FROM this lesson Our drawing program begins. This assignment covers the topic drawing simple geometric shapes .

Drawing geometric shapes can be compared with the study of the alphabet for one who masters foreign language. Geometric shapes are the first stage in building an object of any complexity. This is clearly seen in computer simulations, where the construction of a three-dimensional spaceship starts with a simple cube. In a drawing, all depicted objects always consist or are divided into simple geometric shapes. For teaching drawing, this means exactly one thing: having learned how to correctly depict geometric shapes, learn how to draw everything else.

Construction of geometric figures.

You need to start building with an analysis of the model, figuratively speaking, to penetrate deep into the structure to the level of vertices and lines. This means to present a geometric figure as a frame, consisting only of lines and vertices (the intersection of lines), by imaginary removal of planes. An important methodological technique is the depiction of invisible but existing lines. Consolidating this approach from the first lessons will be a useful technique for drawing more complex models.

Further, under the guidance of the teacher, outline the location of lines and vertices on the sheet, with light, sliding movements, without pressing the pencil.
The position of the picture on the sheet should be given special attention for several reasons:

• Finding the central axis of the sheet will help with further construction as a starting point for the vertical lines of the structure.
• Definition of the horizon line, for the correct image of the perspective.
• Consideration of light and shadow modeling, own and falling shadows, so that they fit in the space of the sheet and balance each other.

After drawing the main construction lines, a detailed drawing of the visible edges of the object follows, in the case of objects of rotation (ball, cone) these are the outer edges of the form.

Structural part is followed by line modeling. We analyze in detail the rules and techniques for applying strokes to geometric objects.

Professional drawing training can be easily compared to music lessons, where dry rules and precise schemes eventually lead the future composer to creative works. So in drawing, the laws of building forms, the rules of perspective, and the arrangement of shadows help the artist create unique masterpieces.

From what experienced artists can quickly apply complex drawings without spending a lot of time on markup, building? Because at first they firmly memorized the rules and canons, and now they clearly understand the structure of any form. A schematic drawing frees the author's attention from the construction and focuses on the composition, idea, image of his creation. There is an opinion that memorized schemes will not allow the artist to fully open up.
It is worth looking at where such creative masters as Picasso and Dali started in order to understand the fallacy of this judgment. But the best test will be training in our studio, where you will see in practice the advantages of the academic approach.

We are waiting for you in our art studio!

Before the lesson, a screening of the film “Drawing from nature of a still life from geometric bodies» to monitor the progress of the drawing. Film (video clips overall size 450 megabytes) can be obtained from the author.

Lesson type: Combined lesson of constructive educational drawing.

The purpose of the lesson:

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

Lesson objectives:

Cognitive:

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

Developing:

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

Educators:

1. Develop attention, observation and perseverance.

Materials for the lesson:

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

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

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

FIRST LESSON

Lesson plan:

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

During the classes.

organizational part.

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

Theme announcement.

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

Cube, cone and cylinder. To what genre can this group of bodies be attributed? Still life. And who will give the definition of still life? A still life is a painting with a 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 building a still life and write it down in your workbook.

Practical work.

In the lesson, you need to solve such tasks:

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

Mini-exhibition and brief analysis.

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

Homework assignment.

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

SECOND LESSON

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

Tasks:

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

Lesson plan.

• organizational part.
• Theme announcement.
• Viewing fragments of the film.
• Practical work.
• Exhibition and evaluation of works.

During the classes.

organizational part.

Greetings. Check readiness for the lesson.

Theme announcement.

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

Viewing fragments of the film.

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

Practical work.

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

Take 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 their own shadow or a falling one.

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

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

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

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

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

Exhibition and evaluation of works.

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

How to learn how to lay a stroke according to the shape of an object - we will improve our pencil skills and learn how to create a drawing of geometric shapes, creating their volume. In our arsenal there is a cube, a sphere, a cone and a cylinder.

Our work will be divided into two parts. The first part - we draw by submission. Perhaps you have layouts of these shapes, if not, then you can look at the page on how to make a layout of geometric shapes and, in fact, make them, but we will start with something else. We'll start by understanding, parsing the form first without layouts. You can first create them and sometimes look at them while drawing, but the main thing now is to learn to analyze, to think logically, all your work now is to think, without nature, to learn how to convey the shape of these basic figures. Initially, after all, the work takes place in the head, and not before the eyes. Right?

The second part - we will draw from nature, but just as in the first case, we do not cling to nature strongly, but first of all we think and analyze ourselves, and now we are already testing ourselves with what nature shows us.

So, the first part. You can draw on A3 format. We take whatman paper, a pencil and draw a figure, it is also not bad to use the knowledge of perspective when building it. And then you begin to "lay down" a stroke in the form, sculpting the volume of the figure with the help of your mind and a pencil.

We already know that chiaroscuro is distributed over the shape of an object, creating tonal gradations, or zones. For now, let's take the three main ones - light, partial shade and shadow. We are limited only to figures, not using all the space.

Let's draw a cube. We avoid mistakes. In my picture on the left, perspective is strongly conveyed, too much, so don't do it. Here it is enough to convey it quite a bit, slightly distorting the shape. Look at the picture on the right. See the difference between the front wall and the back? It's enough. Not like ours big sizes are used to transform architecture from small forms.

Let's talk about light transmission. Light, shadow and penumbra are shown.

But do not forget about the golden rule - the light, moving away from the shape of the object, darkens, the shadow brightens. Look: the light, receding into perspective, slightly loses its brightness, add a little shading there. And now penumbra and shadow, the same picture, but in reverse order. The shadow, moving away, weakens, slightly brightens. But anyway, the general tone of the shadow will never be lighter than the general tone of the light, and the penumbra also does not break out of its tone boundaries. Everything is in its place.

We also look: how we conducted training from our first lesson, see the basics of drawing, we don’t forget about that even now. We select the corners and faces closest to us, we make accents on them. The near edge and corners are accentuated for me, which is what they take the main attention to themselves, everything else smoothly goes into space. But here this space does not need to be transmitted strongly, since our distances are, in principle, small.

Note: how to determine the overall tone - squint your eyes a little. The sharpness will decrease and you will be able to see everything in general. And yet you don’t have to look at the work “head on”, often move it away from you, scatter your eyesight, don’t cling to details.

And then the rest of the figures. These figures, in general, are quite streamlined, rounded, so we notice the following:

Let's say the ball is the first in the row. The emphasis on it here is the shadow and it will be strongest in the place where the ball is closest to us. I don’t have accents along the edges, since the shape has gone into space there - take this moment into account when drawing a streamlined shape.

The same is true for the cylinder and the cone. Where the form begins to wrap up and goes into space, the emphasis should not be made. But where it is necessary to emphasize the form, then where there is a break in the form and where it will be closest to our eyes.

Pay attention to the cone - its lower part is closer to us than the top. This means that the lower part of it will be transmitted stronger, and rising to the top weaker - look at the shadow, below it is stronger, while rising up it loses its activity. Do not make it the same key throughout the height. These values ​​here are not huge, but they still exist, otherwise the conditional space cannot be correctly conveyed.

I stop your attention on hatching. This is something that is one hundred percent stroke that fits in the form. Despite the fact that it is somewhat monotonous and boring, it is very useful in terms of learning. He teaches discipline, concentration, teaches you to make straight lines and just cleanliness of execution. I recommend doing this work using this particular stroke, just try to "sculpt" the shape of a geometric figure, feel with your hands and eyes its entire volume and how its shape "lives" in space. It is written strangely, but I try to convey to you the beauty of this exercise as juicy as possible. And about the strokes that should fall in the shape of the object and which they are not, we will talk further with you.

And don't worry if something doesn't work out. No one is immune from mistakes, and there can be many of them, and there is nothing ideal in the world. But each of us has the opportunity to try again in order to do even better.

How to draw geometric shapes

How to draw geometric shapes - now let's try to draw geometric shapes with the environment. Wrap them in air, draw in space. We take the main ones:

Let the cylinder go first. We put the cylinder on the object plane - a table, set the lighting so that the shadow from the figure falls beautifully on the object plane, is neither strongly stretched nor small - it is harmonious and emphasizes the volume of the figure.

Stretch the paper over the tablet to create a clean drawing. Take a tablet with a size of 30-40, it is quite enough for such work.

Now we need to arrange our cylinder in the plane of the sheet, find its harmonious place in the sheet space, taking into account the shadows, of course. Use an eye to find proportions, reinforce it with feelings of linear perspective.

Be sure to transfer the object plane. Our figure does not "float" in space, it is on the object plane!

When constructing a figure, be sure to show invisible faces as well, show how you build - construction lines. You need it more than the viewer. Place accents where necessary, show the intersection of planes. Don't forget about perspective. If you notice, then the lower plane of the cylinder is visible to us more than the upper one, and it is correct, since the horizon line (at least for me, it may be different for you) gives such an overview.

See how the shadow is built - it can be correctly conveyed using construction lines. Figuratively: rays come from the light source, which are divided into two types, one - illuminate the figure, stop on it, therefore there will be no further light behind the figure. And the rays of light that do not fall on the figure go further, illuminating everything in their path. And we can show you this border. And one more thing: the shadow, moving away from the figure, will tend to increase somewhat, it resembles a reverse perspective. Do you understand why? If you direct the rays in the opposite direction, then the lines for constructing the shadow will converge in one point to point from which the light comes.

This is roughly what you should be doing. Further, in principle, we no longer need nature, since everything can be analyzed independently. Turn on analytical thinking and reason logically. But anyway, let's take it further:
The figure shows that the light falls from the side and from above. This means that the upper plane of the cylinder will be illuminated most of all, and the light will also fall on the object plane, since it, like the plane of the cylinder, is also horizontal. Vertical planes - a wall and a break in the object plane, as well as the volume of the cylinder itself will receive less illumination, since they do not receive the incident main light.

Further: we do not make the object plane black - the angle of the object plane gets into this case there is enough light so that the shadow is not the most active here. But all the same, it is necessary to single out its object plane. This is achieved by highlighting the angle of the object plane.

Next, our subject plane gets the main light, but we need to show that it is horizontal. And we know that as the light moves away, it goes out, weakens. That's the farther away from us the object plane will go, the weaker its light will be - we put a stroke in this way.

Now we need to deal with the part of the cylinder that will be in the shadow. Our cylinder is located vertically to the object plane, which means that the main light will fall on its horizontal upper plane. Everything else is in the shade, except for the area where the light slides over the form, since the light does not fall exactly from above, but a little from the side - this area is highlighted by me as the lightest on its vertical plane. The general shadow of the cylinder is more active than the wall, since the cylinder has its own active shadow and is closer to us, even though the wall is also located vertically.

The wall will be darker than the object plane, because it is vertical, which means there will be less light here, and because it will be the farthest, it will be in the background. We lay down the stroke in this way.

The falling shadow of the figure will be the most active, but it also lies on the object plane, and therefore, moving away from it, it will become a little weaker.

Well, it remains to place accents where necessary - the breaks in the forms that will be located closer to us will be accentuated.

If at first the hand does not obey, it is difficult to hold a pencil and it is difficult to lay a stroke in the form, and it is difficult to clearly define the shape itself with a stroke, that is, it is possible to work as shown in the figure on the left.

Lightly outline the breaks in the shape. That is: suppose you are aware of how light is distributed over the shape of an object. You know that there are five of these zones: highlight, light, penumbra, shadow and reflex. This is all accurate, but conditional. To convey more qualitatively the volume of the figure, you can outline as many breaks as you like, and the more there are, the softer the volume of the figure will be shown. Visually divide the figure into these zones and lay down the usual straight stroke, but in such a way as to fashion the volume, use the frequency of the stitch-stroke or the pressure of the pencil.

Here I ask you not to confuse two concepts: how light is distributed over the shape of an object and how a stroke falls on the shape of an object. In the first case, we have 5 zones, in the second, we can designate as many zones, shape breaks as you need. But do not blacken, all auxiliary lines should be inconspicuous.

Note: if you could notice by looking at this picture, you saw that on the more illuminated side of the cone, the wall in the background is darker, and on the other, less illuminated side of the cone, the wall is lighter.
The fact is that the wall is the same here and there, but this is how our eye sees. For the sharpness of the sensation of reality, for the best accent of light and shadow, for the harmonious touch of the picture with our eye, and in the end, let's make our eye pleasant! Let him see in the drawing what he sees in nature. This is only a slight nuance, which will only enrich our drawing, can be unobtrusively conveyed.

Addition: see how the shadow of the cone is built.

Next, let's draw a ball. You can see the building on the left. Notice how the shape's shadow is built. We have already figured out the falling one, like: we determine it with the help of an eye and reinforce it with knowledge of perspective. Do not forget that the shadow falls on the object plane - this must be conveyed and understood.

But what about your own shadow? Interestingly, if you draw lines from the point of illumination to the center of the ball, through which passes the diameter that forms the circle of shadow, then this diameter will be perpendicular to the line drawn to the point of illumination. If you understand this, then how to lay down a stroke in the shape of a ball in order to show your own shadow is not at all difficult.

Now I got bored of drawing something in the same manner and I wanted to experiment. Look at the work on the right. Do you think it is hatched? Does not look like it. It is made with a tonal stain using pencils of varying degrees of softness. If you take pencils with a solid lead, without a wooden frame, and you just pick up the tone on paper, and not hatch, then you will also get such a drawing.

And what else, besides the technique of execution, is wrong with us? The light is in place, the shadows too, so everything is in order.

But let's take a closer look anyway. We will have the brightest light on the illuminated side of the ball, on the plane it will not be so active and will weaken with distance from us. The darkest shadow will be falling, at the break of the subject plane there will be a little more light, but nevertheless, we accentuate this area.

Look at your own shadow of the ball - I put the emphasis on that area of ​​it, which will be closer to us, and wrapping in shape, the shadow will lose activity. Remember: the ball is a streamlined shape.
The wall is in partial shade, moreover, in the background, so let it remain unobtrusively there. The only thing is that it will "play" with the volume of the ball. From the side of the light, the wall will appear somewhat darker, from the side of the shadow, lighter. Let's make our eye pleasing here too;)

How to learn to lay down a stroke in the shape of an object. Hatching

Here we smoothly approached what we already talked about at the very beginning of this page. How the stroke fits in the shape of the object and which stroke is not. The fact is that each draftsman, in the process of work or study, develops his own specific style of stroke. Of course, there are canons, different historical times have their own canons of drawing and stroke, but it is not at all necessary to adhere to them. Optional. I think that if with the help of a stroke it is possible to convey the volume of a figure and the space itself in a sheet, then it is absolutely all the same what this stroke represents. The main thing is that everything was done correctly and beautifully. Simply put, do not make straw, learn to draw beautifully. This also applies to the dash. On this page we learned how to make a stroke, we will continue a little more.

For example, this is how I draw a cube, which we still have not drawn.

1. Determine the place of the figure in the sheet

2. We place the figure on the object plane and find its construction and its shadow, not forgetting to take into account the perspective

3. We determine the place of light and shadow - we put a light stroke. This gives us the opportunity to immediately determine the distribution of light and shadow in our drawing, to separate them

If you look at the stroke that the work is done with, it's quite unusual, right? It’s better not to resort to such a stroke in drawing lessons, don’t scare teachers, they don’t have such modern progressive views as you do. But in their creative works such a stroke can be applied, why not? After all, the drawing is made according to all the laws. The space in the sheet is transferred, the shape of the object is shown, the main tonal relationships in our drawing are transferred. But to this we also added a touch that makes the work interesting and airy. Well, then again, we disassemble the picture, analyze:

Let's go through the main tonal relationships, for starters, the shadows: the darkest shadow is the drop shadow, then comes the cube's own shadow. The fracture of the subject plane takes the third place, we select it, but do not blacken it, since there is enough light there. And the fourth is the wall, which also gets light, we can say that the wall is in partial shade, but farthest. See how the penumbra of the wall plays with the shape of a cube: from the side of the illuminated part of the cube, the wall is darker, from the side of the shadow, it brightens. These gradations may be very small, but they are present.

Next, we analyze the light: the lightest and most illuminated part will be the upper plane of the cube, the second in terms of light and darkness - the object plane, which is horizontally in front of us and going into space - loses light.

We focus on the breaks of forms. We select the near faces of the cube and the corners, this will help to pull it out of space in front.

And do not forget - the light, moving away, darkens, goes out, the shadow, moving away, loses its activity and brightens somewhat, but we take into account the golden rule: the darkest halftone in the light is lighter than the lightest halftone in the shadow.

Lastly, if you decide to experiment with shading. Since the tonality of chiaroscuro, which we convey in the space of the sheet, varies, so the stroke can change shape - play with the size of the stroke. The wall is made with a stroke of the middle stitch, rather static. The cube is made with a small and active stroke, which gives the cube dynamics. And the object plane is made with long stitches, rather trivial and of little interest. So, even a stroke helps to reveal the main character in the picture - a cube, which is made by the most dynamic stroke that attracts attention, in my opinion. What do you think?

Try to do something of your own, experiment, then the simplest work will be done with pleasure, great attention and great interest. And when you are sitting, doing work, for example, you are trying to evenly put a stroke in the form, and even you succeed, and at the same time you begin to notice that your breath stops from the concentration of your attention, in these very minutes you feel the whole limit of the drawing and you get untold pleasure.

Studying and drawing geometric bodies in educational academic drawing is the basis for mastering the principles and methods of depicting more complex forms.

Education fine arts requires strict adherence to the sequence of complication of learning tasks and multiple repetitions to master the technique. The most suitable form for mastering the principles of drawing construction are geometric bodies, which are based on clear constructive structures. On simple geometric bodies the easiest way to understand and assimilate the basics of volumetric-spatial construction, the transfer of forms in perspective reduction, the patterns of chiaroscuro and proportional relationships.

Simple drawing exercises geometric bodies allow you not to be distracted by the details that are available in more complex forms, such as architectural objects and the human body, and fully focus on the main thing - visual literacy.

Correctly understood and assimilated patterns in the depiction of simple forms should contribute to a more conscious approach to drawing complex forms in the future.

In order to learn how to competently and correctly depict the shape of an object, it is necessary to realize the internal structure of the object hidden from the eyes - the design. The word "construction" means "structure", "structure", "plan", that is, the relative position of the parts of the object and their relationship. This is important to know and understand when depicting any form. The more complex the form, the more and more seriously you will have to study the internal structure of the full-scale model. So, for example, when drawing living nature - the head or figure of a person, in addition to knowing the design features, you should definitely know plastic anatomy. Therefore, without a clear understanding of the structure of the form and nature of the object, it is impossible to correctly master the drawing.

When depicting spatial forms, in addition to knowing the patterns of the structure of a structure, knowledge about the laws of perspective, proportions, and chiaroscuro is necessary. For the correct image of a full-scale model, it is necessary to accustom yourself to always analyze nature, to clearly represent its external and internal structure. Approach work consciously scientific point vision. Only such drawing will contribute to the successful completion of work on the image of both simple and complex forms.

Drawing geometric shapes to inexperienced draftsmen it seems at first glance quite easy. But this is far from true. For confident mastery of the drawing, first of all, it is necessary to master the methods of analysis of forms and the principles of construction simple bodies. Any form consists of flat figures: rectangles, triangles, rhombuses, trapezoids and other polygons that delimit it from the surrounding space. The challenge is to correctly understand how these surfaces fit together to form a shape. For its correct image, it is necessary to learn how to draw such figures in perspective, in order to easily select three-dimensional bodies on the plane, limited by these flat figures. Flat geometric shapes serve as the basis for understanding constructive construction bulk bodies. So, for example, a square gives an idea of ​​building a cube, a rectangle - about building a parallelepiped prism, a triangle - a pyramid, a trapezoid - a truncated cone, a circle is represented by a ball, a cylinder and a cone, and elliptical figures - spherical (ovoid) shapes.

All objects have three-dimensional characteristics: height, length and width. Points and lines are used to define and depict them on a plane. The points define the characteristic nodes of the design of objects, they establish the mutual spatial arrangement of the nodes, which characterizes the design of the form as a whole.

The line is one of the main visual means. Lines indicate the contour of objects that form their shape. They denote height, length, width, constructive axes, auxiliary, space-defining lines, construction lines, and much more.

For a thorough study, geometric shapes are best viewed as transparent wireframe models. This allows you to better trace, understand and assimilate the basics of the spatial construction of structures and the perspective reduction of the shapes of geometric bodies: a cube, a pyramid, a cylinder, a ball, a cone and a prism. At the same time, such a technique greatly facilitates the construction of a drawing in which all spatial angles, edges, and edges of the body are clearly traced, regardless of their rotations in space and in perspective contraction. Wireframe models allow a novice artist to develop three-dimensional thinking, thereby contributing to the correct representation of a geometric shape on a paper plane.

For a solid fixation in the mind of a novice artist of a three-dimensional idea of ​​the structure of these forms, it would be most effective to do them yourself. Models can be made without much difficulty from improvised materials: ordinary flexible aluminum, copper or any other wire, wooden or plastic slats. Subsequently, in order to assimilate the laws of light and shade, it will be possible to make models from paper or thin cardboard. To do this, it is necessary to make blanks - appropriate scans or separately cut out planes for gluing. No less important is the modeling process itself, which will be more useful for students to understand the essence of the structure of a particular form than the use of a ready-made model. It will take a lot of time to make wireframe and paper models, so in order to save it, you should not make models big size- it is enough if their dimensions do not exceed three to five centimeters.

By turning the manufactured paper model at different angles to the light source, you can follow the patterns of light and shadow. At the same time, attention should be paid to the change in the proportional relations of the parts of the object, as well as to the perspective reduction of forms. By moving the model closer and further away from the light source, you can see how the contrast of lighting on the object changes. So, for example, when approaching the light source, the light and shadow on the form acquire the greatest contrast, and as they move away, they become less contrasting. Moreover, the nearby corners and edges will be the most contrasting, and the corners and edges located in the spatial depth will be less contrasting. But the most important thing for initial stage drawing is the ability to correctly display the three-dimensional construction of forms using points and lines on a plane. This is a fundamental principle in mastering the drawing of simple geometric shapes, as well as in the subsequent study of more complex shapes and their conscious representation.

/ still life

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

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

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

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

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

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