How to draw a crumpled sheet of paper ..... Well, dear admirers of such an interesting, but rather demanding science - drawing, now the task will not be pleasant, but very, very useful. I really understand how you're going to feel right now. This exercise is simply highly recommended to be done from time to time and students of art schools go through it more than once. The exercise allows you to develop an eye, to consolidate the material covered, well, it is very clearly visible from it at what stage of the “development of the drawing” you are now. Simply put, see what you already know. Today you are doing the exercise for the first time, I hope not the last, it's up to you.

Well, are you ready? Tune in very strongly. We will make a drawing of a crumpled sheet of paper, cardboard, with an analysis of the fracture planes. Simply put, we will analyze the fracture planes of the volume of paper.

For those who find it difficult, you can draw crumpled cardboard for a start. There will be fewer kinks and the kink planes themselves are not small.
Slightly crumple a sheet of A3 cardboard and lay it nicely in front of you. Look: each face resembles a face of a cube - and we have already learned how to draw the cube itself and rotated it in space at different angles. When you understand this, the task does not seem so difficult. But on the other hand, this exercise is very, very useful for the development of the eye.

Let me tell you a little more, before starting work, what an eye is. In a nutshell, very simple. When you look at a still life with the pencil held out in front of you, turning it horizontally and vertically, you take measurements relative to the "line" of the pencil. Define conditional angles. So your eye gauge doesn't work. The eye is your visual skills, something that only your eye remembers and analyzes. Your eye notices the ratios in front of you and helps you transfer them to paper. But with the help of a pencil or other handy means, you only check yourself. Additionally, there is more material - how to develop an eye.

Here is a photo of what we have to hand over on paper. Let's get to work. And, probably, we will try to make everything as clear as possible and start, after all, again, with a simple one. Let's first take a small sheet of white cardboard, I take a thick drawing paper. Crumple it as much as you like, but do not make it too crumpled. Now let's take a soft material - charcoal and start drawing. You can draw on a piece of wallpaper approximately A3-A2. While you do not need to stretch the paper on the tablet, just fix it on the easel. And yet, you should sit so that the easel is to the right of what you are going to portray. Otherwise, you will block the picture with your hand (for right-handers). For lefties it's the other way around.

So, compose a sheet of paper in paper space. Since we are already starting to draw such a "still life", that is, to draw from nature, it is imperative to show object plane. Our sheet of paper is not hanging in the air, is it? It is located on the table-object plane. Find the place of the sheet on the object plane with a total volume - height, width, general outlines. After that, designate our experimental person in more detail, checking the volume of paper on the table and in your sheet for compliance, and find a place for the largest planes and corners - along the bends of your cardboard. It is best to find proportional relationships using conditional three points. Draw without pressing hard with the charcoal on the paper, take care of the light - learn to make a clean drawing little by little.

After you have found the main volumes and the main proportional ratios of the planes and faces of the crumpled cardboard, you can select smaller breaks and planes.

Only after all this work has been done, we begin to lay down the stroke - to separate the light from the shadow with the help of hatching. As well as with the cubes that we rotated in space, the same drawing principle remains here. Separate the shadow from the light. Give the entire shadow part of the crumpled cardboard with a stroke - you have already learned how to lay down a little. I'm starting to designate the darkest shadows - falling and the shadow of the object plane, since it will be closest to us, and therefore darker. There will be no darker tones in the picture. Then I put a stroke on the rest of the shadow part. Here, we marked the shadows, separated the light from the shadow. There is always tension at the corners and intersections of planes - make accents in these places.

Next, analyze the light-and-shadow relations in the same way as with the cubes in lessons 1, 2, 3. The nearest faces and planes to us will be highlighted more strongly, the far ones - weaker. The kinks that are closer to us will be highlighted more strongly. Likewise with shadows. The shadows closest to us are darker, those that go into the air, into space are weaker. Draw. A special attitude towards the falling shadow - it will be stronger than its own, but also, receding into space, it will weaken.

Try to work slowly, do not press hard on the coal rod. Don't redo your work. If you blacked out, smeared the work and don’t know what to do next, try again, taking into account past mistakes.

The object plane is illuminated, moving into the air it will lose its activity and will become darker. And the farther from the lighting, the less active its light will be. In relation to the wall, the object plane will be lighter. Remember the cube: the vertical object plane is lit, the background wall will be in shadow. But not in such an active as the shadow of the object plane - the table breaks. If projected onto a cube, then the darkest shadow of the object plane will be the shadow side of the cube.

With a crumpled sheet of paper will happen exactly the same. Kinks - how the faces of the cube will be highlighted, the corners are active, the planarity of the faces is clearly defined - the near ones are more active, the far ones are weaker. Chiaroscuro will be distributed according to the shape of the object - a crumpled sheet. The light on the object plane will be the most active, as it is closest to the mothers. Moving deeper into the space of the sheet, the light becomes weaker, but will always be lighter than any shadow.

Now let's see what I got:

So with a soft material, in this case, with charcoal, you can draw a crumpled sheet of paper. Now let's analyze what happened to me .....
Do you see errors? Who said I can't see? The foreground is highlighted, this is understandable. Facets and sides are visible, accents are placed. But that's not all.
Let's sort out the mistakes! I want you to learn to see mistakes. In this case, mine, and then you will analyze yours using the example of mine. Look at the pictures below and analyze:

Here is what we captured at the very beginning. Let's see what happened:

Well, how does it look like? How are things with my eye gauge? No way. Parsing:
1. Blue indicates that the object plane was not found.
2. Red shows that I have problems with the transmission of light (light gets darker moving into space).
3. Green shows how the base planes are found.
4. Yellow shows how the most visible near and active corner is found.
5. Well, brown for a snack - a drop shadow. Enough for now.

The eye in this case worked very, very little. The primary task has not been solved either - to find the object plane and the main proportional relationships of the crumpled sheet (height-width). Everything else has already gone wrong. Yes, and the conduct of the work itself is not correct.

Now take a break and look at your work. Analyze everything the same way. You can use handy tools (pencil, ruler) to determine the correspondence of sizes and proportional ratios. It is possible to control and correct the work of the eye.

We draw another crumpled sheet of paper - we think, analyze and try

Now let's work more seriously and responsibly, taking into account all the previous mistakes. I hope you remember them once and for all.

1. Prepare paper stretched over a tablet and graphite pencil. Place a crumpled sheet at a distance of 1.5-2 meters from you, sit down at the easel. Then everything is as usual - find the place of your "crumpled guinea pig" in the space of the sheet-tablet, determine the main proportions - height and width, angles and place for the largest planes.

When you determine the place in the space of the sheet for all planes and bends-kinks, in other words, you find the design of the "experimental", a constructive beginning, then take a break. After a while, look at the work again - maybe you need to fix something. Proportions, proportions and more proportions! Until the proportional ratios of the main parts of the composition and their details are found, it is impossible to proceed to shading.

2. Already the second stage will be the shading of all the shadows present in our composition with one character - a crumpled sheet. We take and separate all the shadows from the light. With a stroke of one key, lightly, analyzing the shape - on which planes the light will fall, and which will be in shadow. If the stroke is difficult to lay down, then you can make short strokes, like mine. Fill with them all the surfaces that are somehow stronger or weaker, but will be in the shade.

Here I start to lay down the stroke on the largest surfaces - the wall, that part of the object plane that is in shadow. Note that this resembles the structure of a cube. The object plane is the face of the cube that is in the light. The wall is in partial shade, then there is a break in the object plane, which will be in the shade.

Now I put a stroke on that part of the crumpled sheet, which will be in the shadow. Absolutely all the necessary areas that will be in the shadow part, I cover with hatching. If it is difficult to evenly lay down a stroke, lightly lean your little finger on the tablet or support your arm under your elbow, but do not lean on the paper with the back of your hand.

3. Next, we will try to show how light will behave in our conditional leaf space. Let us again take the largest and most basic surfaces. Our table is the object plane. She will be in the light. But we still need to convey its horizontal position. Let's also take into account the factor that, moving away into space, the light gradually goes out, fades away. So we leave the lightest thing that will be closest to the light source. And everything else will go out, darken. Moving away from us to the wall, the object plane will go into the air and lose the power of light. Moving away from the light source, the subject plane will also receive less light and, of course, darken.

Then we move on to the wall. The wall is in partial shade. In any case, if no side factors influence, its tonality will be darker than the object plane. And, just as in the situation with the object plane, moving away from the light source, the degree of its illumination will also decrease - it will receive less light.

Now let's move on to the darkest and most saturated shadow - a break in the front plane. This area will be unlit, in complete shade. But black, of course, we will not do it. This is not possible, this very dark shadow can be influenced by a lot of factors that allow the darkest shadow in our composition to be lively, airy, transparent. But still the darkest. And let that part of it, which is opposite our eyes, be the darkest tone, and those parts of it that go away from us to the sides, lose their strength a little. The most contrasting part will also be in front of us, closer to us.

Note: Surely you are holding the pencil in your hand properly now? Well, it is difficult, especially at first, to create such dark shadows with such a position of the hand. For this very purpose, I permit you to take a pencil, so to speak, "in a natural way", as you write, and put a stroke of such power as this shadow deserves. But I will, of course. Don't make holes ;)

I also want to add something. If you have visited the color science page, you already know how color behaves in space. We don't have color here. But there are clear unshakable laws both in painting and in drawing: the light is moving away darkens, goes out. The shadow fades away. But! The darkest midtone in the light is still lighter than the lightest midtone in the shadow.

In general, as it is considered better, work must be carried out immediately "on all fronts." How to disperse one's vision, immediately feeling all the work, and to draw not in detail, but to draw, affecting the subject plane, and still life objects, and drapery ... This way the drawing will turn out to be solid and it will be more correct to convey light and shade relations. But here for now we will set the main "atmosphere" in the sheet, and then we will subordinate our hero - "experimental" to it. So it is easier to understand in what tonal "framework" it will be.

Here, now we outline the falling shadows. There will be two of them, one from the top lighting, the second from the side lighting, and they beautifully overlap each other, reinforcing themselves. Look - when the shadow is closer to us, where it begins, there I make it darker, more active. As it moves away, it becomes softer, a little lighter. By the way, this is how it turns out to "put" it on a plane.
The falling shadow will be dark, darkest of all, except for the shadow of the object plane, where both the falling shadow and its own are superimposed on one another.

4. The space in the sheet is set, the power of the pencil is exhausted, we understand what tonal gradation the subject will be in. Next, we deal with the crumpled sheet itself. Note that the overall own shadow of the crumpled piece of paper will be darker than the halftone of the wall. But in any case, lighter than the drop shadow. We are working within this framework.

Do not forget that the crumpled sheet is the same sides, edges, corners. But to find their sizes, turns, inclinations is our task. We just try to constructively analyze the subject, conveying all its nuances with chiaroscuro.

We make accents on the breaks of the forms, highlight the corners, mark the intersections of the planes. Since the light follows the form, we also try to lay the stroke according to the form. And in general, we analyze more, copy less.

This is the drawing we get. Much better than the first time, right? The only thing that I have not touched here at all is glare. But now you don't have to. To be honest, this is not an easy task for a beginner. But the one who endured and finished it, even if it didn’t work out very well, received very necessary skills and grew one step, no doubt.
Well done!!!

The fox cubs have been drawing enthusiastically all day today. Tell me, have you ever heard of drawings on crumpled paper? It turns out that it is very simple and incredibly interesting! And all you need for this is paints and thin paper... Read more in our master class.

Usually we draw with paints on a smooth, even sheet of drawing paper. This is ideal. But the fact that it should be smooth, even, that's for sure. But no! On crumpled paper, you can draw the same. Moreover, an unusual effect is obtained. There is an imitation of cracks. As if the picture was drawn several centuries ago and the paint on it is cracked. Working in this technique with my pupils is what we call “old paintings”. How does it work? This will be discussed in this master class.

To draw on crumpled paper you will need:

Thin sheet (such as xerox paper)
- watercolor paints
- soft brush (number to your taste, which one you prefer to draw)
- a jar of water, graphite pencil (simple)
- eraser

How to draw crumpled paper

For work, we need thin paper, because. we will need to crush it. And this is difficult to do with a dense Whatman sheet. When crushed, whatman paper can crack and tear. And we don't need it. Xerox paper is ideal for this job. And the writing pad is too thin. But, as an option, you can conduct an experiment with a child: try to work in this technique on different types of paper (writing, xerox, drawing paper, watercolor, cardboard). And make a conclusion which paper is best suited for this technique. Thus, the child will also get acquainted with various types of paper.

On a sheet of paper with a simple pencil, we draw a drawing. The drawing should consist of large details. Small in this technique will be very difficult to perform in color.

We crumple the sheet. We crumple, not fold. But be careful not to break it.

We smooth the sheet on the table with our palms.

Let's start painting with paints. Watercolor is suitable, because it requires a lot of water, unlike, for example, gouache. A lot of water is required for this work.

Gradually, detail by detail, we paint the picture. On the brush you need to take a lot of water and a lot of paint. Their excess will drain into the folds. And after drying, the folds will become brighter compared to other places. This is how cracks are created. We painted this work all over with paints, i.e. left no white space. There is another option.

The initial stages: pencil drawing, crumpling are performed in the same way. But in color we draw a little differently. We take a lot of paint on the brush, and less water. When painting on the brush, do not press hard, paint superficially. Thus, white unpainted areas will remain.

You can choose any subjects for such drawings.

After the works have dried, it is desirable to frame them. To do this, we cut strips of thick paper 2-3 cm wide. And paste them along the edge of the work.

We suggest you try it with a butterfly. Enjoy your joint creativity with children!

Non-traditional drawing techniques for older preschoolers.

Crumpled paper drawing technique.

Alekseeva Anastasia Igorevna, social teacher MBDOU No. 20, Vladimir
Purpose:drawing can be used as interior decoration. This master class is intended for kindergarten teachers, parents and children. The age of children is 5-7 years.

Target:introducing children to the technique of drawing with crumpled paper.
Tasks:
- Development of creative abilities in preschool children;
- To develop respect for nature;
- Development of attention, thinking and taste;
- Education of accuracy.
Material:sheets of paper, gouache, brushes, jars of water.

Drawing with crumpled paper is a very entertaining drawing technique that gives room for imagination and freedom for small hands. Even the process of preparing for the lesson is fascinating. Paper lumps, with which the work will actually be carried out, children can gladly knead themselves.

Stages of work:

1. We take several sheets of paper and crumple into lumps.

2. Having previously applied water to a sheet of paper, we begin to set the background.

3. We dip the lumps into the plates with paint and press the lumps to a sheet of paper, leaving prints in the form of clouds and grass. You can draw the outlines of the desired image in advance, and then seal it.

("finger painting", fingerography, "fingers - palette")

You can come up with a rule: each finger has a certain color, it is especially good to draw when there is no brush at hand. For this, gouache paints are convenient, which are poured into flat plates, lids from gouache jars.

1. Having dipped the PILLOWS of the fingers in paints, you can draw: "New Year's Confetti", "Scattered Beads", "Lights on the Christmas Tree", "Cheerful Peas", "Traces", "Patterns on Dresses", "Fluffy Snow", "Sunny Bunnies", "Dandelions", "Villow Fluffed", "Sweet Berries", "Clusters of Rowan", "Flowers for Mom", "Smoky Whistler".

2. If you dip the SIDE SIDE OF THE FINGER into the paint and attach it to the paper, then you get “Traces” of larger animals, "Summer and autumn leaves", "Vegetable salad", "Holiday leaves".

If, therefore, DRAW LINES OF DIFFERENT LENGTHS, again picking up paint, then you can draw more complex objects: trees, birds, animals, landscape pictures and even decorative patterns, combining with drawing with a fingertip.

3. Clench your hand into a fist and put it on the paint (diluted in an old plate), move it from side to side so that the paint is well smeared on your hand, then LIFT AND APPLY TO PAPER - large prints remain "flower buds", "baby animals", "birds", and etc.

4. If you attach the side of the fist to a sheet of paper, and then make prints, then "caterpillars", "dragons", "monster body", fabulous trees and more.

ADVIСE: Before you start, make a few prints of different parts of the hand on a separate sheet to see what shapes you can get. Change hands so that the fingerprints and the fist curve in different directions.

Monotype

You will need gouache or watercolor, white or black paper, photographic paper (clarified), cellophane, glass, plastic film.

Types of work:

1. A sheet of paper is folded in half. SPOTS (warm or cold) are applied to one of the halves; the second half is pressed against the first, carefully smoothed into different

sides and unfolds. Guess what happened? Mirroring (butterfly, flowers, animal faces, etc.). IT IS POSSIBLE TO GIVE A READY FORM OF A BUTTERFLY and also fill one side with spots (there was an enchanted white butterfly - invite the children to disenchant - color it in the monotype method);

2. A SHEET OF PAPER CAN BE FOLDED NOT ONLY VERTICALLY, BUT ALSO HORIZONTALLY - symmetrical images or twins are obtained (twin brothers, "two chickens", "merry bear cubs", "city on the river" - draw a city on paper folded horizontally, opened it - the city was reflected on the river), "masks" for the New Year and other folk holidays.

3. Moisten a paper napkin with diluted paint and press various shapes of objects - workpieces against it. Then, print them on a blank sheet of paper or on a smooth surface.

4. On glass, mirror, plastic board, paper, plastic film, stains or gouache drawing are applied, a sheet of paper is superimposed on top and printed. Start with a small piece of paper, then - the size of a landscape sheet, etc. Topics are very varied: "Life in the North", "Aquarium", "Vase with fruits and vegetables", "Forest".

diatypy

A cardboard folder is needed, a LAYER OF PAINT (gouache) is applied to ITS SMOOTH SURFACE with a rag swab. Then a white sheet of paper is superimposed on top, drawn on it with a pointed stick or pencil (but do not put pressure on the paper with your hands!). It turns out an impression - a mirror repetition of the pattern.

Children love landscape pictures "Night in the Forest", "Night City", "Fireworks" and others. It all depends on the color of the chosen gouache, i.e. the color palette is already thought out.

Packing

You need to make tampons from gauze or a piece of foam rubber.

1. A clean stamp pad or just a square piece of flat foam rubber can serve as a palette. This exciting activity for children gives the skills to gently and lightly touch the paper with a swab with paint of any color to draw something fluffy, light, airy, transparent, warm, hot, cold (clouds, sun, sunbeams, dandelions - portraits of the sun, snowdrifts, waves on the sea, etc.)

2. If you take large swabs, you can draw a lot of curious fluffy chickens, ducklings, funny bunnies, snowmen, bright fireflies (finishing the necessary small details).

3. At an older age, you can combine this technique with the technique " STENCIL". First, a stencil is cut out, then, pressing it with your fingers to a sheet of paper, circle around the contour with frequent light touches of the swab. Carefully lift the stencil - what a clear and distinct mark remained on the paper! You can repeat it again with a different color and in a different place as many times as you like!

Stamps, print

They allow you to repeatedly depict the same object, composing different compositions from its prints, decorating them with invitation cards, postcards, napkins, "shawls"(Pavlovo - Posad), "flowers on the lawn", "autumn beds", landscape pictures, etc.

It is easy to make stamps and seals from vegetables (potatoes, carrots), an eraser, draw a conceived pattern on a cut or end and cut off everything unnecessary. On the other side of the vegetable or eraser, make an incision and insert a match without sulfur - you get a comfortable handle for the finished signet.

Now you need to press it against the paint pad, and

then - to a sheet of paper, you should get an even and clear print. You can make any composition, both decorative and plot.

Older children make more complex compositions, adding the necessary details to the prints and expanding the objects for the prints: the soles of children's boots with a corrugated pattern (you can depict a huge sunflower, a giant tree, etc.). large prints are especially good for decorating a hall, summer playgrounds.

Signets can be replaced with DRY LEAVES from different trees and shrubs (leaves for herbarium). Prepare gouache, brushes or a piece of foam rubber, a sheet of paper. Come up with what we want to draw (summer, winter, autumn or spring), i.e. choose color. Turn the dry sheet with the left (convex) side up, paint over well, then carefully turn the painted side onto paper, mindful of the composition, and lightly press with your finger, remove - we get an impression, an imprint that looks like a silhouette of a tree or shrub (if it is not a large sheet of rounded forms). Draw the trunk a little, and the branches are the printed veins of the leaf.

Using this technique, you can teach children to navigate on a sheet of paper, think over two or three planned compositions, laying out dry leaves on a sheet of paper, and then painting over and printing them.

Drawing on raw (wet) paper

A sheet of paper is wetted with clean water (a swab, foam rubber or a wide brush), and then apply an image with a brush or fingers.

On wet paper, you can paint with watercolors, starting from the younger age group. Tell the children about the artist - animal painter E.I. CHARUSHIN, who used such a means of expression, depicting fluffy little animals, chicks, funny and curious, like little children. Consider the books he wrote and illustrated.

And there is a lot for such technology: "Magic Living Clouds", which turn from lines and spots into various animals, “We lived - there were fish in the aquarium”, “Hares and rabbits”, “A little good friend (puppy, kitten, chicken, etc.)”.

To keep the paper from drying out longer, it is placed on a damp cloth. Sometimes the images come out as if they were in a fog, washed out by the rain. If you need to draw details, you must wait until the drawing dries or pick up very thick paint on the brush.

Sometimes a DIFFERENT WAY OF BLURING THE IMAGE is used. Take a bowl of water, lines are applied to a sheet of paper, for example, the contours of autumn trees, in the upper part - a blue line (sky). Then put this sheet face down on the surface of the water, wait a bit and lift it up sharply. Water spreads over the paper, blurring the paint, the color falls on the color, resulting in a bright and unusual picture. When it dries, you can additionally finish the necessary details, for example, branches, trunk, i.e. any necessary details. You can also emphasize the outline with a thin brush with black paint.

Another option - STRETCHING THE PAINT - you can tell the children when they are just starting to draw their picture, landscape or plot and you need to fill the entire sheet, the entire space. Or when a child knows that he will have a two-dimensional composition and the sky will occupy a certain place. To do this, take the desired color of paint and draw a line in the upper part of the sheet, then stretch it and blur it horizontally with water.

Drawing on crumpled (pre-crumpled) paper

This technique is interesting in that in places where the paper is folded (where its structure is broken), the paint, when painted over, becomes more intense, dark - this is called "mosaic effect".

You can draw on crumpled paper at any age, because. it's very simple. And older children themselves carefully crumple a sheet of paper, straighten it and draw on it. Then you can insert children's drawings into a frame and arrange an exhibition.

Drawing with two colors at the same time

This technique is characterized by various joyful themes: spring willow, like a sparrow, looking out of a bud.

Two paints are taken on the brush at the same time, gray (gouache) on the entire pile, and white on the tip. When paint is applied to a sheet of paper, the effect is "bulk" Images. Flowers are also unusually beautiful and bright, especially fabulous ones, miracle trees or unusual Ural-Siberian painting, when two paints are taken on a flat brush, and the brush, as it were, dances in the fingers of the master, leaving berries, flowers and leaves on a tree, birch bark, metal.

Drawing "fluffies"

To do this, the contour of the wet drawing is smeared with a dry, hard brush and flowers, flowering spring trees, elements of the Ural-Siberian painting, chicks, dandelions, and so on are obtained.

The same expressive images can be obtained with a dry hard brush (bristle), if it is held vertically in relation to the sheet and applied with jerky strokes on dry paper to a sketch made with a simple pencil, or immediately depict animals, their fluffy hair, flowering lilac bushes, apple or cherry trees and more.

Children are especially good at drawing portraits of their favorite toys, for which they first draw a contour, and then apply sharp strokes, going to the contour of the image. The more often the strokes, the better the texture (fluffiness) is transmitted.

After such classes, you can arrange an exhibition of portraits of your favorite toys or fairy-tale images. Or maybe arrange a personal exhibition of a young artist - an animal painter.

bitmap

The drawing is applied with the tip of a brush, fingers of different sizes and paints of different colors. It turns out a mosaic pattern or again “fluffy”.

stroke drawing

To quickly depict animals, birds, come up with and embody unusual fairy-tale paintings, you can visit an amazing country "GRAPH". It is not on the geographical map, but it is everywhere where inquisitive children live.

To do this, you just need to pick up a magic wand, which can be any pencil, felt-tip pen, wax or simple crayon, sanguine, pastel, artistic pencil - sauce.

Touch a piece of paper and the doors of this country will open "GRAPH". Here everyone loves to draw, draw, write. This country has its own language: a stroke, a line, spots, a contour, a silhouette, a decorative line, a decorative spot, a geometric pattern.

The basic laws of beauty are the laws of composition, which include rhythm, balance, symmetry, contrast, novelty, plot and compositional center.

Hatch- this is a line, a line that can be short and long, sloping and even, slightly noticeable and bright, wavy and moving in a circle, intersecting and overlapping one another.

With the help of a stroke, you can tell about the nature of the object, about the properties of the material, convey its softness, airiness, tenderness, but also heaviness, gloom, sharpness, sharpness, aggressiveness and reveal the image of the hero, his attitude to the environment.

A series of exercises "PICTURE »:

stroke, slightly touching the paper;

gradually increasing pressure;

short and long stroke;

changing pauses - gaps between strokes;

a gradually shortening stroke and changing pauses - gaps;

stroke - zigzag with gradual lengthening and shortening;

changing slope of the stroke;

slope to one side

wavy stroke - zigzag;

stroke in several rows;

a stroke moving in a circle;

stroke coming from the center of the circle.

The teacher must depict all these exercises himself, show the children what can be done thanks to the stroke. Classes in graphics are simple, they are easier than painting and sculpture. Simply put, drawing - graphics are very interesting, it develops spatial imagination, extraordinary thinking, which teaches you to think, fantasize, make independent decisions, educates the child to look for more difficult topics : “I” (to myself), “Rain”, “Trees”, “Forest”.

If you draw with a soft pencil (sauce) - you can rub it with your finger (shade), which will give softness to the image.

Aquatype

Necessary: ​​plexiglass (glass with smooth rounded corners), sheet of paper, soap, watercolor, ink, brushes.

Paints are applied to the glass (watercolors with soap or ink), a sheet of paper is applied to the dried surface and pressed tightly. You can move the sheet a little on the glass - the print will be more interesting.

In these prints we look for images, landscape images and finish drawing with pencils, crayons, felt-tip pens.

Cliche

Large print; on a wooden block or cardboard cylinder, a pattern of thick paper or rope is glued on one side, on the cylinder over the entire surface. Paint is rolled and stamped - flowers, leaves, rugs, napkins, wallpaper for doll rooms, fabric for plane dolls, gift wrapping paper, etc.

The bar or cylinder has handles to make it convenient to hold, stamp or make a poster (cylinder).

Aqua ink

Necessary: ​​paper, gouache, ink, water is poured into a large flat vessel (basin).

Dilute gouache and draw an image. When the gouache dries, cover the entire sheet with one ink (black). After the ink dries, lower the drawing into a basin (bath) with water, i.e. "manifest". In water, gouache is washed off, and ink - only partially. The paper should be thick, the image is large, the effect of a photograph is obtained.

Children are invited to be photographers. In the previous design lessons - to make a paper "camera", walking on the site, you can take a picture of what you like, and then "show" in the laboratory using the "aqua ink" technique.

Another option for working on a bold layer: a greasy layer is preliminarily applied to a sheet of paper - with a candle (can be applied with the palm of your hand), soap (tampon), etc. And paints are already applied on top.

The drawing is obtained "fluffy", as if bristling (hairy).

Mimicry in drawings

In psycho-gymnastics classes, you can train the ability to recognize an emotional state by MIMIC - expressive movement of facial muscles, by PANTOMIMICS - expressive movement of the whole body, by VOCAL MIMIC - expressive properties of speech.

Let's reveal facial expressions in the drawings. You can train the ability to recognize an emotional state along a line with the help of CUT TEMPLATES - a kind of PICTOGRAMS. This is a set of cards on which various emotions are depicted using simple signs, 5 pictograms:

First, the children consider, name the mood, then the cards are cut along the line dividing the upper and lower parts of the face. They mix and find again on assignment, or those that they liked. You can finish drawing the body, show facial expressions on yourself in front of a mirror, etc. The process of drawing itself can influence children, they become calmer and more accessible.

Music

After listening to a melody, a piece of music, the children must raise one card (pictogram). At first silently, and then as if they describe the feelings caused by contrasting pieces of music, correlating them with mood maps. You can use polar definitions: cheerful - sad; cheerful - tired; sick - healthy; bold - cowardly, etc. Then offer to draw the image seen in the cards, heard in the music.

Children often collect joyful and cheerful faces, less - sad or with other moods.

These games exercise the ability to interact. Usually, children draw the missing details on the card without prompting: eyes, hair, ears, sometimes a headdress, bows, glasses, or make a background. Such tasks help in the future to draw a portrait of a friend, mother or yourself.

Pantomime in drawings

Children are especially fond of classes during which various poses are depicted on paper with the HELP OF CONDITIONAL FIGURES. The kids call them "skeletons" and better - "little men".

Having received a card with the image of a figurine in one or another pose, the children complete it - they memorize which pose corresponds to which emotional state. Children quickly begin to draw the poses of people and quite expressively, already without relying on conditional figures.

New, resulting yokes with patterns, conditional figures and blots, the children then use in their free and thematic drawings.

Games - "invisible"

You need paper and simple (graphite) pencils.

Older children are invited to close their eyes and, to the music (waltz), draw involuntary lines on a piece of paper with a pencil (squiggles, scribbles - that's what children call them), to the rhythm of a piece of music (1 min.). Open your eyes, look at the lines and find a hidden image among them (birds, humans, trees, vehicles). With colored pencils or felt-tip pens, highlight them, circle them so that it becomes clear - it’s understandable, adding a little bit of elements for the image seen.

The nature of the music can be very different. At first, you can give calm music, and then faster, more cheerful, and in accordance with this, the rhythm of the applied pencil lines will be different, therefore, the images will be seen differently.

The fantasy of children will tell you, their imagination is very bright. At the first such games, the help of a teacher is needed, because. children are sometimes lost, they do not always see the hidden invisible ones.

Drawing with a candle or wax crayons

This way of drawing also surprises children, makes them happy, teaches them to concentrate, to be precise and accurate in drawing. This method has long been used by folk craftsmen when painting Easter eggs.

The bottom line is that the paint rolls off the surface on which the wax crayon or candle is held. A flute thread or a large tampon with paint is taken and guided along the sheet - a picture appears on a colored background: “Frosted tree”, “Forest at night”, “Patterns of Santa Claus on window glass”, “Fur coat for the Snow Maiden”, “Snowflakes”, “Lace napkins, collars, panels”, “Northern Queen”. Another variant: draw doodles with a candle or simply randomly arrange the lines, and then draw an image of an animal, a bird with a conceived color; first, the contour, and then paint over it all - it turns out “fluffiness” (do not paint over the wax), or the shell of a turtle, or the stripes of a tiger, the cells of a giraffe.

Very fun zoo! Fast, easy and fun!

Drawing on fabric

The fabric is glued to the frame (preferably silk, plain).

The drawing is applied with ink, watercolor, felt-tip pens, pens, a sharpened stick, a student's pen, a bird's feather, etc. Then the drawing is ironed with a student's iron.

This is a very elegant, subtle, painstaking technique that requires perseverance, patience, and accuracy from children. Such works for a gift card, as a souvenir (print on the wall).

Plasticine drawing

Grate a thick sheet of paper with the color of plasticine, which was conceived as a background (thickness 1 mm). Then with a swab on top, putting pieces of plasticine, creating a convex image "bas-relief"

You can offer scratching, removing plasticine (as in the scratching technique). Frame it, and get a print for decorating a classroom, as a gift. Such interesting prints - panels are made collectively.

In all the proposed options for conducting classes in non-traditional drawing techniques, the help of an adult (teacher) is required.

Working with carbon paper

Carbon paper is superimposed on top of a white sheet of paper; the drawing is applied over the copy with a finger, fingernail, stick. Then the carbon paper is removed and remains - a graphic drawing.

Copy paper to offer children - color.

Grattage

The scratching technique, it was used in Russia and was called "painting on a wax pad".

Cover thick paper with wax, paraffin or a candle (rub the sheet with wax strokes tightly to each other). With a wide brush or sponge, apply a layer of mascara several times. For the density of painting, you can prepare the following mixture: add a little shampoo (or soap) to gouache or mascara and mix everything thoroughly in a socket.

When it dries, the drawing is applied by scratching with a knitting needle, a sharp stick and the appearance of white. It turns out very similar to the engraving!

The white color of the paper can be painted over with colored spots or filled with one color, depending on what you are planning to depict, then after scratching, the drawing becomes colored, the children call such paper "magical" because it is not known what color can show through the black wax layer. They are surprised, delighted and very interested in working. As a result, very expressive fabulous images: "Magic Flower", "Fire Bird", "Cheerful Khokhloma", "Underwater Kingdom", "Unknown Space", "New Year's Eve", "Evening City", "In Berendey's Underwater Kingdom", "Palace for the Snow Maiden", " Costume for Santa Claus”, “Night moths”, “Wonder tree”, “Night landscapes”, “Visiting the gnomes”.

linotype

"Colored threads". You need a thread (or several threads) 25-30 cm long, paint it in different colors, lay it out as you like on one side of a sheet of paper folded in half. Bring the ends of the thread (threads) out. Fold the halves of the sheet, press with your left hand on top, smooth. Then, without removing the left palm from the sheet, with the right hand carefully pull out one thread after another or only one. Expand the sheet ... and there is a magic drawing: "birds - swans", "huge flowers", "Vologda lace", "frosty patterns"(if the threads are dyed white and laid out on a colored background).

And there is no end to the fantasy, the play of the imagination. And again a beautiful exhibition! You can only draw a little bit, where it is necessary.

Application from dry leaves: butterfly, mushroom, duckling, tree, flowers - the simplest images. Or, by attaching a dry leaf from a tree to paper, circle the outline with paint, remove it, and paint over the white spot as you want - it seems.

Blotography

Games with blots help develop the eye, coordination of movements, fantasy and imagination. These games usually help relieve tension in emotionally disinhibited children.

1. Put a large and bright blot (ink, watercolor paint) so that the drop - blot is "live" if you shake a piece of paper, it starts to move, and if you blow on it (preferably from a straw or a tube of juice), then it will run up, leaving a trail behind it. Blow again, turning the sheet in the direction where some kind of image is already visible. You can still drop a blot of a different color and blow again - let these colors meet, cross each other, merge and get a new color. Look at what they look like, if you need to slightly paint on semantic elements.

2. You can get a fantastic image without blowing out air, but by shaking the paper, and droplets - blots run across the sheet. And if you first apply wax lines on a sheet of paper with a candle, and then drop paint or ink, then the blot quickly “runs” over the paper, leaving many interesting traces.

3. Take a large long sheet of paper (the reverse side of wallpaper or pasted old drawings), lay it on the floor or path. Children take a candle (pieces) and draw squiggles, chaotic lines, then they take ink (black, red) or color and spray it over the entire surface of the paper track (under the guidance of the teacher), and then, lying on the floor facing each other along the track, begin blow on blots. This is a fun game, improvisation - blots run, roll, collide, run away, find each other. When they played, painted with air, get up, relax and see what happened? - lace path, fairy-tale picture, individual images (devil, hare ears, birds, fish, trees, bushes, etc.). If you want, you can finish it or leave it in this form and decorate the wall in the corridor, passage, in the dressing room, hall.

4. Among the auxiliary teaching aids, the most effective and organizing is MUSIC. Blotography can be combined with music. Give the children small pieces of paper, sprinkle drops of paint or ink. Taking a piece of paper in their hands, the children move to the music and the rhythm of their body is transmitted to the “live” droplet, which also draws while dancing. See what happened and, if necessary, finish drawing. The nature of the music may be different.

Spray

Or paint splatter. This technique is simple and familiar to many. Its essence is spraying drops with a toothbrush or brush for cleaning clothes, stacks (a wooden or plastic stick in the form of a scalpel, knife). Paint is collected on the brush, the brush is in the left hand, and the stack is drawn over the surface of the brush with quick movements towards you. Splashes will fly onto the paper, if a stencil is located on it, then they will not splash - forming white silhouettes.

Over time, the drops will be smaller, they will lie down more evenly and where they need to be. It is convenient to work with such a technique in the summer on the veranda or in a group in the evening with a small subgroup of children or individually. The theme for this technique can be surprises, gift congratulations (invitation cards, postcards, posters, announcements): “Napkins for Mom”, “Snowfall”, “Golden Autumn Swirled”, “Spring Pictures”.

The show is not a dogma, but an impetus to the search!

In this case, VARIATIVE display is one of the most important stimuli for the accumulation of experience in fine arts by schoolchildren. These are advice, help, conversations, praise, teaching and play, story and show. Creatively using the proposed recommendations, you can arouse in children a steady interest in drawing, help them master fine art skills.

Non-traditional drawing techniques, and there are still a lot of them, will help children feel free, give them the opportunity to be surprised and enjoy the world, get acquainted with the technique of many artists and try to create beauty themselves.

Exercise number 1 "Magic spots"

The child is invited to fold the landscape sheet in half and draw watercolor or gouache spots on one half. Then fold the sheet along the fold line and iron it with your hand so that the spots are printed on the other half of the sheet. The child is invited to consider the resulting symmetrical spots and think about what they look like. Next, you can take a brush, pencil or felt-tip pen and draw a blot to get a subject drawing: an animal, a person, a plot scene, etc.

Exercise number 2 "Magic line"

The child is invited to draw a "handwriting" on a piece of paper with his eyes closed, look at it carefully and think about what it resembles. Then draw the image.

Exercise number 3 "Three colors."

Invite the child to take three paints, in his opinion, suitable for each other, and fill the entire sheet with them. What does the drawing look like? If this is difficult for the child to do, let him finish the drawing a little if necessary. Now offer to come up with as many names for the picture as possible.

Exercise number 4 "Draw-ka"

2-3 pieces of colored paper are pasted on the card. The outline and color of the pasted drawings are very different.

Task for children: carefully consider the proposed card, you can turn it in different ways. And then finish the application, so that something recognizable is obtained: the figure of a man, an object, an animal.

Game - relay race number 5 "Transformation".

Each of the participants in the game adds one element to a given object (for example, a mug) so that this object turns into another (for example, a yacht, etc.).

Examples of transferring properties from one item to another:

Fish - machine

Cup and saucer - ship

Saucers - parachutes

Iron - locomotive, etc.

Exercise number 6 "Composing an image from geometric shapes"

From the same sets of geometric shapes, it is proposed to compose the figure of an animal or a fairy-tale hero. It is possible to make geometric figures from a square of colored paper (100x100 mm). It is cut as follows:

Exercise number 7 "Landscape"

Students are given cards with a two-color background on which they are invited to draw a landscape. Elements of the picture must be matched to a given background.

The motif of a fictional landscape can be simple - just two or three trees, a river, a path. But the general mood of the landscape should be interesting, perhaps it will be a landscape with a small storyline.

Game number 8 "Color stories"

The game proceeds as follows: children are shown a colored strip, point to the uppermost square and ask: “What does he look like? What happens in this color? Based on the child's answer, the adult comes up with the first sentence, and the rest is composed by the children based on the associations of each next colored square with the realities of the world around them.

One eight-color strip allows you to invent many stories. The strip can be transformed into a flower-seven-color, and in the future, for writing, it is possible to use sets of scattered colored squares, the choice of a certain number of which can be done at random.

Exercise number 9 "What do the spots look like?"

The child is invited to draw colored spots on one sheet of paper with gouache or watercolor. Then print these spots on another sheet. The resulting identical spots need to be completed in order to get different images of objects, plants, animals, etc.

Exercise number 10 “Drawing a plot drawing according to

given fragment"

The child is offered a sheet of paper with a piece of cloth glued to it. The pattern of the fabric will tell you the motive of the future drawing. It can be a landscape, portrait, still life, everyday scene. After completing your drawing, you should try to include a piece of fabric in it.

Exercise number 11 "Whose thing?"

Students are given a card with a drawing of one detail: a shoe, a key, a broom and other attributes of fairy-tale characters. The student needs to recognize the hero and draw Cinderella, Pinocchio or Baba Yaga, respectively.

Exercise number 12 "Housing for a fairy-tale hero"

The sheet depicts a fairy-tale hero. Task: draw a house for this hero. When making a drawing, you need to imagine where this fairy tale hero lived, imagine what his habitat looks like.

Exercise number 13 "Funny little men"

Merry little men are invited to depict from different numbers or from one. Numbers can be drawn in different directions and in mirror image. You can draw a family of ones, etc.

Exercise number 14 "Non-existent animal"

The exercise is based on the method of agglutination. The child is invited to draw a non-existent animal by combining parts of known animals and come up with a name for it.

Exercise number 15 "Creating images from prints"

Using various stamp materials - nails, caps, corks, etc. It is proposed to draw animals and men.

Students' interest in this exercise may be caused by an unconventional selection of a stamp. His role can be played by fingers.

Exercise number 16 "Music"

Children are invited to listen to a fragment of a piece of music, for example, pieces of the play "Song of the Lark" or any other from "The Seasons" by P.I. Tchaikovsky. After listening to music, the child is given four colors: red, green, blue and yellow. He must depict the music he heard with the help of these colors and title his drawing. At the end of the work, we hold a competition of received drawings and names for them.

Game number 17 "Drawing a still life from imagination"

Children must draw a still life on a given topic. Usually artists draw objects from nature, but now the child needs to create his own image in his imagination, and then transfer it to paper. Interesting, varied solutions to such a task can be obtained in the technique of soilography. The theme is given to all children the same.

Original themes for still life:

"Butterfly on a Blossoming Flower"

"Apple on a porcelain dish"

"Autumn Leaves on Cold Ground"

You can come up with your own themes. At the end, it is necessary to hold a competition of artworks and choose the winner. You can simply arrange an exhibition of children's work.

Exercise number 18 "Search for emotionally adequate images"

An emotional situation (an object, a creature, experiences) is given and it is proposed to depict it in the form of a schematic drawing (or to describe in words the essence of the proposed images). For example, in response to the facilitator’s question “how can you portray a rejoicing person?”, The guys can depict or write out the following options: a person flies, sparkles, dances, the sun shines in the human body, etc. When summing up, both the total number of proposed answers and originality are taken into account; collective discussion and creativity is possible.

Exercise number 19 "Shifters"

The exercise reinforces the correct, adequate ideas about the world around, which are affirmed in the mind of the child, being passed through the prism of imagination.

The children are invited to come up with a city where the opposite exists, let them imagine unprecedented fruits on the trees (socks, mittens, etc.), the colors in which objects are painted. To activate the figurative imagination, you can read B. Zakhoder's poem "Magpie":

Soared forty high.

And now the magpie is chattering, That sugar is terribly salty, That a falcon cannot cope with a crow, That crayfish grow on oak, That fish walk in a fur coat, That apples are blue, That night comes from dawn, That the sea is dry and dry, That the lion is weaker than a fly, Cows fly better than anyone, Owls sing better than anyone, That the ice is hot-hot, That it's cold in the stove And that no bird In truthfulness can compare with it! Forty chirps, chirps - No one wants to listen to her: After all, there is no use in what a magpie talks!

Exercise number 20 "That's what a hyena"

The exercise develops a recreative imagination based on S. Cherny's poem "The Hyena". This poem is very picturesque and "visible", so children can easily recreate in their imagination the image of a hyena and depict it.

The hyena is so ugly

Her muzzle is cheeky

Wool on the scruff of the neck,

Back - knot,

On the sides (for what it is not clear)

rust spots,

Belly dirty and bald

It smells of kerosene and a rat...

Poking into the grate - the tail at the foot,

Eyes like Baba Yaga.

And I feel sorry for her...

Isn't she embarrassed?

Even a moth, even a jackdaw

Cute and lovable.

The bride of Uncle Volodin explained to me,

Aunt Aglaya:

"Why is she evil?

Because ugly"

Lessons of non-traditional drawing techniques: crumpled paper, polyethylene.

Drawing in non-traditional ways is a simple and fun drawing technique. This is a great opportunity to teach your child to use well-known objects as art materials.
Ease of execution, allow little hands to fantasize freely, instilling confidence in the child in their abilities.

Drawing technique with crumpled paper and a plastic bag in kindergarten, school: master class

Drawing techniqueplastic bag

1 option

• Dilute the paint in a small saucer
• A piece of polyethylene is well crushed
• Dip in paint
• Making an imprint on a sheet
• Next, paint the necessary details with a brush.

Option 2

We create an unusual, spectacular background using plastic wrap and watercolors:

• Very boldly paint over a sheet of paper with watercolor. If you mix different colors of the same tone, you get a more structured background.

Apply watercolor thickly

• We put polyethylene in the paint diluted with water, make folds with our hands

Compressing the film

• We leave the film on the sheet for 10 minutes. Do not immediately remove it - the watercolor will spread and the effect will be lost
• You can use this method not only for the background. Look original: exotic flower greens, crystals, veins on plant leaves

Unusual background with polyethylene

Drawing techniquecrumpled paper

As in any creative work, there are no established requirements and restrictions in this method.
Next, we will consider the main step-by-step steps. Over time, understanding of the essence of the method will come, then rebuild it in any direction.
For example, the diverse thickness of the paper material allows you to make sharp or smooth, thin or thick strokes. In your work, you can use watercolor, gouache, ink, acrylic. And someone may want to prepare a natural dye from the squeezed juice of fruits and berries. After all, the quality of the paint has a strong influence on the finished drawing.

Choose your preferred method

Getting Started:

1. We start by preparing the paint. We choose the necessary tones for the future drawing
2. Pour a small amount of water into each individual saucer
3. Add some watercolor with a brush. The color level is adjusted using the density, but gouache is left liquid
4. We tear any paper to shreds
5. We roll them into lumps of a convenient size.
6. We select an individual piece of paper for each palette, prepare a little extra, just in case
7. Dip the lumps in a saucer with diluted paint
8. We wait a little while the excess water leaves
9. We put stamps on a blank sheet of paper, forming a conceived pattern
10. With the help of sliding movements we make strokes and stripes
11. We create textures by blotting lumps on paper
12. Everything is simple and easy

How to draw flowers with crumpled paper?

• First, crumple up the paper. This is a very entertaining process for children, in addition, it develops fine motor skills of hands.

Preparatory stage

• Then draw flower branches
• We throw thicker branches
• Add thin branches and leaves

We form the stem of the flower

• Dip paper balls in the color of the selected flower
• We form petals, leaving traces on paper
• flower ready

An unconventional way to draw flowers

How to draw a lilac with crumpled paper?

We prepare for work:

1. Paper - A4 format
2. Gouache - purple, white, yellow, blue, black, green
3. Brush - flat for sketching the background
4. Brush - thin for drawing details
5. Palette
6. Crumpled soft paper

Let's start the creative process:

• First we draw a yellow background with horizontal stripes
• Add blue lines, blur the borders of the connection
• Draw a vase

Sketches of a vase on the main background

• We put flower branches in a vase

Twigs in a pot

• We take crumpled paper and dip it in purple paint diluted on the palette
• We form lilac flowers with spots in the picture
• Then highlight them with white
• Using a thin brush, we make blotches with white gouache in some places.
• We look through the whole picture, if necessary, add a little more white.

The bouquet is almost ready

• We revive the bush with green leaves
• We draw white bends on the green, as shown in the figure.
• A simple but beautiful bouquet is ready

Lilac with crumpled paper

Video: Crumpled paper drawing: lilac

How to draw a dandelion with crumpled paper?

There is nothing easier than drawing an air flower in this way - no.

• Make the background with a wide brush: the sky is blue, the grass is green
• We paint with a brush bright green branches of dandelions
• Crumple up pieces of paper
• Dip in yellow or white paint
• Apply to branches
• Getting cute flowers

spring primrose

• In the same way, we make delicate yellow flowers on the green, background grass.

Easy way to draw dandelions

How to draw a landscape with crumpled paper?

It is very easy to draw a winter forest with crumpled paper.

• We begin to draw the sky with dark tones, gradually moving to lighter, almost white
• We pass to the image of snow. The principle of the approach is directly opposite: the top is light, the bottom is dark

landscape background

• Pieces of paper carefully crumpled
• Dip in white watercolor
• Forming clouds by pressing paper against the sky
• The higher the clouds, the closer they are to us in the picture.
• We make small clouds with small pieces of paper, large ones with voluminous
• Draw a dark horizon line with a brush
• With a narrow brush, we apply strokes of Christmas trees throughout the pattern
• We don’t draw the details, they won’t be visible under the snow anyway
• We draw the nearest figures larger, as we move away - we reduce
• We wrap Christmas trees in snow using crumpled paper and white paint
• We do everything carefully, without rushing
• Adjusting paper size for large and small trees

Depicting snowy fir trees

• We get such a beautiful winter forest

snowy fir trees

How to draw spring with crumpled paper?

We are preparing:

• multicolored paints
• Saucers with water
• Tassels
• paper

Let's get to work:

• We divide the sheet into three wide horizontal stripes of blue, yellow and green tones, using a wide brush.

• We make prints of different densities so that the sky is varied. We get openwork clouds.
• The main color in spring is green. We depict the spring landscape in its prime. The grass is rapidly turning green. We stamp it with lumps of paper soaked in green. With the same color we outline the shape of the tree.
• Add a warm breeze by tilting the print towards the wind.

• Spring dresses up nature in colorful clothes. We depict the first spring flowers: yellow dandelions, red poppies, blue bells.

lovely roses

Thinking

Observations

Aesthetic perception

Helps develop skills of control and self-control.

This is not only an interesting and entertaining activity, but also very useful.

Video: Drawing with crumpled paper