When needed: to identify types of personalities: manager, performer, scientist, inventor, etc.
TEST
"Constructive drawing of a man from geometric shapes"
Instruction
Draw, please, a figure of a person, made up of 10 elements, among which there may be triangles, circles, squares. You can increase or decrease these elements (geometric shapes) in size, overlay each other as needed.
It is important that all these three elements are present in the image of a person, and the sum of the total number of figures used is equal to 10. If you used more figures when drawing, then you need to cross out the extra ones, but if you used less than 10 figures, you need to finish the missing ones.
The key to the test "Constructive drawing of a person from geometric shapes"
Description
The test "Constructive drawing of a person from geometric shapes" is designed to identify individual typological differences.
The employee is offered three sheets of paper measuring 10 × 10 cm. Each sheet is numbered and signed. On the first sheet, the first test drawing is performed, then, respectively, on the second sheet - the second, on the third sheet - the third.
The employee needs to draw a human figure on each sheet, made up of 10 elements, among which there may be triangles, circles, squares. The employee can increase or decrease these elements (geometric shapes) in size, overlay each other as needed. It is important that all these three elements are present in the image of a person, and the sum of the total number of figures used is 10.
If, when drawing, the employee used more figures, then he needs to cross out the extra ones, but if he used less than 10 figures, he needs to finish the missing ones.
If the instruction is violated, the data is not processed.
An example of drawings made by three graded
Result processing
Count the number of triangles, circles and squares spent in the image of a little man (for each drawing separately). Write the result as three-digit numbers, where:
- hundreds indicate the number of triangles;
- tens - the number of circles;
- units - the number of squares.
These three-digit numbers make up the so-called drawing formula, according to which the drawings are assigned to the corresponding types and subtypes.
Result interpretation
Own empirical research, in which more than 2000 drawings were received and analyzed, showed that the ratio of various elements in constructive drawings is not accidental. The analysis allows us to identify eight main types, which correspond to certain typological characteristics.
The interpretation of the test is based on the fact that the geometric shapes used in the drawings differ in semantics:
- the triangle is usually referred to as a sharp, offensive figure associated with the masculine;
- circle - a streamlined figure, more in tune with sympathy, softness, roundness, femininity;
- square, rectangle are interpreted as a specific technical constructive figure, a technical module.
A typology based on the preference for geometric shapes allows one to form a kind of system of individual typological differences.
Types
Type I - leader
Drawing formulas: 901, 910, 802, 811, 820, 703, 712, 721, 730, 604, 613, 622, 631, 640. Subtypes 901, 910, 802, 811, 820 are most severely dominated over others; situationally - in 703, 712, 721, 730; when exposed to speech on people - verbal leader or teaching subtype - 604, 613, 622, 631, 640.
Usually these are people who have a penchant for leadership and organizational activities, focused on socially significant norms of behavior, may have the gift of good storytellers, based on a high level of speech development. They have good adaptation in the social sphere, dominance over others is kept within certain boundaries.
It must be remembered that the manifestation of these qualities depends on the level of mental development. At a high level of development, individual features of development are realizable, quite well understood.
At a low level, they may not be detected in professional activities, but they may be present situationally, worse, if inadequate to situations. This applies to all features.
II type - responsible executor
Drawing formulas: 505, 514, 523, 532, 541, 550.
This type of people has many features of the "leader" type, being disposed towards him, however, there are often hesitation in making responsible decisions. Such a person is focused on the ability to do business, high professionalism, has a high sense of responsibility and exactingness to himself and others, highly appreciates being right, that is, he is characterized by increased sensitivity to truthfulness. Often he suffers from somatic diseases of nervous origin due to overexertion.
Type III - anxious and suspicious
Drawing formulas: 406, 415, 424, 433, 442, 451, 460.
This type of people is characterized by a variety of abilities and talents - from fine manual skills to literary talent. Usually these people are closely within the framework of one profession, they can change it to a completely opposite and unexpected one, they can also have a hobby, which is essentially a second profession. Physically do not tolerate disorder and dirt. Usually conflict because of this with other people. They are highly vulnerable and often doubt themselves. They need encouragement.
In addition, 415 - "poetic subtype" - usually people with such a drawing formula have poetic talent; 424 is a subtype of people recognizable by the phrase “How can this work badly? I can't imagine how bad it can be." People of this type are distinguished by special care in their work.
IV type - scientist
Drawing formulas: 307, 316, 325, 334, 343, 352, 361, 370.
These people easily abstract from reality, have a conceptual mind, and are distinguished by the ability to develop all their theories. Usually they have peace of mind and rationally think through their behavior.
Subtype 316 is characterized by the ability to create theories, mostly global ones, or to carry out large and complex coordination work.
325 - a subtype characterized by a great enthusiasm for the knowledge of life, health, biological disciplines, medicine. Representatives of this type are often found among people involved in synthetic arts: cinema, circus, theater and entertainment directing, animation, etc.
Type V - intuitive
Drawing formulas: 208, 217, 226, 235, 244, 253, 262, 271, 280.
People of this type have a strong sensitivity of the nervous system, its high exhaustibility. It is easier to work on switching from one activity to another, they usually act as lawyers for the minority. They are highly sensitive to novelty. They are altruistic, often show concern for others, have good manual skills and imaginative imagination, which gives them the opportunity to engage in technical forms of creativity. Usually they develop their own moral standards, have internal self-control, that is, they prefer self-control, reacting negatively to encroachments concerning their freedom.
235 - often found among professional psychologists or people with an increased interest in psychology;
244 - has the ability for literary creativity;
217 - has the ability to inventive activity;
226 - has a great need for novelty, usually sets very high criteria for achievement for himself.
VI type - inventor, designer, artist
Pattern formulas: 109, 118, 127, 136, 145, 019, 028, 037, 046.
Often found among individuals with a technical vein. These are people with a rich imagination, spatial vision, often engaged in various types of technical, artistic and intellectual creativity. More often they are introverted, just like the intuitive type, they live by their own moral standards, do not accept any outside influences, except for self-control. Emotional, obsessed with their own original ideas.
Also distinguish the features of the following subtypes:
019 - found among people who have a good command of the audience;
118 - the type with the most pronounced design capabilities and the ability to invent.
VII type - emotive
Pattern formulas: 550, 451, 460, 352, 361, 370, 253, 262, 271, 280, 154, 163, 172, 181, 190, 055, 064, 073, 082, 091.
They have heightened empathy for others, are hard pressed by violent scenes in the film, can be unsettled for a long time and be shocked by violent events. The pains and concerns of other people find in them participation, empathy and sympathy, for which they spend a lot of their own energy, as a result, it becomes difficult to realize their own abilities.
Type VIII - the opposite of emotive
Drawing formulas: 901, 802, 703, 604, 505, 406, 307, 208, 109.
This type of people has the opposite tendency to the emotive type. Usually does not feel the experiences of other people, or treats them with inattention, or even increases the pressure on people. If this is a good specialist, then he can force others to do what he sees fit. Sometimes it is characterized by callousness, which occurs situationally, when, for some reason, a person closes in a circle of his own problems.
Fun and colorful tasks for children "Drawings from geometric shapes" are a very convenient educational material for children of preschool and primary school age to study and memorize the basic geometric shapes: triangle, circle, oval, square, rectangle and trapezoid. All tasks are designed for independent work of the child under the supervision of adults. The parent or teacher must correctly explain to the child what he must do in each task.
1. Drawings from geometric shapes - Conditions for completing tasks:
To start completing tasks, download the form in the attachments, in which you will find 2 types of tasks: drawings from geometric shapes for coloring and a task for drawing shapes using logical and figurative thinking. Print the downloaded page on a color printer and give it to your child along with colored pencils or felt-tip pens.
- In the first task, the kid needs to mentally combine every two parts of the presented figures into one and draw the resulting geometric shape in the corresponding cell. Explain to the child that the pieces can be rotated in the mind in different directions until he gets the right combination to make a figure. For example, two triangles can be rotated to form a square. After that, the square must be drawn in the cell next to the triangle. By the same principle, you need to make the rest of the drawings.
- In the second task, the children must correctly name the figures that make up the drawn pictures. Then these pictures need to be colored using the colors next to the geometric shapes. Each figure needs to be painted only in the specified color.
To give the lesson more energy and enthusiasm, you can combine several children into a group and give them tasks to complete on time. The first child to complete all tasks without errors is declared the winner. As a prize, you can hang his work on the wall of achievements (such a wall must be present both at home and in kindergarten).
You can download the task "Drawings from geometric shapes" in the attachments at the bottom of the page.
2. Geometric shapes in drawings - 3 coloring tasks:
The next lesson also hides the basic geometric shapes in the drawings. The child needs to find these figures, name them, and then color them in such a way that each figure corresponds to a certain color (guided by the instructions on the task sheet).
In the second task, you need to draw any geometric shapes on all floors, but the condition must be observed: on each floor, the figures must be in a different order. You can change this assignment later. To do this, it is enough to draw exactly such a house on paper and ask the child to fill it with figures so that the same figures do not meet in each entrance (the entrance is a vertical row of squares).
In the third task, you need, guided by the arrows, to draw exactly the same geometric shapes inside or outside these shapes.
Do not rush the child and do not prompt him until he himself asks you about it. If the kid did something wrong, you can always print another copy of the training form with the task.
You can download the task "Geometric shapes in drawings" in the attachments at the bottom of the page.
In this lesson, children again have to find geometric shapes among the drawings. After the previous lessons, it will be easier for them to navigate in familiar forms, so I think that both tasks will not cause them any difficulties.
The second task also allows the kid to repeat mathematical signs and learn to count up to ten, as he will need to count the number of figures and put the signs "greater than" "less than" between the pictures.
You can download the coloring "Funny drawings from figures" in the attachments at the bottom of the page.
Other materials on the study of geometric shapes will also be useful to you:
Here you and your child can learn geometric shapes and their names with the help of fun picture tasks.
The tasks will introduce the child to the basic shapes of geometry - a circle, an oval, a square, a rectangle and a triangle. Only here is not a boring memorization of the names of the figures, but a kind of coloring game.
As a rule, they begin to study geometry by drawing flat geometric shapes. The perception of the correct geometric shape is impossible without drawing it out with your own hands on a piece of paper.
This lesson will greatly amuse your young mathematicians. After all, now they will have to find familiar shapes of geometric shapes among many pictures.
Stacking shapes on top of each other is a geometry activity for preschoolers and younger students. The meaning of the exercise is to solve addition examples. These are just unusual examples. Instead of numbers, here you need to add geometric shapes.
This task is designed as a game in which the child has to change the properties of geometric shapes: shape, color or size.
Here you can download tasks in pictures, which present the calculation of geometric shapes for math classes.
In this task, the child will get acquainted with such a concept as drawings of geometric bodies. In fact, this lesson is a mini-lesson on descriptive geometry.
Here we have prepared for you volumetric geometric shapes made of paper that need to be cut and glued. Cube, pyramids, rhombus, cone, cylinder, hexagon, print them on cardboard (or colored paper, and then stick on cardboard), and then give the child to remember.
Children love coloring and tracing, so these tasks will make your counting lessons as effective as possible.
And you can also play math games online from Bibushi the fox:
In this educational online game, the child will have to determine what is superfluous among 4 pictures. In this case, it is necessary to be guided by the signs of geometric shapes.
All objects and figures are placed in space. Even in a simple drawing, it is worth understanding completely different objects, and everything that is on it, and everything that we want to depict. It is worth considering this as one stream of shapes and lines, white and black, light and shadow.
The drawing must be perceived as a space on paper, where there is a plane and proportions of all objects, light and shadow, which is guided by the shape of the object.
Basic geometric shapes:
2D Plane Figures
3D shapes that have volume
Absolutely all objects are based on these figures.
A cube is a figure, the basis of which is a three-dimensional image in the spatial ratio of a sheet. The cube has all the geometric parameters, such as: vertical, horizontal and depth. The cube itself contains the concept of the picture as a whole.
To begin understanding the drawing, we will work with it. With the help of figurative-logical constructions, we are with you we will develop thinking through form analytics. For a better understanding and analysis of the drawing, there are several exercises.
Exercises
We sit down at the easel, take a large sheet of paper, it can be inexpensive, or even a piece of wallpaper (in this exercise, paper is not particularly important). We draw a square, naturally we try to make its sides even and the lines straight.
So - we see an ordinary square, completely uninteresting and not impressive, but this is only at the moment ...
We make a cube from a square with a pencil: draw lines from the faces with an angle of approximately 45 degrees. We finish the back part and ... we get a cube. But again, we do not see any space in our sheet. You can freely confuse the nearest and far faces. Now it's just a few lines on paper.
In order for us to feel space, we need to make the drawing smooth.. That is, to make it clear to us where the front of the picture is, and where the back is.
The side of the cube, which is closer to us, needs to be highlighted, made clearer and more active. We take our pencil and draw the front edges in a bold tone. Now we can already see where the near side is, and where the side is farther from us.
This is how we transferred the space in order to achieve the desired result. But that's not all. Now it is important to correctly convey smoothness in order to get three-dimensionality in the drawing.
We present to your attention a short video tutorial on the topic of optical illusions.
How to learn how to lay a stroke according to the shape of an object - we will improve our pencil skills and learn how to create a drawing of geometric shapes, creating their volume. In our arsenal there is a cube, a sphere, a cone and a cylinder.
Our work will be divided into two parts. The first part is we draw according to the idea. Perhaps you have layouts of these shapes, if not, then you can look at the page on how to make a layout of geometric shapes and, in fact, make them, but we will start with something else. We'll start by understanding, parsing the form first without layouts. You can first create them and sometimes look at them while drawing, but the main thing now is to learn to analyze, to think logically, all your work now is to think, without nature, to learn how to convey the shape of these basic figures. Initially, after all, the work takes place in the head, and not before the eyes. Right?
The second part - we will draw from nature, but just as in the first case, we do not cling to nature strongly, but first of all we think and analyze ourselves, and now we are already testing ourselves with what nature shows us.
So, the first part. You can draw on A3 format. We take whatman paper, a pencil and draw a figure, it is also not bad to use the knowledge of perspective when building it. And then you begin to "lay down" a stroke in the form, sculpting the volume of the figure with the help of your mind and a pencil.
We already know that chiaroscuro is distributed over the shape of an object, creating tonal gradations, or zones. For now, let's take the three main ones - light, partial shade and shadow. We are limited only to figures, not using all the space.
Let's draw a cube. We avoid mistakes. In my picture on the left, perspective is strongly conveyed, too much, so don't do it. Here it is enough to convey it quite a bit, slightly distorting the shape. Look at the picture on the right. See the difference between the front wall and the back? It's enough. We do not use such large sizes to transform architecture from small forms.
Let's talk about light transmission. Light, shadow and penumbra are shown.
But do not forget about the golden rule - the light, moving away from the shape of the object, darkens, the shadow brightens. Look: the light, receding into perspective, slightly loses its brightness, add a little shading there. And now penumbra and shadow, the same picture, but in reverse order. The shadow, moving away, weakens, slightly brightens. But anyway, the general tone of the shadow will never be lighter than the general tone of the light, and the penumbra also does not break out of its tone boundaries. Everything is in its place.
We also look: how we conducted training from our first lesson, see the basics of drawing, we don’t forget about that even now. We select the corners and faces closest to us, we make accents on them. The near edge and corners are accentuated for me, which is what they take the main attention to themselves, everything else smoothly goes into space. But here this space does not need to be transmitted strongly, since our distances are, in principle, small.
Note: how to determine the overall tone - squint your eyes a little. The sharpness will decrease and you will be able to see everything in general. And yet you don’t have to look at the work “head on”, often move it away from you, scatter your eyesight, don’t cling to details.
And then the rest of the figures. These figures, in general, are quite streamlined, rounded, so we notice the following:
Let's say the ball is the first in the row. The emphasis on it here is the shadow and it will be strongest in the place where the ball is closest to us. I don’t have accents along the edges, since the shape has gone into space there - take this moment into account when drawing a streamlined shape.
The same is true for the cylinder and the cone. Where the form begins to wrap up and goes into space, the emphasis should not be made. But where it is necessary to emphasize the form, then where there is a break in the form and where it will be closest to our eyes.
Pay attention to the cone - its lower part is closer to us than the top. This means that the lower part of it will be transmitted stronger, and rising to the top weaker - look at the shadow, below it is stronger, while rising up it loses its activity. Do not make it the same key throughout the height. These values here are not huge, but they still exist, otherwise the conditional space cannot be correctly conveyed.
I stop your attention on hatching. This is something that is one hundred percent stroke that fits in the form. Despite the fact that it is somewhat monotonous and boring, it is very useful in terms of learning. He teaches discipline, concentration, teaches you to make straight lines and just cleanliness of execution. I recommend doing this work using this particular stroke, just try to "sculpt" the shape of a geometric figure, feel with your hands and eyes its entire volume and how its shape "lives" in space. It is written strangely, but I try to convey to you the beauty of this exercise as juicy as possible. And about the strokes that should fall in the shape of the object and which they are not, we will talk further with you.
And don't worry if something doesn't work out. No one is immune from mistakes, and there can be many of them, and there is nothing ideal in the world. But each of us has the opportunity to try again in order to do even better.
How to draw geometric shapes
How to draw geometric shapes - now let's try to draw geometric shapes with the environment. Wrap them in air, draw in space. We take the main ones:
Let the cylinder go first. We put the cylinder on the object plane - a table, set the lighting so that the shadow from the figure falls beautifully on the object plane, is neither too stretched nor small - it is harmonious and emphasizes the volume of the figure.
Stretch the paper over the tablet to create a clean drawing. Take a tablet with a size of 30-40, it is quite enough for such work.
Now we need to arrange our cylinder in the plane of the sheet, find its harmonious place in the sheet space, taking into account the shadows, of course. Use an eye to find proportions, reinforce it with feelings of linear perspective.
Be sure to transfer the object plane. Our figure does not "float" in space, it is on the object plane!
When constructing a figure, be sure to show invisible faces as well, show how you build - construction lines. You need it more than the viewer. Place accents where necessary, show the intersection of planes. Don't forget about perspective. If you notice, then the lower plane of the cylinder is visible to us more than the upper one, and it is correct, since the horizon line (at least for me, it may be different for you) gives such an overview.
See how the shadow is built - it can be correctly conveyed using construction lines. Figuratively: rays come from the light source, which are divided into two types, one - illuminate the figure, stop on it, therefore there will be no further light behind the figure. And the rays of light that do not fall on the figure go further, illuminating everything in their path. And we can show you this border. And one more thing: the shadow, moving away from the figure, will tend to increase somewhat, it resembles a reverse perspective. Do you understand why? If you direct the rays in the opposite direction, then the lines for constructing the shadow will converge at one point - the point from which the light comes.
This is roughly what you should be doing. Further, in principle, we no longer need nature, since everything can be analyzed independently. Turn on analytical thinking and reason logically. But anyway, let's take it further:
The figure shows that the light falls from the side and from above. This means that the upper plane of the cylinder will be illuminated most of all, and the light will also fall on the object plane, since it, like the plane of the cylinder, is also horizontal. Vertical planes - a wall and a break in the object plane, as well as the volume of the cylinder itself will receive less illumination, since they do not receive the incident main light.
Further: we do not make the object plane black; in this case, the corner of the object plane receives enough light so that the shadow is not the most active here. But all the same, it is necessary to single out its object plane. This is achieved by highlighting the angle of the object plane.
Next, our subject plane gets the main light, but we need to show that it is horizontal. And we know that as the light moves away, it goes out, weakens. That's the farther away from us the object plane will go, the weaker its light will be - we put a stroke in this way.
Now we need to deal with the part of the cylinder that will be in the shadow. Our cylinder is located vertically to the object plane, which means that the main light will fall on its horizontal upper plane. Everything else is in the shade, with the exception of the area where the light slides over the form, since the light does not fall exactly from above, but a little from the side - this area is highlighted by me as the lightest on its vertical plane. The general shadow of the cylinder is more active than the wall, since the cylinder has its own active shadow and is closer to us, even though the wall is also located vertically.
The wall will be darker than the subject plane, because it is vertical, which means there will be less light here, and because it will be the farthest, it will be in the background. We lay down the stroke in this way.
The falling shadow of the figure will be the most active, but it also lies on the subject plane, and therefore, moving away from it, it will become a little weaker.
Well, it remains to place accents where necessary - the breaks in the forms that will be located closer to us will be accentuated.
If at first the hand does not obey, it is difficult to hold a pencil and it is difficult to lay a stroke in the form, and it is difficult to clearly define the shape itself with a stroke, that is, it is possible to work as shown in the figure on the left.
Lightly outline the breaks in the shape. That is: suppose you are aware of how light is distributed over the shape of an object. You know that there are five of these zones: highlight, light, penumbra, shadow and reflex. This is all accurate, but conditional. In order to convey more qualitatively the volume of the figure, you can outline as many breaks as you like, and the more there are, the softer the volume of the figure will be shown. Visually divide the figure into these zones and lay down the usual straight stroke, but in such a way as to fashion the volume - use the frequency of the stitch-stroke or the pressure force of the pencil.
Here I ask you not to confuse two concepts: how light is distributed over the shape of an object and how a stroke falls on the shape of an object. In the first case, we have 5 zones, in the second, we can designate as many zones, shape breaks as you need. But do not blacken, all auxiliary lines should be inconspicuous.
Note: if you could notice by looking at this picture, you saw that on the more illuminated side of the cone, the wall in the background is darker, and on the other, less illuminated side of the cone, the wall is lighter.
The fact is that the wall is the same here and there, but this is how our eye sees. For the sharpness of the sensation of reality, for the best accent of light and shadow, for the harmonious touch of the picture with our eye, and in the end, let's make our eye pleasant! Let him see in the drawing what he sees in nature. This is only a slight nuance, which will only enrich our drawing, can be unobtrusively conveyed.
Addition: see how the shadow of the cone is built.
Next, let's draw a ball. You can see the building on the left. Notice how the shape's shadow is built. We have already figured out the falling one, like: we determine it with the help of an eye and reinforce it with knowledge of perspective. Do not forget that the shadow falls on the object plane - this must be conveyed and understood.
But what about your own shadow? Interestingly, if you draw lines from the point of illumination to the center of the ball, through which passes the diameter that forms the circle of the shadow, then this diameter will be perpendicular to the line drawn to the point of illumination. If you understand this, then how to lay down a stroke in the shape of a ball in order to show your own shadow is not at all difficult.
Now I got bored of drawing something in the same manner and I wanted to experiment. Look at the work on the right. Do you think it is hatched? Does not look like it. It is made with a tonal stain using pencils of varying degrees of softness. If you take pencils with a solid lead, without a wooden frame, and you just pick up the tone on paper, and not hatch, then you will also get such a drawing.
And what else, besides the technique of execution, is wrong with us? The light is in place, the shadows too, so everything is in order.
But let's take a closer look anyway. We will have the brightest light on the illuminated side of the ball, on the plane it will not be so active and will weaken with distance from us. The darkest shadow will be falling, there will be a little more light at the break in the object plane, but nevertheless, we accentuate this area.
Look at your own shadow of the ball - I put emphasis on that area of it that will be closer to us, and wrapping in shape, the shadow will lose activity. Remember: the ball is a streamlined shape.
The wall is in partial shade, moreover, in the background, so let it remain unobtrusively there. The only thing is that it will "play" with the volume of the ball. From the side of the light, the wall will appear somewhat darker, from the side of the shadow, lighter. Let's make our eye pleasing here too;)
How to learn to lay down a stroke in the shape of an object. Hatching
Here we smoothly approached what we already talked about at the very beginning of this page. How the stroke fits in the shape of the object and which stroke is not. The fact is that each draftsman, in the process of work or study, develops his own specific style of stroke. Of course, there are canons, different historical times have their own canons of drawing and stroke, but it is not at all necessary to adhere to them. Optional. I think that if with the help of a stroke it is possible to convey the volume of a figure and the space itself in a sheet, then it is absolutely all the same what this stroke represents. The main thing is that everything was done correctly and beautifully. Simply put, do not make straw, learn to draw beautifully. This also applies to the stroke. On this page we learned how to make a stroke, we will continue a little more.
For example, this is how I draw a cube, which we still have not drawn.
1. Determine the place of the figure in the sheet
2. We place the figure on the object plane and find its construction and its shadow, not forgetting to take into account the perspective
3. We determine the place of light and shadow - we put a light stroke. This gives us the opportunity to immediately determine the distribution of light and shadow in our drawing, to separate them
If you look at the stroke that the work is done with, it's quite unusual, right? It’s better not to resort to such a stroke in drawing lessons, don’t scare teachers, they don’t have such modern progressive views as you do. But in your creative work, you can apply such a stroke, why not? After all, the drawing is made according to all the laws. The space in the sheet is transferred, the shape of the object is shown, the main tonal relationships in our drawing are transferred. But to this we also added a touch that makes the work interesting and airy. Well, then again, we disassemble the picture, analyze:
Let's go through the main tonal relationships, for starters, the shadows: the darkest shadow is the drop shadow, then comes the cube's own shadow. The fracture of the object plane takes the third place, we select it, but do not blacken it, since there is enough light there. And the fourth is the wall, which also gets light, we can say that the wall is in partial shade, but farthest. See how the penumbra of the wall plays with the shape of a cube: from the side of the illuminated part of the cube, the wall is darker, from the side of the shadow, it brightens. These gradations may be very small, but they are present.
Next, we analyze the light: the lightest and most illuminated part will be the upper plane of the cube, the second in terms of light and darkness - the object plane, which is horizontally in front of us and going into space - loses light.
We focus on the breaks of forms. We select the near faces of the cube and the corners, this will help to pull it out of space in front.
And do not forget - the light, moving away, darkens, goes out, the shadow, moving away, loses its activity and brightens somewhat, but we take into account the golden rule: the darkest halftone in the light is lighter than the lightest halftone in the shadow.
Lastly, if you decide to experiment with shading. Since the tonality of chiaroscuro, which we convey in the space of the sheet, varies, so the stroke can change shape - play with the size of the stroke. The wall is made with a stroke of the middle stitch, rather static. The cube is made with a small and active stroke, which gives the cube dynamics. And the object plane is made with long stitches, rather trivial and of little interest. So, even a stroke helps to reveal the main character in the picture - a cube, which is made by the most dynamic stroke that attracts attention, in my opinion. What do you think?
Try to do something of your own, experiment, then the simplest work will be done with pleasure, great attention and great interest. And when you are sitting, doing work, for example, you are trying to evenly put a stroke in the form, and even you are succeeding, and at the same time you begin to notice that your breath stops from the concentration of your attention, in these very minutes you feel the whole limit of the drawing and you get untold pleasure.
Basic drawing skills are practiced on simple three-dimensional figures. Here, the ability to correctly measure the sizes and ratios of objects, and correctly build a perspective, and compose an image in a sheet, and accurately convey light and shade are also important. What are simple three-dimensional figures?
Simple volumetric figures By simple three-dimensional figures in drawing, they mean such three-dimensional figures as: a cube, a parallelepiped, a prism, a cone, a ball. For educational purposes in drawing, figures cast from plaster are used. All of them have regular geometric features and a smooth white surface.Geometrically correct three-dimensional bodies help develop the ability to accurately draw straight and curved lines. For example, in drawing a cube, you need to accurately determine perspective cuts and draw by hand, without auxiliary means, its even edges. And, in drawing a ball, it is important to draw the correct circle, again without additional improvised means. Only pencil, paper and eraser.
Features of building three-dimensional figures
for emerging artists
The entry-level tutorial drawing uses a perspective drawing technique in which vertical lines are drawn strictly vertical, while horizontal and diagonal lines are drawn in perspective.
Such postulates of building perspective, on the one hand, are at odds with modern trends in 3D graphics, where machines are already trained to render perspective abbreviations that are practically indistinguishable from real ones, and we are used to such a quality of displaying reality. On the other hand, for educational purposes, the depiction of vertical lines without regard to perspective makes it easier for the novice artist to construct space and objects in it. In addition, in practice, strictly vertical lines in the works of beginners help to properly organize the space and look quite harmonious.
Chiaroscuro in the educational drawing of three-dimensional figures
In general terms, let's deal with the concept of an educational tonal drawing of three-dimensional figures. When applying tone in a training drawing of three-dimensional figures, it is important to concentrate on creating the illusion of volume and space. The first is achieved by observing the general principles of shadow theory. It is important to note here that in the educational drawing of three-dimensional figures, it is desirable to use hatching according to the shape of these same figures and in the direction of the shadows. The feeling of space in the training drawing is achieved by increasing the contrast of light and shade gradations in the foreground and softening the shadows in the background.
