How to draw geometric shapes. Drawing geometric shapes

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 touch 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 of attention, teaches you to make straight lines and just purity 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 fit 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 building a figure, be sure to show invisible faces, 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 that 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 object 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 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. The same 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 succeed, 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.

Studying and drawing geometric bodies in educational academic drawing is the basis for mastering the principles and methods of depicting more complex forms.

Education in the visual arts requires strict adherence to the sequence of complication of educational tasks and multiple repetitions to master the technique. The most suitable form for mastering the principles of drawing construction are geometric bodies, which are based on clear constructive structures. On simple geometric bodies the easiest way to understand and assimilate the basics of volumetric-spatial construction, the transfer of forms in perspective reduction, the patterns of chiaroscuro and proportional relationships.

Simple drawing exercises geometric bodies allow not to be distracted by the details that are available in more complex forms, such as architectural objects and the human body, but to focus entirely on the main thing - visual literacy.

Correctly understood and assimilated patterns in the depiction of simple forms should contribute to a more conscious approach to drawing complex forms in the future.

In order to learn how to competently and correctly depict the shape of an object, it is necessary to realize the internal structure of the object hidden from the eyes - the design. The word "construction" means "structure", "structure", "plan", that is, the relative position of the parts of the object and their relationship. This is important to know and understand when depicting any form. The more complex the form, the more and more seriously you will have to study the internal structure of the full-scale model. So, for example, when drawing living nature - the head or figure of a person, in addition to knowing the design features, you should definitely know plastic anatomy. Therefore, without a clear understanding of the structure of the form and nature of the object, it is impossible to correctly master the drawing.

When depicting spatial forms, in addition to knowing the patterns of the structure of a structure, knowledge about the laws of perspective, proportions, and chiaroscuro is necessary. For the correct image of a full-scale model, it is necessary to accustom yourself to always analyze nature, to clearly represent its external and internal structure. Approach to work should be consciously, from a scientific point of view. Only such drawing will contribute to the successful completion of work on the image of both simple and complex forms.

Drawing geometric shapes to inexperienced draftsmen seems at first glance quite easy. But this is far from true. For confident mastery of the drawing, first of all, it is necessary to master the methods of analysis of forms and the principles of constructing simple bodies. Any form consists of flat figures: rectangles, triangles, rhombuses, trapezoids and other polygons that delimit it from the surrounding space. The challenge is to correctly understand how these surfaces fit together to form a shape. For its correct image, it is necessary to learn how to draw such figures in perspective, in order to easily select three-dimensional bodies on the plane, limited by these flat figures. Flat geometric figures serve as the basis for understanding the constructive construction of three-dimensional bodies. So, for example, a square gives an idea of ​​building a cube, a rectangle - about building a parallelepiped prism, a triangle - a pyramid, a trapezoid - a truncated cone, a circle is represented by a ball, a cylinder and a cone, and elliptical figures - spherical (ovoid) shapes.

All objects have three-dimensional characteristics: height, length and width. Points and lines are used to define and depict them on a plane. The points define the characteristic nodes of the design of objects, they establish the mutual spatial arrangement of the nodes, which characterizes the design of the form as a whole.

The line is one of the main visual means. Lines indicate the contour of objects that form their shape. They designate height, length, width, constructive axes, auxiliary, space-defining lines, construction lines, and much more.

For a thorough study, geometric shapes are best viewed as transparent wireframe models. This allows you to better trace, understand and assimilate the basics of the spatial construction of structures and the perspective reduction of the shapes of geometric bodies: a cube, a pyramid, a cylinder, a ball, a cone and a prism. At the same time, such a technique greatly facilitates the construction of a drawing in which all spatial angles, edges, and edges of the body are clearly traced, regardless of their rotations in space and in perspective contraction. Wireframe models allow a novice artist to develop three-dimensional thinking, thereby contributing to the correct representation of a geometric shape on a paper plane.

For a solid fixation in the mind of a novice artist of a three-dimensional idea of ​​the structure of these forms, it would be most effective to do them yourself. Models can be made without much difficulty from improvised materials: ordinary flexible aluminum, copper or any other wire, wooden or plastic slats. Subsequently, in order to assimilate the laws of light and shade, it will be possible to make models from paper or thin cardboard. To do this, it is necessary to make blanks - appropriate scans or separately cut out planes for gluing. No less important is the modeling process itself, which will be more beneficial for students to understand the essence of the structure of a particular form than the use of a ready-made model. It will take a lot of time to make frame and paper models, therefore, in order to save it, you should not make large-sized models - it is enough if their dimensions do not exceed three to five centimeters.

By turning the manufactured paper model at different angles to the light source, you can follow the patterns of light and shadow. At the same time, attention should be paid to the change in the proportional relations of the parts of the object, as well as to the perspective reduction of forms. By moving the model closer and further away from the light source, you can see how the contrast of lighting on the object changes. So, for example, when approaching the light source, the light and shadow on the form acquire the greatest contrast, and as they move away, they become less contrasting. Moreover, the nearby corners and faces will be the most contrasting, and the corners and faces located in the spatial depth will be less contrasting. But the most important thing at the initial stage of drawing is the ability to correctly display the three-dimensional construction of forms using points and lines on a plane. This is a fundamental principle in mastering the drawing of simple geometric shapes, as well as in the subsequent study of more complex shapes and their conscious representation.

Application is an ancient method of developing children of all ages, which includes a huge number of varieties: from geometric shapes, from fabric, from natural materials, subject, plot, decorative, and so on.

Benefits of applique classes for children of all ages

Application classes will make an extremely positive contribution to the development of the child:

Preparation of the workplace and materials

Whether it's a simple application of geometric shapes or gluing a long story using the provided data, due attention must, first of all, be given to the organization of the workplace of the child:

• scissors (light, small, comfortable for a child's hand, always with blunt ends);
• a base that will become the base for the application (for example, a white sheet of paper, cardboard, a wooden block);
• glue (preferably glue - a pencil that will not spread, spill or stain, unlike the usual liquid form);
• working material (what the application will be made of: colored paper, fabric, cereals, foil, flowers, and so on).

Working with Templates

For the correct organization of classes with applications with children, it is important to work out every little thing, in particular templates. Applications for the smallest (3-5 years), for example, from geometric shapes, leave no questions about creating templates for them. In this case, it is necessary to create a drawing, indicating on it the places where the baby should glue the pre-cut elements.

In situations with preparation for applications for older children, certain difficulties may arise if the organizer does not have good drawing skills. The described situation is due to the need to create more complex sketches, by tracing and cutting out on their own, which children can get the necessary components of a future craft.

The algorithm for working with templates is identical for each type of application:

• create a sketch in color;
• copy the original drawing;
• cut (for children 3-5 years old) or divide with bright lines (for children from 5 years old) the image copied in color into the constituent parts of the future work;
• glue the elements on the prepared base.

Figure templates for the younger group of kindergarten

Applications from geometric shapes - the most suitable a way to develop fine motor skills and creative thinking of children in the younger group of kindergarten:

Figure templates for the older group of kindergarten

Application of geometric shapes, addition of the plot of the picture, "drawing up" the picture of animals, birds, by gluing eyes, paws, wings, and so on - the main types of applicative activities with children 4-5 years old:

Figure templates for kindergarten preparatory group

Tasks for children over 5 years old, as a rule, they mean not only cut and paste, but also independently prepare a template for the application:

Figure templates for grade 1

An application of geometric shapes will certainly succumb to schoolchildren who know how to handle scissors carefully.

Students are given complicated tasks with a large number of patterns - circles, polygons, which will require strength, perseverance, and accuracy to cut out.

Applications:

Figure templates for grade 2

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Figure templates for grade 3

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Figure templates for grade 4

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Application on the theme "Summer"

Applications of the forest, the sun, mushrooms, trees, grass, made of geometric shapes of various materials, perfectly reveal the theme of summer in the work of the child:

As a result of the work, the child receives an image of a sunny day with all the components of the summer period.

Application on the theme "Autumn"

In the work on the "autumn" applications, you can, as an option, use natural material:

As a result of the simplest manipulations, the child will receive an application illustrating the details of the autumn season.

Application on the theme "Winter"

Work with a winter theme can be done from a variety of materials: cotton wool, paper, fabric, and so on. The most useful from the point of view of the development of fine motor skills in children is an application consisting of small pieces of paper. The child should not cut out these components, but tear the paper as small as possible. As a basis, it is better to use a dark blue sheet of colored cardboard.

Performance:

1. To begin with, children need to prepare templates for houses, trees, consisting of geometric shapes. (rectangles - houses; squares - windows of houses; elongated rectangles - tree trunks; triangles - roofs of houses).
2. Having glued the received details of the application into place, you can begin the process of tearing the paper.
3. Small pieces of white paper, obtained as a result of the work done, are randomly attached to the roof, branches, ground, depicting snowfall or snowdrifts.

As a result of creativity on a sheet of paper, an image of a winter city is obtained.

Application on the theme "Space"

When working on a "space" application, you can offer the child to "compose" constellations:

As a result of creativity, various constellations of the night sky should be obtained: Ursa Major / Minor, Gemini, Canis Major, and so on.

Drawing patterns from geometric shapes

Drawing up a pattern of geometric shapes helps to master or consolidate knowledge about their names in children, develops fine motor skills, creative thinking, and imagination. This type of activity consists in gluing the simplest figures in a chaotic manner to obtain a pattern or classifying components according to size, shape, color, and so on.

To generate a child's interest in this type of application, an adult invites him to decorate a napkin.

Having provided the student with templates, it is necessary to show him a sample, a copy of which should be the result of the work. An alternative to a model can be cooperation with a teacher, where, hearing the name (color, size) of a geometric figure previously cut out according to a template, the child must choose the one and stick it in the indicated place.

It is important for the organizer of application classes to remember the need to:

• competently equip the workplace of the “student”: remove the excess, prepare the necessary;
• in the classroom, resort to gaming techniques to keep the interest of the child;
• use a variety of materials for applications in order to best develop children's tactile sensations;
• choose topics that correspond to the interests of a particular age group;
• ask the child to express a personal opinion after the work done for further analysis of errors in the organization of the process;
• do not limit the child's imagination and allow him to refine the lesson plan with applications in the course of work.

Applications made in the style of the simplest gluing of pictures from geometric shapes, along with more complex options, should, first of all, bring joy to children.

Definitely, the “teacher” should interest the children before formulating the task, praise them in the process, and evaluate the merits of the work already completed. Enjoying classes, the child will not only develop, but also enjoy spending time in the company of peers or parents, which means that appliqué classes will be firmly rooted in his life for a long time.

Video: application of geometric shapes

Applications from geometric shapes in the video:

How to create an application with animals, find out in the video:

Can you compose animals from geometric shapes?

Never tried?

Then you should look at the pictures on the site, where various animals are made up of geometric shapes. Offer these drawings to your children: they will surely appreciate their originality.

geometric world

In everything that surrounds us, you can find elements of geometry.

The table can be round or square, our houses are parallelepipeds, etc. Have you seen how artists paint? They first outline the contours of the object with a base of geometric shapes, and only then draw smooth lines around them. They see the world as geometric, and smooth or soft lines only hide the real essence of things.

In pedagogy for preschool children, there is even a whole direction where children are taught to see pure geometric shapes in everything. This is Mary's pedagogy. She believed that pure geometric shapes contribute to the better development of children and their orientation in the world. It cannot be said that this system is ideal, but it has found its supporters.

And now let's remember the works of artists of the era of modernism and postmodernism. Before my eyes there are pictures filled with squares, triangles, circles, trapeziums and all kinds of figures painted in different colors. This is how the painters of the new era saw the world, and this should have been the basis. They tried to convey this world untouched by human hands. Their desire was to show that all of us and all the objects around us are made up of geometric shapes. Our whole world, if you look closely, is solid geometry.

How to use pictures with children

It is quite understandable that the question arises: artists are one thing, but why do children need such a vision of the world?

Of course, pictures with animals from geometric shapes do not aim to impose on the baby an extraordinary vision of the world. However, why not show that such an interpretation of everything that surrounds us is possible.

The pictures can be interesting and exciting to study the names of geometric shapes. From a simple display and repetition, the child quickly gets tired and begins to refuse classes, even if their mother conducts them at home. Another thing is if the figures need to be found in animals. This is where genuine curiosity kicks in.

When you have fully explored the names of the figures and their appearance with your child, ask the child to show his vision of the world. Let an animal or any object be taken as an example.

Ask: what geometric figure does it look like.

Such exercises:

1. - develop observation skills;
2. - improve logical and spatial thinking;
3. - contribute to the vision of an object hidden behind the outer shell.

The kid learns to see and observe what others cannot or cannot see. Is this not the education of an artist and a creative person?

And you can play the reverse game. Imagine that you are an abstract artist. Let one of you draw something consisting of geometric shapes, and the other will try to guess what is drawn. Postmodern painters often encoded their drawings on a canvas filled with squares, rectangles, trapezoids… children's magazines offered the same puzzles in the past.

You yourself can create such a puzzle: you just need a little imagination and a look at the world through the prism of geometry.

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. Take your 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.