So at least a little believe that you can learn to draw. And indeed it is! Even if you drew very little, didn’t draw at all, or doubt your abilities, find a few pencils and 20 minutes a day - and in a month you will learn how to create amazing images.
In order to succeed, you will learn gradually, step by step. We will focus on the Nine Fundamental Laws of Drawing, starting with the simplest shapes, shading, and composition, and ending with the more complex laws of perspective, photocopying, and drawing from life.
Let's start with some theory... Yes, these are just boring rules at first glance, but without them you won't get any further! I do not urge you to memorize them, you will remember and understand everything in practical lessons. In the meantime, it will suffice to briefly go over the basics.
If you really want to learn how to draw realistic sketches, when creating a composition, you should be guided by these The nine fundamental laws of drawing:
1. Law of perspective: Objects that are close appear larger, while objects that are further away appear smaller.
2. Law of location: objects lower on the sheet appear visually closer.
3. Law of size: the larger the object, the closer it looks in the picture.
4. Law of overlap: an object in front of another appears visually closer.
5. Law of penumbra: the part of the object that is on the opposite side from the light source should be darker to create volume.
6. Shadow law: to create volumetric image, you need to draw a casting shadow from the object on the opposite side from the light source.
7. Law of contours: draw the borders of rounded objects to give them volume and depth.
8. Law of the horizon: it is necessary to mark the horizon to create the illusion that the objects in the picture are at different distances from the observer.
9. Law of density: to create the illusion of distance, distant objects are drawn in less detail, and make them lighter. 
It is impossible to draw a 3D image without applying one or more of these fundamental laws. These nine tools are the basis for successful drawing 3D images. They are immutable and always apply. With each lesson, you will better understand each law, and apply it in practice. In addition to the nine basic laws of drawing, there are three principles things to keep in mind: optimism, details and practice.
1. Optimism: You have to tell yourself "I can do it!", a positive attitude is an important part of acquiring any skill.
2. Details: add your own ideas and additional details to the pattern to make it truly unique.
3. Constant practice: daily use any new skills are absolutely necessary for successful mastery of the skill. Practice regularly!
Without these principles, you cannot learn to draw. Each of them is important for your creative development.
In subsequent lessons, we will focus on how to apply these nine laws to four basic figures: sphere, cube, cylinder and cone.
In order not to miss new lessons, share your work and get advice, join
This article will focus on pencil drawing. If you want to learn how to draw, but just can't get started, now is the time to start learning. Take a sheet of paper, a pencil and try 🙂 Let's start with the drawing technique.
Pencil Drawing Technique
There are two main drawing techniques - shading and shading with a pencil.
Hatching
With the help of strokes (short lines) you can very well convey the tone of the subject. Depending on the number of strokes drawn, you can get different levels saturation of tone (the fewer strokes - the lighter the tone, the more strokes, the darker). By the direction of the strokes, you can convey the texture of the surface of the figure. For example, horizontal strokes will convey the surface of the water well, and vertical strokes - the grass.
Basically, hatching is done with short straight strokes with approximately the same distance between them. Strokes are superimposed on paper with a pencil tear-off. First, one thin line is made, then the pencil returns to the start line, and in this way all other strokes are applied.
To enhance the depth of tone, you can apply crosshatching. For example, a horizontal hatch is applied to oblique hatching, darkening the tone, then on what came out, you can impose oblique hatching in the opposite direction to the first one - this will darken even more. In this case, the darkest tone will be the one where the hatching of all directions is combined.
shading
Feathering is one of the main techniques that can be applied when drawing to beginner artists. With the help of gradation of tone, you can give the figure volume. In general, feathering is a special case of hatching. After applying strokes, using the properties of pencil graphite and a special shading tool, they are shaded (smeared) until a uniform tone is obtained.
However, the implementation of the shading itself has a number of features.
- Feathering strokes must be done along the strokes, but not across. By feathering along the strokes, you will achieve a more natural toning.
- For shading, not only simple hatching is used, but also zigzag strokes.
With the help of such techniques, you can draw anything on paper.
10 common mistakes newbies make
Most people who enjoy drawing take the first steps on their own. And even if it's just a hobby, they still make various sketches. We want to write about 10 possible mistakes which all aspiring artists must face.
1. The wrong pencil
If your shadows don't come out well, check the markings on your pencil. He's probably too hard. Shadows are recommended to be drawn with pencils marked B, 2B and 4B, but not HB.
2. Drawing from photos
Each artist begins to draw from photographs. But very often photographs do not convey enough facial features for good drawing. When a person's face is located in front, it will be difficult to correctly model his face on paper, since the perspective behind the head disappears. Try taking a photo where the person's head is tilted slightly to the side. Thus, the portrait will be more realistic and with the best transmission shadows.
3. Wrong basic proportions
Very often people start paying attention to details right away, drawing them completely without sketching the whole drawing. It's wrong since you don't plan correct proportions in advance. First, it is desirable to sketch the entire drawing, and only then draw in depth the details.
4. Twisted features
We are accustomed to look at a person directly and align when drawing. As a result, the portrait comes out quite distorted. When drawing complex objects, try to first outline the guides, along which it will be easier to build a drawing later.
5. Animal drawing
We usually look at our animal from top to bottom. From this, the head seems to us larger than the whole body, and normal proportionality is lost. Try to distract the animal so that it turns its face to the side, then the drawing will come out more truthful.
6. Strokes
If you draw each hair or blade of grass separately, then the drawing will come out disgusting. Try to make sharp sketches, going from dark to light.
7. Trees
Don't try to draw correct forms trees, flowers, leaves. Use contours and shadows for realism.
8. Wrong paper
Before buying paper, test it on a piece of paper, drawing something light. The paper may be too smooth and the pattern will be washed out. Also, the paper may be too stiff and the drawing will be quite flat.
9. Volumetric
When transferring volume, try not to use clear lines for the edges. They can be outlined by light lines of different tonality.
10. Shadows
Very often it does not work out to apply shadows evenly. Try to use the full color range of the pencil, going from light to darkest. If you are afraid to go too far with the dark, put a piece of paper under the edge, and all the black will be on it.
At first it may seem that pencil drawings are too ordinary, dull. But with the help of a pencil, you can convey a huge amount of emotions.
A small selection of video channels based on a pencil drawing:
From the author: If you are interested in painting, drawing, composition, and art in general, then you are here! By profession I am a Painter-Muralist. Graduated from the Moscow State Academic Art Institute. Surikov. On the Art Shima channel you will find videos where I paint and paint in oils, and videos with tips. Since I have many techniques, you can feel free to ask questions, and I will gladly answer them. By subscribing to my channel, you will be able to see all my new videos.
Interesting video tutorials on any topic.
The work is more difficult, but good description. If you really want it, it will work.
Any graphic drawing can be attributed either to linear graphics or to spot graphics. In the first case, it will be a drawing with lines, in the second - stain pattern. It is also possible to combine lines and spots in one composition. Each of these cases has its own peculiarity for perception, its own meaning and beauty.
We have already said a lot about the special expressiveness of the line, and now let's look at something else figurative medium- SPOT. Spot graphics are no less diverse and interesting.
SILHOUETTE IN GRAPHICS
The easiest option black and white compositions is a SILHOUETTE, black on a white background or white on black. You must have come across these black and white drawings in books.
These drawings are two-dimensional, very conditional and concise.
silhouette art It has ancient history and goes back to the figurative painting on the vessels Ancient Greece. Remember those beautiful images on amphoras: mythological scenes, Olympic Games, figures of Greek beauties and athletes?..
The real boom in silhouette art came in the 18th and 19th centuries. We can say that then the manufacture of silhouettes was a craze.
Many artists have paid tribute to this type of graphics and created beautiful examples of silhouette work.
Wherever they found application: illustrations, portraits, drawings on screens, dishes and in the interior ... The ability to create silhouette compositions was taught even at the Institute of Noble Maidens!
traditional silhouette portraits cut out of black paper and pasted on White background . The contrast of black and white made it possible to accurately and quickly convey the features of the appearance, because the profile of a person in silhouette is very easily recognizable.
Ease of execution and, accordingly, low cost made this type of graphics very popular. However, in order for the picture to be expressive, it is important to very accurately notice the features of the outlines of the shape of a particular character, to give its characteristic details.
About ten years ago, I did my own silhouette portraits. Sharp scissors, black paper, a trained eye - and in 10-15 minutes your sitter will be imprinted for centuries. Good entertainment at a party or extra money in a hungry year… 🙂
Although, of course, silhouette compositions can be much more complex and attractive to look at than just portraits.
BLACK AND WHITE PICTURES WITH SHADES OF GRAY
However, in addition to a locally black spot, all shades of gray can be used in the graphics. We see these gradations in charcoal, sauce, pastel, and ink drawings. 
In this case, the image can already be three-dimensional, realistic, very reliably conveying reality.
But be that as it may, here plasticity and expressiveness of the spot are of great importance. The artists of China and Japan are especially virtuoso in their use of the expressiveness of the spot.
Despite the simplicity of the motive, their graphic sheets are unusually attractive. The game of blurry and clear spots, beautiful flow gray flowers, perfection and harmony of forms. 
And now, with all our guts, we feel the tender, refined, so fragile leaves of an orchid, the soft fur of a cat, the speed of a horse’s swift run, the joy of a bird’s flight ...
Based on the example of these works, we can understand that spot pattern is more than a recognizable silhouette.
This is very important point which I would like to convey to you.
The expressiveness of the image can be laid
NOT ONLY in the recognizability of the silhouette (which is depicted),
but also IN THE MOST FORM of stains (as pictured).
WHAT CAN THE SPOT TELL ABOUT?
Let's take different spots as an example.
Even if our eye does not find familiar outlines in any of these spots (and it tries very hard), then we can associate the shape of the spot with certain sensations.
For example, we can say whether this spot is calm or moving, aggressive or friendly, delicately refined or monumentally massive.
What associations do certain spots evoke in you? Can you feel them?
I suggest you watch the recording of one of my speeches at Periscope (from the training “Discover the Creator in yourself”). In it, I share the practice of creating spots with different characters.
After completing the exercises, you can free your hand and create your own artistic images, allowing the spot to “speak” in the language of silhouettes.
Spot Language in Graphics: Practical Exercises
THE SIGNIFICANCE OF THE SHAPE OF THE SPOT
From the main forms of the spot, we can distinguish four, each of which affects the viewer in a different way:
- Square and rectangle.
A finished, stable form, ready to express affirming images. The square is the most static and heavy, not prone to movement. - Circle.
Closed compact form focused on itself. Having no expressed basis, the circle is always unstable. For a person, the circle is associated with the concepts of “good”, “happiness”, “life”. - Triangle.
The most mobile, dynamic form, stable only if one of the sides is horizontal. The triangle is a symbol of movement, energy, sometimes even aggression. - Amoeba form.
Its fluidity expresses unstable images in a wide range from romanticism, melancholy to pessimism.
Modern artists actively use the spot precisely as a “spot”. 🙂 Admire! a master class on inkblotography
So, from this article you learned that no matter what graphic drawing you create, whether silhouette or tonal, it is important to remember about the EXPRESSION of the spot.
Improve your skills in creating spots that are interesting in shape, proportions and dynamics, and your drawings will be more expressive and attractive! I wish you success!
I would be grateful for the comments and repost of the article on social networks!
Drawing Basics - I am talking about the method of education, thanks to which, at one time, I managed to complete the course of the school in four months and enter the prestigious university the first time art institute, gaining 298 points out of 300 possible in the exams. I hope my experience will help you too. After studying the material, you will understand that drawing is not such a complicated science as it seems at first glance. It is very important to visit the page on how to properly hold a pencil before starting to learn the basics of drawing. This knowledge is necessary for the correct setting of the hand. Study the material, I'll wait for you.
Drawing Basics
If you are an aspiring artist, then you now need a basic knowledge of the basics of drawing. Don't look at the work of great artists, you will understand them a little later. Focus on yourself. And we will start with understanding the drawing itself.
All objects are in space, they are shrouded in it, harmoniously fit into it and obey its laws. In the simplest still life, you need to perceive not individual objects, but the whole ensemble, the consonance of lines and shapes. You need to look at it as a continuous tondem of lines, shapes, light and shadow. Drawing is a conditional paper space, in which there is an object plane, proportional ratios of all objects and light-shadow, distributed according to the shape of objects.
The main elements of visual literacy:
Plane figures (two-dimensional)
Volumetric figures (three-dimensional)
All objects, one way or another, have in themselves, in their basis of construction, these figures.
Cube-like 3D basis in conditional paper space:
Drawing basics. Understanding.
First, I want to tell you a little story about the little ant. Can you imagine? A small ant was climbing its own grass and came across something... It is unknown what. He himself did not know. And he wanted to know what was blocking his way. The ant with difficulty climbed onto this something, climbed from all sides, up and down, but did not understand anything. He did not understand, because he himself was very small and saw only separate sections of the object and could not form a picture of it. Then he climbed up tall tree looked up from above and saw big picture....
Well, what he saw to us in principle is not important, but the meaning, I think, is clear. So we, in order to make it faster and clearer, start with the big picture.
Let's continue. The cube is the basis of a three-dimensional image in the conventional paper space. It has vertical, horizontal and depth. It itself contains an understanding of the picture in general. Here for a start we also will work with our cube. We will develop logical thinking on analysis real form with the help of figurative and logical constructions.
Not so little has been invested in the phrase "logical thinking". This is observation, and imagination, and fantasy, in the end a special vision of the world, which in our case allows us to create the illusion visible world in paper space. We will learn to correctly see the three-dimensional form of an object and logically depict it in sequence based on the understanding of our main working form - a cube.
To develop logical thinking in yourself is your primary task, this is your tool with which you can independently understand the drawing. And in fact, it is not difficult and not even boring. It is available to everyone to understand.
And before work, get rid of small formats. From now on, your main working paper size is A2. Go to big sizes if you haven't done so yet. You can use 40/60 or 40/50 tablets or even more. At first it seems that in front of you is just a huge white wall and it is not at all clear how to fill it. Not scary. Think back to this in a couple of weeks. Then the usual landscape sheet will seem tiny and completely uncomfortable to you.
Drawing Basics
Exercise 1 to understand the basics of drawing:
We sit down at the easel, attach to it a half sheet of whatman paper, you can use inexpensive paper, even wallpaper. Wallpaper is even better if your budget is tight and you don't want to splurge on expensive paper. So let's start small. We draw a square. Try to draw as straight lines as possible, of course, the opposite sides should be parallel and equal in the square.
What do we see in front of us? This is an ordinary square, which in no way gives us the feeling of a conditional space in the sheet. Boring and not at all interesting. But that's for now.
And now you will need to turn the square into a cube. From the corners of the square, draw lines-faces into the distance, I have their slope approximately equal to 45 degrees. Stick to this number. Well, we need to finish our cube, by feeling we determine and draw the back side of the cube.
We have a cube, but so far there is no conditional space in the sheet here either. You can easily confuse near and far faces. This is a flat drawing and nothing more. In order to feel the space in the sheet, there must be PLANNING - some details or objects will be closer to us, others further away, and this planning must be conveyed correctly. To begin with, we will pass it on, and then we will think about the word "correctly." Planness is conveyed as follows: that side of the cube, which is closer to us, should be highlighted, should be clearer, more active. Let's take our coal or sanginka and direct this side more actively.
Now we can clearly distinguish where the side of the cube is closest to us, and where is the far side. So we quite simply and uncomplicatedly conveyed planning in order to achieve the result - to get a conditional space in the sheet. But that is not all. Now it's time to talk about the correct transfer of planning, in order to get not a flat drawing, but a volume in the plane of the sheet. Sounds strange, but it's true.
Let's train our logical thinking on the analysis of the real form - our cube. We understand the cube - how the basis of a three-dimensional image in the conditional paper space. It has vertical, horizontal and depth. It itself contains an understanding of the picture in general.
All objects are in space, they are shrouded in it, harmoniously fit into it and obey its laws. We do not draw with you, we draw. And without an understanding of space, our drawing will just look like a miserable likeness of a drawing. In space, however, there is air, all sides, faces, corners of the cube are shrouded in it. What we see in front of us we will see more clearly, what is further away from us will fade away because of the enveloping air. So we need to select what is closer to us - the nearest faces and corners of our cube.
To this we still need to add the following: where breaks in the form or intersections of planes occur, you need to highlight, because this is some kind of action in the space of the sheet, an accent, NOT static, dynamics. But just like everything else, these accents will fade as they move away from our eyes.
Now we do the following: we take and select the corners of our cube, since there is a break in the shape. The corners will be the most distinct. We select all the corners of the cube, but at the same time we do not forget that the corners in front of us will be more clearly expressed, since they are closer to us. The rear ones go into space and will tend to fade away.
Once again, the near corners and sides will look sharper, those that go into the depths we will make less sharp to achieve sense of space, for everything that goes into perspective tends to fade, due to the surrounding air. The edges that go into perspective are drawn less clearly, and besides, their clarity will fade away gradually. Invisible edges are needed for construction. So we take and highlight what is closer to us - corners, sides, edges.
Draw lines starting from the corner towards the other corner. In the middle of the edge, the clarity will be somewhat lower, since the stress on the edge is less than in the corner. In general, the line in the drawing should not be monotonous, where there is some kind of action, turn, intersection of lines, it is clearer, stronger, more distinct. Where the tension is less, the line is softer. So it is in our case here. I remind you again: what is closer to us - edges and corners - will be expressed more strongly, everything that goes into space is less pronounced, fades away. Look at the resulting drawings. Approximately as here and you should succeed. And now you have already created space in the sheet using a simple shape.
If you understand what you are doing and know what I expect from you, this job does not seem complicated or difficult at all.
You can use sanguine, pastel, charcoal, pencil drawing. If a pencil, it should be soft, M2 and above.
Well, now let's draw a second one in front of our cube! And all those conditions that apply to the first will apply to it. But notice the keyword - "before". Everything is exactly the same as we did before - we drew the first cube, but here now the second cube will be closer to us. And we must highlight it more clearly than the first one, so that our already created space in the sheet is preserved.
And then try to draw a third cube, which will be located behind the first two. Naturally, the third cube will be drawn much easier, softer than the previous ones.
Draw and invisible edges necessarily, the constructive beginning of the form must be shown. The figures should not run into and crash into each other, you must see and understand where one figure ends and another begins. Clearly.
The first cube is closer to us, so it will look clearer. The second is weaker and all its faces will be weaker than the far faces of the first die, since the second is behind the first die. You must clearly understand this this is the basis of spatial vision, the basis of the drawing.
It takes practice, practice, understanding. And once again, draw a cube that will be located in front of the first two. To make it clear that he is ahead, you need to highlight him! So we select its sides and faces so that they are clearer than the sides and faces of the cubes in the background:
Make no mistake, this is not a simple drawing of a cube, it seems so at first sight. This drawing teaching system has a small but very tricky secret: you may not notice it, but already on this simplest initial stage learning you learn:
1. Draw straight lines, your hand gets used to reproducing clear conscious movements, the hand learns to hold the pencil and control it consciously. Is it difficult for you to draw straight lines now?
2. Already at this stage, you begin to learn to perceive the sheet not as a plane, but as a conditional space.
3. You learn to create volume, a three-dimensional image in paper space.
4. Learn to convey planning in paper space and understand how to achieve this.
5. To this we can add another important point, such as obtaining the skill of maintaining the correct hatching, but more on that later.
That's how much you are already starting to get when you perform this simple exercise. But do it consciously - the most important thing. Without particularly bothering, you get the basic knowledge to understand this exact science like drawing. This is the main advantage of this drawing teaching system.
What was written above for you so that you understand the meaning of what is happening and take a closer look at these exercises. And if you understand what I'm talking about, it means that logical thinking begins to work for you.
Fix the passed material, draw more, draw a lot. Learn to work with different materials. Learn to "feel" it - where you need to press, where to draw a bold line, and where only to outline it lightly. When your hand movements are more confident, take a regular graphite pencil and work through the same thing with more "strict" material (you can use a tablet). Drawing with a pencil is somewhat more difficult than drawing with charcoal, for example. But you already know the principle, and this is the main thing. At the same time, what you already know and understand, let your hands also learn to obey you. Take the softest pencil you have and try to vary the tone with pressure.
All this work can be done on one sheet. But for us this will not be enough. Draw as much time and patience as you have until everything turns out clearly and competently.
RESTRUCTURING VISION
Try not to draw each cube separately now, that is, when you draw one cube, you forget about the presence of what has already been drawn. Try to see two cubes at once, all at once. Constantly disperse your attention to the entire space of the sheet. Try it. Look at one point (at the edge of the cube, for example), but you also notice everything else. Use "lateral" vision.
Already at this stage, you learn to see the big picture, and not all separately. A general vision of the picture, of the entire space of the sheet, develops. The eyes begin to see relationships: volume to volume, angle to angle, height to width.
All corners of the cubes should be approximately the same, as we have - 45 degrees, all opposite sides - the faces are parallel, the others are perpendicular, and this cannot be achieved if you do not observe everything that happens in your sheet space, but look at everything one by one, one from the other.
In your sheet, the cubes can be located not only as soldiers, they can fly as they please. Do this exercise until you master it. Draw at the easel with any material. Here are some examples of how to complete the task:
When the cube is placed like this:
the corner closest to us and the edge will be more active. We must single them out - everything else fades away. It doesn't matter how much paper you spend on this exercise. Don't use an eraser, think twice. Until you master this exercise, you cannot move on to the second. Here you can learn quickly, but if you do not learn the basics, all the work will go to waste. There is no need now to achieve beauty and purity in the drawing. The main thing is that you yourself do not get confused in what you draw. The main thing now learn to understand what you are doing.
TIME AND DATE
I don't know at what level you started training and what you can do. Therefore, I can’t give a clear answer - how many days do you work like that. For some a day will be enough, for some a week, for others more. I can say one thing for sure: until you understand this material, you cannot forget about it and you need to return to it if necessary. As for the quality run-line not parallel, the angles are different, the figures are crooked, dirty in the sheet - it takes practice and time. Not everything will happen right away. The same applies to each subsequent task.
Fundamentals of graphic drawing.
Types of graphic drawing
In a graphic drawing, especially a linear one, thin and wide lines are also used, but their main difference is that they “live” in drawings - they are drawn by hand, they “build” volume, emphasize shadows, defining the border between light and dark. A line at the same length can have a different thickness. With the help of lines, the number of plans in the figures is outlined, and there are mainly three of them. The foreground closest to us, or rather, the objects in the foreground, I highlight with the help of a thickened line.
With the help of a line drawing, you can depict people, animals, a landscape, and make a sketch of a costume. In a line drawing, only lines of varying thickness are used. The light-air medium is transmitted using continuous, intermittent and smooth lines of various thicknesses. Additionally, a stroke or spot can be used to enhance expressiveness. Linear drawing is distinguished by the transition of lines into thickened spots, typical of the art of Japan and China. It can be performed with charcoal, sauce, sanguine, soft graphite pencils! Linear drawing is especially appropriate in sketches and sketches.
In addition to the linear graphic drawing one should include a planar decorative one (performed by spots of any tone) and a shadow volumetric light (performed also with the help of spots that build volume, or a stroke of various thicknesses). Decorative drawing perform sequentially, filling the spots with ink or gouache, as well as any soft materials! It is used in posters, costume sketches, i.e., where graphic clarity is needed to identify a specific theme or form.
In a black and white drawing, the form is built with the help of spots made with a stroke, with gradation from the darkest to the lightest.
The stroke technique has its own characteristics. The stroke is applied in the drawing in different directions, but preferably in the form of objects, without violating the integrity of their perception, i.e., the stroke should not “tear”, “crush” the form. The dashed lines can be located close to each other and far, at any distance from one another, while you can increase or decrease the pressure of the pencil.
The black and white pattern is rich in all sorts of tone transitions; Wealth painting techniques such a pattern attracted and attracts artists.
In addition to the linear graphic pattern, one should include a planar decorative one (performed by spots of any tone) and a volumetric shadow light (performed also with the help of spots that build volume, or a stroke of various thicknesses).
Decorative drawing is performed sequentially, filling the spots with ink or gouache, as well as any soft materials! It is used in posters, costume sketches, i.e., where graphic clarity is needed to identify a specific theme or form.
In a black and white drawing, the shape is built using stroked spots, with gradation from the darkest to the lightest.
The stroke technique has its own characteristics. The stroke is applied in the drawing in different directions, but preferably in the form of objects, without violating the integrity of their perception, i.e., the stroke should not “tear”, “crush” the form. The dashed lines can be located close to each other and far, at any distance from one another, while you can increase or decrease the pressure of the pencil.
The black and white pattern is rich in all sorts of tone transitions; The richness of the pictorial techniques of such a drawing attracted and still attracts artists.
Techniques for drawing geometric bodies
When drawing the simplest objects, you need to train your hand and learn, firstly, how to hold a pencil correctly, and secondly, how to correctly execute a stroke, simple and broken lines. Tone solutions in the drawing
Work on a black and white pattern is inextricably linked with finding the right tonal solution. Even with the image of one-color gypsum, we observe differences between a few light penumbra and the darkness of the surrounding objects. The same objects, placed in the light and against the light, have a different tone. By tone, we mean luminosity.
Pencil on paper cannot be conveyed bright light sun on a white wall and deep shadows on black velvet. Smaller contrasts are possible in the drawing than in nature. For the veracity of the image, it is necessary to correctly maintain the sequence of the ratio of all the tonalities of nature from the darkest to the lightest. Tones are transmitted by a multitude shades of gray intermediate between paper tone and pencil tone.
Using closer tonal ratios to depict sharper contrasts in nature, one can show the sparkle of snow and the depth of shadows. Tones also change depending on the Distance to the subject of the image: when removed, they lose contrast, shadows appear lighter, bright lights are dimmer. This is due to insufficient air transparency.
The concept of "tone" means the transfer in the picture not only of chiaroscuro, but also differences in the color of objects in terms of lightness. Any mistake in tone violates spatial plans.
With a tonal solution, it is impossible to compare the tone of any one place in the drawing with the tone of the same area of \u200b\u200bnature (such drawing “point-blank” can generate many errors), it is necessary to analyze several tones at once, i.e., create certain relationships between tones as in nature, as well as in the picture. This correctly helps convey the tonal scale.
The distribution of chiaroscuro on the surface of objects is conveyed using tone transitions from light to dark: highlight, light, penumbra, own shadow, falling shadow, reflex. The lightest spot or band on an object is called a highlight. This is the reflection of a light source on a polished or glossy surface of an object. It differs from light in greater lightness.
The light evenly passes into the penumbra and, thickening, turns into a shadow that is on the subject. There is also a drop shadow that an object casts on the plane of a table, board, wall, etc. The size of the drop shadow depends on the light source, its distance from the ground or to the plane on which the object stands. Many have noticed that objects, trees, buildings that the sun illuminates in different time years, or even days, cast their shadows in different ways. In winter, when the sun shines on the trees, the houses are somewhat to the side, the shadows from the trees are long, and in the summer, when the sun is at its zenith, the shadows are short.
If the items have a different material texture, then the tone color will also be very different when compared. When drawing objects different in tone, it is not necessary to take black as black, it is important to observe the conditional tonal ratios taken one to another. When designing a shadow, you need to remember that even in this case the paper should shine through, and try not to blacken the drawing too much, that is, do not make the shadow black, but only darker in tone.
Checking the correctness of the drawing
Drawing, the student must constantly check his work: the correct layout, the design of the construction of objects, the observance of proportions between nature and the image. In addition to the fact that the drawing during work must be set aside for verification at a distance equal to approximately three parts of the length of the size of the nature, it can be directly placed to the nature itself and checked, comparing with nature, from the place from which the drawing proceeded. The drawing is set aside in any direction, as long as it
To control the correctness of the drawing in another way, you can take a mirror and, placing the drawing parallel to its plane, look at your work - you will get a reverse image in the mirror, and the slightest misses will be clearly visible.
Drawing geometric bodies and a plaster vase
Drawing a cylinder standing on a horizontal plane 
The drawing of the cylinder begins with the bottom base lying on the plane of the table. Since it represents an ellipse, the dimensions of the major and minor axes are compared. When drawing a lying lower ellipse, it is necessary to depict it with smooth transitions. The perpendiculars of the ellipse are restored to the major axis and the height of the cylinder is noted. The upper base of the cylinder is also an ellipse, but its dimensions decrease in comparison with the lower one, so it approaches the horizon line and turns into lines on it. The three-dimensional shape of the cylinder is emphasized by shading according to the shapes, separating the falling shadows from the object. Drawing a cylinder lying on a horizontal plane
A cylinder lying on a plane can be located strictly frontally to the drawing one or at a random angle of view, the frontal position is simpler, so let's take a closer look at the position at a random angle of view. The instability of the cylinder in this position is easily explained: it lies on the table with a round cylindrical surface, in contact with it, and it rests on one straight line - generatrix. The cylinder is built on the basis of a rectangular prism in which it can be inscribed. In this case, the side of the base will be equal vertically to the diameter of the circle of the base of the cylinder. Having built the axes of symmetry, the ellipses of the bases are driven and the cylinder is finally built. The stroke emphasizes the shape of the cylinder and the falling shadows.
Drawing a group of geometric bodies
The first stage is to find the most successful arrangement of a group of objects on a sheet, that is, the ratio of the width and height of the entire group at once, and then each object; separately. Outlining the main proportions overall composition, you need to include drop shadows and the remaining voids in the sheet.
The entire drawing is done with light lines, using auxiliary lines to build objects on a plane and in perspective reduction. They draw as if all objects shine through one through the other. In the setting, one object can cover another in different ways, so it is necessary to find an expressive turn of one object to another. Everyone decides the composition in his own way, while one or another object will be the main one. All transparent auxiliary faces are needed to check the position of objects in space. Having outlined the composition of the sheet, they indicate the bases of objects that are directly on the plane of the table.
The second stage includes the constructive construction and elaboration of the shape of objects. With light hatching, partial shade is applied, a darker tone is left for shadows - own and falling. For better detection of white gypsum, the background of a wall, board or table is outlined. The illuminated part of the plaster is left white, unshaded.
At the third stage of drawing, they continue to work on chiaroscuro, revealing all the halftones and reflexes, generalizing, if possible, some parts. At the same time, it is necessary to look in front of you into space for the entire production at once, covering more shadows, leaving more tone strength in reserve for the final completion of the work.
The fourth stage is the generalization of the drawing, its final revision. At this stage, it is already difficult to correct anything in the constructive construction, therefore, they mainly check the strength of the tonal relations of the drawing and staging, the subordination of minor details in tone to the whole, that is, they work only with chiaroscuro. Since it is impossible to rebuild the design of objects or correct their position in space and relative to each other, it is necessary to strictly observe the sequence of these four stages of drawing.
vase compared to geometric bodies represents more complex shape, although it consists of relatively simple parts. Its middle part is the main one and is an ovoid shape resembling a ball. The lower part - the stand - consists of two strongly shortened cylinders, and the lower one is cone-shaped. The upper part of the vase is relatively low, in the form of a truncated cone, to which is attached a shape resembling a plate. The transfer of all these proportional relationships is the main task of the drawing.
When drawing a vase, the principle of symmetrical construction is applied. The vertical axis of symmetry passes through the center of the vase, on which the height is plotted in the form of an arbitrary segment, the distance from the edge is less on top than on the bottom, in order to then draw falling shadows on the table and the surface of the table.
Next, they outline the horizon line, or the eye level of the painter (for a standing person, the eye level will be higher than for a sitting one), and determine the ratio of the height of the vase to the width. To do this, from the central axis at the level of the widest place, lay in both directions in the form equal segments the entire width of the vase. Having outlined the width at all levels, they begin to build a vase. It must be remembered that all cross sections of the vase are circles, and in perspective - ellipses.
At the level of the horizon line, the ellipse is depicted as straight cut, below or above the horizon - in the form of ellipses from narrow to circular when viewed from above or below. It is important to set the dimensions of the ellipses in the drawing: if the vase is directly in front of us, the ellipse of the upper base will be narrower than the lower one. After checking all the proportions again, connect the segments, outlining general form vases.
After that, they proceed to the transfer of volume by chiaroscuro. It should be remembered that any line in a black and white drawing is the border between light and dark, i.e., there should be practically no lines left in the finished drawing. All unlit places are covered with a stroke, which is applied according to the shape, falling shadows are outlined, while leaving the lightest and darkest places in the production.
The final stage is the generalization of the drawing. With the help of a pencil and an eraser, excessive fragmentation is removed, shadows are softened, highlighting reflexes and illuminated places. Reflex - reflected and therefore weakened light refers to the shadow and shows the nature of the surface of the form in its shadow part.
By drawing a vase, they consolidate their knowledge of perspective, learn to depict rounded objects, analyze any complex shape, and also combine different shapes into a single whole.
Drawing draperies and folds on fabrics
The fabric itself is a plane, a flat surface that has no shape. Only by fitting any object or figure of a person, it can descend in the form of folds, turning either the front or the wrong side. Drawing helps to study the properties of fabrics.
Any fabric, depending on those holding it in certain reference points lines and shapes forms folds. More complex folds are called draperies. Pleats and draperies can be of various shapes.
The shape of the folds depends on what object it is thrown over, and the direction of the folds depends on these shapes.
Form human body largely reminiscent of geometric figures- cylinder, ball Before studying draperies on a human figure, one can examine them by throwing the fabric over a ball, cylinder, cone, etc., determining the patterns of fold formation. In the fabric thrown on the surface of the table, chair, its plastic properties are clearly manifested. Kinks, kinks and folds form, depending on the softness, fluidity or, conversely, the stiffness of the fabric, i.e. its structure. Thus, the folds on gauze are very different from the folds on velvet, brocade or cloth, as well as on silk or chintz. Comparison of two fabrics is possible according to the principle of contrast - light or heavy, matte or shiny, hard or soft, dense or sparse structure, etc.
Giving figurative and precise characteristics to the fabric, it can not be called soft, flowing; hard, sticking out; heavy with large folds; light airy, transparent or elastic, lethargic, etc.
The drapery pattern is carried out in four stages:
1 - we outline the composition of the picture in the form of a sketch with thin threads.
2 - we outline the main proportions of the entire mass of the fabric, denoting large and minor folds.
3 - easily shade all darkened places.
4 - finishing the drawing, we apply all the halftones, emphasizing the shadows, highlighting the main folds.
Pattern or fabric pattern (check, stripe, floral ornament etc.) when drawing draperies, they are depicted on the relief of folds.
You can sketch and sketch fabrics (smooth and patterned) various materials suitable for the selected fabric. Light, transparent fabrics can be depicted in watercolor, ink, pen, charcoal; hard, protruding - ink, filling the spots and emphasizing the breaks with a pen; soft, fleecy, heavy - sanguine, sauce, etc.
Scheme for constructing folds of various configurations:
We outline a rectangle, triangle or any other shape that this piece of fabric has;
we draw a line limiting the width of the fold at the bottom, we draw the ratio of the zigzag height and the width of the fabric to the zigzag contour of the bends of the fabrics;
we build the contours of the bends of the folds, paying attention to the parallelism of the individual elements of the zigzag and the smoothness of the bends of the lines;
we outline the vertical contours and the lower contour of the folds (the construction of the contours of the top must correspond to the construction of the contours of the bottom);
after drawing the contours, we conditionally determine the direction of the light falling on the folds of the fabric, and in accordance with this, we outline lighter and darker planes on the surface of the folds;
creating the illusion of volume with the help of light and shadow, we shade all the shadow places.
still life drawing
Still life from the French nature mort - dead nature. In contrast
drawing living nature, a still life is composed and depicted to study the properties of inanimate nature, design features individual objects, as well as the study of textural and plastic properties of various materials.
How independent genre still life appeared in art at the turn of the 16th-17th centuries. in Holland and Flanders and has since been used by many artists to convey the direct connection of art with the life and life of people.
The perception of a still life cannot be unambiguous.
Drawing up a still life involves the ability to depict the shape of various objects using chiaroscuro, perspective, color laws.
The basis for drawing up a still life is such a selection of objects in which the general content and theme of it are most clearly expressed.
You must first draw a still life from two or three objects in order to better express all their plastic properties, choosing a certain point of view, i.e. horizon line.
One of the objects should become the compositional center of the production and stand out in size and tone. It should be placed closer to the middle of the setting, and to give the setting dynamism (movement of spots), it can be moved to the right or left.
With the spatial solution of a still life, a small object that differs in texture and color from other objects can be put in the foreground as an accent. To complete the composition, as well as to connect all objects into a single whole, draperies are added to the production, thus emphasizing the difference between solid objects and the soft flowing texture of the fabric. fabric can
be smooth and with a pattern or design, but it should not distract attention from other, especially the main subjects. It is often placed diagonally to direct the viewer's gaze in depth towards compositional center for the best spatial solution.
Important role in the composition of the still life setting, lighting plays - artificial or natural. Light can be lateral, directional or diffused.
First, preliminary sketches are performed on small-sized sheet formats. various shapes- square, elongated in height, laid horizontally. Having chosen the most successful of the sketches, you can proceed directly to drawing.
Having marked the still life on a sheet, you need to follow the perspective construction, as well as convey the volume with the help of light and shade, subordinating all the details to the general tonal solution so that the result is not a set of individual objects, but a whole composition. It is important to learn to see this whole, and the details will be assimilated gradually in the process of work.
