Sequence of drawing geometric shapes. Drawing geometric shapes

It's very easy, but it's far from true. To depict volume and shadow, you need skill and accuracy in your work. Let's look at how to draw a cylinder with a pencil.

First option

There are many options for drawing with a pencil, we will analyze one of them step by step. To work you will need a pencil, preferably medium soft, an eraser and a sheet of white paper, you can take A4 format.

Progress:

Draw two parallel lines. At the top and bottom, connect the segments with ovals. Since this is a drawing lesson, do not use any rulers, try to place your hand right away, so that in the future it will be easier to draw various objects.
Make two perpendicular lines in the upper oval, and from the middle draw a line down.
Also draw two lines below.
Outline the outline more brightly and proceed to the shadow.
Choose right side for a darker shade, the left side of the cylinder will remain white. The shadow must be applied carefully, shading the pencil. The shade should change very smoothly.
Draw the shadow of the cylinder. Since it is darker on the right, we depict it from the front.
There is no exact length, since different time day, the length of the shadow from objects is not the same.
IN in this case take about a third of the height of the cylinder. Draw two parallel diagonal segments and connect their vertices.
Paint over the shadow.

The work is ready. This is one of the most simple options, since we did not use perspective and depicted only one cylinder.

Second option

In this master class we will look at how to draw a cylinder with a pencil at a more professional level, so if you are unsure of your abilities, it is better not to take on the job. And also this graphics technique is not suitable for small children.

To work you will need:

paper, and for beginning artists it is better to purchase a special medium-grain paper, which is much more pleasant to draw on;
several pencils with to varying degrees hardness;
eraser;
a stick to rub the shading (you can just roll the paper into a cone and rub it with it).

Advice before starting to create: create a sketch with thick strokes, as they are easier to erase later.

Let's move on to the work itself, how to draw a cylinder step by step:

Mark a sheet of paper. This is necessary to correctly determine the location of the figure.
We make markings. To do this, draw two vertical lines by hand, lightly pressing the pencil. Then two horizontal ones - top and bottom to connect the rectangle.
Next we draw a pair of ellipses (bottom and top) - this is the base of the cylinder. To make them the correct shape, you should mark two points at the same distance from the center of the top and bottom lines in both directions, and then draw a figure.
Let's move on to toning. Let's assume that the light source is located at the top right. And, starting from this, we will draw the brightest and darkest places.
The darkest part will be the front side, just to the left of center. Now we move on to shading, it is desirable that the strokes repeat the shape of the object.
All that remains is to draw the shadow of the cylinder, let’s make it small and in the form of a cone mirrored from the cylinder.

The work is ready. To hide the brightness of the shading, take a rubbing stick or paper and smoothly move with small movements across the sheet until we achieve the desired effect.

The best way to hone your skills is by drawing real object, so it makes more sense to take some item as a base. In the shape of a cylinder there are many things around you, such as a glass.

Multiple cylinders

Now let's look at how to draw a cylinder with a pencil with a shadow if we want to display several objects at once.

Step by step drawing:

Draw two anchor points.
Step back a certain distance and draw an ellipse.
Now draw two vertical lines up and draw an ellipse there too.
Erase the extra bottom line, you will get a kind of saucepan.
Now place two parallel points behind the figure.
Draw an ellipse and two lines down from it, one line only to the first figure, and the second to the desired length.
Draw a bottom curved line to close the second shape.
Draw the third cylinder on the other side in the same way.
Now we draw the shadow. It will be on the right, so on all figures we paint the right side with denser shading.
Using small strokes in the form of a rectangle from the beginning of the curved line, draw the shadow of objects on the surface.

Your work is ready. We looked at how to draw a cylinder with a shadow, with several elements in the picture.

Using the same principle, you can draw many turrets at your discretion, the main thing is not to use a ruler and not go into the first figures, so that the work turns out to be three-dimensional.

Drawing a cylinder on the table

Now let's look at how to draw a cylinder with an environment. To draw everything correctly, take a real object and place it on the table. And adjust the light so that the shadow falls beautifully on the table, but is not too short or long.

The most accurate drawing can be made on a tablet by stretching a sheet of paper over it. The suitable size of this device is 30 by 40 cm.

Let's move on to the process of creating a drawing:

Decide on the location of the figure and draw “invisible lines” for the future cylinder.
Construct a cylinder by first drawing two parallel lines, then an ellipse at the top and bottom.
"Invisible lines" will also be required for correct location light and shadow. Draw invisible edges on the front side of the cylinder so that you understand which areas will be darker and which will be lighter.
Hatching is done according to the shape of the figure, in small lines, so that later it is easier to smudge the strokes.
Fill in the pre-drawn shadow. It should be darker.
Now you need to draw the plane of the table and the back wall. Moreover, the back wall will be darker than the table, but lighter than the main shadow of the figure.

Thus, you can draw a three-dimensional figure very carefully and slowly. It doesn't have to be a cylinder; you can take a sphere or a cube.

How to draw a composition with several objects

To practice your skill, use several figures at once. A cube is a good place to start, and place a cylinder on top of it. Adjust the light so that the shadow falls beautifully on the table and start drawing.

How to draw a cylinder and cube with a pencil:

Since we will have a cube below, we first draw it on a sheet of paper. To draw it correctly, first draw the front square, and then diagonal lines to add volume. Connect the lines at the back, then erase the extra edges.
Now let's draw a cylinder. The process of recreating it is no different from previous options, since a cube is also a flat plane.
Once you have positioned the shapes, erase the extra edges.
Let's move on to the shadows. Since we have a pyramid in our drawing, they will have one common shadow in the shape of a tower.
Draw the front shadows on the figures according to how the light falls on you.
Finish with the back wall and table.

Such compositions can be made in a variety of ways depending on your desire. Once you have mastered the art of drawing geometric shapes, you will be able to draw more complex objects or compositions.

To understand how to draw a cylinder correctly, it is better to take a real object as a basis, adjusting the lighting in advance.
It is more convenient to draw on a tablet, since the sheet will not slide.
Use pencils with varying degrees of hardness.
Take your time when completing the elements, and if something doesn’t work out, don’t be afraid to start over.

Before the lesson, it is imperative to watch the film “Drawing a still life from geometric bodies from life” in order to observe the progress of drawing. The film (video fragments 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 a geometric body;
develop Creative skills and skills in working with a simple pencil.

Lesson objectives:

Cognitive:

Expand your understanding of linear drawing and expressive features.
Develop skills and knowledge of graphic material. Give an idea of the line (remind).
Improve knowledge about compositional solution Images.

Educational:

Develop the ability to analyze the shape of objects.
Master the laws of visual literacy.
Form spatial thinking.

Educators:

Develop attention, observation and perseverance.

Materials for the lesson:

For the teacher: plaster geometric bodies, pencil and a computer with a projector, the film “Drawing a still life from geometric bodies from life.”
For students: workbooks for terms in fine arts, pencils, eraser, A4 drawing paper.

Design of the board for the lesson: Screen. Drawings from previous years.

Exercise: Viewing fragments of the film, “Constructing a still life from geometric bodies from life.”

FIRST LESSON

Lesson plan:

Organizational part.
Announcement of the topic.
Watching fragments of the lesson film.
Practical work.
Mini-exhibition and brief analysis.
Homework assignment.

During the classes.

Organizational part.

Greetings. Checking students' readiness for the lesson. On the table is a checkered notebook, A4 format, set simple pencils, eraser. On the board there is a screen and drawings from previous years.

Announcement of the topic.

Guys, look at the performance. You see a group of geometric bodies. Which ones?

Cube, cone and cylinder. What genre can this group of bodies be classified into? Still life. Who will define still life? Still life is a painting with 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.

Viewing fragments of the film.

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

Practical work.

In class you need to solve these tasks:

All objects are depicted as if they were transparent or made of wire. To do this, those faces and edges that are invisible in nature are drawn. We check the lower base of the cube and the lower base of the prism described around the cylinder to ensure that the cube does not penetrate into the cylinder.

Mini-exhibition and brief analysis.

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

Homework assignment.

Make a still life from three matchboxes and make a linear sketch. The boxes seem to be transparent. Show the invisible edges of the boxes in the picture.

SECOND LESSON

Target: The solution in still life drawing is chiaroscuro.

Tasks:

Convey in the drawing the light-and-shadow relationships corresponding to the relationships in nature.
Pay attention to glare, light, penumbra, shadow, reflex, falling shadow.

Lesson plan.

Organizational part.
Announcement of the topic.
Viewing fragments of the film.
Practical work.
Exhibition and evaluation of works.

During the classes.

Organizational part.

Greetings. Checking readiness for the lesson.

Announcement of the topic.

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

Viewing fragments of the film.

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

Practical work.

The tonal elaboration of the drawing begins with a clear definition and delineation of the boundaries of its own shadow and falling shadows in the images of objects. In this case, areas of dark tone are first created, then medium and, finally, light tones.

Take soft pencil 3B 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 its 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 then around the cylinder. We enhance the tone near the boundaries of light and shadow, and this is on the edge of the cube and the base of the cylinder. We easily apply shading of the falling shadow from the cube on the cylinder according to the shape.

We are working on light and dark colors on a cone. You can clearly see how the shadow intensifies towards the top and weakens towards the base of the cone. Strokes must be applied according to the shape.

In the upper, near corner of the cube, increase the pressure on the pencil when shading the shadow edge. 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 visible in the shadow of the base of the cylinder.

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

Shadows cast by objects on a gray horizontal plane are hardly noticeable, so they need to be indicated by light shading. These shadows will help “tie” objects to the table surface.

Exhibition and evaluation of works.

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

MBOUDO Irkutsk CDT

Toolkit

Drawing of geometric bodies

Additional education teacher

Kuznetsova Larisa Ivanovna

Irkutsk 2016

Explanatory note

This manual “Drawing of Geometric Solids” is intended for teachers working with children school age. From 7 to 17 years. Can be used both when working in additional education, and in the drawing course at school. The manual is compiled on the basis of the author's teaching aid"Drawing of geometric solids" intended for first-year students of the specialty Arts and Crafts and Folk Crafts and Design (not published).

Drawing of geometric bodies is introductory material when teaching drawing. The introduction reveals the terms and concepts used in drawing, the concepts of perspective, and the order of drawing work. Using the material presented, you can study the required material, teach children, analyze them 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 life is to instill in children the basics of visual literacy, teaching them to realistically depict nature, i.e., understanding and depicting a three-dimensional shape on the plane of a sheet. The main form of training is drawing from a still nature. He teaches to convey correctly visible objects, their features, properties, gives children the necessary theoretical knowledge and practical skills.

Objectives of learning drawing from life:

Instill the skills of consistent work on a drawing according to the principle: from general to specific

Introduce the basics of observational, i.e. visual perspective, the concept of light and shadow relationships

Develop technical drawing skills.

In drawing classes, work is carried out to develop a set of qualities necessary for an artist:

- "position of the eye"

Development of “steady hand”

The ability to “see completely”

The ability to observe and remember what you see

The sharpness and accuracy of the eye gauge, etc.

This manual examines in detail one of the first topics of drawing from life - “Drawing of geometric bodies”, allowing you to study in detail the shape, proportions, structural structure, spatial relationships, perspective reductions of geometric bodies and the transfer of their volume using light-and-shadow relationships. Are being considered learning objectives– layout on a sheet of paper; construction of objects, transfer of proportions; from end-to-end drawing to the transmission of volume in tone, the shape of objects to reveal light, penumbra, shadow, reflex, glare, and a complete tonal solution.

Introduction

Drawing from life

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

The laws and rules of drawing are learned as a result of a conscious attitude towards working from life. Every touch of pencil to paper must be thought out and justified by a feeling and understanding of the real form.

An educational drawing should perhaps give a more complete idea of nature, its shape, plasticity, proportions and structure. It should be considered, first of all, as a cognitive moment in learning. In addition, it is necessary to know the characteristics of our visual perception. 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 as acute or obtuse, a circle sometimes looks like an ellipse; a pencil is larger than a house, and so on.

Perspective not only explains the mentioned optical phenomena, but also equips the painter with techniques for spatially depicting objects in all rotations, positions, as well as at various degrees of distance 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 appearance, the external outlines of the object.

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

For a better understanding of the form, before starting to draw, it is necessary to consider the nature with various sides. The painter is advised to observe the form from different 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 life, which is more complex in its design.

By design, or structure, an object is meant mutual arrangement and the connection of its parts. The concept of “design” is applicable to all objects created by nature and human hands, starting with the simplest household items and ending complex shapes. The drawer must be able to find patterns in the structure of objects and understand their shape.

This ability develops gradually in the process of drawing from life. The study of geometric bodies and objects that are close to them in their form, and then objects that are more complex in their structure, obliges those who draw to consciously approach drawing and to identify the nature of the design of the depicted nature. So, a lid seems to consist of a spherical and cylindrical neck, a funnel is a truncated cone, etc.

Line

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

It can be flat and monotonous. In this form, it mainly has an auxiliary purpose (this is placing a drawing on a sheet of paper, sketching the general outline of nature, indicating proportions, etc.).

The line can also have a spatial character, which the drawer masters as he studies the form under lighting and environmental conditions. The essence and meaning of a spatial line is most easily understood by observing the master’s pencil in the process of his work: the line either strengthens or weakens or disappears completely, merging with environment; then it appears again and sounds with all the power of a pencil.

Beginning draftsmen, not understanding that a line in a drawing is the result of complex work on a form, usually resort to a flat and monotonous line. Such a line, which outlines the edges of figures, stones and trees with equal indifference, conveys neither form, nor light, nor space. Having absolutely no understanding of the issues of spatial drawing, such draftsmen pay attention, first of all, to the external outlines of an object, trying to mechanically copy it in order to then fill the contour with random spots of light and shadow.

But the flat line in art has its purpose. It is used in decorative paintings, wall paintings, mosaics, stained glass, easel and book graphics, poster - 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 makes it possible to convey the image in a general way.

Profound difference between plane and spatial lines must be learned from the very beginning, so that in the future there will be no mixing of these different elements of the drawing.

Beginning draftsmen have another characteristic feature of drawing lines. They put too much pressure on the pencil. When the teacher demonstrates light line drawing techniques with their hand, they trace the lines with increased pressure. It is necessary to wean from this from the very first days bad habit. The requirement to draw with light, “airy” lines can be explained by the fact that at the beginning of the drawing we inevitably change or move something. And by erasing lines drawn with strong pressure, we spoil the paper. And, more often than not, a noticeable mark remains. The drawing looks untidy.

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

Proportions

A sense of proportion is one of the main elements in the drawing process. Maintaining proportions is important not only in drawing from life, but also in decorative drawing, for example, for ornament, applique, etc.

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

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

If you divide a sheet into two equal halves, the bottom 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 is made larger in the typographic font. This is the case with the number 8. This phenomenon is well known to architects; it is also necessary in the work of an artist.

Since ancient times, great importance has been attached to instilling in the artist a sense of proportion and the ability to accurately measure values by eye. Leonardo da Vinci paid a lot of attention to this issue. He recommended games and entertainment that he invented: for example, he advised sticking a cane into the ground and, at a given distance, try to determine how many times the size of the cane fits within this distance.

Perspective

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

Square perspective

a – frontal position, b – at a random angle. P – central vanishing point.

Lines receding into the depth of the drawing appear to converge at a vanishing point. Vanishing points are located 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 lying below the horizon line, we see their upper surface. The lower the circle, the wider it seems to us.

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

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

Perspective of a cube and parallelepiped.

P is the vanishing point lying on the horizon line.

Chiaroscuro. Tone. Tonal relationships

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

This is how the concept of chiaroscuro arises.

Chiaroscuro presupposes a specific light source and predominantly the same light color of the illuminated object.

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

In order of decreasing light intensity, all light shades can be conventionally arranged in the following sequence, starting with the lightest: highlight, light, halftone, reflex, own shadow, falling 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 is faceted, then even with a minimal difference in the aperture ratio of the surfaces, their boundaries will be definite (see illustration of a cube).

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 talked about chiaroscuro of equally colored objects. The means of this chiaroscuro were limited to the second half of the 19th century century in the transfer of illuminated plaster casts and nude models.

At the end XIX and early XX centuries, during the period of development of a deeper understanding of color, painterly demands began to be placed on drawing.

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

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

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

In a drawing it is impossible to “fully” convey the brightness of the flame and deep shadows on black velvet, since the tonal differences between pencil and paper are much smaller. But the artist must convey all the various tonal relationships using modest means of drawing. To do this, take the darkest thing in the depicted object or still life in full force pencil, and the paper remains the lightest. He places all other shadow gradations in tonal relationships between these extremes.

Drawers need to practice developing the ability to subtly distinguish gradations of lightness in full-scale productions. You need to learn to pick up small tonal differences. Having determined where there will be one or two lightest places and one or two darkest places, we must take into account visual possibilities materials.

When completing training assignments, you must comply proportional dependence between the aperture ratio of several places in nature and the corresponding several parts of the drawing. 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 relationships. In the process of drawing, you need to compare 2 - 3 areas in terms of lightness in nature with the corresponding places in the image. After applying the desired tones, it is recommended to check.

Drawing Sequence

Modern drawing techniques provide for the 3 most general stages of working on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and definition general forms; 2) plastic modeling of the form with chiaroscuro and detailed characterization of nature; 3) summing up. In addition, each drawing, depending on the tasks and duration, may have more or fewer overall stages, and each stage may also include smaller drawing stages.

Let's take a closer look at these stages of working on a drawing.

1). The work begins with the compositional placement of the image on a sheet of paper. You need to examine the nature from all sides and determine from which point of view it is more effective to place the image on the plane. The painter must familiarize himself with the nature and mark it characteristics, understand its structure. The image is outlined with light strokes.

When starting a drawing, first of all, they determine the ratio of the height and width of the model, after which they proceed to determine 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 disrupted.

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 basic, generalized nature is revealed large shape. If this is a group of objects, you need to equate them to a single figure - generalize.

Having completed the compositional placement of the image on a sheet of paper, the basic proportions are established. In order not to be mistaken in proportions, you should first determine the ratio of large quantities, and then select the smallest ones from them. The teacher’s task is to teach how to separate the important 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 general spot, and the details disappear.

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

When drawing, it is necessary to clearly understand the spatial arrangement of objects and the three-dimensionality of their structural structure, since otherwise the image will be flat.

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

After choosing a point of view in the drawing, a horizon line is drawn, which is at the eye level of the person drawing. You can mark the horizon line at any height of the sheet. This depends on the inclusion in the composition of objects or parts thereof that are located above or below the eyes of the painter. For objects located below the horizon, their upper surfaces are depicted in the figure, and for objects placed above the horizon, their lower surfaces are visible.

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

When we see 2 sides of a horizontally lying square in a frontal position, the other 2 are directed to the central vanishing point. The square pattern 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 lateral vanishing points.

In perspective contractions, circles look like ellipses. This is how bodies of rotation are depicted - a cylinder, a cone. The higher or lower the horizontal circle is from the horizon line, 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 increasingly shorter as they approach the horizon.

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

The lines in the drawing depict the shape of the object. The tone in the drawing conveys light and shadows. Chiaroscuro helps to reveal the volume of an object. By constructing an image, for example 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 ball remains unchanged when rotated. It makes it difficult analytical work novice draftsman. Instead of the volume of a ball, for example, he draws a flat circle, which he then shades from the contour line. Light and shadow relationships are given as random spots - and the ball appears to be just a dirty 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, which carries the reflex, but slightly moved 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 halftone in the light.

When drawing a group setting of geometric bodies located at different distances from a light source incident on the side, one should keep 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 distance of the object from the light source. Considering this law when placing light and shadow, we should not forget the fact that close to the light source the contrasts of light and shadow intensify, and with distance they weaken.

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

3). The third stage is summing up. This is the last and most important stage of working on the drawing. At this stage, we summarize the work done: we check the general condition of the drawing, subordinating the details to the whole, and clarify the drawing in tone. It is necessary to subordinate lights and shadows, highlights, reflections and halftones to the general tone - we must strive to bring to real sound and completion the 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 advisable to return again to a fresh, original perception.

Thus, at the beginning of work, when the draftsman quickly outlines on a sheet of paper general form nature, he goes through 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 a form is quite difficult for a beginning draftsman, because the details of the form attract his attention too much. The individual, insignificant details of the subject observed by the draftsman are often obscured by complete image nature, do not make it possible to understand its structure, and, therefore, interfere with the correct depiction of nature.

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

Note: This tutorial describes an image that is quite difficult for junior schoolchildren compositions from frames of geometric bodies. It is recommended to first draw the frame of one cube, one parallelepiped or cone. Later - a composition of two geometric bodies of simple shape. 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 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) construction of frames of geometric bodies; 3) creating the effect of depth of space using different line thicknesses.

1). The first stage is the compositional placement of the image on the plane of a sheet of paper and determining the general nature of the form. Starting the drawing, determine the ratio of height and width general composition all geometric bodies in general. After which they move on to establishing the sizes 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 disrupted. The scale of the objects depicted in the drawing is also determined in advance, and not during the work. When drawing in parts, in most cases the nature either does not fit on the sheet, or turns out to be shifted up, down or to the side.

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

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 level of the drawer’s eyes. The lower it is, the wider it appears. In accordance with this, all the horizontal edges of geometric bodies and the circles of bodies of rotation look more or less wide to the painter.

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

Perspective of a parallelepiped at a random angle.

Construction of a body of rotation - a cone.

All geometric bodies are constructed in this way.

3) Third, final stage- creating the effect of depth of space using different line thicknesses. The drawer sums up the work done: checks the proportions of geometric bodies, compares their sizes, checks the general condition 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 plaster cube and a ball on one sheet. You can make a drawing on two sheets. For tasks involving cut-off modeling, illumination by a closely located lamp, spotlight, etc. is highly desirable. on one side (usually the window side).

Cube

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

The image of the cube is composed together with the falling shadow in the center of the upper half of the sheet. The scale is chosen so that the image is neither too large nor too small.

2). The second stage is building a cube.

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

Building a cube

The drawer must find out which of the side faces of the cube seems wider to him - on this face, the horizontal lines are directed towards the vanishing point of the hollower one, and the vanishing point itself is located further from the depicted object.

By constructing a cube according to the rules of perspective, we thereby prepared the boundaries for light and shadows. Examining an illuminated cube, we notice that its plane facing the light source will be the brightest, called light; the opposite plane is a shadow; halftone refers to planes that are at angles to the light source and therefore do not fully reflect it; reflex - reflected light falling on the shadow sides. The falling shadow, the contour of which is constructed according to the rules of perspective, is darker than all the surfaces of the cube.

Black and white cube modeling

You can leave the surfaces of the cube or the sheet of paper on which it stands white, illuminated directly, bright light. The remaining surfaces need to be shaded with light, transparent shading, gradually intensifying it on the light separation lines (edges of the cube where the illuminated and shadow edges meet). In order of decreasing light intensity, all light shades can be conventionally arranged in the following sequence, starting with the lightest: highlight, light, halftone, reflex, own shadow, falling shadow.

To summarize, we check the general condition of the drawing, clarifying the drawing in tone. It is necessary to subordinate lights and shadows, highlights, reflexes and halftones to the general tone, trying to return to the clarity, integrity and freshness of the first perception.

Ball

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

Construction of the ball

2). The light and shadow modeling of a ball 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, which carries the reflex, but slightly moved 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 halftone in the light. Close to the light source, the contrasts of light and shadow intensify, and 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 process of generalization begins: we check the general condition of the drawing, refining the drawing in tone. Trying again to return to the clarity, integrity and freshness of the first perception.

Topic 3. Drawing a still life 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 simple shape. Later you can move on to a more complex composition. For a task on cut-off modeling, illumination by a closely located lamp, spotlight, etc. is highly desirable. on one side (usually the window side).

3 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) construction of geometric bodies; 3) modeling of forms with tone.

1). 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 which they move on to establishing the sizes 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 basic proportions are established. In order not to make mistakes in proportions, you should first determine the ratio of large quantities, 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 level of the drawer’s eyes. The lower it is, the wider it appears. In accordance with this, all the horizontal edges of geometric bodies and the circles of bodies of rotation look more or less wide to the painter.

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

Geometric bodies can not only stand or lie on the horizontal plane of the table, but also be at a random angle in relation 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 direction of the body’s inclination, the other on a line perpendicular to it, belonging to the plane of the base of this geometric body.

3). The third stage is modeling the shape 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 bodies facing the light source will be the lightest, called light; opposite planes - shadow; halftone refers to planes that are at angles to the light source and therefore do not fully reflect it; reflex - reflected light falling on the shadow sides; and, finally, a falling shadow, the contour of which is constructed according to the rules of perspective.

The surfaces of the prisms, pyramids, or sheets of paper on which they stand, illuminated by direct, bright light, can be left white. The remaining surfaces need to be shaded with light, transparent shading, gradually intensifying it on the light separation lines (edges of geometric bodies where the illuminated and shadow edges meet). In order of decreasing light intensity, all light shades can be conventionally arranged in the following sequence, starting with the lightest: highlight, light, halftone, reflex, own shadow, falling shadow.

In a ball, light and shadow have gradual transitions, and the deepest shadow will not be on the edge of the shadow side, which carries the reflex, but slightly moved 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 halftone in the light. Close to the light source, the contrasts of light and shadow intensify, and as they move away, they weaken.

White is left with only a highlight on the ball. The remaining surfaces are covered with light and transparent shading, applying strokes to the shape of the ball and the horizontal surface on which it lies. The tone builds up 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, and as they move away, they weaken.

4). When all the details are drawn and the drawing is modeled in tone, the process of generalization begins: we check the general condition of the drawing, clarifying the drawing in tone.

It is necessary to subordinate lights and shadows, highlights, reflexes 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” vol. 2, M. “Iskusstvo” 1968

Beda G.V. “Fundamentals of visual literacy” M. “Enlightenment” 1988

“School of Fine Arts” 1-2-3, “Fine Arts” 1986

"Drawing Basics", " Brief dictionary artistic terms" - M. "Enlightenment", "Title", 1996

Additional:

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

Library " 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"Halo" 1997

Avsisyan O. A. “Nature and drawing from idea” - M., 19885

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

Applications

Topic 1. Construction of frames of geometric bodies

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

Topic 3. Drawing 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 gypsum geometric bodies: cube, ball (black and white modeling) __________________________________________ 14

Topic 3. Drawing a still life from gypsum geometric bodies (black and white modeling) __________________________________________ 17

Applications _____________________________________________________ 21

3D volumetric drawings are a new direction in street painting (graffiti). Stunning fantastic illusions under your feet, blurring the line between image and reality. No wonder this modern Art acquired so quickly wide circle fans. It is popular not only among amazed observers, but also among novice amateur artists, each of whom has probably wondered: 3D drawings. The first thing to remember here is important rule- even the most impressive masterpieces of 3D painting appeared first on paper, and only after that found their place on city streets.

To learn how to create images volumetric figures on flat surface, knowledge from school curriculum on visual geometry, and this article will help, from which you will learn how to draw 3D drawings on two types of surfaces: on paper and on asphalt.

1.Take regular sheet paper, HB pencil, eraser. On a sheet of paper, first we draw the simplest ones, 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 transform 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 a figure makes this figure visually three-dimensional. Now, using the second rule, we select the side from which the light will fall on our drawn objects. And, based on this, we begin to shade them, remembering that the side of the figure that is closer to the intended light source will be lighter than the opposite. In the process of shading we move from dark side to light. If you choose to direct the light source from the front of the drawing, then leave the middle of the subject light, gradually shading the figure evenly towards the outlines. After that, we draw the casting of shadows. Shadows from figures will always fall on the side opposite to the light.

3. Having mastered these first lessons and 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 into small equal squares with a grid. This will make it more convenient to sketch, and the grid will allow you to transfer the image from paper to asphalt as accurately as possible.

There are a few more tricks that you should remember to understand how to draw 3D drawings on asphalt:

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

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

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

When 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 be working.

It is also very important to guess the size of the occupied area, since 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!

Today, 3D drawings on paper are becoming more and more popular; you can look at them for a long time and admire them. Such masterpieces can be created not only by talented artists, but also those who are just getting acquainted with fine arts. It's never too late to learn how to draw; anyone can make spectacular 3D drawings.

The tools you need for 3D are the simplest: a pen, pencils, a marker and a piece of paper. By the way, it is best for beginners to draw using cells in a notebook, as it is much easier to draw figures this way.

It is worth noting that the image is created on paper in stages, in this case the main thing is consistency, even if simple and uncomplicated pictures are reproduced.

Many people are interested in how to draw a 3D drawing on paper with a pencil in a bright and realistic way. To do this, you should use photo instructions or videos that will clearly show all the techniques for recreating a 3D drawing.

Let's look at pencil drawings step by step for beginners. For clarity, print out the drawn images to make your task easier. Please note that the first acquaintance with 3D technology can cause mixed impressions; there is no need to rush, smooth movements and endurance are the main assistants of a novice artist.

So, let's get down to business, let's learn how to draw beautiful 3D drawings.

Butterfly

A simple diagram will help you understand how to draw amazingly with a 3D pen beautiful insect. Get acquainted with this technique and draw a miracle drawing yourself.

Step-by-step instruction:

steps

If you don’t know what exactly you can draw with a 3D pen or pencil, then start with the simplest. After all, making images look realistic is not at all so difficult, check out the photo tutorial below.

Stages of creating an image:

Bananas

It is quite simple to imitate fruits lying on the table; there is no need to use special techniques for depicting objects. You can use 3D pens and markers to create a drawing.

Drawing technique:

More detailed instructions You can see how to perform work using this technique using the example of an alien’s hand in the video (or you can use your hand, just trace your palm and fingers with a pencil, and then follow the video instructions):

Funnel

If you want to learn how to draw a simple 3D drawing on paper, use the printed sample. Using the mastered technique, you can teach your child how to draw 3D.

Step-by-step work:

Ladder

Before drawing with a 3D pen, you should try to make similar drawings with a pencil. Learning to create beautiful volumetric images together.

How to draw:

Heart

Volumetric, as if a living heart will become a great gift for a loved one. Take a pencil and marker in your hands, clearly draw the lines, highlight them and shade them. Believe me, the drawn image will be able to fully convey your feelings.

How to draw:

Video of 3d heart illusion:

Remember, imagination has no limits, create your own unique drawings, amaze everyone with your ability to create three-dimensional images.

For example, you can draw Carlson using these instructions:

Simple option:

Difficult option:

Video bonuses: 3D pen drawings

Draw a beautiful butterfly with a 3D pen:

Drawing a 3D photo frame:

Draw a bouquet of daisies with a 3D pen:

3D Snowman:

3d Christmas tree with pen: