting can be used as a way to control the viewer's gaze. Charles Warren Eaton's tone painting, "Winter Solitude" is an example of this popular technique.
3. Use diagonals
Artist Lowell Birge Harrison uses diagonals effectively in Moonrise on the Shore. Smoothly rolling waves move away from us at an angle, creating a sense of depth and distance.
4. Aerial perspective
A mountain range in the distance usually appears lighter, hazier, and bluer as it gets further away. This is an optical effect that creates an atmosphere when looking at objects at a great distance. Use temperature changes in color to get an aerial perspective. This is a generalization, but warm colors are more eye-catching.
5. Interest in the foreground
When painting objects at medium to long distances, they can often appear flat. Add interesting subject to the fore to enhance the sense of depth. This draws the viewer's eye to the scene, from the foreground to the subject in the distance. Use less detail and texture in the background. Famous artist, teacher and writer John F. Carlson demonstrates this technique in the following picture.
6. Change the size
In this painting, The Road to Sluys, Charles Warren Eaton uses resizing effectively. Please note that although in real life we know that these trees are the same size, Eaton wrote them masterfully in descending order. In other words, trees get smaller as they get further away. This creates a wonderful illusion of depth.
All items are large. To more accurately convey this volume, you need to be able to distinguish between the illuminated part, that is, the part of the object where the light falls, the object’s own shadow, that is, the darkened part, and the falling shadow, that is, the shadow that falls from the object itself, located on some or surfaces.
The lightest surface of the object is the one that is closest to the light, and the darkest is the opposite side. Between light and shadow is penumbra.
We see an object because it is illuminated. But the light illuminates the object differently: somewhere lighter, somewhere darker. This degree of illumination of an object is called chiaroscuro. Chiaroscuro depends on the subject: it can be round, rectangular, etc. The volume of the object gives the tone, which is applied to the object in the form of hatching. And hatching, in turn, also depends on the shape of the object: a round object is hatched in a circle, and a rectangular object is hatched at an angle. Rays of light on more convex and shiny surfaces, as it were, are collected at one point, forming glare of light. They are especially noticeable on glass and polished surfaces. That is, glare is light spots with clear boundaries. Glare is the lightest spot on the surface of an object.
How to make tone transitions in a color picture
As already mentioned, to make an object voluminous, you need to make tone transitions. To do this, paint, in color corresponding to the darkest place of the depicted object, is applied to the drawing starting from the darkest tone - this will be a shadow. Further, without allowing the paint to dry, the border of the shadow is blurred with water (by dipping the brush in clean water) - it will be penumbra. Then, in the same way (that is, by washing out the border of the penumbra with water), a light section of the object is obtained. Using this method, which artists call blurry, you can get an image of a more voluminous figure, and the transitions from light to shadow are very soft. This drawing was made using the wash method. The artist used only black paint.
Let's try using this method to draw a flower pot with flowers.
First, determine the height and width of the plant and pot. We notice how the height of the pot relates to the plant. Let's take a good look at the pot: what is its bottom, is it the same width at the top and bottom? Where does the shadow from the pot fall?
After drawing a pot with a flower with a pencil along the contour, we proceed to paint it with watercolors. When working with paints, gradually move from shadow to penumbra and the part where the light falls.
See also: Drawing from nature
So, my dears, I can confidently say that you are heroes - having stubbornly gone through all the trials, you, as the most purposeful students, honed your skills by drawing a cube in one position - this is how you learned to draw volume in a drawing. Wandering through the nooks and crannies of new terms, you managed to come to the conclusion that it is quite possible to create space on paper. You also received nourishment for the development of logical thinking.
If you are still full of strength and determination, then we continue to delve into the mysterious and masterful science called "how do you learn to draw". It means drawing basics - part two.
The first thing we need to know before moving on to the next practical lesson, is that absolutely everything that is around us - any object - is based on the simplest geometric shapes, such as: cube, circle, cone, cylinder (in some cases, they can be combined in the "backbone" of the object). Now we need to take one of these figures - well, let it be, say, a cube already well-known to us.
I hope you have already prepared the necessary supplies. If not yet, then I strongly recommend to raise the situation and, in the creative mess of your location, fish out exactly them into the light of day - otherwise, you know, drawing with a finger in the air does not bring absolutely any result. (neither practical - the drawing is not visible, nor theoretical - you will not see how this or that line you draw works).
So let's get the paper ready first. (you can use a stub that your grandfather used at school or a modern solid full-fledged pencil), eraser (in your school pencil case, at least a small piece should have been preserved, although ... if you have younger sisters and brothers, try to borrow from them), and, of course, we will not use the ruler at all.
Ready? Great. Now we take a pencil and proceed to the torment of paper.
We carefully draw the faces and sides of the cube - only those that look directly at us. If you are now at a loss and the question arose in your head “ What?" or " But how to do it and on what basis?”, then I strongly recommend that you return to the beginning of the “game” - that is, look at the previous article ““. Well, the one who remembered everything well, confidently continues our practical task.
How to convey volume in a drawing?
The next step is to draw next to (in front of or behind) exactly the same cube, but let's just imagine it rotating in the picture. It is better to highlight the nearest faces of the new cube as brightly and expressively as possible, and, accordingly, try to keep proportions - that is, all lines should look natural, and opposite faces should be drawn as evenly as possible (harder, one might say) and parallel. It is also important to remember now about the tonal relationship between these two figures on your piece of paper.
In the figure you can see how approximately it is - this is the most tonal relation and figures in general- should look like you. But remember, this is just APPROXIMATELY. In fact, the arrangement of cubes on a sheet can only be subject to your desire. (as long as you keep general rules- see above).
For convenience, you can shade one of the sides of the cube - then it will be easier for you to rotate this cube in space and navigate in its correct image (that is, make sure that it looks natural and natural).
it is possible either diagonally or parallel to the faces, and if suddenly - well, quite suddenly - we want to emphasize a certain corner or face in a cube, then we can lay the hatching again, only in the opposite direction on the already laid one.
Do not forget that . Well, for example, if the cube is turned towards us in the face of one of the faces, then the hatching will weaken as it moves away. This brings us to the concept planning- in other words, the location of the figure on the sheet: whether it is behind some figure or directly in front of us.
To acquire the necessary skills, you can first draw with charcoal (that is, a softer instrument), and only then switch to a pencil, which will allow you to hone accuracy and clarity. But if the nearest coal plant is three hours away by train, and the store for young artists for some reason it is not available, then it's okay - we draw with a pencil, just with a softer lead. Go get some coal sometime later.
And one more rule that will help give your drawing the effect of liveliness. In nature, there is such a feature as the absence of harsh lines, therefore, when drawing a certain figure (or object), one must not forget that the edges of the lines are more highlighted from the corners (bold, so to speak), and, reaching the middle, their tonality evenly decreases . That is, it comes out as an arc - fat-fat-thick-thin-almost transparent-thin-thick-fat-fat.
Remember, we were tinkering with this wonderful concept, like yeah? Forget about it now and don't think about it until I tell you. Now we need to learn how to draw lines - evenly and straight, and also deal with the terrible labyrinth of planned figures on the plane of paper.
Well? We draw, draw and draw again, as my friend Lenin said. Or was he talking about education…. but generally it doesn't matter. The essence remains the same.
Have you finished your masterpiece?… No matter what the answer is, but now, if your eyes are tired, and your fingers too, you have the opportunity to rest - if you are not on a diet, you can run to the kitchen for a delicious sandwich and coffee, and if still sit, then forward for a walk along fresh air to the nearest shop with art belongings - there you will find coal and an inexhaustible supply of sheets for your training.
In general, just take a break in your work - this can be, moreover, even useful, because with a fresh mind and a rested look, you can notice flaws in your drawings and, accordingly, correct them.
And, when all the coffee in the mug has already been drunk, all new acquisitions (in case you ran to the store) reviewed and stuffed into their places, you can stretch again and ... return to your work. To begin with, move a few meters away from your work and evaluate it with an unaccustomed look. If suddenly you find that your cubes are terribly awkward, their edges are a little crooked or the sides are in a quarrel (well, they are not at all poetic) don't get discouraged and don't get depressed. It happens - Rome, after all, was not built right away either.
Persistence and purposefulness are your allies, optimism is your weapon, and laziness and despondency are opponents. You'll be fine, just don't give up. And now let's go back to our sketches and see if we have achieved what we were actually striving for. Let's see if we managed to convey the volume of the figure, that is, whether it looks alive (and it doesn't matter that it turned out pretty mediocre - people aren't perfect either, right?)
planning. Did you manage to arrange the cubes correctly and, using the drawing, show their proximity or vice versa - distance. And now evaluate your efforts in general - does it look like a whole space on a sheet?
If everything worked out (and no matter what is not entirely accurate - practice, comrades, practice is needed here), then you are great - you can even praise yourself as a great (Almost) and unique (it's true, everyone's drawing is unique) artist.
Do you know what we just did? You don't know, do you? We have included your analytical thinking. And if any of the above points went wrong for you - do not panic, maybe your analytical thinking is very sleepy and in order to awaken it, you need to re-read everything above (starting with "So..." and ending with "space on the sheet"), and if this did not help much, then you will have to turn on your ingenuity and, after reading ONCE AGAIN (well, for prevention) brainstorm each point.
Do you want me to discover America, with which absolutely everyone is familiar? No, not the one with Obama, the Statue of Liberty and fast food. And the one that claims that the surrounding objects (alive and not) fit into other geometric shapes, except for the cube.
Well, for example, take a look at your favorite photo in a frame somewhere nearby, namely the head of the little man depicted on it. See? The head may initially fit into a ball (well, or into an oval - that's how it comes out), and the lower part of the head can fit in the shape of a cone. That is, these geometric figures can also serve as a constructive beginning, part of the “backbone” in the drawing of the head. Now look around - any object around you at least in some geometric figure yes it fits.
To better grasp the concept of the basis of the drawing, let's play a little more with other geometric figures in the drawings - just as we played with the cube before, that is, draw them in different angles, rotate them in space on paper.
We still DO NOT remember about the prospect. But we remember the chip in nature - the very one, the essence of which is somewhat reminiscent of an arc. Drawings of the foreground - those that are closer to us - we draw harder, and the background, respectively, a little softer, depending on how far we want to show this item.
Forget about neatness on paper (and in general about accuracy while working with a pencil or charcoal)- now it does not matter at all. Like straight lines, this is a livelihood. You can complicate the task a little, and drawing all sorts of different cubes, also draw a plane through the edge that is shaded. BUT! Do not forget that the plane (which we, in turn, also paint with shading) has the same rights as the figures - it has its own tonality, which corresponds to its direction and location. For example, if it is directed deep into the leaf, then it seems to fade away.
(You can see the resulting drawing in the section of this site)
In order for the drawing of the forest to be voluminous and the space of the forest to be felt in the landscape, one must be able to apply the laws of chiaroscuro to complex natural forms. If imagine academic drawing geometric bodies- a ball, a cylinder, a cube, then you can remember how chiaroscuro is built. It consists of six main zones: highlight, light, penumbra, shadow, reflex, drop shadow. The crown of a tree can be conditionally represented as a ball. Those. from above, the tree will be illuminated by light, then penumbra will follow, and below will be the most dark part- shadow. But this is only conditional. A tree does not have a smooth surface, and even from a distance its silhouette will be clumsy, curved ... Therefore, if the tree as a whole is illuminated like a ball, then in particular individual branches and groups of leaves will be illuminated more or vice versa less. Thus, we get an uneven surface of foliage, illuminated unevenly, inside which, in the shade, dark gaps between the branches can be observed. The trunk of the tree and large branches are illuminated like a cylinder, because. they are cylindrical. But a tree trunk is rarely even and smooth, so you need to add features to chiaroscuro that impose bumps, bends, knots, cracks, bark ...
If we talk about the space of the forest, then the same laws of chiaroscuro also apply to it. For example, falling shadows from trees will lie on the ground. But since the earth does not have a flat surface, the shadows will go around these irregularities, repeating their shape. A huge variety of herbs, shrubs also bring features to the character of the falling shadows. The shadows will wrap around the tops of the blades of grass, so these shadows won't be even. Shadow silhouettes will take on a "loose" texture based on the nature of the grass. In addition, the forest drawing will consist of different plans: first, second, third ... If in the foreground the artist can draw trees in sufficient detail, then in the background they are generalized. For example, a group of five or six maples in the background can be drawn in a general way: the trees are combined into a group and the artist draws the chiaroscuro not of individual trees, but of the whole group.
In addition to the laws of chiaroscuro, the laws of aerial perspective. This means that the tonality of the trees of the first and second planes will differ. For example, tree trunks in the distance will be either darker or lighter than those trunks that are in the foreground. It depends on the weather, the time of day, the time of year... If we take foggy weather, then the silhouettes of plants in the foreground will be darker than those that are far away. In the fog, all dark silhouettes become lighter, and light silhouettes become darker. And the further the tree, the brighter this pattern manifests itself.
In conclusion, I want to add that drawing a forest is an image of various masses. These can be masses of foliage of one tree or a whole group. These can be masses of tree trunks, or masses of grass and shrubs. The artist must know the nature of certain types of plants. This will affect the texture of the stroke, the shapes of branches or tree trunks. The artist, too, must see the difference in the tone of these many-sided masses of vegetation. It is necessary to convey the light and shadow of these masses. Well, the above skills are crowned by the ability to generalize the unnecessary and draw the details of the main thing. As a result, in these masses of foliage and grass, branches, individual leaves, a bark, a hollow, a snag, a stalk of grass, flower petals will appear ... Then the landscape will delight the eye of the author and the viewer with its expressiveness.
