With the most difficult thing for a novice artist, or rather, a draftsman, is the exact observance of the proportions of the drawn object and the exact transfer of its shape.
Watching professional artists, one is amazed at how easily and accurately they transfer what they see to the canvas. Just a few strokes and now a recognizable image appears.
It seems to beginners that they will never be able to do this, that this requires talent.
Talent is undoubtedly a useful and highly desirable thing.
But here the situation is somewhat different. Such ease is achieved by many days of "training", countless sketches and study drawings. They help to develop an accurate eye and the clarity of hand movements with a pencil.
But this technique has reverse side- It takes a lot of time to complete. To help novice draftsmen, to facilitate the implementation of drawing exercises at first, there has long been simple technique « Grid drawing».
In our time, in the age of computers and other miracles of technology, this method of drawing has become forgotten, although it used to be popular. I think many people know it very well and even used it in practice, but considered it completely not serious and certainly not related to “real” drawing. And absolutely in vain. This method allows you to gradually develop an eye. But its most important advantage is that you can use it to get a completely decent drawing, thereby increasing your self-esteem in drawing abilities. And it's worth it. It is a strong self-confidence and a passionate desire that can “turn mountains”, and even contribute to obtaining drawing skills, even more so.
Some people still believe that the drawing obtained by this method is some kind of snag, something fake, a second-class drawing. I'm sure they are deeply mistaken! With the same success, artists can be accused of using a pencil as a measuring instrument when drawing up the proportions of the drawn object. The grid is just an auxiliary tool for the beginning artist, and it cannot replace either the technique of using a pencil, or the art of transferring tones, etc. I note that even very famous artists did not hesitate to use additional technical means. For example, great Leonardo Da Vinci used glass as a picture plane.
But Dürer especially distinguished himself in this matter: he, as a supporter of various technical innovations in drawing, invented a whole drawing machine, in which the grid was used as a drawing tool. So, if famous artists have already used additional tools in drawing, then it is all the more useful for a novice artist to use a grid in teaching drawing.
After studying this mini-course "Drawing on a Grid" and putting into practice the knowledge gained, anyone will be able to draw a pencil drawing on their own. If the reader has never drawn with a pencil before and is sure that he cannot draw, then the proposed author's technique will allow him to easily create a pencil drawing, strengthening his faith in own forces and abilities.
The technique is fully functional and was used by the author when creating his pencil drawings. The process of creating one of them is given in the manual as an example.
The coordinate grid allows properly place objects on paper. In this case, we will create a drawing with charcoal pencils based on a sketch.
Why do we need a grid at all? Sometimes it is difficult for an artist to determine the size and proportions of objects. To solve this problem, he will be helped by a coordinate grid, which is applied to a sheet of paper placed behind the depicted scene. The same grid is applied to the sheet that is used to create the drawing.
The coordinate grid is located behind the displayed objects, and is plotted directly on White background, which allows you to get clear objects and the shadows they cast. However, in this example, we will focus on displaying exactly the volume of objects in order to get this picture.
The outlines of the drawing are drawn with a 2B pencil, which can be easily erased with an eraser. But the shadows of the drawing are made using a charcoal pencil, which gives bold and dark lines. To learn how to use a charcoal pencil, run it across the paper to get an idea of exactly what lines it leaves. Try different strength pressing the pencil to compare the drawn lines. Also try shading in a variety of directions. This is necessary to understand the change in the stroke texture. When you learn to hatch charcoal pencil, then you can use it no worse than ordinary graphite.
Charcoal has a powdery texture and is best used on rough or textured paper as it will hold the charcoal powder better. For example, you can draw with charcoal on paper that has a strong texture. The result is a large grain, which will make the picture more expressive.
How to lay out a coordinate grid for the screen
Mark the lines vertically, indented 20 cm from the edge of the cardboard. A sheet of cardboard is then cut along the lines made, after which the cut strips are glued with adhesive tape. This will provide the two foldable strips needed to install our coordinate screen. Using a 2B pencil, draw a frame in the center, which should be closer to the bottom edge of the cardboard.
Next, draw vertical and horizontal lines to divide the frame into squares. As a result, we will get 8x8 cm squares. It remains to set the objects for the still life, and behind them is the screen created now with a coordinate grid.
1. Coordinate grid for drawing
The screen is ready, it's time to do the drawing itself. Using a 2B pencil, make another grid on a regular sheet of paper. The number of squares on this drawing paper must match the number of squares on the screen. But the size of the squares will now be smaller - 6x6 cm.
2. Start drawing
In the displayed composition, the bottle is the tallest, so let's start with it. Use a 2B pencil to draw. Analyze exactly how the contours of the bottle intersect the grid squares on the screen behind the bottle. Check how each line is correctly applied to the paper.
3. Drawing a cork
We continue to draw the bottle. She, by the way, has a folding stopper - draw it carefully, checking the placement on the coordinate grid. To draw the outline, use small strokes, on one line. This way there will be fewer mistakes.
Chapter 17
If you have reached this chapter and practically completed all the previous exercises, then I congratulate you from the bottom of my heart! You real hero! Or a heroine! You can pat yourself on the head and deservedly be proud of yourself! This is a special chapter of the book: today significant event- we are moving to work from nature! HOORAY!
So, we gradually move on to work from nature. In order to reduce the fears of the Novice Artist and not shock our hemispheres, at first we will draw from nature through the Durer grid.
Albrecht Dürer (1471–1528) - greatest artist the era of the Renaissance. Why is the grid named after him? Before Dürer, draftsmen and painters used similar tools, drawing through tracing paper or muslin in the light, pulling tracing paper (muslin) over the frame and placing it between nature and the artist. Also used glass. Here is how Leonardo da Vinci writes in his notes about the method of “accurately copying the terrain”:
“Take glass the size of half a sheet of office paper; set it properly in front of your eyes, that is, between the eye and the object you want to draw. Then stand at an eye's distance of two-thirds of a cubit from the glass, and fix your head with a (special) instrument so that you cannot move your head at all. Then close or blindfold one eye and with a brush or amastito mark on the glass what is shown from the other side; then shine this glass on paper, transfer the drawing to good paper and write it, if you like it, while applying it properly aerial perspective…»
We also used a grid drawn on glass. Durer improved this tool by limiting the grid a certain amount cells, and proposed a grid in a compositional frame, which was formerly called the "window of view".
What is a "window of view" or compositional frame?
At drawing from life I want to imagine in advance how the future picture will look like, from what angle it is better to draw nature and what size the objects will be, as well as how to place these objects so that they look more advantageous, to get beautiful composition .
This is where you need composition frame, differently - viewfinder or "window of sight"(Fig. 80).
Rice. 80. composition frame
You can make such a frame yourself, it is enough to have a sheet of paper, a cutter or scissors. But in order for this frame to really bring tangible benefits to your future picture, you need to know the dimensions of the canvas or sheet on which you are going to draw or write your masterpiece from nature. For example, I have a 40 x 60 cm canvas and I want to paint a still life on it with peaches on the windowsill. So I beautifully put the peaches on the windowsill, put the canvas on the easel and think: how large should the fruits be in my picture? Which part of the window should be shown and which should not? And in general, how to rotate the canvas? Horizontally or vertically? This is where the paper frame comes to the rescue.
It is easy to make it: take a sheet of any paper that comes to hand and cut out a window in it, which is 10 times smaller than the future picture. For example, if the canvas size is 40 × 60 cm, then we cut out a window 4 × 6 cm. Now the window is ready, and what's next? And then you just look at your nature through this window, covering one eye. Try to look as if it is a picture you have already painted. Turn the window horizontally, look, then turn it vertically, look again, compare what you see, decide what you like best.
At the moment when I laid out the peaches, I intended to write them on the canvas, laid out horizontally. But, looking through the frame at my future picture, I saw a beautiful tree outside the window, and I wanted the branches of this tree to also be present in my picture, and for this it is better to put the canvas vertically, not horizontally (Fig. 81).
Rice. 81. Using a composition box
One more example. I was drinking tea now, and there was a little mess left on the table - why not a still life?
I take a frame and look - how best to depict such a still life? What to draw and what not to?
I look, placing the frame horizontally and moving it close to the eye (Fig. 82).
Rice. 82. Horizontal frame position
And this is what I see: the objects are too small in relation to the size of the future picture, there is a lot of unnecessary furnishings, too much background. I don't like this still life!
I move the frame away from my face. All objects are now enlarged in relation to the frame, because the farther the frame is from the face, the larger the objects in our future picture will appear (Fig. 83).
Rice. 83. Enlarging objects with a frame
I like this still life better. The objects are more harmonious in size, but the background still does not suit me, the curtain is cut off in an incomprehensible place, the fountain and a piece of a tree trunk cause discomfort. I turn the frame vertically and again look at my still life (Fig. 84).
Rice. 84. Vertical position of the frame
This is the composition I like! Both objects of a pleasant harmonious size in the foreground, and the curtain in the background fit very well - they add light to the picture, and the tree in the background gives my still life a graphic and autumnal mood.
By the same principle, with the help of a frame, you can choose both the angle of the future portrait and the territory for the landscape.
And now back to the Durer grid.
Dürer combined the grid and the compositional frame. Therefore, looking through the Dürer grid, it is easy not only to find a beautiful composition, but also to determine the approximate dimensions of objects in perspective while drawing. After all, the farther away from us an object, the smaller it seems. This is the law of perspective, but the brain has difficulty grasping the magnitude of this subject. If, for example, a person is close and the house is far away, our left hemisphere will still want to depict the house as larger than the person. Or another example: a long pillar lies, and we observe it from the end, it must be drawn short, but the brain stubbornly resists, and for Beginner Artists, usually such objects from this angle turn out to be longer in the drawings than necessary. The Dürer grid acts as a temporary simulator for our left hemisphere. Helps our eyes to accurately capture the size of the depicted objects in relation to each other.
How to make a Durer mesh?
The classic Dürer grid is a square composite frame divided into 6 squares in height and 6 squares in width. It is otherwise called a perspective frame, because it is very easy to convey linear perspective, since you can clearly see how the size of objects changes. It is believed that it is necessary to keep her at a distance outstretched hand from the eyes, and the middle of the grid (the intersection of the central threads) should be in line with the eye (Fig. 85).
Rice. 85. The location of the frame in relation to the viewer
Remember that the grid is a temporary tool. Gradually, the eye trains and the need for a grid disappears. Dürer recommended making a grid 6 squares high and 6 squares long. But since standard sheets are now rectangular in shape, a 4 by 5 square grid can be used. If you draw the A4 format (landscape sheet), then the squares on paper are 5 × 5 cm in size. If the format is larger, then the squares will be larger.
To make a grid, you can take a piece of transparent plastic, you can draw a grid with a marker on the glass and look through it. You can use a composite frame cut out of thick cardboard.
Here is an example of making a grid of cardboard using threads.
The cells in the Durer grid and on paper can be of different sizes, but the number of cells in the grid and on paper should be the same. If the grid of cells is 6 pieces high and 6 wide, then on paper draw 6 cells high and 6 wide. And if you made a grid of 4 cells by 5, then on paper there should be 4 cells by 5.
Here's how to make a grid for still lifes: cut out a 12 × 15 cm grid window in cardboard and divide the sides into 3 cm segments (Fig. 86).
Rice. 86. Making a mesh for still lifes
Then, with the help of a needle, we stretch the vertical threads (Fig. 87). So we got a modernized Durer grid. We exhibit a simple still life.
For the first still life from nature, take asymmetrical objects. You can take a flower, a branch of mountain ash, you can just crumple the paper. For the first time, it doesn’t matter what you draw, the main thing is to learn how to use the Dürer grid. To make the drawing more voluminous, you need to correctly set the light.
It is better to arrange a still life so that all the gradations of light and shade are visible on the objects, namely the brightest places (well lit) and the darkest places (in the shade). And also falling shadows from objects must be visible. Falling shadows give volume and space to the drawn composition, help to convey the materiality of objects. For example, if the falling shadows are dark, then the object is opaque, if they are light, then the object is made of a transparent material.
Rice. 87. Stretching vertical threads on the frame
And we also stretch the horizontal threads; crossing, the threads create a grid (Fig. 88).
Rice. 88. Modern grid modeled after Dürer
How to work with a grid? You need to look through the grid with one eye (the same one from the beginning to the end of the work). You need to look from the same place, so when you find the desired position of the grid from a place convenient for you to draw, then try to look throughout the work from it. Remember what size the object is in relation to the grid, and you will immediately understand whether you are now looking from the right place or have moved a little. After all, the composition will change if you look a little bit from a different place. I used a napkin holder to install the mesh (Fig. 89, 90).
Rice. 89. Installing the frame horizontally
The main thing in working with a grid is to arrange it so that it is convenient to draw. Many Beginning Artists use a grid (perspective frame) to make only a contour sketch of objects in order to maintain proportionality in size and perspective, and hatching (tone overlay) is done without a grid. Here are the reviews of students from the course about working through the grid. They also shared practical advice for the production of mesh hastily at home.
Tamara Shlapak after completing this task wrote on the forum:
"Hello everybody! I am also posting my work on the sixth assignment. I worked on the Dürer grid, a lot of pleasure, it turned out, in my opinion, not bad, however, I’m not sure that the glare on the glass turned out, I suffered with them for a long time. And on the apple in the photo they are not visible at all. Thank you again, Mila, for the lessons!” (fig. 91, 92)
Rice. 90. Setting the frame vertically
Rice. 91. Still life staging (Tamara Shlapak)
Rice. 92. Still life Tamara Shlapak
Pritchenko Vladimir (Servo‑s) wrote: “My still life is purely masculine. After the vague contours of the landscape, I wanted to try to display clear, well-defined lines. Most main lesson: preparation is no less important than the drawing itself.
Firstly, it is important to take a comfortable position, since you need to sit for several hours in one position, and here the artist is no better than the model. In this regard, drawing from nature is more difficult than from a photo. The height adjustable office chair helped a lot. Secondly, the light illuminating the sheet of paper gave unnecessary reflections on objects. I had to screen it." Result and original (Fig. 93, 94).
Rice. 93. Still life staging (Vladimir Pritchenko)
Rice. 94. Still life by Vladimir Pritchenko
Larisa Rafferty (laura_chernigov) wrote: “Mama mia! Taking this opportunity, I would like to thank Uncle Dürer – it is very convenient to draw an object “fixed in the grid”, proportions and light are reliably captured.
Rice. 95. Still life staging (Larisa Rafferty)
It took me a whole day to equip the art studio. Last weekend, candidates for drapery rummaged through, as soon as a white sheet was found, stained with paint, which were carefully disguised. AND cardboard box, on a piece of which the sheet hangs, arrived on time. The grid was cut out of the cardboard cover of an A4 notebook. As a holder for my net - a drum from a former household adhesive tape, which I saved in an attack of Plyushkin's syndrome three years ago - the cutter was too good. And now it comes in handy! Friends, how nice it is to go through the bottom of the barrel when they are! And save money and nerves. Mila, you told the manufacturing method in such detail that it turned out right away! Hooray! Thank you! The invention is simple, like everything ingenious - praise and respect to Durer! .. ”Angel from Larisa Rafferty (laura_chernigov) (Fig. 95, 96).
Rice. 96. Still life by Larisa Rafferty
Galina Gudkova wrote: “Hello, Mila! I am sending a photo of my still life and a grid that I made in one minute (maybe it will be useful to someone) from an empty A4 picture frame and pushpins, as well as threads that I circled around the buttons. Stands well even with minimal support…”
Now, I think it is clear how to make a grid-frame and how to use it.
The task, of course, is also already clear: make a grid and draw a still life from life.
The whole problem in working from nature is your fear of drawing wrong. For the first time, allow yourself to draw “how it will turn out”, it doesn’t matter, right or wrong: how it turns out, so be it. We are just learning!
If you have any of professional artists will say that you can’t draw through the frame, don’t believe it. Remember what Leonardo da Vinci advised. And here is what Van Gogh wrote to his brother: “... Therefore, I ordered a new and, I hope, better perspective frame, which can be installed on uneven dune soil with the help of two stands ...”
In any case, you only need a perspective frame for the first time. Because the Durer grid is necessary for the Beginning Artist as a training tool for the eyes and brain. Once your eye has developed enough, move on to drawing from life without the Dürer grid.
By the way, ready-made perspective frames for artists are sold abroad, but in my city I have not seen them for sale.
After studying this mini-course and putting into practice the knowledge gained, anyone will be able to draw a pencil drawing on their own. If the reader has never drawn with a pencil before and is sure that he cannot draw, then the proposed author's technique will allow him to easily create a pencil drawing, strengthening faith in his own strengths and abilities. The technique is fully functional and was used by the author when creating his pencil drawings. The process of creating one of them is given in the manual as an example. However, this guide is not intended to teach drawing as a skill. This is just a set of techniques that allow you to create a pencil drawing, even without drawing skills, while allowing the user of the manual to feel like an artist, a creator.
Tools and materials.
Before proceeding to the actual topic of drawing on a grid, I will give a list of the tools and materials you need.
You will need:
♦ Pencils of different hardness;
♦ Drawing paper;
♦ Tracing paper;
♦ Tablet;
♦ Erasers;
♦ Feather (a tool for feathering graphite);
♦ Clear plastic cover (available at an office supply store);
♦ Ruler;
♦ High-quality indelible (permanent) black marker with a thin tip (usually such markers are used for inscriptions on CD-DVD discs);
♦ Washable marker;
♦ Knife for sharpening pencils;
♦ A strip of sandpaper;
♦ Wide brush.
Table of contents
Introduction
1 Tools and materials
1.1 Basic tools
1.1.1 Simple pencils(graphite)
1.1.2 Charcoal and charcoal pencils
1.1.3 Other tools
1.1.4 Sharpening pencils
1.2 Materials
1.2.1 Drawing paper
1.3 Auxiliary tools and materials
1.3.1 Tablet
1.3.2 Erasers
1.3.3 Sprouts
1.3.4 Clear plastic covers for brochure binding
1.3.5 Ruler
1.3.6 Markers
1.3.7 Sandpaper (sandpaper)
1.3.8 Brush
1.4 Homework
2 Making copy grids
2.1. Making grids for the original (photos)
2.2. Making grids for your drawing
3 Analysis of the original image and acquisition contour drawing
3.1. Image analysis
3.1.1 Direct image transfer
3.1.2 Creating an intermediate contour drawing on tracing paper from the original image
3.2 Exercise
3.3. Homework
4 Transferring the outline of the original image using grids to the worksheet
4.1. Masks - a tool to facilitate the transfer of contours
4.2. Practical use masks
4.3 Exercise
5 Tone, ways of its transmission. Hatching and shading
5.1 Reproducing tone with a simple pencil
5.1.1 Hatching
5.1.2 Feathering
5.2 Tone scale
5.2.1. Five step tone scale
5.3 Exercises
6 How to hold a pencil
7 Tone study of the picture. From a flat contour drawing to a real three-dimensional drawing
Conclusion.
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In his practice, the artist especially often has to deal with vast spaces that host various natural objects(rivers, lakes, hills, mountains, etc.). Therefore, the exact transfer of the placement of visible objects is especially important, which ensures perspective grid. Knowledge allows us to solve these problems with sufficient accuracy for our purposes. But here, especially at the beginning, it is necessary to arm yourself with some patience and do a number of necessary exercises.
Pencil Drawing Exercise for Beginners
Imagine a vast plain, the surface of which, like a chessboard, is divided into squares, the length of the edges of which is 100 m. We, standing at a certain height, need to depict this field in the figure. Required depict not a field plan, but a drawing in which each square, due to perspective changes, should have different sizes and different outlines.
To solve this problem, we select any one square that is directly in front of us at a distance of about 100 m from us. We already have sufficient experience in drawing rectangles on the floor, and therefore we build this square without much difficulty with sufficient accuracy ABCD(Fig. 1, top). Then we combine the ruler with the front side of the square closest to us and draw a line that would be a continuation of this side of the square to the right and left, i.e. we continue the line in both directions AB. We do the same with the back side of the square (line CD). We will get two parallel lines that will determine the position of the entire first row of squares. Continuing the sides of the square we have drawn ( AC And IN) before they intersect, we get the vanishing point, and hence the location of the horizon line.
The front sides of the first row of squares lie on the line AB, and they are all approximately equal. Therefore, if we take the length of the front side of the square we have drawn and set aside this length several times to the right and left along the line AB, then we get the location of all the front sides of the first row of the square. By connecting the obtained points with the vanishing point, we will get perspective images of all the squares of the first row. All this is perfectly understandable, because all the sides of the squares are parallel and, naturally, they must converge at one vanishing point on the horizon (Fig. 1, bottom).
Figure 1 - Drawing an object in perspective
Now let's draw a diagonal on the first square depicted by us (from the point A through a point D)) and continue it until the intersection with the horizon. This line at the point E intersects the continuation of the side of the neighboring square and thereby determines the location of the back side of the second row of squares. By drawing a line through point E parallel to line CO, we obtain an image of the second row of squares (Fig. 2, top).
Figure 2 - An example of drawing a perspective grid
Next, we take the square of the second row, located just above the first square we drew, and also draw a diagonal to the vanishing point (there will be one vanishing point, because all the diagonals of the squares are also parallel). Diagonal, crossing the continuation of the side of the square at a point F, determines the position of the back side of the third row of squares, etc. (fig. 2, winzu).
Similarly, we determine the places of the fourth, fifth and so on rows of squares. Theoretically, it is possible to build rows of squares up to the horizon in this way, but in practice they can be built no more than 6-7, since further, with our insufficient drawing accuracy, there will already be significant errors. Even building 7-8 rows of squares is possible only with very careful and precise work. But 5-6 rows are enough for us to make sure that in a geometric way build a similar perspective grid (Fig. 3).
Figure 3 - Draw a perspective grid
Perspective Grid - Drawing Rules
received by us perspective grid is of great importance to us. We will understand this as soon as we do a series of appropriate exercises. But before approaching these exercises, let's prepare a few grids, so that later we will not be distracted from work. To keep grids simple and convenient, we suggest following these considerations:
- The grid is drawn in a size not less than a page of a notebook.
- The horizon line should match the length, not the width of the sheet.
- First draw the horizon, then exactly along the triangle a vertical line down the drawing. Next, lay down 6 cm vertically from the horizon and draw a line strictly parallel to the horizon. On this line, the front sides of the first row of squares will be located.
- On the bottom you spent horizontal line to the right and to the left of the vertical, you set aside 3 cm in succession. Next, you connect these points with the intersection point of the vertical and the horizon (with the vanishing point).
- Vertically from the bottom horizontal line, mark 1.5 cm up and draw through the resulting point parallel line. This will give you a perspective view of the first row of squares.
- Next, draw diagonals in the squares adjacent to the vertical on the right and left. Try to make them converge at one point on the horizon (the point will be close to the right edge of the page).
- Then sequentially draw diagonals to the same (right) vanishing point and build successively the remaining rows of squares.
- A correctly constructed grid is outlined in ink or ink, and the auxiliary lines are erased. On this grid, by pricking, you can draw 10-15 grids.
In the future, in order to save time, perspective grids can be built even more simply. Having done everything that is indicated in paragraphs 1, 2, 3 and 4, you lay down sequentially from the bottom up, first 2 cm, then 1.5; 1.0; 0.6; 0.4; 0.35; 0.3; 0.25 and 0.2. Through each of these divisions, draw horizontal lines parallel to the bottom.
The perspective grids constructed by us are suitable for depicting the terrain from some fairly significant height. To image the terrain from a lower height, the distance from the horizon to the lower horizontal line should be less. So, we can recommend a perspective grid, in which from the lower horizontal line to the horizon line is 4.2 cm. Under these conditions, lower vertically, you will have to set aside smaller values: for the first row 1, the second 0.6, then 0.45; 0.3; 0.22; 0.17; 0.14 and 0.1. In our further presentation, we will call the first grid grid No. 1, and the second - grid No. 2. First, for our exercises, we will take grid No. 1.
For all further exercises with a perspective grid, we give drawings similar, but not answers to the tasks.
Exercise: Building a perspective prism
Construct a trihedral prism moving away from you, the base of which is the leftmost strip of squares. The height of the prism is 0.5 of the side of the square. Divide the constructed prism into separate prisms, the bases of which are separate squares (Fig. 4).
Figure 4 - Construction of a prism moving away from the viewer.
Exercise: building three prisms
Construct trihedral prisms according to three receding strips of squares, but arranged so that between the bases of the prisms there is a strip of receding squares. Divide the prisms into parts and cover their slopes with the appropriate strokes (Fig. 5).
Figure 5 - Construction of a series of receding prisms.
Exercise: Building Pyramids
On the leftmost strip of squares moving away from you build a series of pyramids, whose height is approximately half the length of the side of the square. Pyramids are located not on each square, but through the square. (The intersection of the diagonals in each square gives a point from which to draw the height. Having determined the top of the first pyramid, we draw lines from it to the vanishing point. The highest points of all pyramids will lie on these lines.) Cover the right slopes of the pyramids with strokes corresponding to the slopes (Fig. 6) .
Figure 6 - Building pyramids.
The rows of prisms and pyramids we have built can be viewed as a scheme of ridges or rows of disjointed mountains moving away from us. These schemes are easy to turn into parallel rows of ridges. On each prism or pyramid located on 1 square, we depict the top (Fig. 7).
Activity: Drawing mountains in perspective
Take grid number 2 and build a diagram of a receding moat on the right, second, counting from vertical line, a receding strip of squares. The depth of the ditch is equal to 0.5 of the side of the square. The ditch looks like an incised trihedral prism (Fig. 8).
Figure 7 - A number of receding ridges built on the basis of receding prisms.
After that, build a diagram of a similar moat, but going not along the line of squares, but diagonally. The ditch starts from the first left square adjacent to the grid vertical.
The depth of the ditch and grid is the same. The ditch continues to the horizon. The left slope is covered with strokes (Fig. 9).
Figure 8 - Scheme of a geometrically correct receding ditch.
Figure 9 - The ditch is removed diagonally.
All further exercises with the grid will follow the grid number 2.
Perspective drawing exercise
Construct a diagram of a moat that starts from the left square adjacent to the grid vertical. The ditch goes northeast to the outermost square, and then turns sharply to the northwest and goes like this to the edge of the grid. The grid and depth of the ditch are the same as in the previous exercise (fig. 10). The viewer is facing north.
