Constructive drawing of a still life of geometric bodies

The shape of the picture is an image, the outline on the plane. But the knowable world is not a plane, but three-dimensional space. All objects of this world are three-dimensional, they are voluminous, like the world itself. The purpose of the picture is to convey a three-dimensional volume in a two-dimensional space of a plane. The basis of teaching drawing is the task of developing a student’s ability to think in volumes in space and see the complexity of the world through simple concepts. The model of space and any shape in this space is a cube. Any geometric shape inscribed in a cube has three-dimensionality and the presence of all sides of space. Without understanding the shape of the object as volume, the ball will simply be a circle, and the cube will be a quadrangle or hexagon.

• Work on the composition of the drawing in sheet space
• Work on proportional relationships of still life objects
• Constructive construction of geometric bodies in sheet space
• Methods for constructing geometric bodies in space
• Work on the lines
• Choosing the position of the light source Linear construction of the boundaries of light and shadow
• Partial inclusion of tone. Volume transfer.

Training drawing

Drawing, unlike print, is an original product. It is educational, creative, short-term, linear, tonal.

Work on the educational drawing of a still life of geometric bodies is the first step in understanding the drawing as such. At this stage, a new consciousness is being formed to understand volume and space. Through the drawing of geometric bodies (primitives), we learn to see the world around us and understand that all the objects of this world consist of a set of simple geometric bodies such as a cube, cylinder, cone, and so on. Insufficient attention to the constructive drawing of geometric bodies will affect all subsequent tasks in the drawing. After all, you can not learn grammar if you study the alphabet selectively? Solving more serious, as it seems to us, tasks, we will constantly return to the original source.

To work on the educational drawing of a still life of geometric bodies, we need materials such as pencil, eraser and paper.

Pencils use hard soft and sharpened. The elastic should be soft and divided into two parts diagonally (this operation gives two elastic bands with sharp corners). Eraser is as important a tool as a pencil. The paper is selected smooth and high density, format A2, A3.

Graphite pencils are differentiated by hardness and are indicated by the letters T (H), TM (HB), M (B) with a digital indicator in front of the letter. The degree of softness of the pencils is indicated by the letter M, 2M, 3M, and so on. The degree of hardness is indicated by the letter "T".

Typically, the drawing begins with a pencil of medium softness, and then move on to softer numbers. The choice of pencils depends on the quality of the paper and the creative task the artist has set for himself. A soft pencil rests well on smooth paper, while on a rough surface it is more convenient to work with a medium soft pencil. Sketches are best done with a soft pencil, and a long drawing begins with a pencil of medium softness. Graphite pencil drawings have a grayish tone with a slight sheen.

The core for the pencil is made from a mixture of graphite and clay, followed by firing. The hardness of the pencil depends on the amount of clay in the mixture.

An easel is used as equipment, on which a sheet of paper is attached so that your line of sight is perpendicular to the center of the sheet (the sides of which should be parallel to the sides of the easel).

Draw standing and on an outstretched arm. You can perform the drawing while sitting, but then you limit your movements in the space around the drawing, because it is useful to look at the drawing as often as possible from a distance exceeding the distance of your outstretched arm. When you draw from nature, the easel should not block your production; if you draw with your right hand, then you should see a still life to the left of the easel.

Much of the drawing depends on the position of the pencil in your hand. Starting work on a drawing, you can not hold a pencil in your hand, like a pen for writing. Because in this case, when working with large proportional relationships, requiring a certain freedom of movement behind the easel, you will never draw a straight and even line - the hand is constrained and limited in movement.

It is necessary to put a pencil on the fingertips from the side of the palm, press with the thumb, take the little finger to rest on the sheet, relax the whole arm to the shoulder and draw a line. If necessary, you can help yourself by turning the case. Drawing a vertical line, sometimes it’s enough just to relax your hand so that under its own weight it slides down with a pencil, leaving a straight line behind it. You need to get used to the first, inevitable feeling of inconvenience, otherwise your hand will never become relaxed and virtuoso. In the transition to a detailed study of the drawing, when there is enough movement of the wrist, the position of the pencil in the hand can be changed.

For more convenient work with a sheet of paper, it is glued to the tablet. The proportional ratios of the sides of the tablet should correspond to the proportional ratios of the sides of the sheet of paper. The tablet consists of a wooden frame (beam cross-section. 20x40 mm) and a rectangular base of plywood glued to the frame.

Take a sheet of paper slightly larger than the tablet and wet it with water on both sides. Brush glue (PVA) on the ends of the tablet and put a sheet on it. Smooth the paper on the tablet from its middle to the edges so that the folded edges of the sheet can be glued to the tablet; stick from the middle of the ends to the corners. Start working on the drawing after the paper on the tablet dries and aligns. After finishing work, a sheet of paper with a picture is simply cut off from the tablet, and the latter is reused.