Although the word itself has Greek roots and means “I write”, “I draw”. Nowadays, it is an independent and multifaceted species, which has its own genres and canons.
Types of graphic art
According to its purpose graphic works are divided into the following types:
- Easel graphics. As an art form it is close to painting, as it conveys the vision and emotional world of the artist. Moreover, the master achieves this not due to the diversity of the palette of colors and various techniques their application to the canvas, but with the help of lines, strokes, spots and the tone of the paper.
- Applied graphics as a type fine arts. Examples of it surround us everywhere; it has a specific purpose. For example, illustrations of books help the reader to more easily perceive its content; posters and posters convey knowledge or advertising information. This also includes product labels, brands, cartoons and many others.
Any type of fine art (graphics, pictures are no exception) begins with a sketch of the drawing. All artists use it as the first step before painting the main canvas. It is in it that a projection of the position of the painting object in space is created, which is subsequently transferred to the canvas.
Graphic drawing
Graphics as a form of fine art, types of graphics of any direction begin with a drawing, just like canvases in painting. For graphic drawings, paper is used, most often white, although variations are possible.
His main distinctive feature is the contrast of two or more colors - black, white, gray. Other types of contrasts are possible, but even if the master uses a black pencil on white paper, the shades of the strokes are rich in variety, from soft black to deep black.
Drawings in black and white with the addition of one color are emotionally strong. This attracts the eye, and the viewer's gaze is focused on a bright spot. Such graphics as a form of fine art (the photo shows this very clearly) become an associative work when a bright accent evokes personal memories in the viewer.
Graphic Design Tools
The simplest and most affordable means are graphite pencils and a regular ballpoint pen. Masters also like to use ink, charcoal, pastel, watercolor and sanguine.
Graphite pencil is the most popular instrument. This is a wooden or metal body into which either a grayish-black graphite rod is inserted, or a colored rod in which dyes are added.
They do not have a body, but their colors can be mixed to create new shades.
The ink has a rich black color, easily applies to paper, and is used for calligraphy, sketching and painting. It can be applied with a pen or brush. To receive various shades black, mascara diluted with water.
Graphics as an art form has not bypassed such a tool as coal. Charcoal was used for drawing in ancient times, and in the 19th century, artistic charcoal was created from compressed charcoal powder and adhesive materials.
Modern graphic artists also use felt-tip pens with different thicknesses of the rod.
Printed graphics
These are not all types used in printing.
Book graphics
This type of fine art includes the following:
- Book miniature. Ancient way format manuscripts, which was used back in Ancient Egypt. In the Middle Ages, the main theme of miniature paintings was religious motifs, and only from the 15th century did secular subjects begin to appear. The main materials used by miniature masters were gouache and watercolor.
- The cover design conveys the emotional message of the book, its main theme. Here the font, the size of the letters, and the design corresponding to its name should be harmonious. The cover introduces the reader not only to the author of the work, his work, but also to the publishing house and the designer himself.
- Illustrations are used as an addition to the book, helping to create visual pictures for the reader to more accurately perceive the text. This graphics as an art form originated during the time of printing, when hand-made miniatures were replaced by engravings. A person encounters illustrations in the very early childhood, when he still cannot read, but learns fairy tales and their heroes through pictures.
Book graphics as a form of fine art in preschool educational institutions is learned through illustrated books that carry information in pictures for the youngest children, and through text with explanatory images for older children.
Poster as an art form
Another representative of graphic painting is the poster. Its main function is to convey information using a short phrase with an image that enhances it. By area of application, posters are:
Poster is one of the most common types of graphics.
Applied graphics
Another view graphic art- design of labels, envelopes, stamps and covers for video and music discs.
- A label is a type of industrial graphics, the main purpose of which is to give the maximum information about the product when minimum size images. When creating a label, the color scheme is taken into account, which should evoke sympathy and trust in the product in the viewer.
- Disc covers contain maximum information about the film or music group, conveying it through the drawing.
- The graphic design of stamps and envelopes has a long history. The plots for them most often become events taking place in different countries, the world around us and big holidays. Stamps can be issued both individual copies and entire series, united by a single theme.
Stamps are perhaps the most common form of graphic art that have become collectibles.
Modern graphics
With the advent of computer technology began to develop new look graphic art - computer graphics. It is used to create and correct graphic images on the computer. Along with its emergence, new professions appeared, for example, computer graphics designer.
So, drawing. How to learn to draw game graphics and how to learn to draw in general when your maximum is this?Okay, then let's discuss this. Let me start by saying that I am not a great artist, but I persistently develop this skill in myself, drawing and staining tons of paper every day. By the way, I advise you to do the same. This is good advice. As at the beginning of any business you start, you don’t need to show yourself to be a super genius, have super equipment and immediately invest a lot of money in your development. No, my dear friend, start small, and everything else will come with time.
Therefore, first, choose the drawing style you want and just practice it. Just don't draw in all styles at once. To begin with, decide what you like and understand what styles there are. Looking at how games and their style are developing, I can say with confidence that pixel art, cartoon and comic graphics are now in fashion. And the simpler it is, the cooler it is. Who needs hyper-realistic humanoids and canons now? These are huge problems in creating a game and templates. Don't be afraid to draw a fist larger than your head and legs the size of a matchstick.
That fashion, where every pixel was drawn, played with shadows and brought to realism, is simply gone. Minimalism, simplicity and violation of proportions are what are relevant now. Look at the latest games, they have become simpler in style and no less beautiful (Overwatch, Dota2, Pixel Piracy, etc.). Oh God, you can just take it and smear yourself with this. On my own behalf I will also say that I am a big fan of this kind of graphics and how it looks. What can we say about China and the eastern countries, which cannot live without it. This is not a joke, because in fact, Chinese developers stylize their games with bright cartoon graphics, sometimes with the addition of anime. In the east there it goes with a bang, like a donut in the mouth of a fat woman.
Here are the company's games Klei Entertainment. Pay attention to the style. Do you see? He's in all the games and that's cool. This is the most important thing - to find your own style, and not to jump from one to another, like that girl who works at night for money. It seems to me that they will never fire this artist.
The same applies to other industries: advertising, television, etc. Everything now comes down to simplicity, because it is easy to perceive. People have now become very lazy and absorb everything like a sponge, and vector graphics are now gaining good momentum because of this. And yes, to draw graphics for games, you do and do not need graphics tablet. Look, the fact is that you can draw vectors and pixels with the mouse. Believe me, she's head over heels. But a tablet is relevant when you are already drawing something more or less detailed. It is most often used for detailing and texturing an object in Photoshop. I once read a book by Christopher Hart about drawing comics. You can also read a book in the style of your choice, and also redraw different pictures you like. Why? Over time, your hand and brain will remember the outline and images, and it will become easier for you in the future to come up with something new, as well as draw existing pictures in your head.
Well, I’ll probably end here, but this is not my last article. I will be glad if my experience is useful to you. By the way, you can find out more information about game development and everything related to it on my
This article will focus on drawing with a pencil. If you want to learn how to draw, but can't get started, now is the time to start learning. Take a sheet of paper, a pencil and try it :) Let's start with drawing techniques.
Pencil drawing technique
There are two main drawing techniques - shading and pencil shading.
Hatching
Using strokes (short lines) you can very successfully convey the tone of an object. Depending on the number of strokes drawn, you can get different levels tone saturation (the fewer strokes, the lighter the tone, the more strokes, the darker). By the direction of the strokes you can convey the texture of the surface of the figure. For example, horizontal strokes will convey the surface of the water well, and vertical strokes will convey the grass.
Basically, shading is done with short, straight strokes with approximately the same distance between them. The strokes are applied to the paper with a pencil torn off. First, one thin line is made, then the pencil returns to the starting line, and in this way all other strokes are applied.
Cross hatching can be used to enhance the depth of tone. For example, horizontal shading is applied to the oblique shading, darkening the tone, then on what came out, you can apply oblique shading in the direction the reverse of the first– this will darken it even more. The darkest in this case will be the tone where shading in all directions is combined.
Feathering
Shading is one of the main techniques that can be used when drawing for beginning artists. Using gradation of tone, you can add volume to your figure. In general, shading is a special case of shading. After applying the strokes, using the properties of pencil graphite and a special shading tool, they are shaded (smeared) until a uniform tone is obtained.
However, the implementation of shading itself has a number of features.
- Shading of strokes must be done along the strokes, but not across. By shading along the strokes, you will achieve a more natural toning.
- For shading, not only simple shading is used, but also zigzag strokes.
With the help of such techniques, you can depict anything on paper.
10 common mistakes that beginners make
Most people who like to draw take their first steps on their own. And even if it's just a hobby, they still make various sketches. We want to write about 10 possible errors, which all aspiring artists probably encounter.
1. Wrong pencil
If your shadows aren't coming out well, check the markings on your pencil. Most likely it is too hard. It is recommended to draw shadows with pencils marked B, 2B and 4B, but not HB.
2. Drawing from photographs
Every artist begins to draw from photographs. But very often photographs do not convey enough facial features to good drawing. When a person's face is positioned from the front, it will be difficult to correctly model their face on paper, since the perspective from behind the head disappears. Try taking a photo where the person's head is tilted slightly to the side. This way the portrait will be more realistic and with best transmission shadows
3. Wrong basic proportions
Very often, people begin to immediately pay attention to details, drawing them completely without sketching the entire drawing. This is wrong because you are not planning the correct proportions in advance. First, it is advisable to sketch out the entire drawing, and only then draw in detail the details.
4. Crooked features
We are used to looking at a person directly and aligning them when drawing. As a result, the portrait comes out quite distorted. When drawing complex objects, first try to outline guidelines along which it will be easier to build the drawing later.
5. Drawing of animals
Usually we look down at our animal. This makes the head seem larger to us than the whole body, and normal proportionality is lost. Try to distract the animal so that it turns its muzzle to the side, then the drawing will come out more truthful.
6. Strokes
If you draw each hair or blade of grass separately, the drawing will come out disgusting. Try to make sharp sketches, going from dark to light.
7. Trees
Do not try to draw trees, flowers, and leaves with the correct shapes. Use outlines and penumbra for realism.
8. Wrong paper
Before you buy paper, test it on a sample piece of something light. The paper may be too smooth and the design will be faded. Also, the paper may be too stiff and the design will be quite flat.
9. Volume
When conveying volume, try not to use clear lines for the edges. They can be outlined by light lines of different tones.
10. Shadows
Very often it is not possible to apply shadows evenly. Try to use the full color range of the pencil, going from lightest to darkest. If you are afraid to overdo it with the dark, place a piece of paper under the edge, and all the black will be on it.
At first it may seem that pencil drawings are too ordinary and dull. But with a pencil you can convey huge amount emotions.
A small selection of video channels based on pencil drawing:
From the author: If you are interested in painting, drawing, composition, and art in general, then this is the place for you! By profession I am a Painter-Monumentalist. Graduated from MGAHI named after. Surikov. On the Art Shima channel you will find videos in which I draw and paint in oils, and videos with tips. Since I know many techniques, you can feel free to ask questions, and I will be happy to answer them. By subscribing to my channel, you will be able to see all my new videos.
Interesting video lessons on any topic.
The work is more complicated, but with good description. If you really want it, it will happen.
Many aspiring artists dream of learning how to draw portraits with a pencil. This is a completely new level in creativity. Having learned to draw a portrait of a person, you can easily master watercolor technique, paint with sanguine and charcoal, as well as oil. You definitely need to start with. By confidently manipulating graphic materials, you can achieve incredible resemblance to life.
How to draw a graphic portrait
To draw it you will need:
- A tablet covered with whatman paper.
- Measuring device (ruler).
- Simple pencils of varying hardness.
- Eraser.
To depict a high-quality graphic portrait, try to reduce the use of the eraser to a minimum, as it rubs the paper, causing dirt to form on the drawing. After the materials are prepared and the sheet is stretched, we can begin to work.
Drawing a portrait
We analyze our nature, carefully study it from each side in order to understand its features and form. It is advisable to make preliminary constructive sketches in order to understand the shapes and understand them. The nature needs to be drawn from each side, this will allow you to understand its shape, study its features and each detail separately.
How to draw a graphic portrait step by step
We settle down on the spot best review, preparing materials. Nature must be static. Let's start drawing a graphic portrait step by step:
- First you need to make a layout on the sheet.
- We outline the individual parts of the image in general terms.
- We find the rotation and construction axes.
- We begin to build a shape, alternating from general to small details.
- At each of the previous stages, it is necessary to carefully compare the image with nature, check for proportional relationships of shape and perspective cuts.
- This stage is shading. After the construction is completed, you need to start applying strokes; you need to do this carefully and slowly, dividing the drawing into shadow and illuminated parts.
- We add a stroke to the shape, thereby adding volume to the portrait, but don’t forget about the generality and get hung up on one particular detail.
To make pencil portraits work, you need to analyze and understand your mistakes. Usually, beginning artists put too much pressure on the pencil due to inexperience. Because of this, the work turns out to be redrawn, that is, the lines are too sharp. The drawing should not be outlined with a black line, it should fit harmoniously into the format and convey the shapes.
Common mistakes
In trying to convey volumes, the artist gets too carried away with small details and works hard on them. As a result, the image ceases to be holistic. Even a novice artist notices this himself.
Sometimes the problem is that the artist cannot understand how the details he is trying to work out work. As a result, it is impossible to detail the image, hence the fragmentation in the drawing, and a violation of perspective relationships is also possible; many try to make the work holistic, at least through tonal elaboration. Working on a certain detail and making mistakes in it, the draftsman tries to connect it with the overall shape, applying layers of graphite one after another. And in the end he remains disappointed with the result. But to draw a high-quality portrait of a person, it is enough to study every detail well.
Analysis of shortcomings
If the artist is faced with the problems described above, then he needs to take into account the following: after constructive analysis, the forms with the help of shading have begun, and at this stage, certain doubts often begin to bother him about continuing to work on the image.
Stop analyzing tones and repeat analyzing shapes. Go over the shape with a pencil, disassemble the nature on a plane and remember its design. After such a detailed analysis, drawing becomes much easier.
Imagine in your mind which part comes from where, how the volume is formed and why this happens. This mental process helps to understand how to distribute the light and shade, what area will be immersed in the shadow, where the penumbra is located and where the light falls.
We eliminate the shortcomings step by step
If you encounter difficulties in working with the form, you should proceed as follows:
- We visually divide the form into several planes that create its volume.
- We analyze how the form is structured, then we build it using conventional planes or using construction lines; you can combine all methods together.
- If none of the methods helped, you need to summarize the drawing. It is necessary to collect all the small details together using conditional planes.
How to improve a skill
In order for your hand and eye to get used to drawing, you need to make sketches every day, which help you understand nature and improve your skill. Try to capture the volumes of nature, as well as planes and proportions. Make sketches from life regularly. You can watch TV and try to capture the pictures you see on the screen. Keep a pen and sketchbook handy at all times. Draw everything you see, take the necessary equipment and make sketches in the subway and at train stations, where there are huge crowds of people. Train the skill every day, compare ratios and volumes. To do this, you can use photographs or drawings from books. Learn to focus your attention on general shapes and don't get hung up on details. This is the only way to improve your skills.
Basics of graphic drawing.
Types of graphic drawing
In a graphic drawing, especially a linear one, thin and wide lines are also used, but their main difference is that they “live” in drawings - they are drawn by hand, “build” volume, emphasize shadows, defining the border between light and dark. A line of the same length can have different thicknesses. Using lines, the number of plans in the drawings is indicated, and there are mainly three of them. I highlight the foreground closest to us, or rather, the objects in the foreground, using a thick line.
Using a linear drawing, you can depict people, animals, landscapes, or sketch a costume. Linear drawing uses only lines of varying thickness. Light-air media are transmitted using solid, intermittent and smooth lines of varying thickness. Additionally, a stroke or spot can be used to enhance expressiveness. The linear pattern is distinguished by the transition of lines into thick spots, characteristic of the art of Japan and China. It can be made with charcoal, sauce, sanguine, soft graphite pencils! Linear drawing is especially appropriate in sketches and sketches.
In addition to the linear graphic design, one should include planar decorative (made with spots of any tone) and light-shadow volumetric (also made with the help of spots that build volume, or strokes of varying thickness). The decorative drawing is carried out sequentially, filling the stains with ink or gouache, as well as any soft materials! It is used in posters, in costume sketches, i.e. where graphic clarity is needed to identify a specific theme or form.
In a black and white drawing, the form is built using spots made with strokes, with a gradation from the darkest to the lightest.
The stroke technique has its own characteristics. The stroke is applied to the drawing in various directions, but preferably in the shape of objects, without violating the integrity of their perception, that is, the stroke should not “tear” or “split” the shape. The dashed lines can be located close to each other or far away, at any distance from one another, and the pressure of the pencil can be increased or decreased.
The black and white pattern is rich in all kinds of tone transitions; The wealth of pictorial techniques of such drawing attracted and continues to attract artists.
In addition to the linear graphic design, one should include planar decorative (made with spots of any tone) and light-shadow volumetric (also made with the help of spots that build volume, or strokes of varying thickness).
The decorative drawing is carried out sequentially, filling the stains with ink or gouache, as well as any soft materials! It is used in posters, in costume sketches, i.e. where graphic clarity is needed to identify a specific theme or form.
In a black and white drawing, the form is built using spots made with a stroke, with a gradation from the darkest to the lightest
The stroke technique has its own characteristics. The stroke is applied to the drawing in different directions, but preferably according to the shape of the objects, without violating the integrity of their perception, that is, the stroke should not “tear” or “split” the shape. The dashed lines can be located close to each other or far away, at any distance from one another, and the pressure of the pencil can be increased or decreased.
The black and white pattern is rich in all kinds of tone transitions; The wealth of pictorial techniques of such drawing attracted and continues to attract artists.
Techniques for drawing geometric bodies
When drawing the simplest objects, you need to train your hand and learn, firstly, to hold a pencil correctly and secondly, to correctly make strokes, simple and broken lines. Tonal solutions in the drawing
Working on a black and white drawing is inextricably linked with finding the right tonal solution. Even when depicting single-color plasters, we observe differences between several light penumbra and the darkness of surrounding objects. The same objects placed in the light and against the light have a different tone. By tone we mean aperture ratio.
A pencil on paper cannot convey the bright light of the sun on a white wall and deep shadows on black velvet. In drawing, smaller contrasts are possible than in nature. For the truthfulness of the image, it is necessary to correctly maintain the sequence of relationships of all tonalities of nature from the darkest to the lightest. Tones are conveyed by many gray shades, intermediate between the tone of the paper and the tone of the pencil.
By using closer tonal relationships to depict sharper contrasts in nature, you can show the sparkle of snow and the depth of shadows. Tones also change depending on the distance to the subject of the image: when moving away, they lose contrast, shadows seem lighter, bright light dimmer. This is due to insufficient air transparency.
The concept of “tone” means the transmission in a drawing not only of chiaroscuro, but also of differences in the color of objects in terms of lightness. Any mistake in tone disrupts spatial plans.
When making a tonal decision, you cannot compare the tone of any one place in the drawing with the tone of the same part of nature (such drawing “point-blank” can give rise to many errors), it is necessary to analyze several tones at once, i.e. create certain relationships between tones as in nature, so in the drawing. This helps convey the tonal scale correctly.
The distribution of light and shade on the surface of objects is conveyed using tonal transitions from light to dark: glare, light, penumbra, self-shadow, falling shadow, reflex. The lightest spot or stripe on an object is called a highlight. This is the reflection of a light source on the polished or glossy surface of an object. It differs from light in its greater lightness.
The light evenly passes into penumbra and, condensing, turns into a shadow that is located on the object. There is also a falling shadow that is cast by an object on the plane of a table, board, wall, etc. The size of the falling shadow depends on the light source, its distance to the ground or to the plane on which the object stands. Many have noticed that objects, trees, buildings that are illuminated by the sun in different times years or even days, cast their shadows differently. In winter, when the sun illuminates the trees, the houses are somewhat to the side, the shadows from the trees are long, and in the summer, when the sun is at its zenith, the shadows are short.
If objects have different textures of material, then the color tone will also be very different when comparing them. When drawing objects with different tones, it is not necessary to take black as black; it is important to observe the conventional tonal relationships taken one to another. When outlining a shadow, you need to remember that even in this case the paper should shine through, and try not to darken the drawing too much, that is, do not make the shadow black, but only darker in tone.
Checking the drawing for accuracy
While drawing, the student must constantly check his work: the correctness of the layout, the design of the construction of objects, the observance of proportions between nature and the image. In addition to the fact that the drawing during work must be set aside for checking at a distance equal to approximately three parts of the length of the size of the nature, it can be directly placed next to the nature itself and checked, comparing with nature, from the place from which the drawing began. The drawing is set aside in any direction, as long as it
To check the correctness of the drawing in another way, you can take a mirror and, placing the drawing parallel to its plane, look at your work - in the mirror you will get the opposite image, and the slightest mistakes will be clearly visible.
Drawing geometric solids and plaster vase
Drawing a cylinder standing on a horizontal plane 
Drawing a cylinder begins with the bottom base lying on the plane of the table. Since it represents an ellipse, compare the dimensions of the major and minor axes. When drawing a lying lower ellipse, it is necessary to depict it with smooth transitions. The perpendiculars of the ellipse are restored to the major axis and the height of the cylinder is noted. The upper base of the cylinder is also an ellipse, but its dimensions are reduced compared to the lower one, so it approaches the horizon line and turns into lines on it. The volumetric shape of the cylinder is emphasized by shading along the shapes, separating the falling shadows from the object. Drawing a cylinder lying on a horizontal plane
A cylinder lying on a plane can be positioned strictly frontally to the person drawing or at a random viewing angle; the frontal position is simpler, so let’s look at the position at a random viewing angle in more detail. The instability of the cylinder in this position is easily explained: it lies on the table with a round cylindrical surface, in contact with it, and it rests on one straight line - the generatrix. The cylinder is built on the basis of a rectangular prism into which it can be inscribed. The side of the base will be equal vertically to the diameter of the circle of the base of the cylinder. Having constructed the axes of symmetry, the ellipses of the bases are drawn and the cylinder is finally constructed. The stroke emphasizes the shape of the cylinder and the falling shadows.
Drawing a group of geometric solids
The first stage is to find the most successful arrangement of a group of objects on the sheet, that is, the ratio of the width and height of the entire group at once, and then each object; separately. When outlining the basic proportions of the overall composition, it is necessary to include falling shadows and the remaining voids of the sheet.
The entire drawing is done with light lines, using auxiliary lines to construct objects on a plane and in perspective reduction. They draw as if all objects are shining through one another. In a production, one object can cover another in different ways, so it is necessary to find an expressive turn from one object to another. Everyone decides the composition in their own way, with one or another subject being the main one. All transparent auxiliary faces are needed to check the position of objects in space. Having outlined the composition of the sheet, they designate the bases of objects that are located directly on the plane of the table.
The second stage includes constructive construction and elaboration of the shape of objects. Light shading applied to the penumbra, more dark tone left for shadows - their own and falling ones. To better identify white plaster, mark the background of the wall, board or table. The illuminated part of the plaster is left white, unshaded.
At the third stage of drawing, they continue to work on chiaroscuro, identifying all the halftones and reflections, generalizing, if possible, some parts. At the same time, you need to look in front of you in space at the entire production at once, covering more shadows, leaving in reserve the strength of tone for the final completion of the work.
The fourth stage is the generalization of the drawing, its final revision. At this stage, it is already difficult to correct anything in the constructive structure, therefore, they mainly check the strength of the tonal relationships of the drawing and staging, the subordination of minor details in tone to the whole, i.e. they work only with chiaroscuro. Since it is impossible to rebuild the design of objects again or correct their position in space and relative to each other, it is necessary to strictly observe the sequence of these four stages of drawing.
Compared to geometric bodies, a vase represents a more complex shape, although it consists of relatively simple parts. Its middle part is the main one and is ovoid in shape, resembling a ball. The lower part - the stand - is two greatly shortened cylinders, the lower one being cone-shaped. The upper part of the vase is relatively low, in the form of a truncated cone, to which a plate-like shape is attached on top. Conveying all these proportional relationships is the main task of the drawing.
When drawing a vase, the principle of symmetrical construction is applied. The vertical axis of symmetry passes through the center of the vase, on which the height is laid out in the form of an arbitrary segment; a distance from the edge is left at the top that is smaller than at the bottom, in order to then draw the falling shadows on the table and the surface of the table.
Next, mark the horizon line, or the eye level of the person drawing (the person standing will have a higher eye level than the person sitting), and determine the ratio of the height of the vase to the width. To do this, from the central axis at the level of the widest point, the entire width of the vase is laid out in both directions in the form of equal segments. Having outlined the width at all levels, they begin to build the vase. It must be remembered that all cross sections of the vase are circles, and in perspective - ellipses.
At the level of the horizon line, an ellipse is depicted as a straight segment, below or above the horizon line - in the form of ellipses from narrow to circle when viewed from above or below. It is important to establish the dimensions of the ellipses in the drawing: if the vase is standing directly in front of us, the ellipse of the upper base will be narrower than the lower one. Having checked all the proportions again, they connect the segments, outlining the general shape of the vase.
After this, they move on to conveying volume with chiaroscuro. It should be remembered that any line in a cut-off drawing is the border between light and dark, that is, there should be practically no lines left in the finished drawing. All unlit areas are covered with a stroke, which is applied according to the shape, the falling shadows are outlined, while leaving the lightest and darkest places in the setting.
The final stage is the generalization of the drawing. Using a pencil and eraser, remove excessive detail, soften shadows, highlighting reflexes and illuminated areas. Reflex - reflected and therefore weakened light refers to the shadow and shows the nature of the surface of the form in its shadow part.
By drawing a vase, they consolidate their knowledge of perspective, learn to depict round objects, analyze any complex shape, and also combine different shapes into a single whole.
Drawing draperies and folds on fabrics
The fabric itself is a plane, a flat surface that has no shape. Only by fitting an object or a person’s figure can it descend in the form of folds, turning either the front or the wrong side. Drawing helps to study the properties of fabrics.
Any fabric, depending on the lines and shapes that hold it at certain reference points, forms folds. More complex folds are usually called drapes. Folds and draperies can come in various forms.
The shape of the folds depends on what object it is thrown on, and the direction of the folds depends on these shapes.
The shape of the human body resembles in many ways geometric shapes- cylinder, ball. Before studying draperies on a human figure, you can examine them by throwing fabric over a ball, cylinder, cone, etc., determining the patterns of fold formation. In fabric thrown onto the surface of a table or chair, its plastic properties are clearly manifested. Crinkles, kinks and folds form, depending on the softness, fluidity or, conversely, the rigidity of the fabric, i.e. its structure. Thus, folds on gauze are very different from folds on velvet, brocade or cloth, as well as on silk or chintz. Comparison of two fabrics is possible based on the principle of contrast - light or heavy, matte or shiny, hard or soft, dense or sparse structure, etc.
Giving the fabric figurative and precise characteristics, it can not be called soft, flowing; hard, sticking out; heavy with large folds; light airy, transparent or elastic, flaccid, etc..
The drapery pattern is carried out in four steps:
1—we outline the composition of the drawing in the form of a sketch using thin threads.
2—we outline the main proportions of the entire mass of fabric, indicating major and minor folds.
3—Easily shade all darkened areas.
4—finishing the drawing, apply all the halftones, emphasizing the shadows and highlighting the main folds.
When drawing draperies, a fabric pattern (check, stripe, floral pattern, etc.) is depicted on the relief of the folds.
You can sketch and sketch fabrics (smooth and patterned) various materials, suitable for the selected fabric. Light, transparent fabrics can be depicted in watercolor, ink, pen, or charcoal; hard, sticking out - with ink, filling in the spots and emphasizing the kinks with a pen; soft, fleecy, heavy - sanguine, sauce, etc.
Scheme for constructing folds of various configurations:
We outline a rectangle, triangle or any other shape that this piece of fabric has;
we draw a line limiting the width of the fold at the bottom, the zigzag contour of the fabric bends, we draw the ratio of the height of the zigzag and the width of the fabric;
we build the contours of the bends of the folds, paying attention to the parallelism of the individual elements of the zigzag and the smoothness of the bends of the lines;
outline the vertical contours and the lower contour of the folds (the construction of the contours of the top should correspond to the construction of the contours of the bottom);
after drawing the contours, we conditionally determine the direction of the light falling on the folds of the fabric, and in accordance with this, we outline lighter and darker planes on the surface of the folds;
creating the illusion of volume with the help of light and shadow, we shade all the shadow areas.
Still life drawing
Still life from the French nature mort - dead nature. In contrast
drawing living nature, a still life is composed and depicted to study the properties of inanimate nature, the design features of individual objects, as well as to study the texture and plastic properties of various materials.
Still life appeared as an independent genre in art at the turn of the 16th–17th centuries. in Holland and Flanders and since then has been used by many artists to convey the direct connection of art with the life and everyday life of people.
The perception of a still life cannot be unambiguous.
Drawing up a still life requires the ability to depict the shape of various objects using chiaroscuro, perspective, and the laws of color.
The basis for drawing up a still life is a selection of objects in which its general content and theme are most clearly expressed.
First, you need to draw a still life from two or three objects in order to better express all their plastic properties, choosing a certain point of view, i.e. horizon line.
One of the objects should become the compositional center of the production and stand out in size and tone. It should be placed closer to the middle of the production, and to add dynamism to the production (movement of spots) it can be moved to the right or left.
In the spatial solution of a still life, a small object that differs in texture and color from other objects can be placed in the foreground as an accent. To complete the composition, as well as to connect all the objects into a single whole, draperies are added to the production, thus also emphasizing the difference between solid objects and the soft flowing texture of the fabric. Fabric can
be smooth and patterned or patterned, but it should not distract attention from other, especially the main items. It is often placed diagonally to direct the viewer's gaze into depth, towards the compositional center for a better spatial solution.
Lighting—artificial or natural—plays an important role in the composition of a still life. The light can be lateral, directional or diffuse.
First, preliminary sketches are made on small-sized sheets of various shapes - square, elongated in height, laid horizontally. Having chosen the most successful of the sketches, you can proceed directly to drawing.
Having marked a still life on a sheet of paper, you need to follow the perspective construction, and also convey the volume using chiaroscuro, subordinating all the details to the overall tonal solution so that the result is not a set of individual objects, but a whole composition. It is important to learn to see this whole, and the details will be learned gradually as you work.
