How to draw a crumpled sheet of paper ..... Well, dear admirers of such an interesting, but rather demanding science - drawing, now the task will not be pleasant, but very, very useful. I really understand how you're going to feel right now. This exercise is simply highly recommended to be done from time to time and students of art schools go through it more than once. The exercise allows you to develop an eye, to consolidate the material covered, well, it is very clear from it at what stage of the "development of the drawing" you are now. Simply put, see what you already know. Today you are doing the exercise for the first time, I hope not the last, it's up to you.

Well, are you ready? Tune in very strongly. We will make a drawing of a crumpled sheet of paper, cardboard, with an analysis of the fracture planes. Simply put, we will analyze the fracture planes of the volume of paper.

For those who find it difficult, you can draw crumpled cardboard for a start. There will be fewer kinks and the kink planes themselves are not small.
Slightly crumple a sheet of A3 cardboard and lay it nicely in front of you. Look: each face resembles a face of a cube - and we have already learned how to draw the cube itself and rotated it in space at different angles. When you understand this, the task does not seem so difficult. But on the other hand, this exercise is very, very useful for the development of the eye.

Let me tell you a little more, before starting work, what an eye is. In a nutshell, very simple. When you look at a still life with the pencil held out in front of you, turning it horizontally and vertically, you take measurements relative to the "line" of the pencil. Define conditional angles. So your eye gauge doesn't work. The eye is your visual skills, something that only your eye remembers and analyzes. Your eye notices the ratios in front of you and helps you transfer them to paper. But with the help of a pencil or other handy means, you only check yourself. Additionally, there is more material - how to develop an eye.

Here is a photo of what we have to hand over on paper. Let's get to work. And, probably, we will try to make everything as clear as possible and start, after all, again, with a simple one. Let's first take a small sheet of white cardboard, I take a thick drawing paper. Crumple it as much as you like, but do not make it too crumpled. Now let's take a soft material - charcoal and start drawing. You can draw on a piece of wallpaper approximately A3-A2. While you do not need to stretch the paper on the tablet, just fix it on the easel. And yet, you should sit so that the easel is to the right of what you are going to portray. Otherwise, you will block the picture with your hand (for right-handers). For lefties it's the other way around.

So, compose a sheet of paper in paper space. Since we are already starting to draw such a "still life", that is, to draw from nature, it is imperative to show object plane. Our sheet of paper is not hanging in the air, is it? It is located on the table-object plane. Find the place of the sheet on the object plane with a total volume - height, width, general outlines. After that, designate our experimental person in more detail, checking the volume of paper on the table and in your sheet for compliance, and find a place for the largest planes and corners - along the bends of your cardboard. It is best to find proportional relationships using conditional three points. Draw without pressing hard with the charcoal on the paper, take care of the light - learn to make a clean drawing little by little.

After you have found the main volumes and the main proportional ratios of the planes and edges of the crumpled cardboard, you can select smaller breaks and planes.

Only after all this work has been done, we begin to lay down the stroke - to separate the light from the shadow with the help of hatching. As well as with the cubes that we rotated in space, the same drawing principle remains here. Separate the shadow from the light. Give the entire shadow part of the crumpled cardboard with a stroke - you have already learned how to lay down a little. I'm starting to designate the darkest shadows - falling and the shadow of the object plane, since it will be closest to us, and therefore darker. There will be no darker tones in the picture. Then I put a stroke on the rest of the shadow part. Here, we marked the shadows, separated the light from the shadow. There is always tension at the corners and intersections of planes - make accents in these places.

Next, analyze the light-and-shadow relations in the same way as with the cubes in lessons 1, 2, 3. The nearest faces and planes to us will be highlighted more strongly, the far ones - weaker. The kinks that are closer to us will be highlighted more strongly. Likewise with shadows. The shadows closest to us are darker, those that go into the air, into space are weaker. Draw. A special attitude towards the falling shadow - it will be stronger than its own, but also, receding into space, it will weaken.

Try to work slowly, do not press hard on the coal rod. Don't redo your work. If you blacked out, smeared the work and don’t know what to do next, try again, taking into account past mistakes.

The object plane is illuminated, moving into the air it will lose its activity and will become darker. And the farther from the lighting, the less active its light will be. In relation to the wall, the object plane will be lighter. Remember the cube: the vertical object plane is lit, the background wall will be in shadow. But not in such an active as the shadow of the object plane - the table breaks. If projected onto a cube, then the darkest shadow of the object plane will be the shadow side of the cube.

With a crumpled sheet of paper will happen exactly the same. Kinks - how the faces of the cube will be highlighted, the corners are active, the planarity of the faces is clearly defined - the near ones are more active, the far ones are weaker. Chiaroscuro will be distributed according to the shape of the object - a crumpled sheet. The light on the object plane will be the most active, as it is closest to the mothers. Moving deeper into the space of the sheet, the light becomes weaker, but will always be lighter than any shadow.

Now let's see what I got:

So with a soft material, in this case, with charcoal, you can draw a crumpled sheet of paper. Now let's analyze what happened to me .....
Do you see errors? Who said I can't see? The foreground is highlighted, this is understandable. Facets and sides are visible, accents are placed. But that's not all.
Let's sort out the mistakes! I want you to learn to see mistakes. In this case, mine, and then you will analyze yours using the example of mine. Look at the pictures below and analyze:

Here is what we captured at the very beginning. Let's see what happened:

Well, how does it look like? How are things with my eye gauge? No way. Parsing:
1. Blue indicates that the object plane was not found.
2. Red shows that I have problems with the transmission of light (light gets darker moving into space).
3. Green shows how the base planes are found.
4. Yellow shows how the most visible near and active corner is found.
5. Well, brown for a snack - a drop shadow. Enough for now.

The eye in this case worked very, very little. The primary task has not been solved either - to find the object plane and the main proportional relationships of the crumpled sheet (height-width). Everything else has already gone wrong. Yes, and the conduct of the work itself is not correct.

Now take a break and look at your work. Analyze everything the same way. You can use handy tools (pencil, ruler) to determine the correspondence of sizes and proportional ratios. It is possible to control and correct the work of the eye.

We draw another crumpled sheet of paper - we think, analyze and try

Now let's work more seriously and responsibly, taking into account all the previous mistakes. I hope you remember them once and for all.

1. Prepare paper stretched over a tablet and graphite pencil. Place a crumpled sheet at a distance of 1.5-2 meters from you, sit down at the easel. Then everything is as usual - find the place of your "crumpled guinea pig" in the space of the sheet-tablet, determine the main proportions - height and width, angles and place for the largest planes.

When you determine the place in the space of the sheet for all planes and bends-kinks, in other words, you find the design of the "experimental", a constructive beginning, then take a break. After a while, look at the work again - maybe you need to fix something. Proportions, proportions and more proportions! Until the proportional ratios of the main parts of the composition and their details are found, it is impossible to proceed to shading.

2. Already the second stage will be the shading of all the shadows present in our composition with one character - a crumpled sheet. We take and separate all the shadows from the light. With a stroke of one key, lightly, analyzing the shape - on which planes the light will fall, and which will be in shadow. If the stroke is difficult to lay down, then you can make short strokes, like mine. Fill them with all surfaces that are somehow stronger or weaker, but will be in the shade.

Here I start to lay down the stroke on the largest surfaces - the wall, that part of the object plane that is in shadow. Note that this resembles the structure of a cube. The object plane is the face of the cube that is in the light. The wall is in partial shade, then there is a break in the object plane, which will be in the shade.

Now I put a stroke on that part of the crumpled sheet, which will be in the shadow. Absolutely all the necessary areas that will be in the shadow part, I cover with hatching. If it is difficult to evenly lay down a stroke, lightly lean your little finger on the tablet or support your arm under your elbow, but do not lean on the paper with the back of your hand.

3. Next, we will try to show how light will behave in our conditional leaf space. Let us again take up the largest and most basic surfaces. Our table is the object plane. She will be in the light. But we still need to convey its horizontal position. Let's also take into account the factor that, moving away into space, the light gradually goes out, fades away. So we leave the lightest thing that will be closest to the light source. And everything else will go out, darken. Moving away from us to the wall, the object plane will go into the air and lose the power of light. Moving away from the light source, the subject plane will also receive less light and, of course, darken.

Then we move on to the wall. The wall is in partial shade. In any case, if no side factors influence, its tonality will be darker than the object plane. And, just as in the situation with the object plane, moving away from the light source, the degree of its illumination will also decrease - it will receive less light.

Now let's move on to the darkest and most saturated shadow - a break in the front plane. This area will be unlit, in complete shade. But black, of course, we will not do it. This is not possible, this very dark shadow can be influenced by a lot of factors that allow the darkest shadow in our composition to be lively, airy, transparent. But still the darkest. And let that part of it, which is opposite our eyes, be the darkest tone, and those parts of it that go away from us to the sides, lose their strength a little. The most contrasting part will also be in front of us, closer to us.

Note: Surely you are holding the pencil in your hand properly now? Well, it is difficult, especially at first, to create such dark shadows with such a position of the hand. For this very purpose, I permit you to take a pencil, so to speak, "in a natural way", as you write, and put a stroke of such power as this shadow deserves. But I will, of course. Don't make holes ;)

I also want to add something. If you have visited the color science page, you already know how color behaves in space. We don't have color here. But there are clear unshakable laws both in painting and in drawing: the light is moving away darkens, goes out. The shadow fades away. But! The darkest midtone in the light is still lighter than the lightest midtone in the shadow.

In general, as it is considered better, work should be carried out immediately "on all fronts." How to disperse one’s vision, immediately feeling all the work, and to draw not in detail, but to draw, affecting the subject plane, and still life objects, and drapery ... This way the drawing will turn out to be solid and it will be more correct to convey light and shade relations. But here for now we will set the main "atmosphere" in the sheet, and then we will subordinate our hero - "experimental" to it. So it is easier to understand in what tonal "framework" it will be.

Here, now we outline the falling shadows. There will be two of them, one from the top lighting, the second from the side lighting, and they beautifully overlap each other, reinforcing themselves. Look - when the shadow is closer to us, where it begins, there I make it darker, more active. As it moves away, it becomes softer, a little lighter. By the way, this is how it turns out to "put" it on a plane.
The falling shadow will be dark, darkest of all, except for the shadow of the object plane, where both the falling shadow and its own are superimposed on one another.

4. The space in the sheet is set, the power of the pencil is exhausted, we understand what tonal gradation the subject will be in. Next, we deal with the crumpled sheet itself. Note that the overall own shadow of the crumpled piece of paper will be darker than the halftone of the wall. But in any case, lighter than the drop shadow. We are working within this framework.

Do not forget that the crumpled sheet is the same sides, edges, corners. But to find their sizes, turns, inclinations is our task. We just try to constructively analyze the subject, conveying all its nuances with chiaroscuro.

We make accents on the breaks of the forms, highlight the corners, mark the intersections of the planes. Since the light follows the form, we also try to lay the stroke according to the form. And in general, we analyze more, copy less.

This is the drawing we get. Much better than the first time, right? The only thing that I have not touched here at all is glare. But now you don't have to. To be honest, this is not an easy task for a beginner. But the one who endured and finished it, even if it didn’t work out very well, received very necessary skills and grew one step, no doubt.
Well done!!!

Non-traditional drawing techniques for older preschoolers.

Crumpled paper drawing technique.

Alekseeva Anastasia Igorevna, social teacher MBDOU No. 20, Vladimir
Purpose:drawing can be used as interior decoration. This master class is intended for kindergarten teachers, parents and children. Children are 5-7 years old.

Target:introducing children to the technique of drawing with crumpled paper.
Tasks:
- Development of creative abilities in preschool children;
- To develop respect for nature;
- Development of attention, thinking and taste;
- Education of accuracy.
Material:sheets of paper, gouache, brushes, jars of water.

Drawing with crumpled paper is a very entertaining drawing technique that gives room for imagination and freedom for small hands. Even the process of preparing for the lesson is exciting. Paper lumps, with which the work will actually be carried out, children can be happy to knead themselves.

Stages of work:

1. We take several sheets of paper and crumple into lumps.

2. Having previously applied water to a sheet of paper, we begin to set the background.

3. We dip the lumps into the plates with paint and press the lumps to a sheet of paper, leaving prints in the form of clouds and grass. You can draw the outlines of the desired image in advance, and then seal it.

4. We dip the lumps in red paint and leave marks on paper in the form of poppies.

5. We give a contour to the blades of grass in the field.

6. We finish our work.

Work is ready!

Natalia Mitrofanova

Synopsis of directly educational activities using non-traditional technology

Non-traditional techniques: crumpling and wrinkled paper impression.

Target: To teach with the help of technical reception to transfer the invoice.

means of expression: spot, texture, color.

Materials: a saucer or a plastic box, in which an ink pad made of thin foam rubber soaked with gouache, thick paper of any color and size, crumpled paper is enclosed.

Method of obtaining an image: the child presses the crumpled paper to the ink pad and makes an impression on the paper.

Educational:

Continue to acquaint with the non-traditional visual technique of drawing with an impression of crumpled paper;

Practice typing techniques

Expand the vocabulary of children, develop related speech;

Strengthen the ability to navigate on a sheet of paper.

Developing:

Develop the ability to use the accumulated knowledge in a conversation;

Expand knowledge about animals;

Develop visual and auditory attention, fine motor skills.

Educational:

Cultivate accuracy;

Cultivate responsiveness and the ability to listen to each other;

Cultivate respect for animals.

Preliminary work:

Examining illustrations;

Working with tactile boards;

Guessing and inventing riddles;

Learning and memorizing models;

Didactic games "Who lives in the house?", "Who eats what?".

Methodical methods:

Riddles;

Reading the story of E. Charushin "Hedgehog";

Partial demonstration of hedgehog image techniques;

Using simulation;

Drawing analysis.

GCD progress:

riddle for children.

He lives in a dense forest.

He himself is round and prickly.

Guess who is this?

Well, of course it is ... (hedgehog)

Learn this riddle with your children.

Read the story: E. Charushina "Hedgehog".

“The guys walked through the forest, found a hedgehog under a bush. He curled up in fear himself. Try - take it with your hands - everywhere the needles stick out. They rolled him up in a hat and brought him home. They put it on the floor, put the milk in a saucer. And the hedgehog lies in a ball and does not move. Here he lay for an hour and another hour. Then a black black nose crawled out of the thorns and moved. What does it smell delicious?

The hedgehog turned around, saw milk and began to drink it. He ate and curled up again. And then the guys did something else, gaped, the hedgehog ran back to his forest.

Consider a picture or sample.

Clarify the name of the body parts (torso, head, nose, eyes, etc.). Invite the children to draw the same hedgehog that the guys found. We will draw guys, with a lump of crumpled paper.

Zha - Zha - Zha, we will draw a hedgehog.

What do you think is the best way to start drawing a hedgehog?

From the torso

What form is it?

Oval.

Refine color.

What color is the hedgehog?

Grey, brown.

And the head? What form?

Triangular.

During the work of children, the teacher observes their activities, helps with words and partial display on a separate sheet, what the child does not succeed. Encourages further action.

Physical education minute: "Hedgehog with hedgehogs"

Educator Children

Under a huge pine tree

In the clearing in the forest

A pile of leaves where it lies

Hedgehog with hedgehogs runs.

We'll take a look around

Let's sit on the stumps.

And then we'll all dance together,

This is how we wave our hands.

Waved, circled

And hurried home.

G. Utrbin

Children - hedgehogs run after the teacher - a hedgehog.

Making head turns

to the side, squat.

The children are spinning

and wave their hands

Run away to their places

After a pause, children draw with a thin brush in black gouache the eyes, nose, ears of a hedgehog.

Children answer...

Educator: - Right ears, paws, nose and eyes.

If the child believes that he has done everything, offer to do some more details imperceptibly for him, asking the child leading questions: (What is your hedgehog doing, Where is it going, Or maybe it is carrying something? Etc.).

Reflection.

Did you guys like drawing today? Who are we drawing? What animal? Praise yourself, pat yourself on the head and say: "I'm good, I'm smart." Now praise your friends. Stroke each other. Hug each other.

Outcome: The hedgehog is very happy and thanks the guys. He liked all the works, one better than the other.

Ekaterina Luchkina

The master The class is intended for kindergarten teachers, parents and children. Children are 5-7 years old.

Target: introducing children to technology drawing on crumpled paper.

Tasks:

Develop fine motor skills.

Development of creative abilities in preschool children;

Cultivate respect for nature;

Development of attention, thinking and taste;

Cultivate accuracy when working with paints

To work you will need:

Watercolor paints

The brush is soft (number of your choice)

Sheet A4 paper

jar of water

Sheet crumple paper but be careful not to break it.

Then we spread the sheet on the table with our palms

Getting Started painting with paints. We need watercolor, because it requires a lot of water, unlike gouache. A lot of water is required for this work.

On the brush you need to take a lot of water and a lot of paint. Their excess will drain into the folds. And after drying, the folds will become brighter and more beautiful. Gradually, detail by detail, we draw a mountain landscape.

Work is ready! Try it with the kids, I hope they enjoy it!

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Usually we draw with paints on a smooth, even sheet of drawing paper. This is ideal. But the fact that it should be smooth, even, that's for sure. But no! On crumpled paper, you can draw the same. Moreover, an unusual effect is obtained. There is an imitation of cracks. As if the picture was drawn several centuries ago and the paint on it is cracked. Working in this technique with my pupils is what we call “old paintings”. How does it work? This will be discussed in this master class.

To draw on crumpled paper you will need:

Thin sheet (such as xerox paper)
- watercolor paints
- soft brush (number to your taste, which one you prefer to draw)
- a jar of water, graphite pencil (simple)
- eraser

How to draw crumpled paper

For work, we need thin paper, because. we will need to crush it. And this is difficult to do with a dense Whatman sheet. When crushed, whatman paper can crack and tear. And we don't need it. Xerox paper is ideal for this job. And the writing pad is too thin. But, as an option, you can conduct an experiment with a child: try to work in this technique on different types of paper (writing, xerox, drawing paper, watercolor, cardboard). And make a conclusion which paper is best suited for this technique. Thus, the child will also get acquainted with various types of paper.

On a sheet of paper with a simple pencil, we draw a drawing. The drawing should consist of large details. Small in this technique will be very difficult to perform in color.

We crumple the sheet. We crumple, not fold. But be careful not to break it.

We smooth the sheet on the table with our palms.

Let's start painting with paints. Watercolor is suitable, because it requires a lot of water, unlike, for example, gouache. A lot of water is required for this work.

Gradually, detail by detail, we paint the picture. On the brush you need to take a lot of water and a lot of paint. Their excess will drain into the folds. And after drying, the folds will become brighter compared to other places. This is how cracks are created. We painted this work all over with paints, i.e. left no white space. There is another option.

The initial stages: pencil drawing, crumpling are performed in the same way. But in color we draw a little differently. We take a lot of paint on the brush, and less water. When painting on the brush, do not press hard, paint superficially. Thus, white unpainted areas will remain.

You can choose any subjects for such drawings.

After the works have dried, it is desirable to frame them. To do this, we cut strips of thick paper 2-3 cm wide. And paste them along the edge of the work.

We suggest you try it with a butterfly. Enjoy your joint creativity with children!