All children love to draw. But sometimes the child does not turn out the way he wants. Or maybe he doesn’t have enough familiar ways to express himself? Then you can inspire him to experiment with different techniques among which there is sure to be a favorite. After that, your child will probably want to invent something new. free coloring pages for children different ages.
Patterns from dots
First, draw the simplest squiggle. Then, using a cotton swab and paints (gouache or acrylic), we make intricate patterns, as the soul lies. Paints are best pre-mixed and slightly diluted with water on the palette.
Frottage
Since childhood, a technique familiar and loved by many. We put an object with a slightly protruding relief under a sheet of paper and paint over it with pastel, chalk or an unsharpened pencil.
Foam prints
Having dipped a sponge in thick gouache, a child can draw landscapes, bouquets of flowers, lilac branches or animals.
Blotography
One option: drip paint on the sheet and tilt it in different sides to get some image. Second: the child dips the brush into the paint, then places the inkblot on a sheet of paper and folds the sheet in half so that the inkblot is printed on the second half of the sheet. Then he unfolds the sheet and tries to understand who or what the drawing looks like. Hand and foot prints
It's simple: you need to dip your foot or palm in paint and make an imprint on paper. And then use your imagination and finish drawing a couple of details.
Paint Patterns
For such an application, you need to apply a thick layer of paint on paper. Then, with the back end of the brush on the still wet paint, scratch patterns - a variety of lines and curls. When dry, cut out the desired shapes and stick on a thick sheet.
Fingerprints
The name speaks for itself. It is necessary to paint the finger with a thin layer and make an imprint. A couple of strokes with a felt-tip pen - and you're done!
Monotype
A drawing is applied to a flat smooth surface (for example, glass). Then a sheet of paper is applied, and the print is ready. To make it more blurry, a sheet of paper must first be wetted. When everything is dry, you can add details and outlines if desired.
Grattage
The highlight of the work is that the drawing needs to be scratched. A sheet of cardboard is tightly shaded with spots of multi-colored oil pastels. Then black gouache must be mixed on a palette with soap and painted over the entire sketch. When the paint is completely dry, scratch the pattern with a toothpick.
air paints
To prepare the dye, you need to mix a tablespoon of "self-rising" flour, a few drops of food coloring and a tablespoon of salt. Add a little water to the consistency of thick sour cream and mix well. The paint can be placed in a confectionery syringe or in a small bag. Tie tightly and cut corner. We draw on paper or ordinary cardboard. We place the finished drawing for 10-30 seconds in the microwave at maximum mode.
"Marble" paper
Paint a sheet of paper yellow acrylic paint. When it is completely dry, paint over again with diluted pink paint and immediately cover with cling film. The film needs to be crumpled and gathered into folds, since it is they who will create the desired pattern for us. We wait for complete drying and remove the film.
water painting
We draw with watercolor a simple figure and fill it with water. Until it dries, we put colored blots on it so that they mix with each other and form such smooth transitions.
Prints of vegetables and fruits
Vegetable or fruit should be cut in half. Then you can cut some kind of pattern on it or leave it as it is. We dip into the paint and make prints on paper. For prints, you can use an apple, potato, carrot or celery.
Leaf prints
Drawings with salt»/>
The principle is the same. We smear the leaves with paint and make prints on paper.
Drawings with salt
If sprinkled still wet watercolor drawing salt, then it will be saturated with paint and, when dried, will create a grainy effect.
Brush instead of brush
Sometimes, for the sake of experiment, it is worth trying something unexpected. For example, a household brush.
Ebru or water painting
We need a container of water. The main requirement is that its area coincides with the area of a sheet of paper. You can use an oven roaster or a large tray. You will also need oil paints, solvent to them and a brush. The point is to create patterns with paint on water, and then dip a piece of paper in them. How to do it: www.youtube.com
cracked wax effect
With wax pencils, draw an image on thin paper. In our case, a flower. The background must be fully shaded. We crumple well and then straighten the sheet with the pattern. We paint over it dark paint so that it enters into all the cracks. We wash the drawing under the tap and dry it. If required, smooth with an iron.
Offset cardstock prints
We cut the cardboard into small strips, about 1.5 × 3 cm. Dip the edge of a piece of cardboard in paint, press it vertically against the paper and evenly shift it to the side. Wide lines will be obtained, from which the pattern is created.
Cam prints
It is necessary to develop and bring to perfection any skill, even having a talent from birth, you need to constantly develop and hone it.
That absolutely everyone can learn to draw, and we hope that you have already begun to implement our tips. Today we want to touch on another "sore" topic of novice artists, namely, drawing such difficult parts bodies like hands, feet and, of course, eyes. As a rule, these parts of the body are always the most difficult to draw and that is why it is worth giving them a little more of your time and attention when you learn to draw.
How to draw hands
A few basic rules:
1. It is necessary to practice drawing a palm in different provisions. The same principle works here as everywhere else - Practice, practice and more practice.
2. Children's palms are thicker than fingers.
3. The female palm is thinner and more elegant.
4. To make the palm more masculine, add some angularity to it.
5. On the palms of older people, we put more emphasis on the knuckles and draw more wrinkled skin.
To begin with, we need to understand a little the anatomy of the palm. Take a close look at your hands. Your main goal is not to remember what is called, what part of the brush, study the proportions and shapes. Please note that the phalanges of the fingers are not in the same line, and the fingers cannot be perfectly even and are always tilted to one side.
index, middle, ring finger and the little finger are quite closely related to each other and cannot be far from each other, in turn, the thumb is quite wide circle movement.
Try tracing your hand and filling in the outline with details. This will help you get a little better idea of what the palm should look like in the drawing.
Before you start drawing a hand, first of all, you should outline it. overall size and the points where the ends of the fingers will be. Only after that the sketch is divided into several parts.
When drawing hands, there are generally accepted proportions. For example, the length of the palm is equal to the length of the index finger multiplied by 2. Forefinger equal to the nameless, sometimes the nameless can be slightly longer than the index. The little finger reaches the top phalanx of the ring finger.
The nail should occupy half of the phalanx. Women's nails are drawn more rounded, while men's nails are more square.
If you find it difficult to draw fingers, imagine that the phalanges are cylinders connected to each other.
Don't forget to add shadows to make the hand more realistic.
Starting to draw, first try simpler options, for example, an open or unfolded palm. Gradually complicate the task, for example, by drawing a hand folded into a fist.
How to draw feet
As in the first case, before drawing, you must carefully study the anatomy of the foot.
The structure of the hands and feet are somewhat similar to each other, however, the proportions will differ.
The length of the foot is usually equal to the length of the head of the person you are drawing. The foot consists of two parts - the heel and metatarsus (the part that is connected to the fingers). The top of the foot rises to the top. The bone that is outside is always lower than the inside. The lower part of the foot has a curve, it is not drawn flat. Thumb always drawn parallel to the ground, and all others will be lowered to the ground.
Another note, if you draw the foot from above, then the toes will be longer than in the drawing of the foot from below.
The lower part of the nail is at half of the upper joint, the width of the nail is longer than its height. The thumb is the width of two second fingers.
How to draw eyes
If your goal, of course, is the ability to draw portraits, then the eyes will have to devote a lot of time. Look - what first of all needs to be conveyed by drawing eyes.
The first step is to draw the shape of the eye. In the future, when drawing portraits, this step will have to be given quite a lot of time, since an incorrectly shown shape will ruin your entire drawing.
After that outline the cornea. Immediately apply highlights to the pupil. Don't miss any of the little things you see. The iris of the eye should not be completely round. From below and from above it is cut off by a century. The iris that falls under the upper eyelid will always be slightly darker. The rest of the darkening and highlights will depend on your desire or on who you are drawing.
Darken the whites of the eyes. On the edge of the shadow should be somewhat darker.
Eyelashes are drawn final stage. They are thicker at the base than at the end. Note that the eyelashes are slightly reflected in the eyes.
Finally, we remind you once again that the main thing is practice. Start simple and gradually bring your skill to perfection, gradually complicating your tasks.
Draw and be inspired with us.
The main photo is taken from the website.
In this article you will find many interesting ideas how to diversify classes in painting with paints with a child and make them interesting and informative.
Eco-friendly paints for children
For children, there are 3 types of safe paints that parents prefer:
- finger
- gouache
- watercolor
It is better to start with finger paints, they are suitable for younger children. You can learn more about them from the article. Gouache and watercolor for older children.
The child is interested in exploring something new, but over time he may get bored with the monotonous procedure for painting a sheet with paint. To prevent this from happening, parents need to show the child how to draw more.
There are many ways to paint with the above paints. Various techniques will not let your child get bored and show him a lot of new and interesting things that he has not seen yet.
Finger painting for kids
Exactly this interesting activity for crumbs, because the paint must first be felt before you learn how to draw with it. Dip your index finger in the paint and put spots on paper with them, draw a flower or a caterpillar with them. Draw lines with your finger, make rays near the sun. Show your child that you can draw like this and let him create on his own, let him draw what he wants.
Drawing with a brush for children
When the child can already hold a brush in his hands, show him how to draw with it. Explain to the child that before taking a new color, it needs to be washed. Take the paint on a brush and apply it to a sheet of paper. Try to draw with brushes of different sizes and shapes, see what kind of pattern you get.
You can draw with a brush in the following ways:
Dot painting for kids
Show how you can draw with dots, for this you can use a brush, and a finger, and cotton swab. Dip your tool in the paint and quickly touch the paper with it. You can decorate simple pictures with this technique, kids really like this activity, besides, it is very useful for development. fine motor skills hands
Drawing with stamps for children
Apply paint to the stamp and attach it to the paper, press down. The imprint of the picture will remain on the paper. Show your child how to work with it. Stamps can be painted in different colors, instead of ready-made dies, you can use homemade ones. For example, to make circles with a straw, you can use figures from sorters, parts from a designer, and even cut vegetables and fruits. 
A very interesting texture is obtained if, instead of a stamp, you use an ordinary napkin with pimples. Dip it in the paint and, as if blotting, walk it over a sheet of paper.
foam drawing
Cut off a piece of foam rubber and dip it into the paint, then press it against the paper and remove it. You can draw lines, paint over some shapes. Show your child how to draw. Also, the child will be interested if you make different foam rubber geometric figures. You can attach them to a pencil or stick and use them as stamps. So you can, while playing, learn not only colors, but also shapes. Then complicate the task, try to draw ornaments, first of two shapes, then use more shapes.
Drawing on wet paper
Dampen a sheet of drawing paper with water. Now paint on it. The contours of the lines blur, become fuzzy, smooth transitions and haze are excellent. Just do not overdo it with water, it would be better if you wipe it with a damp cotton swab. This technique is good for paintings with rain, images of fog, flowers behind a curtain.
Blotography
Teach your child to put blots, because then it's so interesting to guess what they look like.
Take a sheet of paper, fold it in half, unfold it and put a few blots on the fold, you can make them in one color or different. Fold the sheet along the fold line and run your fingers from the center of the pattern to its edge. At the same time, you can say something like "sim-salabim."
Unfold the sheet and show the baby what you got. When the child grows up a little, you can ask him what he sees in the picture, what he reminds him of. When the drawing dries, you can finish drawing with a felt-tip pen small parts or outline. It develops imagination and abstract thinking very well.
Threadography
To do this, you will need a sheet of thick paper and woolen thread. Bend the sheet in half and unfold, lower the thread into a jar of paint, then put it on paper and fold it. Move the thread, pressing the leaf with your palm. Expand and see what happens. You will see chaotic strokes of paint, examine them with your child, maybe you will see some familiar objects in them, circle them and finish the details, say what they are called. The combination of creativity, mental and speech work will help your child develop intellectually.
Wax drawing
It is very common and interesting technique. Draw on a piece of paper with wax crayon or a piece wax candle picture, and then with the child paint over this sheet of paper with paint. Since the wax is oily, its paint will not paint over and you will see your drawing. Using this method, you can also make secret notes or write congratulations.
Waxing and painting technique
Put something under a sheet of paper, such as a coin or other embossed object, and rub the sheet with wax, paint over it with paint and you will get an image of the object.
Salt drawings
Sprinkle the finished drawing with salt. When the paint dries, the salt will remain on the sheet and give an interesting texture to the drawing. Thus it is possible to do three-dimensional drawing, for example, highlight stones or a path in the image. On blue paint, salt will look like snowflakes, if you sprinkle green leaves with salt, they will become like living, translucent.
Drawings with masking tape
Molar tape sticks well and peels off paper, so it can be used in drawing and get interesting effects. For example, you can make a birch forest: cut tree trunks from adhesive tape, you can stick knots and branches from the remnants, stick adhesive tape on a sheet of paper. From above, paint everything with paint, when it dries, remove the adhesive tape, white stripes will remain under it. it remains to add details and the forest is ready!
You can cut out something more complicated, such as houses and draw a whole city. Scotch tape is good in that it can be used instead of a stencil, but paint streaks are unlikely to fall under it, and you don’t need to fix it additionally.
You can also use the tape as a frame for the picture, when you remove it, the edges of the picture will be clear and it will be neat.
Drawing pictures with cling film
Yes, yes, with the help of cling film, you can also make amusing drawings. Lay it on a sheet of paper covered with wet paint, and move around a little. When you remove it, you will see interesting abstractions that resemble crystals.
Blowing paint through tubes
Dilute the paint with water to make it thinner. Take one or two colors. Drop the paint on the sheet and blow into the tube, directing it in different directions at the paint. The drawing will resemble the interweaving of tree branches, or you can add a face and it will be hair - let the child dream up.
Painting over drawings
Draw some animal on a piece of paper and ask the child to hide it, but first show how: paint over it completely with paint. At the same time, you can tell a fairy tale, for example, that there was a mouse, she went for delicious cheese, and a cat was waiting for her, who wanted to eat the mouse. And ask the baby how you can help the mouse? Of course, it must be hidden. And ask him to do it.
leaf pattern
Very interesting way drawing. To do this, you will need leaves from trees. Apply paint on the leaves, you can paint with different colors, attach a piece of paint to the paper and press it, then carefully remove it. You can make such a beautiful forest.
If you turn on a little imagination, you will come up with a lot of new ideas with which drawing will not only fun activity but also informative, educational and useful.
In addition to paints, there are also other drawing tools. Your baby will definitely love wax pencils, markers, crayons. More details about visual and other types of creativity are described in the article.
VIDEO: Let's paint with paint! drawing games
Among the unfinished paintings, for the most part small, there was one of a rather significant size; in the middle of a canvas streaked with charcoal and chalk and primed with green brown paint, a sketch of a female head would stop the attention of a connoisseur; but, despite the charm of the drawing and the liveliness of color, she struck me with an unpleasantly indefinite something in the expression of her eyes and smile; it was clear that Lugin was redrawing it in other forms and could not be satisfied, because in different angles canvas was the same head, stained with brown paint. It was not a portrait; maybe, like young poets sighing for an unprecedented beauty, he tried to realize his ideal on canvas - a woman-angel; a whim understandable in early youth, but rare in a man who has experienced life in any way. However, there are people in whom the experience of the mind does not affect the heart, and Lugin was one of these unfortunate and poetic creatures. The most subtle rogue, the most experienced coquette, could hardly fool him, and he deceived himself daily with the innocence of a child. For some time he was haunted by a constant idea, painful and unbearable, especially since his pride suffered from it: he was far from handsome, it’s true, but there was nothing disgusting in him, and people who knew his mind, talent and good nature found even the expression on his face is quite agreeable; but he was firmly convinced that the degree of his ugliness excluded the possibility of love, and began to look at women as his natural enemies, suspecting outsiders of their accidental caresses and explaining to rude and in a positive way their most obvious favor. I will not consider to what extent he was right, but the fact is that such a disposition of the soul excuses a rather fantastic love for the airy ideal, love the most innocent and at the same time the most harmful to a person with imagination. On this day, which was Tuesday, nothing special happened to Lugin: he stayed at home until evening, although he had to go somewhere. An incomprehensible laziness took possession of all his senses; I wanted to draw - the brushes fell out of my hands; he tried to read - his eyes glided over the lines and read something completely different from what was written; he was thrown into heat and cold; headache; ringing in my ears. When it grew dark, he ordered no candles to be served, and sat down by the window, which overlooked the courtyard; it was dark outside; the windows of the poor neighbors glowed dimly; he sat for a long time; suddenly a hurdy-gurdy began to play in the yard; she was playing some old German waltz; Lugin listened and listened—he felt terribly sad. He began to pace the room; an unprecedented anxiety seized him; he wanted to cry, he wanted to laugh... he flung himself on the bed and wept; he imagined his whole past, he remembered how often he had been deceived, how often he had done evil to those whom he loved, what wild joy sometimes overflowed through his heart when he saw tears called by him from eyes now closed forever, and he was horrified noticed and confessed that he was unworthy of unaccountable and true love, and it hurt him so much! so hard! About midnight he calmed down, sat down at the table, lit a candle, took a sheet of paper and began to draw something; everything was quiet around. The candle burned brightly and calmly; he drew the head of an old man, and when he finished, he was struck by the resemblance of this head to someone he knew! He raised his eyes to the portrait hanging opposite him—the resemblance was striking; he shuddered involuntarily and turned round; it seemed to him that the door leading to the empty drawing-room creaked; his eyes could not tear themselves away from the door. - Who's there? he cried. There was a rustle behind the doors, as if shoes were clapping; lime fell from the kiln onto the floor. - Who is this? he repeated in a weak voice. At that moment, both halves of the door quietly, soundlessly began to open; cold breath blew into the room; the door opened by itself; that room was as dark as a cellar. When the door opened wide, a figure in a striped dressing gown and shoes appeared in it: it was a gray-haired, hunched old man; he moved slowly, crouching; his face, pale and long, was motionless; lips compressed; gray, cloudy eyes, surrounded by a red border, stared straight ahead without a goal. And so he sat down at the table opposite Lugin, took out two decks of cards from his bosom, placed one opposite Lugin, the other in front of him, and smiled. — What do you need? said Lugin with the courage of despair. His fists clenched convulsively, and he was ready to throw a shandal at the intruder. He sighed under the robe. - It's unbearable! Lugin said in a breathless voice. His thoughts were confused. The old man stirred in his chair; his whole figure changed every minute, he became now taller, now fatter, now almost completely shrunken; finally took shape. “Good,” thought Lugin, “if this is a ghost, then I won’t succumb to it.” “Would you like me to mark the road for you?” said the old man. Lugin took a deck of cards that lay in front of him and answered in a mocking tone: - What are we going to play? I warn you that I will not put my soul at stake! (He thought to puzzle the ghost by this ...) And if you like, - he continued, - I will put on a klunger; I do not think that they were found in your air bank. The old man was not at all embarrassed by this joke. — I have this in the bank! he answered, holding out his hand. - This? said Lugin, frightened and throwing his eyes to the left, "what is this?" Something white, indistinct and transparent, swayed near him. He turned away in disgust. - Dream! - then he said, recovering himself, and, taking a klunger out of his pocket, he put it on the map. - It's coming, dark. The old man bowed, shuffled the cards, cut and began to throw. Lugin put seven tambourines, and she was killed by Sonic; the old man extended his hand and took the golden one. - More talyu! Lugin said with annoyance. It shook its head. — What does that mean? “Wednesday,” said the old man. - A! on Wednesday! cried Lugin in a rage, “so no! I don't want Wednesday! tomorrow or never! do you hear? The strange visitor's eyes flashed piercingly, and he stirred restlessly again. "Good," he finally said, got up, bowed, and left, squatting. The door closed softly behind him again; shoes clattered again in the adjoining room... and little by little everything calmed down. Lugin's blood pounded like a hammer in his head; a strange feeling agitated and gnawed at his soul. He was annoyed, insulted that he lost! .. “However, I did not give in to him! he said, trying to console himself. Wednesday! no matter how! what a madman I am! This is good, very good! .. he will not get off with me. And how similar to this portrait!.. Terribly, terribly similar! A! I understand now!.." At this word, he fell asleep in the armchairs. The next day, in the morning, I did not tell anyone about what had happened, I sat at home all day and waited feverishly for the evening. “However, I didn’t take a good look at what he had in the bank! he thought, “it’s true, something unusual!” When midnight came, he got up from his chair, went into the next room, locked the door leading to the hall, and returned to his place; he did not wait long; again there was a rustle, the clapping of shoes, the cough of the old man, and his dead figure appeared in the doorway. Another was advancing behind him, but so vague that Lugin could not make out its form. The old man sat down, as on the eve, laid two decks of cards on the table, cut one off and got ready to throw it, apparently not expecting any resistance from Lugin; there was an extraordinary certainty in his eyes, as if they were reading into the future. Lugin, completely dumbfounded by the magnetic influence of his gray eyes, was about to throw two semi-imperials on the table, when he suddenly came to his senses. “Allow me,” he said, covering his deck with his hand. The old man sat motionless. “What the hell was I trying to say! let me - yes! Lugin is confused. Finally, making an effort, he spoke slowly: - Well ... I will play with you, I accept the challenge, I'm not afraid, only on the condition: I must know who I'm playing with! what's your last name? The old man smiled. "I don't play any other way," said Lugin, meanwhile his trembling hand was pulling another card out of the deck. - What? said the stranger, smiling mockingly. — Shtos? Who? Lugin's hands dropped: he was frightened. At that moment, he felt near him someone's fresh aromatic breath, and a faint rustle, and an involuntary sigh, and a light fiery touch. A strange, sweet, and at the same time painful thrill ran through his veins. He turned his head for a moment and immediately fixed his eyes again on the cards: but this momentary glance would have been enough to make him lose his soul. It was a wonderful and divine vision: bending over his shoulder, a woman's head shone; her lips pleaded, her eyes had inexpressible anguish... she separated herself on the dark walls of the room, as if morning Star in the misty east. Life has never produced anything so airy-unearthly, never has death carried away from the world anything so full of fiery life: it was not an earthly being - it was colors and light instead of forms and body, warm breath instead of blood, thought instead of feeling; it was also not an empty and false ghost ... because in obscure features a stormy and greedy passion breathed, desire, sadness, love, fear, hope - it was one of those wonderful beauties that a young imagination draws for us, before whom in front of in the agitation of fiery dreams we kneel, and weep, and pray, and rejoice in God knows what - one of those divine creations of a young soul, when in excess of strength it creates for itself a new nature, better and fuller than the one to which it is chained. At that moment Lugin could not explain what had happened to him, but from that moment he decided to play until he won: this goal became the goal of his life - he was very glad about it. The old man began to throw: Lugin's card was killed. The pale hand dragged the two half-imperials across the table again. "Tomorrow," said Lugin. The old man sighed heavily, but nodded his head in agreement and went out as the day before. Every night for a month this scene was repeated: every night Lugin lost; but he was not sorry for the money, he was sure that at last at least one card would be given, and therefore he doubled the jackpots; he was at a great loss, but every night for a minute he met a look and a smile for which he was ready to give everything in the world. He lost weight and turned yellow terribly. He spent whole days at home, shutting himself up in his study; didn't eat often. He looked forward to the evening like a lover of rendezvous, and every evening he was rewarded with a more tender look, a more friendly smile; she- I don't know what to call it? She seemed to take a tremulous part in the game; she seemed to be impatiently waiting for the moment when she would free herself from the yoke of the insufferable old man; and every time Lugin’s card was killed and he turned to it with a sad look, those passionate, deep eyes looked at him, which seemed to say: “Be bolder, don’t lose heart, wait, I’ll be yours, whatever no matter! I love you"... and cruel, silent sadness covered her changeable features with its shadow. And every evening, when they parted, Lugin's heart contracted painfully—despair and fury. He was already selling things to keep the game going; he saw that the moment was not far off when he would have nothing to stake. Something had to be decided. He made up his mind.
Dash
§ 164. A dash is placed between the subject and the predicate, expressed by the noun in nominative case(no link). This rule is most often applied when the predicate defines a concept, expressed by the subject, For example:
Oak is a tree.
Optics is a branch of physics.
Moscow, Leningrad, Kyiv, Baku - Largest cities THE USSR.
The older brother is my teacher.
My older brother is a teacher.
Note 1. If a predicate expressed by a noun in the nominative case is preceded by a negation Not, then the dash is not put, for example:
Poverty is not a vice.
Note 2. In an interrogative sentence with a main member expressed by a pronoun, a dash is not placed between the main members, for example:
Who is your father?
§ 165. A dash is placed between the subject and the predicate if the subject is expressed in the nominative form of the noun, and the predicate is in an indefinite form, or if both of them are expressed in an indefinite form, for example:
The purpose of each person is to develop in himself everything human, common and enjoy it.
Belinsky
To live life is not a field to cross.
§ 166. A dash is placed before this, this is, this means, here if the predicate expressed by a noun in the nominative case or indefinite form, is attached by means of these words to the subject, for example:
Communism is Soviet authority plus the electrification of the whole country.
Poetry is the fiery gaze of a young man, seething with an excess of strength.
Belinsky
Romanticism is the first word that announced the Pushkin period; nationality is the alpha and omega of the new period.
Belinsky
§ 167. A dash is placed before a generalizing word after the enumeration, for example:
Hope and swimmer - the whole sea swallowed.
Neither the cries of a rooster, nor the sonorous rumble of horns, nor the chirping of early swallows on the roof - nothing will call the deceased from the coffins.
Zhukovsky
§ 168. A dash is placed before an appendix at the end of a sentence:
1. If you can insert it before the application without changing the meaning, namely, for example:
I'm not too fond of this tree - aspen.
Turgenev
In relations with outsiders, he demanded one thing - the preservation of decency.
Paying tribute to his time, Mr. Goncharov also brought out an antidote to Oblomov - Stolz.
Dobrolyubov
2. If the application has explanatory words and it is necessary to emphasize the shade of independence of such an application, for example:
I had a cast-iron teapot with me - my only consolation in traveling around the Caucasus.
Lermontov
§ 169. A dash is placed between two predicates and between two independent sentences if the second of them contains an unexpected attachment or sharp opposition to the first, for example:
I went out, not wanting to offend him, to the terrace - and was stunned.
I'm in a hurry to go there - and there is already the whole city.
I wanted to travel around the whole world - and did not travel a hundredth.
Griboyedov
I wanted to draw - the brushes fell out of my hands. Tried to read - his eyes glided over the lines.
Lermontov
Note 1. To enhance the shade of surprise, a dash can be placed after coordinating conjunctions linking two parts of one sentence, for example:
Ask for a calculation on Saturday and - march to the village.
M. Gorky
I really want to go there to meet them, but I'm afraid.
M. Gorky
Note 2. To express surprise, any part of the sentence can be separated by a dash, for example:
And they threw the pike into the river.
And ate the poor singer - to the crumbs.
§ 170. A dash is placed between two sentences and between two homogeneous members of a sentence, connected without the help of unions, to express a sharp contrast, for example:
I am a king - I am a slave, I am a worm - I am a god.
Derzhavin
It's no wonder to cut off your head - it's smart to put it on.
Proverb
Here they do not live - paradise.
§ 171. A dash is placed between sentences not connected by conjunctions if the second sentence contains a result or conclusion from what is said in the first, for example:
Praises are tempting - how not to wish for them?
The sun has risen and the day has begun.
Nekrasov
§ 172. A dash is placed between two sentences if they are connected in meaning as a subordinate clause (in the first place) with the main one (in the second place), but subordinating conjunctions missing, for example:
Gruzdev called himself get in the body.
They cut the forest - the chips fly.
He himself is entangled - and unravel himself; knew how to brew porridge - know how to disentangle it; if you like to ride - love to carry sleds.
Saltykov-Shchedrin
§ 173. A dash is placed to indicate the place of disintegration simple sentence for two word groups, if it cannot be expressed by other punctuation marks or word order, for example:
I ask you: do workers need to be paid?
Such a split is often observed when some part of the sentence is omitted (why the dash in this case is called elliptical), for example:
Pustoroslev for faithful service - Chizhov's estate, and Chizhov - to Siberia forever.
A.N. Tolstoy
We sat down - in ashes, hailstones - in dust, in swords - sickles and plows.
Zhukovsky
Everything is obedient to me, but I am nothing.
§ 174. By means of a dash, the following are distinguished:
1. Sentences and words inserted in the middle of a sentence for the purpose of explaining or supplementing it, in cases where bracketing (see § 188) may weaken the connection between the insertion and the main sentence, for example:
Here - there is nothing to do - friends kissed.
... Suddenly - about a miracle! oh shame! said the oracle nonsense.
Only once - and even then at the very beginning - there was an unpleasant and sharp conversation.
Furmanov
2. A common application, standing after the noun being defined, if it is necessary to emphasize the shade of independence of such an application (for commas in the application, see § 152), for example:
The senior sergeant - a gallant aged Cossack with stripes for extra-long service - ordered to "build up".
In front of the doors of the club - a wide log house - workers with banners were waiting for the guests.
3. Group in the middle of a sentence homogeneous members, For example:
Usually, from the riding villages - Elanskaya, Veshenskaya, Migulinskaya and Kazanskaya - they took Cossacks to the 11th - 12th army Cossack regiments and to the Life Guards Atamansky.
Note. A dash is placed after an enumeration in the middle of a sentence if this enumeration is preceded by a generalizing word or words somehow, for example, namely (see § 160).
§ 175. A dash is placed as an additional decimal point before a word that is repeated in order to connect a new sentence with it (more often a subordinate, reinforcing, supplementing or developing the main sentence) or a further part of the same sentence, for example:
I knew very well that it was my husband, not some new one, Unknown person, A good man- my husband, whom I knew as myself.
L. Tolstoy
Now, as a judicial investigator, Ivan Ilyich felt that without exception, the most important, self-satisfied people, everything was in his hands.
L. Tolstoy
§ 176. A dash is placed as an additional sign after a comma, which separates the main clause from the group of subordinate clauses preceding it, if it is necessary to emphasize the splitting of a single whole into two parts, for example:
Who is to blame among them, who is right, is not for us to judge.
Whether Stoltz did anything for this, what he did and how he did it, we do not know.
Dobrolyubov
§ 177. A dash is placed as an additional sign after the decimal point to indicate the transition from increase to decrease in the period, for example:
Oh if it's true that in the night
When the living rest
And moonbeams from the sky
Gliding on gravestones,
Oh if it's true, what then
Quiet graves empty, -
I call the shadow, I'm waiting for Leila:
To me, my friend, here, here!
In the 1800s, at a time when there were no railroads or highways, no gas or stearin lights, no spring sofas, no unlacquered furniture, no frustrated young men with glass, no liberal female philosophers, nor the lovely camellia ladies, of whom there are so many divorced in our time, in those naive times, when from Moscow, leaving for St. Petersburg in a wagon or carriage, they took with them a whole kitchen home cooking, drove for eight days on soft, dusty or dirty road and believed in fire cutlets, Valdai bells and bagels; when in long autumn evenings tallow candles burned, illuminating family circles of twenty and thirty people, wax and spermaceti candles were inserted into candelabra at balls, when the furniture was placed symmetrically, when our fathers were still young, not only the absence of wrinkles and gray hair, but they shot for women, from another angle rooms rushed to pick up accidentally or not accidentally dropped handkerchiefs, our mothers wore short waists and huge sleeves and settled family matters by taking out tickets; when the lovely camellia ladies hid from the light of day; in naive times Masonic lodges, Martinists of the Tugendbund, during the time of the Miloradovichs, Davydovs, Pushkins, - in provincial city There was a congress of landowners and the noble elections were coming to an end.
L. Tolstoy
§ 178. A dash is placed between two words to denote spatial, temporal or quantitative limits (in this case, the dash replaces the meaning of the word "from ... to"), for example:
Flights USSR - America.
Manuscripts XI - XIV centuries.
§ 179. A dash is placed between two or more proper names, the totality of which is called a doctrine, scientific institution etc., for example:
Boyle's physical law - Mariotte.
