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Hatching with a pencil

Most beginners in drawing often face the problem of incorrect pencil hatching. This problem is practically not given due attention in the books, and very in vain, because this is the basic moment in drawing. What is the secret of hatching and how is it done correctly? Let's look into this issue.

What is the importance of hatching?

Hatching is needed to give the drawn objects:

• optimal form;
• indications of falling light;
• give the necessary textures.

10 principles of correct hatching:

In general, there is nothing supernatural in shading with a pencil. The main thing is to hone your skills in this component and be guided by the basic rules of the shading technique:

• Hold the pencil not only like a pen (the stylus is at a 90° angle to the paper), but also in the position of a brush, holding it by the end. The position of the stylus is almost parallel to the sheet. In this position, the pencil becomes like an extension of the hand, and you will work well with smooth sweeping lines.
• The lines must be applied by analogy with the shape, the plane of the drawing. That is, you need to emphasize rounded shapes with smooth contour lines, the horizontal plane can be obtained with horizontal lines, the vertical plane with vertical lines, and so on.

• To make the lines as straight as possible, first make a couple of "idle" lines in the air. Keep in mind the exact movement of the brush and try to reproduce it on paper. Strokes do not have to be perfectly even.
• The tone of the pattern is adjusted by the following points:
• intensity of pressure on the pencil;
• number of cross lines;
• lead hardness.

At the same time, hatching must be done in such a way that even in the darkest places between the lines, paper remains noticeable - this will give the drawing accuracy.

• Shadows are made by cross-hatching or shading. You do not need to apply these techniques together, as the shading will look like blurry spots.
• It is necessary to hatch in the direction from shadow to light. Most of the drawings contain objects with poor or good illumination. In this regard, it is necessary to carry out smooth transitions from light to shadow. One of the main techniques used by many artists is the gradual application of more and more pigments on surfaces that are in the shade, and less on the illuminated ones. Move smoothly from darker to lighter surfaces, gradually lengthening and lightening your lines. Remember the basic rule - hatching should always start from the darkened surfaces of the object.
• When working with crosshatching, try to make the angle as small as possible. Hatching should not be done exactly in line either, as it will look a little “hairy”, so the slope should be present in any case, but minimal. Each break must be hatched in a separate direction.

• To give the picture perspective, volume, airiness, you need to carefully draw contrasting chiaroscuro foreground. In the background, hatching should be done in such a way that the tone transitions have a softened look.
• If you are afraid of smearing the drawing with an accidental touch of your hand, use equipment such as a mallet. The main purpose of this device is to keep the brush at a safe distance from the paper.

With the correct observance of the basic principles of hatching, novice artists will be able to draw any 3-D objects.

It's no secret that hatching is better and more accurate if you "put your hand", but it's not clear how exactly to put it. I will talk about exercises that will help you develop beautiful touches.

First of all, you should learn how to hold a pencil correctly, I also talked about this in a previous post at the link above, but I’ll remind you a little. Hold a pencil like ballpoint pen- not an option, because it increases the likelihood of smearing the drawing with the edge of the palm and the mobility of the pencil itself is limited. This grip is suitable for precision mode, when you need to work out fine details. By the way, if you hold a sheet of paper vertically, then it will be more difficult to smear the drawing. Some people recommend putting a sheet of paper under your hand, but this does not solve the problem, because the sheet still slides and rubs the drawing.
So take a pencil like this.

There are two directions of exercises - on the quality of the stroke itself, so that it is uniform and clear, and on working out the tone.

stroke quality

It is better to take a pencil of medium softness from HB to 2B, so as not to spread dirt on the sheet, the eraser should be used to a minimum, ideally refuse it altogether. Do not sharpen the pencil too sharply - soft lines are better than thin and hard ones. Try to control the pressure and do not pinch your hand in the hand, the vertical position of the sheet helps a lot with this. If it is not possible to fix the sheet vertically, take an appropriately sized pad and place it on your knees using the table as a support. As an example, I show my samples, my hand is not set, so I apologize for the crookedness) The gallery contains all the works on a larger scale.

By the way, these exercises are useful to do with children when teaching them to write, because they perfectly develop motor skills and it will be easier for the child to write later.

Tone practice

Having learned how to draw thin uniform strokes, you can move on to shading with a tone.

After working off the spots, you can try to apply strokes according to the shape of the object, for example, shading the edges in different directions, and round objects in the shape of a bend, gradually moving to more complex forms.

In conclusion, I will say that I am talking mainly about academic drawing, which usually uses only straight or curved strokes, but there are other types of hatching that can be used to achieve interesting effects. I will try to talk about them in a separate post.

In the gallery of work from the Internet with examples of beautiful academic shading, this result is worth striving for. Unfortunately, I do not know the names of the authors, but if you tell me, I will be happy to sign in the comments to the photo. I know for sure that these are all modern artists

Many beginners in drawing often face the problem of incorrect hatching. In fact, very little attention is paid to this in drawing books, although these are the basics. I have collected materials pencil hatching from various sources: textbooks, video tutorials and articles from the Internet, and tried to combine them into one article. First we will discuss the theory, and then we will do 2 practical tasks to consolidate the material.

What is shading for?

Hatching is necessary in order to give the drawn objects a shape, to indicate how light and shadow fall, to give texture to objects. If you comply basic principles of pencil hatching, you can draw any 3D objects.

Basic principles of pencil shading

Not right

1. Cannot mix crosshatch and feather. You should not mix these two techniques in one work, because. feathering in some areas can create a feeling of sloppiness, as if you accidentally smeared part of the drawing with your hand. If you are using feathering, then you should feather the entire drawing.
2. Foreground and background. Work more closely on the foreground subjects, while the background can be quickly traced with the side of the stylus to show the lighting and overall tone. The hatching of a vertical background is hatched vertically, the horizontal background is hatched horizontally.
3. Make short strokes. Do not try to shade a long section from top to bottom at once if you have big square. Choose the stroke module that suits you.
4. The more layers, the smoother the hatching. If you are shading some white objects, then be sure to take a harder pencil. It is better to make more layers with a harder pencil than less with softer, so it will be neater.

Now consider the main mistakes in pencil hatching:

1. Hatching along the same lines.
   Hatch should be in such a way that the seam is in the middle of the next layer. Do not try to shade a long section at once. The more layers of hatching, the smoother it will be. Do more layers with a hard pencil. It's better to make more layers with a harder pencil than less with a softer one, because it will be neater.

Practice Exercise #1

Practice Exercise #2

Now try this exercise: take the simplest object (pencil, tube of toothpaste, etc.) and try to draw it as accurately as possible, applying the basic principles that we have discussed. Better to draw from nature.

At the end of the article, I want to advise you to watch a couple of videos that will help you understand what the correct hatching looks like visually with examples and how you can correct mistakes.

How to sharpen pencils and do hatching:

The main mistakes in pencil hatching and how to fix them:

I hope this article was helpful to you. Perhaps I did not take into account all the basics of hatching, so I will be glad for your additions and comments. Write comments!

Today I will tell you about several pencil drawing techniques. In the previous lesson in this series, you learned "". And now we will take a closer look: where to start drawing all the same?

What is important when hatching pencil drawing? Try not to allow a “torn” stroke, when the impact of the stylus on the paper at the beginning of the stroke gives a noticeable thickening. Make sure that the stroke line is uniform in color and thickness. It is very important for this to sharpen the pencil well. (learn) Stroke in one direction only, do not lead the pencil in reverse side on paper.

There are also other techniques. Strokes can be superimposed on each other under different angles, in several directions, for example, at a 30.45 or 90 degree offset. But do not hatch with a lattice. Such shading evokes associations with the lattice itself and will distract from the drawing itself, but it also does not look very aesthetically pleasing.

First you need to develop a little motor skills of the hand, to get the hand to “get used” to drawing. Suitable for this simple exercises. For all these exercises, the position of the sheet is book. Often beginners ignore these exercises, because they really want to get creative as soon as possible, but then you will most likely encounter the fact that the pencil will not obey you.

Let's do some exercises together that they do in:

Exercise 1.

Take a sheet of thin paper and, starting from the top, draw straight horizontal lines. Trying to leave a small equal gap between the lines, fill the entire sheet with these lines. Draw quickly, in one long stroke, the slower you draw the line, the more curved it will be. Most likely, the lines will be very crooked at the top of the sheet and much smoother towards the bottom. It is clear that it is far from ideal, but if you got one or two in the sheet straight lines, that's a good start. Now on the same sheet draw straight lines vertical lines top to bottom, diagonal lines from right to left and left to right.

Exercise 2.

Divide the sheet into four equal parts with a vertical and horizontal line. Fill in these parts with horizontal, vertical, and diagonal (right to left and left to right) lines.

Exercise 3

Draw a square approximately in the middle of the sheet. Don't try to draw it with four perfect lines, you must draw the sides of the square "through" by drawing additional lines until the square is a square. Enter a circle in the square. Move the pencil freely in a circle, from one point of contact with the side of the square to the other, the more additional lines you draw in the search correct form, all the better. Shade the circle with diagonal lines from right to left and left to right.

Exercise 4

Draw a series of small squares, about 3x3 centimeters. Try to keep the squares the same size, at the same distance from each other. Below, draw a series of circles about the same size. Alternate rows, trying to get even columns of figures.

You can come up with such exercises yourself, alternate them as you like. The main thing is to do at least one such exercise at the beginning of your studies before each drawing lesson. I often start with the first exercise, after which the hand holds the pencil more confidently. The hardest part for me is the diagonal lines from left to right.

Learning to draw is quite possible, you just need to acquire the necessary skills, a little effort, and then it will not be difficult for you to express your ideas on paper or canvas.

I was taught another way: put two dots on a sheet and connect them with one movement with a straight line. Gradually spread the points further apart and put them at different angles, but do not rotate the sheet clearly .... over time, move to three points ...... etc. Usually they end with five points, to draw the correct star, again, an eye develops.

Do these exercises daily and also before you start drawing. Your movements will be more confident and professional.

Show the types of hatching with a pencil on a sheet of A4 paper.

2. Cross

3. Contour

4. Spot

5. Random (zigzag)

Examples of poor-quality hatching:

Example: Drawing made with various types hatching.

Type of control: Demonstration of hatching.

Drawing a cube in perspective with chiaroscuro

Draw a cube in perspective with a pencil on a sheet of A4 paper.

The cube drawing sequence:

• · First stage. Determining the size of the cube, its main proportions, perspective position.
• · Second phase. Determining the exact spatial position of all sides of the cube using perspective guide lines. Drawing is not visible edges cube light lines.
• The third stage. Completion of the work - revealing the volume with the help of cut-off modeling of the form: the left plane is light, the upper plane is a semitone, the right plane is its own shadow with a reflection, on the right is the casting shadow from the cube.

The cube model should be illuminated with artificial light, the source of which should be placed from the top left. In this case, the entire volume of the body, light and shade gradations are clearly visible from the point of view you have chosen. The cube is placed at an angle to the painter, slightly below eye level, so that the upper face is visible. The background should be light, and the model should be placed on a gray drapery, spread without folds on a stand for nature.

To get started, you need to remember the previous exercises on drawing from nature the wireframes of geometric bodies. Similar tasks you have to solve now. True, now the cube appears before you in the form in which it is truly perceived as voluminous. The frame made it possible to see through the cube, with all the faces and edges. Now some of them are not visible, but the eye must be able to see them " see”, so that when building, taking into account promising abbreviations, it will certainly show. Only then one speaks of the constructive structure of the form geometric body.

When working on the constructive construction of a cube, one must carefully monitor its perspective contraction. To do this, it is necessary to mentally imagine the form from a given point of view in terms of, i.e. see it from above. This representation makes it possible to better understand how the planes are consistent with each other and in general. In drawing from nature, it is important to correctly convey not only the visible ratios of magnitudes, but also the magnitudes of the angles between the bases of two visible faces, i.e. perspective perspectives.

For their correct definition should be checked mechanically. Holding the tip of the pencil outstretched hand, you need to combine the line of the pencil itself with the top of the front lower corner of the base of the object and determine by eye the angle of the object in perspective. Remembering what you saw, draw on your drawing the appropriate auxiliary horizontal line. Comparing the slope ( angle) of the right and left sides of the model, check the figure. If further clarification is needed, the check should be repeated. The figure clearly shows how to measure the dimensions and check the perspective slope of the horizontal edges of the cube. Note that when drawing from nature, one should not abuse the method of sighting, since it is purely mechanical in nature for determining dimensions and does not contribute to the development of the eye. It is used at the initial stage of learning to draw from nature, and it should serve only for auxiliary control and verification of work already completed.

When a cube is positioned with a front vertical edge slightly shifted to the right from the center, the horizontal edges of its left face will approach the horizontal in perspective, and the edges of the right, on the contrary, will deviate from it. Therefore, the more the right side is reduced, the smaller the reduction of the left will be and vice versa. This is due to the mutual rectangular arrangement of the planes of the cube.

However, it is not possible to draw on paper without first placing the image. The general shape of the cube on paper is applied so that the outline is not very large, but not small either. It is most expedient to represent a sheet of paper as a conditional space in which the cube model takes its rightful place. Of course, at first such an idea is given with difficulty, but in each new exercise it is necessary to include this peculiar " mechanism”, to eventually bring it to automatism.

The planned outline of the cube has taken its place on paper, and you can step back a little to see the layout of the picture from a distance and once again check whether the location of the image in the format is correct or incorrect in this case. Of course, further work largely depends on how you first placed the drawing.

Start refining values ​​by visual comparison. Having chosen a certain height of the front vertical edge of the cube, subordinate the rest to it, but already taking into account the perspective changes in nature. First determine the location of this edge closest to you in the outlined image silhouette. Then mark the height of this edge, draw a vertical segment, and draw a strictly horizontal line at its lowest point, which will become auxiliary during construction. It will be necessary a little later to imagine a horizontal line perpendicular to the base of the edge in kind, in order to show, together with the one drawn on paper, the angle formed by the horizontal edge of the right side. For comparison, put a pencil or ruler at the base of the plaster model of the cube to see the angle in kind.

Further work on drawing a plaster model of the cube is carried out as a gradual revelation of the constructive basis of the object. Using the landmarks, build the lower face, trying to " see» its outlines from all sides, i.e. show the invisible edges, as was done when building the cube frame. At the same time, mark all the other vertical edges, constantly comparing their size with the edge closest to you.

The cube is one of the simplest geometric solids. To better understand geometric shape cube, its spatial constructive scheme ( structure), consider the cube frame. This makes it possible to clearly present the volumetric and spatial characteristics of its shape, allows you to see its structural nodes - points invisible on ordinary bodies. The cube is characterized by eight points at the corners and twelve lines of edges. The aspect ratio of the cube is 1:1:1. In order for a cube to look authentic in 3D, you need to find a point of view that makes the object look convincing enough in volume. The image of the cube frame is made taking into account its proportions, according to the laws of perspective. In a normal view from above (in perspective), the base of the cube frame ( square) looks like a diamond. The perspective construction of the cube in accordance with its rotation should begin with the square of the base, i.e. from his plan, lying in a horizontal plane, extending in depth to the horizon line.

To get the lower base (rhombus), you need to mark four points and connect them with four lines. From the points of the base, vertical lines are drawn - ribs. To complete the construction, as in the first case, four points are designated and, connecting them with four lines, get the upper base of the cube ( rhombus). It is necessary to note one important detail regarding the nature of the lines when constructing an image on a plane. In addition to maintaining proportion and perspective, the lines that define the spatial depth must be drawn in varying degrees of contrast. The lines of nearby ribs should be drawn in more contrast than those that are in perspective removal. Moreover, the difference between the lines should be extremely distinguishable in accordance with the spatial depth.

Knowing the rules of perspective, associate visible changes in the shape of the cube with the construction. The two vanishing points of the conditional continuations of the edges, which are at an angle to you, remain guidelines for constructing all the remaining four upper ones.

A perspective drawing of a cube can be constructed relatively easily and verified in a variety of ways.

One of these methods are techniques that have long been used in practice by the old masters - this is comparison and sighting. To determine the main large sizes of an object in a drawing, it is the visible, perspectively changed ratios that are important, and not the actual dimensions of the object and its parts. So, for example, the ratio of the width of a face to the height of the front edge is measured with a pencil on an outstretched arm, perpendicular to the line of sight, aligning the back of the pencil with the edge of the shape of the object of the measured part of the model. In this case, the visible dimensions of the parts of the object are marked with the thumb. without changing position thumb on an outstretched hand and turning the pencil in a vertical position, correlate this segment of the pencil with the vertical edge of the cube, visually determining their differences.

After you have built skeleton» cube, compare the drawing with nature and think about what catches your eye first of all - the whole cube or the details of the shape. In this case, the inaccuracies will become visible. So far, it is easy to eliminate them, because when constructing the shape of a geometric body, we hope that you did not overdo it in drawing pencil marks on paper. Remember, when building the shape of the depicted object, all lines should be drawn easily and confidently.

Why did you see inaccuracies in the drawing? Our vision, as it became known thanks to the experimental data of psychologists, first grasps general form subject, on a short time as if fixing it.

Having eliminated construction errors, check the image with nature again and make sure that the construction of the drawn cube corresponds to the visible model. Since the image of a cube on paper is carried out relatively quickly, with the correct construction, you should not outline the three-dimensional shape of a geometric body with light hatching, thereby showing the shadow side of the object, because it suggested itself - it is known that we draw a semblance of an object, and what our eye in kind, he "wants" to see in the picture.

Cut-off ratios in the drawing must also be built. We are talking about visual activity different words, for example, "construction scale", "tone scale". In the first expression, one must keep in mind the definition in the drawing of the dimensions and ratios of the parts of the object in comparison with nature.

When drawing from life, you are rightfully trying to convey the image the way you perceive the subject. By shading or shading, you simulate the volume of an object, showing in the image the illuminated, transitional from light to shadow and shaded areas peeped in nature. You finish this work only after making sure that the light-and-shadow ratios are correctly conveyed in the drawing. By doing this, you have maintained the tone scale in the image, i.e. managed to find proportional ratios of the darkest and lightest tones.

Tone patterns are created by the skillful distribution of light, penumbra and shadow using line techniques.

Modeling the shape of a cube with a tone, in no case do not rush to immediately lay the shadow face of the geometric body. Firstly, this will not succeed, and secondly, as they do not draw, they do not apply the tone in parts. The point here is the difference between natural light and the whiteness of paper, in materiality natural object and the surface of a sheet of paper shaded with a pencil, etc.

To achieve the right (and not exactly the same) tone allows you to reasonably built in the figure proportionate to nature relations.

Type of control: Demonstration of a cube drawing.