Drawing a crumpled sheet of paper. Original drawing techniques and techniques

Elena Panina

Target: introduce children to non-traditional technique drawing: crumpled paper drawing.

Tasks: develop Creative skills, interest in drawing develop imagination, thinking, fine motor skills and hand coordination. Develop aesthetic perception, fantasy. Cultivate independence, activity and accuracy in work.

crumpled paper drawing- it is very interesting and unusual drawing technique. It gives kids a lot of room for imagination and great gymnastics for children's hands and fingers.

Even the process of preparing for the lesson becomes unusual, interesting and exciting.

Cooking paper lumps is a fascinating action and children can easily and with pleasure cope with it themselves.

After you have prepared all the accessories for occupation: paints, jars, paper, containers in which you can dilute paints, brushes, rags. It is necessary to think over the details of the future drawing. Try to reproduce the drawing.

The most important thing in this kind of creativity is fantasy. It depends on the imagination how the final result of the drawing will look like.

Discussing the upcoming work, the children and I discuss the small and large details of the drawing, which means paper we need lumps of large and small sizes. Accordingly, the prints from them will vary in size.

As a result looms invented by children painting:

In our work we use brushes to draw or add elements of the picture. Therefore, the drawings turned out to be combined.

Now let's take a look at some of our work:

So we got to know non-traditional drawing technique -"crumpled paper".

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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. Let's make a drawing crumpled sheet paper, cardboard, with analysis of 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 planes and edges of crumpled cardboard, smaller breaks and planes can be distinguished.

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 stroke - stroke you have already learned to lie 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:

Like this soft material, in this case, you can draw a crumpled sheet of paper with charcoal. 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 the paper stretched over the flatbed 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's hard, especially at the beginning, create such dark shadows with this position of the hand. I permit you to take a pencil for this very purpose, so to speak " natively", as you write, and put a stroke of such power as this shadow deserves. But in moderation, 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!!!

Today we have prepared for you an unusual master class in drawing. Everyone is accustomed to using, as a rule, only new materials for creativity. Our children are even more conservative in this, a painted or crumpled sheet, in their opinion, is considered unsuitable and is put aside.

And let's try to break both our own and children's stereotypes and try draw on crumpled paper. But where can I get it, suitable for drawing and at the same time beautifully rumpled? Now we are going to do this with you. It is better if an adult does this work himself for small child, older children, starting from the age of 5, can cope with such work, but it is better to carry it out under the supervision of their parents, so that there is an opportunity to help and control the process.

We prepare materials: album sheet, water, brush, paints and napkins.

Let's prepare our sheet. Wet a napkin and wipe the album sheet with it. Without waiting for the water to dry, we begin to gradually crumple and crumple the sheet. We try to do this carefully so as not to tear the paper.

We straighten the sheet and while it is still damp, its surface has become uneven and perhaps even rough, and while it is still damp, we begin to draw whatever we want. Works made on such a sheet of paper look completely different than on a smooth background. Using shading with water, you can achieve very unusual effects.

You can create a backdrop for the future artistic work along with the paper aging process. To do this, wet the sheet with a napkin or brush, apply a few color spots and crumple the paper until it has time to dry.

An unusual relief with color transitions is ready to become the basis of the future drawing.

Our gallery

The drawing master class is intended for classes with children in art studios and in fine art classes. You can work in this technique both from nature and from memory. Images of trees, leaves, vegetables and flowers look advantageous.

Purpose: performance of competitive work fine arts on the theme "Mirror of Nature", which in the future will become a wonderful decoration for the interior of the room.

For work we need:

• A3 paper (for the first time you can take A4). I advise you to try on paper of different textures. To get started, you can take a regular landscape sheet
• Watercolor;
• Palette;
• Squirrel or kolinsky brushes (set);
• A jar of water.

Progress:

1. With a pencil on smooth dry paper, you need to sketch the selected object. Gotta try to work thin lines- cobwebs, and if there is such a need to use an eraser - do it carefully, without damaging the texture of the paper.

2. The sheet with the finished pencil sketch must be crumpled, crumpled with the image inside, so as not to damage the surface of the drawing and not to stain it.

3. Gently spread the crumpled sheet of paper on the table with your hands.

4. It is necessary to decide in advance on colors future work. I suggest using a limited palette. The color of the future work will be cold, respectively, the colors will prevail: purple, blue, lilac, blue. Start painting with light tones, gradually moving towards darker and more saturated ones. It is better to work on slightly dampened paper, so the colors will smoothly merge with each other according to your idea. It is necessary to wet the fragment of the picture that is to be done next.

5. If necessary, you can return to the elements of the picture already made in color to enhance chiaroscuro and add various shades. By working with a limited number of colors, we concentrate on creating a three-dimensional image, rather than racking our brains over choosing a color.

6. In order to highlight the center of the composition, it is necessary to make the background in calmer cold colors. Work out the cores of the flowers with warm colors using the “poke” method, with color enhancement in the center.

7. Alternately paint over the leaves of crocuses. All shades are suitable for drawing leaves. Green colour and some cold notes. You can use 2 techniques: drawing on pre-wetted paper, and part of the drawing on dry paper. On the leaves of crocuses, I decided to make dew drops. To do this, you must leave these places unpainted.

8. To create aerial perspective you need to work out the flowers in the foreground more carefully. While working, do not forget about chiaroscuro. Therefore, from the shadow side of the future dew drops, we draw falling shadows. During the work in color, the paint flows interestingly into the created "cracks", creating a beautiful craquelure.

9. It's time to complete the color of the water droplets. To do this, from the shadow side, using a gently emerald color, draw a shadow on the drop itself. Attention! The contours of the drop are left unpainted.

On the illuminated side, we show reflections of purple and golden color. Glare is left untouched.

10.Now the drawing must be dried and ironed with reverse side with the help of an iron.

The work is ready. Many cracks allegedly formed on the surface, the picture is similar to the paintings of artists of the last century.

Thank you for your attention! All new creative victories!

Among the various drawing techniques, one stands out, rather unusual - drawing with crumpled paper. This technique attracts attention with its simplicity and uniqueness. And it is also accessible to small children, although it deserves special attention and experienced artists.

Benefits of drawing with paper

This method of drawing is very simple, because the paper can be crumpled into a ball Small child. In addition, kids really like this activity, so why not turn it into a useful game.

Any paints are suitable for this type of creativity, but gouache or watercolor is better, of course. They must be diluted with water, which the kids will also do with pleasure.

The most important advantage of this method is that drawing with crumpled paper contributes to the development and manifestation of children's imagination. After all, each stroke-stroke of paper will be unusual, unlike the next one. And in each of them the child will see completely different things.

Technique

In order to create a small masterpiece, you do not need a lot of material and effort. The simplest and most accessible materials are enough to get started.

Before starting work, it is necessary to prepare a sheet of paper where a drawing will be created, paints and containers in which they can be diluted with water. It is also worth preparing several napkins, from which it is necessary to create arbitrary lumps. If the drawing is combined, that is, combine the usual drawing technique and drawing with crumpled paper, you should prepare a brush.

After all the preparations, it is worth considering the details of the future drawing and trying to reproduce them. The most important thing in this kind of creativity is fantasy. It depends on her how the final result of the work will look like.

Care must be taken to keep the paper wads different size and degree of compression. Then the imprints that will remain will turn into a wide variety of shapes. It is safe to say that this is the most light machinery. Drawing with crumpled paper will turn an ordinary thing into an exciting activity.

How to create a painting?

To start creating, you need to prepare paints. To do this, they are bred in specially prepared containers with a small amount of water. It is worth remembering that what more water, the lighter the tone of the selected color, and vice versa.

The second step is the preparation of "lumps" of paper. It is advisable to make them in advance from a paper napkin or other. It is not advisable to take newspaper sheets- prints of black printing ink may remain on the figure.

When everything is ready, you can safely start drawing with crumpled paper. A master class for a child can be shown by an adult so that the principle of creating a drawing becomes clear. But since this is one of the simple and affordable types of creativity, learning is fun and exciting.

Undoubtedly, in order to get a full-fledged drawing, it is necessary to draw some lines or backgrounds with a brush - be it the sky, grass, or animal body parts.

Crumpled paper makes excellent clouds, the sun, the torso of various animals. The list is endless, the main thing is fantasy, yours and your child's.