How to draw three-dimensional figures and bodies with a pencil. Drawing geometric bodies Figures in space drawings

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.

Before the lesson, a viewing of the film “Drawing from nature of a still life from geometric bodies” must be organized in order to monitor the progress of the drawing. The film (video clips with a total size of 450 megabytes) can be obtained from the author.

Lesson type: Combined lesson of constructive educational drawing.

The purpose of the lesson:

• draw a linear drawing of a still life with a simple pencil;
• to form in students a specific idea of ​​\u200b\u200ba geometric body;
• develop creativity and skills in working with a simple pencil.

Lesson objectives:

Cognitive:

1. Expand the idea of ​​a linear drawing and expressive features.
2. Develop skills and knowledge of graphic material. Give an idea of ​​the line (remind).
3. Improve knowledge of the compositional solution of the image.

Developing:

1. Develop the ability to analyze the shape of objects.
2. Learn the laws of visual literacy.
3. Form spatial thinking.

Educators:

1. Develop attention, observation and perseverance.

Materials for the lesson:

For the teacher: plaster geometric bodies, a pencil and a computer with a projector, the film "Drawing from nature of a still life from geometric bodies."
For students: workbooks for fine art terms, pencils, eraser, A4 drawing paper.

Making the board for the lesson: Screen. Drawings from previous years.

Exercise: Viewing fragments of the film, "Construction from life of a still life from geometric bodies."

FIRST LESSON

Lesson plan:

1. organizational part.
2. Theme announcement.
3. Viewing fragments of the film-lesson.
4. Practical work.
5. Mini-exhibition and brief analysis.
6. Homework assignment.

During the classes.

organizational part.

Greetings. Checking students' readiness for the lesson. On the table is a checkered notebook, A4 format, a set of simple pencils, an eraser. On the board - a screen, drawings of past years.

Theme announcement.

Guys, look at the setting. You see a group of geometric bodies. What?

Cube, cone and cylinder. To what genre can this group of bodies be attributed? Still life. And who will give the definition of still life? A still life is a picture of the so-called dead nature (flowers, fruits, household items, plaster casts, etc.) in a certain combination. In the language of things, he talks about the most diverse aspects of life.

Watching movie clips.

Try to highlight the main stages of building a still life and write it down in your workbook.

Practical work.

In the lesson, you need to solve such tasks:

All objects are depicted as if they are transparent or made of wire. For this, those faces and edges that are invisible in nature are also drawn. We check the bottom base of the cube and the bottom base of the prism circumscribed around the cylinder so that the cube does not penetrate the cylinder.

Mini-exhibition and brief analysis.

Pick up your drawings for display and show them to me.

Homework assignment.

Make a still life out of three matchboxes and make a linear sketch. The boxes are transparent. Show the invisible edges of the boxes in the picture.

SECOND LESSON

Target: The solution is in the drawing of a still life of chiaroscuro.

Tasks:

• To convey in the drawing the light and shade ratios corresponding to the relationships in nature.
• Pay attention to the glare, light, penumbra, shadow, reflex, drop shadow.

Lesson plan.

• organizational part.
• Theme announcement.
• Watching movie clips.
• Practical work.
• Exhibition and evaluation of works.

During the classes.

organizational part.

Greetings. Check readiness for the lesson.

Theme announcement.

We continue drawing from nature a still life of geometric bodies.

Watching movie clips.

Try to remember the order of hatching in the figure. Pay attention to the definitions: light, penumbra, shadow, reflex, falling shadow.

Practical work.

The tone study of the drawing begins with a clear definition and delineation of the boundaries of its own shadow and falling shadows on the images of objects. At the same time, areas of a dark tone are created first, then a medium, and finally a light tone.

Take a soft 3B pencil and start adding tone. To do this, the shaded sides of a cube, cylinder, cone are covered with wide diagonal strokes in a medium (not very strong) tone, regardless of whether it is their own shadow or a falling one.

Pressing a little harder on the same pencil, shade the right side of the cube and the base of the cylinder. We shade the falling shadows from the cube and the cylinder on the horizontal plane and further around the cylinder. Strengthen the tone near the borders of light and shadow, and this is on the edge of the cube and the base of the cylinder. We easily apply the hatching of the falling shadow from the cube on the cylinder according to the shape.

We work out light and dark tones on the cone. It is very clearly visible how the shadow intensifies towards the top and weakens towards the base of the cone. Strokes must be applied in the form.

In the upper near corner of the cube, increase the pressure on the pencil when hatching the shadow face. It clearly shows the reflex (reflection of light or color from a neighboring object) from the illuminated surface of the cylinder, the light is reflected in the shadow of the face of the cube. The same reflection from the drapery is seen in the shadow of the base of the cylinder.

We enhance the darkest places in the falling shadows, observing contrasts and reflexes. Do not forget that on the border of the illuminated surface with its own shadow, the light brightens, and the shadow darkens. The shadow is highlighted if there is an illuminated object in the neighborhood.

Shadows cast by objects on a gray horizontal plane are hardly noticeable, so they need to be marked with light shading. These shadows will help "attach" objects to the surface of the table.

Exhibition and evaluation of works.

A few minutes before the call, collect the work and attach it to the blackboard with magnets. Listen to the children's comments on the work performed. Give them the opportunity to evaluate the work of their classmates.

Volumetric drawings 3d is a new direction in street painting (graffiti). Stunning fantastic illusions under your feet, blurring the line between image and reality. It is not surprising that this contemporary art has so quickly acquired a wide range of admirers. It is popular not only among astonished observers, but also among aspiring amateur artists, each of whom must have wondered: 3d drawings. Here it is worth remembering the first important rule - even the most impressive masterpieces of 3d painting first appeared on paper, and only after that they found their place on the city streets.

To learn how to create images of three-dimensional figures on a flat surface, knowledge from the school curriculum on visual geometry will come in handy, and this article will help, from which you will learn how to draw 3d drawings on two types of surface: on paper and on asphalt.

1. We take a regular sheet of paper, an HB pencil, an eraser. On the sheet, we draw the simplest for starters, for example, let it be a triangle, a circle and a square. Now, remembering the lessons of geometry (projecting drawings in three coordinate axes), we turn these figures into geometric bodies: a cone, a sphere and a cube, respectively.

2. The second rule that you need to learn in order to understand how to draw 3d drawings is the play of light and shadow. After all, first of all, the shadow cast by the figure makes this figure visually voluminous. Now, using the second rule, we choose the side from where the light will fall on our drawn objects. And, proceeding from this, we begin to shade them, remembering that the side of the figure, which is closer to the intended light source, will be lighter than the opposite. In the process of shading, we move from the dark side to the light side. If you decide to direct the light source in front of the drawing, then leave the middle of the subject light, gradually, evenly shading the figure towards the contours. After that, draw shadow casting. The shadows from the figures will always fall from the side opposite from the light.

3. Having mastered these first lessons and having understood, using the example of simple three-dimensional figures, you will gradually move on to creating more serious and complex three-dimensional images. And you can already try to dilute the black and white drawings with color.

4. Having learned the technique and mastered the necessary skills of three-dimensional drawing, you can easily figure it out on other surfaces. To do this, use colored crayons and spray paints. It is best to divide the prepared sketch on paper with a grid into small equal squares. So it will be more convenient to copy, and the grid will allow you to transfer the image from paper to asphalt as accurately as possible.

There are a few more tricks to remember in order to understand how to draw 3d drawings on asphalt:

The place for the drawing should be as even and prepared as possible (carefully cleared of possible small debris).

It is best to work on the image in overcast or cloudy weather.

And yet, since you will have to rub the chalk with your fingers (for fixing), arm yourself with plastic bags in advance to protect your fingertips from abrasion.

In the process of working on a drawing, you need to move from top to bottom. You should avoid drawing clear, even contours, and the background color of your drawing should, if possible, match the color of the road surface on which you will work.

It is also very important to guess the size of the occupied area, because 3d drawings have elongated proportions and impressive scales. And, of course, we must not forget that the image will appear three-dimensional only from one position you specify.

So, now you know how to draw 3d drawings on paper and asphalt, and we can only wish you good luck in this interesting business!

MBOUDO Irkutsk CDT

Toolkit

Drawing of geometric bodies

Teacher of additional education

Kuznetsova Larisa Ivanovna

Irkutsk 2016

Explanatory note

This manual "Drawing of geometric bodies" is intended for teachers working with school-age children. From 7 to 17 years old. It can be used both when working in additional education, and in a drawing course at school. The manual is compiled on the basis of the author's textbook "Drawing of Geometric Bodies" designed for first-year students of the specialty Arts and Crafts and Folk Crafts and Design (not published).

The drawing of geometric bodies is an introductory material for teaching drawing. The introduction reveals the terms and concepts used in the drawing, the concepts of perspective, the procedure for performing work on the drawing. Using the material presented, you can study the required material to teach children, analyze their practical work. Illustrations can be used both for your own deeper understanding of the topic, and in the lesson as visual material.

The purpose of teaching drawing from nature is to instill in children the basics of fine literacy, teaching a realistic depiction of nature, that is, understanding and depicting a three-dimensional form on a sheet plane. The main form of education is drawing from a stationary nature. He teaches to correctly convey visible objects, their features, properties, gives children the necessary theoretical knowledge and practical skills.

The tasks of teaching drawing from nature:

To instill the skills of consistent work on a drawing according to the principle: from general to particular

To acquaint with the basics of observational, i.e., visual perspective, the concept of light and shade relations

Develop technical drawing skills.

In the drawing classes, work is carried out on the education of a complex of qualities necessary for an artist:

- eye placement

The development of "firmness of the hand"

The ability to see clearly

Ability to observe and remember what is seen

The sharpness and accuracy of the eye, etc.

This manual examines in detail one of the first topics of drawing from nature - “Drawing of geometric bodies”, allowing you to study in detail the shape, proportions, structural structure, spatial relationships, perspective contractions of geometric bodies and the transfer of their volume using light and shade ratios. Learning tasks are considered - layout on a sheet of paper; construction of objects, transfer of proportions; from through drawing, to the transfer of volume by tone, the shape of objects to reveal light, penumbra, shadow, reflex, glare, full tonal solution.

Introduction

Drawing from nature

Drawing is not only an independent type of fine art, but also the basis for painting, engraving, posters, arts and crafts and other arts. With the help of the drawing, the first thought of the future work is fixed.

The laws and rules of drawing are assimilated as a result of a conscious attitude to work from nature. Each touch of the pencil to the paper must be thought out and justified by the feeling and understanding of the real form.

An educational drawing should give, perhaps, a more complete picture of nature, its form, plasticity, proportions and structure. It should be considered, first of all, as a cognitive moment in learning. In addition, knowledge of the features of our visual perception is necessary. Without this, it is impossible to understand why the objects around us in many cases do not appear to us as they really are: parallel lines seem to converge, right angles are perceived either sharp or obtuse, a circle sometimes looks like an ellipse; the pencil is larger than the house, and so on.

Perspective not only explains the mentioned optical phenomena, but also equips the painter with the techniques of spatial representation of objects in all turns, positions, and also at various degrees of remoteness from him.

Three-dimensionality, volume, shape

Every object is defined by three dimensions: length, width and height. Its volume should be understood as its three-dimensional value, limited by surfaces; under the form - the external view, the external outlines of the object.

Fine art mainly deals with three-dimensional form. Consequently, in drawing one should be guided precisely by the three-dimensional form, feel it, subordinate it to all the methods and techniques of drawing. Already when depicting the simplest bodies, it is necessary to develop this sense of form in children. For example, when drawing a cube, one cannot depict only its visible sides, without taking into account the sides hidden from view. Without representing them, it is impossible to build or draw a given cube. Without a sense of the whole form as a whole, the depicted objects will appear flat.

For a better understanding of the form, before proceeding to the drawing, it is necessary to consider nature from various angles. The painter is advised to observe the form from various points, but draw from one. Having mastered the main rules of drawing on the simplest objects - geometric bodies - in the future it will be possible to move on to drawing from nature, which is more complex in design.

The construction, or structure, of an object means the mutual arrangement and connection of its parts. The concept of "construction" is applicable to all objects created by nature and human hands, starting with the simplest household items and ending with complex forms. A drawing person needs to be able to find patterns in the structure of objects, to understand their shape.

This ability develops gradually in the process of drawing from nature. The study of geometric bodies and objects close to them in their form, and then objects more complex in structure, obliges the painters to consciously relate to drawing, to reveal the nature of the design of the depicted nature. So, the lid, as it were, consists of a spherical and cylindrical neck, a funnel is a truncated cone, etc.

Line

The line, or line drawn on the surface of the sheet, is one of the main elements of the drawing. Depending on the purpose, it may have a different character.

It can be flat, monotonous. In this form, it mainly has an auxiliary purpose (this is the placement of a drawing on a sheet, a sketch of the general outline of nature, the designation of proportions, etc.).

The line can also have a spatial character, which the painter masters as he studies the form in lighting and environmental conditions. The essence and meaning of a spatial line is easiest to understand by observing the master's pencil in the process of his work: the line either intensifies, then weakens or completely disappears, merging with the environment; then it reappears and sounds at the full power of the pencil.

Beginning draftsmen, not realizing that the line in the drawing is the result of complex work on the form, usually resort to a flat, monotonous line. Such a line, with the same indifference delineating the edges of figures, stones and trees, conveys neither form, nor light, nor space. Completely unaware of the issues of spatial drawing, such draftsmen pay attention, first of all, to the external outlines of the object, trying to mechanically copy it, in order to then fill the contour with random spots of light and shadow.

But the planar line in art has its purpose. It is used in decorative painting, wall paintings, mosaics, stained-glass windows, easel and book graphics, posters - all works of a planar nature, where the image is linked to a certain plane of the wall, glass, ceiling, paper, etc. Here this line gives the ability to generalize the image.

The profound difference between planar and spatial lines must be learned from the very beginning, so that in the future there will be no confusion of these various elements of the drawing.

Beginning draftsmen have another characteristic feature of drawing lines. They put too much pressure on the pencil. When the teacher shows with his hand the techniques of drawing with light lines, they trace the lines with increased pressure. It is necessary from the very first days to wean from this bad habit. You can explain the requirement to draw with light, “airy” lines by the fact that at the beginning of the drawing we inevitably change something, move it. And erasing lines drawn with strong pressure, we spoil the paper. And, most often, there is a noticeable trace. The drawing looks messy.

If at first you draw with light lines, in the process of further work it is possible to give them a spatial character, then strengthening, then weakening.

Proportions

A sense of proportion is one of the main elements in the drawing process. Compliance with proportions is important not only in drawing from nature, but also in decorative drawing, for example, for ornament, appliqué, etc.

Compliance with proportions means the ability to subordinate the sizes of all elements of the picture or parts of the depicted object in relation to each other. Violation of proportions is unacceptable. The study of proportions is of great importance. It is necessary to help the painter to understand the mistake he made or to warn against it.

A person drawing from life should keep in mind that with the same size, horizontal lines appear longer than vertical ones. Among the elementary mistakes of novice artists is the desire to stretch objects horizontally.

If you divide the sheet into two equal halves, then the lower part will always appear smaller. Due to this property of our vision, both halves of the Latin S seem equal to us only because its lower part in the typographic font is made larger. This is the case with the number 8. This phenomenon is well known to architects, it is also necessary in the work of the artist.

Since ancient times, great importance has been attached to educating the artist's sense of proportions and the ability to accurately measure the size by eye. Leonardo da Vinci paid much attention to this issue. He recommended games and entertainment invented by him: for example, he advised sticking a cane into the ground and, at one distance or another, trying to determine how many times the size of the cane fits into this distance.

perspective

The Renaissance for the first time created a mathematically rigorous doctrine of the ways of transmitting space. Linear perspective(from lat. Rers Ri ser e "I see through"“I penetrate with my eyes”) is an exact science that teaches to depict objects of the surrounding reality on a plane in such a way that an impression is created such as in nature. All construction lines are directed to the central vanishing point corresponding to the location of the viewer. The shortening of the lines is determined depending on the distance. This discovery made it possible to build complex compositions in three-dimensional space. True, the retina of the human eye is concave, and straight lines do not appear to be drawn along a ruler. Italian artists did not know this, so sometimes their work resembles a drawing.

Square perspective

a - frontal position, b - at a random angle. P is the central vanishing point.

Lines receding into the depth of the drawing seem to converge at the vanishing point. The vanishing points are on the horizon line. Lines receding perpendicular to the horizon converge at central vanishing point. Horizontal lines receding at an angle to the horizon converge at lateral vanishing points

circle perspective

The upper oval is above the horizon line. For circles below the horizon, we see their upper surface. The lower the circle, the wider it seems to us.

Already in the first tasks on drawing geometric bodies, children have to build the perspective of rectangular objects and bodies of revolution - cylinders, cones.

F 1 and F 2 - lateral vanishing points lying on the horizon line.

Perspective of a cube and a parallelepiped.

P is the vanishing point lying on the horizon line.

Chiaroscuro. Tone. Tonal relations

The visible form of an object is determined by its illumination, which is a necessary factor not only for the perception of an object, but also for its reproduction in a drawing. Light, spreading through the form, depending on the nature of its relief, has different shades - from the lightest to the darkest.

This is how the concept of chiaroscuro arises.

Chiaroscuro implies a certain source of light and mostly the same light color of the illuminated object.

Considering the illuminated cube, we notice that its plane facing the light source will be the lightest, called in the figure light; the opposite plane shadow; semitone planes that are at different angles to the light source and therefore do not completely reflect it should be called; reflex- reflected light falling on the shadow sides; highlight- a small part of the surface in the light, completely reflecting the strength of the light source (observed mainly on curved surfaces), and finally, drop shadow.

In order of decreasing light intensity, all light shades can be arranged conditionally in the following sequence, starting with the lightest ones: glare, light, semitone, reflex, own shadow, drop shadow.

Light reveals the shape of an object. Each form has its own character. It is limited to straight or curved surfaces, or combinations of both.

An example of chiaroscuro on faceted surfaces.

If the shape has a faceted character, then even with a minimal difference in the luminosity of the surfaces, their boundaries will be certain (see the cube illustration).

An example of chiaroscuro on curved surfaces.

If the shape is round or spherical (cylinder, ball), then light and shadow have gradual transitions.

So far, we have been talking about the chiaroscuro of equally colored objects. Until the second half of the 19th century, they were limited to the means of this chiaroscuro when transmitting illuminated plaster casts and nude sitters.

In the end In the 19th and early 20th centuries, during the period of the development of a deeper understanding of color, demands of a picturesque nature began to be made to the drawing.

Indeed, all the colorful diversity of nature, especially festive festive costumes, diffused lighting that excludes clear chiaroscuro, the transfer of the environment - all this puts before the draftsman a number of tasks of a kind of picturesque nature, the solution of which with the help of chiaroscuro alone is impossible.

Therefore, the pictorial term entered the drawing - "tone".

If we take, for example, yellow and blue, then being in the same lighting conditions, they will appear one light, the other dark. Pink appears lighter than burgundy, brown appears darker than blue, etc.

It is impossible to convey the brightness of the flame and deep shadows on black velvet in the drawing, since the tonal differences between pencil and paper are much smaller. But the artist must convey all the various tonal relationships with modest means of drawing. To do this, the darkest thing in the depicted object or still life is taken to the full strength of the pencil, and the paper remains the lightest. He arranges all other shadow gradations in tonal relationships between these extremes.

Draftsmen need to practice in developing the ability to subtly distinguish the gradations of lightness in natural productions. You need to learn to catch small tonal differences. Having determined where there will be one - two of the lightest and one - two of the darkest places, it is necessary to take into account the visual possibilities of materials.

When performing educational tasks, it is necessary to observe a proportional relationship between the luminosity of several places in nature and the corresponding several parts of the drawing. At the same time, it must be remembered that comparing the tones of only one place in nature with its image is the wrong method of work. All attention should be given to the method of working with relationships. In the process of drawing, you need to compare 2 - 3 areas in terms of lightness in kind with the corresponding places in the image. After applying the desired tones, it is recommended to check.

Drawing Sequence

The modern drawing technique provides for the 3 most common stages of working on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and determining the general nature of the form; 2) plastic modeling of the form with chiaroscuro and a detailed description of nature; 3) summing up. In addition, each drawing, depending on the tasks and duration, may have more or less common stages, and each stage may include smaller drawing stages.

Let us consider in more detail these stages of work on the drawing.

one). The work begins with the compositional placement of the image on a sheet of paper. It is necessary to examine nature from all sides and determine from which point of view it is more effective to place the image on a plane. The painter must get acquainted with nature, note its characteristic features, understand its structure. The image is outlined with light strokes.

Starting a drawing, first of all, they determine the ratio of the height and width of the nature, after which they proceed to establishing the dimensions of all its parts. During work, you cannot change the point of view, since in this case the entire perspective construction of the drawing will be violated.

The scale of the objects depicted in the drawing is also determined in advance, and is not developed in the process of work. When drawing in parts, in most cases, the nature does not fit on the sheet, it turns out to be shifted up or down.

Premature loading of the sheet with lines and spots should be avoided. The form is drawn very generally and schematically. The main, generalized character of the large form is revealed. If this is a group of objects, you need to equate them to a single figure - to generalize.

Having completed the compositional placement of the image on a sheet of paper, the main proportions are set. In order not to be mistaken in proportions, one should first determine the ratio of large values, and then select the smallest ones from them. The task of the teacher is to teach to separate the main from the secondary. So that the details do not distract the beginner's attention from the main character of the form, you need to squint your eyes so that the form looks like a silhouette, like a common spot, and the details disappear.

2). The second stage is plastic modeling of the form in tone and detailed study of the drawing. This is the main and longest stage of work. Here, knowledge from the field of perspective, the rules of cut-off modeling is applied.

When drawing, it is necessary to clearly imagine the spatial arrangement of objects and the three-dimensionality of their constructive construction, since otherwise the image will be planar.

While working on a perspective construction of a drawing, it is recommended to regularly check, comparing the contractions of the surfaces of three-dimensional forms, comparing them with verticals and horizontals, which are mentally drawn through characteristic points.

After choosing a point of view, a horizon line is drawn in the drawing, which is at the level of the drawing's eyes. You can mark the horizon line at any sheet height. It depends on the inclusion in the composition of objects or their parts that are above or below the eyes of the painter. For objects below the horizon, their upper sides are shown in the figure, and for those placed above the horizon, their lower surfaces are visible.

When it is necessary to draw a cube standing on a horizontal plane or another object with horizontal edges that is visible at an angle, then both vanishing points of its faces are on the sides of the central vanishing point. If the sides of the cube are seen in the same perspective cuts, then their upper and lower edges are directed outside the picture to the side vanishing points. In the frontal position of the cube, which is at the level of the horizon, only one side of it is visible, which looks like a square. Then the edges receding into the depth are directed to the central vanishing point.

When we see 2 sides of a horizontally lying square in the frontal position, then the other 2 are directed to the central vanishing point. The drawing of a square in this case looks like a trapezoid. When depicting a horizontal square lying at an angle to the horizon line, its sides are directed towards the side vanishing points.

In perspective cuts, the circles look like ellipses. This is how bodies of revolution are depicted - a cylinder, a cone. The higher or lower the horizontal circle is from the horizon, the more the ellipse approaches the circle. The closer the depicted circle is to the horizon line, the narrower the ellipse becomes - the minor axes become shorter as they approach the horizon.

On the horizon line, both squares and circles look like one line.

The lines in the figure depict the shape of the object. The tone in the drawing conveys light and shadows. Chiaroscuro helps to reveal the volume of the object. By building an image, such as a cube, according to the rules of perspective, the painter thereby prepares the boundaries for light and shadows.

When drawing objects with rounded surfaces, children often experience difficulties that they cannot cope with without the help of a teacher.

Why is this happening? The shape of the cylinder and the ball remains unchanged during rotation. This complicates the analytical work of a novice draftsman. Instead of the volume of a ball, for example, he draws a flat circle, which he then shades away from the contour line. The light-to-shadow ratios are given as random spots - and the ball appears to be just a smudged circle.

On the cylinder and the ball, light and shadow have gradual transitions, and the deepest shadow will not be on the edge of the shadow side that carries the reflex, but rather moving away in the direction of the illuminated part. Despite the apparent brightness, the reflex must always obey the shadow and be weaker than the halftone, which is part of the light, that is, it must be lighter than the shadow and darker than the halftone. For example, the reflex on the ball should be darker than the semitone in the light.

When drawing a group setting of geometric bodies located at different distances from a light source incident from the side, it should be borne in mind that as they move away from it, the illuminated surfaces of the bodies lose their luminosity.

According to the laws of physics, the intensity of light is inversely proportional to the square of the object's distance from the light source. Considering this law, when placing light and shadow, one should not forget the fact that the contrasts of light and shadow increase near the source of illumination, and weaken as they move away.

When all the details are drawn, and the drawing is modeled in tone, the generalization process begins.

3). The third stage is summarizing. This is the last and most important stage of work on the drawing. At this stage, we sum up the work done: we check the general condition of the drawing, subordinating the details to the whole, clarifying the drawing in tone. It is necessary to subordinate lights and shadows, glare, reflexes and halftones to the general tone - one must strive to bring to a real sound and completion those tasks that were set at the very beginning of the work. Clarity and integrity, the freshness of the first perception should already appear in a new quality, as a result of long and hard work. At the final stage of work, it is desirable to return to a fresh, original perception again.

Thus, at the beginning of work, when the draftsman quickly outlines a general view of nature on a sheet of paper, he follows the path of synthesis - generalization. Further, when a careful analysis of the form is carried out in a generalized form, the draftsman enters the path of analysis. At the very end of the work, when the artist begins to subordinate the details to the whole, he again returns to the path of synthesis.

The work of generalizing the form for a novice draftsman presents rather great difficulties, because the details of the form attract his attention too much. The separate, insignificant details of an object observed by the draftsman often obscure the integral image of nature, do not make it possible to understand its structure, and, therefore, interfere with the correct depiction of nature.

So, consistent work on a drawing develops from the definition of generalized parts of the subject through a detailed study of complex details to a figurative expression of the essence of the depicted nature.

Note: This manual describes the image of a composition that is quite complex for younger students from the frameworks of geometric bodies. It is recommended to first depict the frame of one cube, one parallelepiped or cone. Later - a composition of two geometric bodies of a simple form. If the training program is designed for several years, it is better to postpone the image of a composition of several geometric bodies for subsequent years.

3 stages of work on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and determination of the general nature of the form; 2) construction of frameworks of geometric bodies; 3) creating the effect of the depth of space using different line thicknesses.

one). The first stage is the compositional placement of the image on the plane of a sheet of paper and the determination of the general nature of the form. Starting the drawing, determine the ratio of the height and width of the overall composition of all geometric bodies as a whole. After that, they proceed to establishing the dimensions of individual geometric bodies.

During work, you cannot change the point of view, since in this case the entire perspective construction of the drawing will be violated. The scale of the objects depicted in the drawing is also determined in advance, and not in the process of work. When drawing in parts, in most cases, nature either does not fit on the sheet, or is shifted up, down, or to the side.

At the beginning of drawing, the form is drawn very generally and schematically. The main, generalized character of the large form is revealed. A group of objects needs to be equated to a single figure - to generalize.

2). The second stage is the construction of frames of geometric bodies. It is necessary to clearly imagine the spatial arrangement of objects, their three-dimensionality, how the horizontal plane is located, on which geometric bodies stand relative to the eye level of the painter. The lower it is, the wider it appears. In accordance with this, all horizontal faces of geometric bodies and the circles of bodies of revolution look more or less wide for the painter.

The composition consists of prisms and bodies of revolution - a cylinder, a cone, a ball. For prisms, it is necessary to find out how they are located relative to the drawing - frontally or at an angle? The body, located frontally, has 1 vanishing point - in the center of the object. But more often, geometric bodies are located relative to the drawing at a random angle. Horizontal lines receding at an angle to the horizon line converge atlateral vanishing points located on the horizon line.

Perspective of the box at a random angle.

Construction of a body of revolution - a cone.

Thus, all geometric bodies are built.

3) The third and last step is to create the effect of the depth of space using different line thicknesses. The drawing person sums up the work done: checks the proportions of geometric bodies, compares their sizes, checks the general state of the drawing, subordinating the details to the whole.

Topic 2. Drawing of plaster geometric bodies:

cube, ball (black and white modeling).

Note: this manual describes the image of a gypsum cube and a ball on one sheet. You can draw on two sheets. For tasks on cut-off modeling, illumination by a closely spaced lamp, soffit, etc. is highly desirable. on one side (usually from the side of the window).

Cube

one). The first stage is the compositional placement of the image on the plane of a sheet of paper. Gypsum cube and ball are drawn sequentially. Both are illuminated by directional light. The upper half of the sheet of paper (A3 format) is reserved for the cube, the lower half for the ball.

The cube image is composited with a drop shadow in the center of the top half of the sheet. The scale is chosen such that the image is neither too large nor too small.

2). The second step is building the cube.

It is necessary to determine the location of the horizontal plane on which the cube stands and the horizontal faces relative to the level of the eyes, their width. How is the cube located - frontally or at an angle? If frontally, the cube has 1 vanishing point at the level of the painter's eyes - in the center of the cube. But more often the edges are located relative to the drawing at a random angle. Horizontal lines receding at an angle to the horizon converge atlateral vanishing points located on the horizon line.

Building a cube

The painter must find out which of the side faces of the cube seems wider for him - for this face, the horizontal lines are directed to the vanishing point more gently, and the vanishing point itself is farther from the depicted object.

Having built a cube, according to the rules of perspective, we thereby prepared the borders for light and shadows. Considering the illuminated cube, we notice that its plane facing the light source will be the lightest, called light; the opposite plane - a shadow; semitones are called planes that are at angles to the light source and therefore do not completely reflect it; reflex - reflected light falling on the shadow sides. The falling shadow, the contour of which is built according to the rules of perspective, is darker than all the surfaces of the cube.

Black and white modeling of the cube

White can be left on the surfaces of the cube or the sheet of paper on which it stands, illuminated by direct, bright light. The remaining surfaces should be hatched with a light, transparent hatching, gradually increasing it on the lines of the light division (the edges of the cube where the illuminated and shadow faces meet). In order of decreasing light intensity, all light shades can be arranged conditionally in the following sequence, starting with the lightest ones: glare, light, semitone, reflex, own shadow, drop shadow.

Summing up, we check the general condition of the drawing, clarifying the drawing in tone. It is necessary to subordinate lights and shadows, glare, reflections and halftones to the general tone, trying to return to the clarity, integrity and freshness of the first perception.

Ball

one). The first stage is the compositional placement of the image of the ball along with the falling shadow in the center of the bottom half of the sheet of paper. The scale is chosen such that the image is neither too large nor too small.

Building a ball

2). The black-and-white modeling of a sphere is more complex than that of a cube. Light and shadow have gradual transitions, and the deepest shadow will not be on the edge of the shadow side that carries the reflex, but rather moving away in the direction of the illuminated part. Despite the apparent brightness, the reflex must always obey the shadow and be weaker than the halftone, which is part of the light, that is, it must be lighter than the shadow and darker than the halftone. For example, the reflex on the ball should be darker than the semitone in the light. Close to the light source, the contrasts of light and shadow intensify, as they move away, they weaken.

Black and white modeling of the ball

3). When all the details are drawn, and the drawing is carefully modeled in tone, the generalization process begins: we check the general condition of the drawing, refining the drawing in tone. Again trying to return to the clarity, integrity and freshness of the first perception.

Topic 3. Still life drawing from plaster

geometric bodies (black and white modeling).

Note: This manual describes the image of a complex composition of plaster geometric bodies. If the training program is designed for several years, it is better to postpone the image of such a composition for subsequent years. It is recommended to first depict the composition of two geometric bodies of a simple shape. Later, you can move on to a more complex composition. For a task on cut-off modeling, illumination by a closely spaced lamp, spotlight, etc. is highly desirable. on one side (usually from the side of the window).

3 stages of work on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and determination of the general nature of the form; 2) construction of geometric bodies; 3) modeling of forms by tone.

one). The first stage is the compositional placement of images of geometric bodies on the plane of a sheet of A3 paper. Starting the drawing, determine the ratio of the height and width of the overall composition of all geometric bodies as a whole. After that, they proceed to establishing the dimensions of individual geometric bodies.

The scale of the objects depicted in the drawing is determined in advance. Premature loading of the sheet with lines and spots should be avoided. Initially, the shape of geometric bodies is drawn very generally and schematically.

Having completed the compositional placement of the image on a sheet of paper, the main proportions are set. In order not to be mistaken in proportions, you should first determine the ratio of large values, and then smaller ones.

2). The second stage is the construction of geometric bodies. It is necessary to clearly imagine the spatial arrangement of objects, how the horizontal plane is located on which geometric bodies stand relative to the eye level of the painter. The lower it is, the wider it appears. In accordance with this, all horizontal faces of geometric bodies and the circles of bodies of revolution look more or less wide for the painter.

The composition consists of prisms, pyramids and bodies of revolution - a cylinder, a cone, a ball. For prisms, it is necessary to find out how they are located relative to the drawing - frontally or at an angle? The body, located frontally, has 1 vanishing point - in the center of the object. But more often, geometric bodies are located relative to the drawing at a random angle. Horizontal lines receding at an angle to the horizon line converge at lateral pointsgathering located on the horizon line. In the bodies of revolution, horizontal and vertical axial lines are drawn, and distances equal to the radius of the depicted circle are plotted on them.

Geometric bodies can not only stand or lie on the horizontal plane of the table, but also be at a random angle relative to it. In this case, the direction of inclination of the geometric body and the plane of the base of the geometric body perpendicular to it are found. If a geometric body rests on a horizontal plane with 1 edge (prism or pyramid), then all horizontal lines converge at the vanishing point lying on the horizon line. This geometric body will have 2 more vanishing points that do not lie on the horizon line: one on the line of the direction of the inclination of the body, the other on the line perpendicular to it, belonging to the plane of the base of the given geometric body.

3). The third stage is modeling the form with tone. This is the longest stage of work. Here knowledge of the rules of cut-off modeling is applied. By constructing geometric bodies according to the rules of perspective, the student thereby prepared the boundaries for light and shadows. The planes of the bodies facing the source of light will be the lightest, called light; opposite planes - a shadow; semitones are called planes that are at angles to the light source and therefore do not completely reflect it; reflex - reflected light falling on the shadow sides; and, finally, a falling shadow, the contour of which is built according to the rules of perspective.

White can be left on the surfaces of prisms, a pyramid or a sheet of paper on which they stand, illuminated by direct, bright light. The rest of the surfaces should be hatched with light, transparent hatching, gradually increasing it on the lines of the light division (edges of geometric bodies where the illuminated and shadow faces meet). In order of decreasing light intensity, all light shades can be arranged conditionally in the following sequence, starting with the lightest ones: glare, light, semitone, reflex, own shadow, drop shadow.

At the ball, light and shadow have gradual transitions, and the deepest shadow will not be on the edge of the shadow side that carries the reflex, but rather moving away in the direction of the illuminated part. Despite the apparent brightness, the reflex must always obey the shadow and be weaker than the halftone, which is part of the light, that is, it must be lighter than the shadow and darker than the halftone. For example, the reflex on the ball should be darker than the semitone in the light. Close to the light source, the contrasts of light and shadow intensify, as they move away, they weaken.

White leaves only a highlight on the ball. The remaining surfaces are covered with light and transparent shading, applying strokes according to the shape of the ball and the horizontal surface on which it lies. The tone is gaining gradually.

As they move away from the light source, the illuminated surfaces of bodies lose their luminosity. Close to the light source, the contrasts of light and shadow intensify, as they move away, they weaken.

four). When all the details are drawn and the picture is modeled in tone, the generalization process begins: we check the general condition of the picture, refining the picture in tone.

It is necessary to subordinate lights and shadows, glare, reflections and halftones to the general tone, trying to return to the clarity, integrity and freshness of the first perception.

Literature

Main:

Rostovtsev N. N. "Academic drawing" M. 1984

"School of fine arts" v. 2, M. "Art" 1968

Trouble G.V. "Fundamentals of visual literacy" M. "Enlightenment" 1988

"School of Fine Arts" 1-2-3, "Fine Arts" 1986

"Fundamentals of Drawing", "A Concise Dictionary of Artistic Terms" - M. "Enlightenment", "Title", 1996

Additional:

Vinogradova G. “Drawing lessons from nature” - M., “Enlightenment”, 1980

Library of the "Young Artist" Drawing, tips for beginners. Issue 1-2 - "Young Guard" 1993

Kirtser Yu. M. “Drawing and painting. Textbook "- M., 2000

Kilpe T. L. "Drawing and Painting" - M., Publishing House "Oreol" 1997

Avsisyan O. A. "Nature and drawing by representation" - M., 19885

Odnoralov N. V. "Materials and tools, equipment in the fine arts" - M., "Enlightenment" 1988

Applications

Topic 1. Building frames of geometric bodies

Topic 2. Drawing of plaster geometric bodies: cube, ball

Topic 3. Drawing of a still life from plaster geometric bodies

Explanatory note ____________________________________ 2

Introduction ________________________________________________ 3

Topic 1. Construction of frames of geometric bodies _____________ 12

Topic 2. Drawing of plaster geometric bodies: cube, ball (black and white modeling) _____________________________________________ 14

Topic 3. Drawing of a still life from plaster geometric bodies (black and white modeling) _____________________________________________ 17

Applications ____________________________________________ 21

/ still life

1 fig. We outline the horizon - the line of the table. We compose a still life using straight lines. It turns out the shape of the house, with a slight slope to the left side. We find the center and draw a vertical axis, and then a horizontal one. We arranged the composition of the still life perfectly.

2 fig. Next, we must arrange the objects themselves into a composition. We will use the shape of a circle and an oval in the layout. Pay attention to how the forms are located between the lines, where they go beyond the lines, what slope they have.

3 fig. Here our task is to build 3 volumetric geometric shapes (cube, ball and cylinder). Ball - find the center and draw two axes, measure equal sides from the center and make a symmetrical shape.

Cube - find the points of the front square, make sure the lines are parallel, then from the points "A", "B" and "C" draw diagonals parallel to each other, find the points on them using a ruler, measure the same length. Connect the dots. Cylinder - draw in the direction of length (with an inclination) the central axis, and find the points for the cross axes of the cylinder. We measure equal distances from the center of the axes using a ruler (as the ball was made).

4 fig. Now we need to show the shadow, light and drop shadow of the objects on the objects. In the direction of the light rays, you can see where the shadow and light will be on the objects. Putting a stroke on the form, we show the main gradations. Look closely at the drawing.

5 fig. Excellent! Now it is important for you to know what a reflex is. Reflex is the reflection of light. As a rule, it is depicted on the shadow side (see figure). And there are such concepts as partial shade and half light - this is a smooth transition from shadow to light. Here we have to show the density with a stroke. It is necessary to deepen the shadow, penumbra, half-light, reflex and falling shadow from objects.