RESULTS OF SUPREMATISM ON THE PLATE The first individual exhibition of Malevich in Moscow, organized by the People's Commissariat for Education at Bolshaya Dmitrovka, 11, in the former salon of Mikhailova, took place without him. The exhibition “Kazimir Malevich. His path from impressionism to Suprematism” opened on 25

So, my dears, I can confidently say that you are heroes - having persistently gone through all the tests, you, like the most purposeful students, honed your skills by drawing a cube in one position - this is how you learned to draw volume in a drawing. Wandering through the nooks and crannies of new terms, you managed to come to the conclusion that it is quite possible to create space on paper. You also received fuel for the development of logical thinking.

If you are still full of strength and determination, then we continue to delve into the mysterious and willful science called “how do you still learn to draw”. It appears drawing basics - part two.

The first thing we need to know before we move on to the next one is practical lesson, is that absolutely everything that is around us - any object - is based on the simplest geometric figures, such as: cube, circle, cone, cylinder (in some cases they can be combined in the “backbone” of the object). Now we need to take one of these figures - well, let it be, say, the already well-known cube.

I hope you have already prepared necessary supplies. If not yet, then I strongly recommend that you raise the situation and, in the creative chaos of your location, fish them out into the light of day - otherwise, you know, drawing with your finger in the air brings absolutely no results (neither practical - you can’t see the drawing, nor theoretical - you won’t see how this or that line you drew works).

So, first of all, let's prepare the paper, (you can use a stub that your grandfather used at school or a modern, solid, full-fledged pencil), eraser (you should definitely have at least a small piece in your school pencil case, although... if you have younger sisters and brothers, try to borrow from them), and, of course, we won’t use a ruler at all.

Are you ready? Great. Now we take a pencil and start torturing the paper.

We carefully draw out the faces and sides of the cube - only those that look directly at us. If you are now at a loss and a question has arisen in your head, “ What?" or " How to do this and on what principle?", then I strongly recommend that you return to the beginning of the "game" - that is, look at the previous article " ". Well, the one who remembers everything well confidently continues our practical task.

How to convey volume in a drawing?

The next point is to draw exactly the same cube next to (in front or behind), but let’s just imagine it rotating in the drawing. It is better to highlight the nearest faces of the new cube as brightly and expressively as possible, and, accordingly, try to maintain proportions - that is, all lines should look natural, and faces opposite each other should be drawn as evenly as possible (harder, one might say) and parallel. It is also important to remember now about the tonal relationship between these two figures on your piece of paper.

In the picture you can see approximately how it is - this is the most tonal attitude and figures in general- should look like this for you. But don't forget - this is just an approximation. In fact, the arrangement of cubes on the sheet can only be subject to your desire (as long as you stick to general rules– see above).

For convenience, you can shade one of the sides of the cube - then it will be easier for you to rotate this cube in space and orient yourself in its correct image (that is, make sure that it looks natural and natural).
it is possible either diagonally, or parallel to the edges, and if suddenly - well, quite suddenly - we want to emphasize a certain corner or face in the cube, then we can lay out the hatching again, only in the opposite direction on the one already laid.

Don't forget that. Well, for example, if the cube is turned towards us with one of its faces, then the shading will weaken as we move away. This brings us to the concept Planning- in other words, the location of the figure on the sheet: is it behind some figure or right in front of us.

To acquire the necessary skills, you can first draw with charcoal (that is, with a softer instrument), and only then switch to a pencil, which will allow you to hone your accuracy and clarity. But if the nearest coal plant is three hours away by train, and the store for young artists for some reason is not available, then it’s okay - we draw with a pencil, just with a softer lead. And go get some coal sometime later.

And one more rule that will help give your drawing a lively effect. There is such a thing in nature as the absence of harsh lines, so when drawing a certain figure (or object), you must not forget that from the corners of the line the edges are more highlighted (bold, so to speak), and, reaching the middle, their tonality gradually decreases . That is, it comes out like an arc - fat-fat-fat-thin-almost transparent-thin-fat-fat-fat.

Remember, you and I were poking around in such a wonderful concept as, right? Forget about her now and don’t remember until I tell you. Now we need to learn how to draw lines - evenly and straightly, and also deal with the terrible labyrinth of planning figures on the plane of paper.

Well? We draw, we draw and we draw again, as Father Lenin said. Or he was talking about studying... but, in general, it doesn’t matter. The essence remains the same.

Have you finished your masterpiece?... It doesn’t matter what the answer is, but now, if your eyes are tired, and your fingers too, you have the opportunity to take a break - if you are not on a diet, then you can run to the kitchen for a delicious sandwich and coffee, and if still sit, then go for a walk along fresh air to the nearest art supply store - there you will find coal and an inexhaustible supply of sheets for your training.

In general, just take a break from your work - this is possible, moreover, even useful, because with a fresh mind and a rested look, you can notice flaws in your drawings and, accordingly, correct them.

And, when all the coffee in the mug has already been drunk, all the new acquisitions (in case you were running to the store) examined and shoved into their places, you can stretch again and... return to your work. To begin with, move a few meters away from your work and evaluate it with an unaccustomed eye. If you suddenly find that your dice are terribly awkward, their edges are a little crooked, or their sides are at odds (well, they are spreading out in a completely unpoetic way), don't get upset or depressed. This happens - Rome wasn’t built right away either.

Persistence and determination are your allies, optimism is your weapon, and laziness and despondency are your opponents. You can do it, just don't give up. Now let's go back to our sketches and see if we achieved what we actually set out to achieve. Let's see if we managed to convey the volume of the figure, that is, does it look alive? (and it doesn’t matter that it turned out rather mediocre - people aren’t perfect either, right?)

Planning. Did you manage to arrange the cubes correctly and use a drawing to show their proximity or, on the contrary, their distance? Now evaluate your efforts in general - does it look like a whole space on the sheet?

If everything worked out (and it doesn’t matter that it’s not entirely accurate - practice, comrades, practice is needed here), then you are great - you can even praise yourself as great (well almost) and unique (it’s true, everyone has a unique drawing) artist.

Do you know what we just did? You don’t know, do you?.. We turned on your analytical thinking. And if any of the above points went wrong for you, don’t panic, maybe your analytical thinking is very sleepy and in order to awaken it, you need to re-read everything above (starting with “So...” and ending with “space on the sheet”), and if this didn’t really help, then you’ll have to use your wits and read it AGAIN (well, for prevention) think about each point.

Do you want me to discover America, which absolutely everyone is familiar with? No, not the one with Obama, the Statue of Liberty and fast food. And the one that claims that surrounding objects (living and not so) fit into other geometric shapes, except for the cube.

Well, for example, look at your favorite photo in a frame somewhere nearby, namely at the head of the little man depicted on it. Do you see? The head initially may well fit into a ball (or into an oval, depending on how it turns out), and the lower part of the head can fit into the shape of a cone. That is, these geometric shapes can serve as a constructive beginning, part of the “backbone” in the head drawing. Now look around - any object around you is at least somewhat geometric figure yes it fits.

To better grasp the concept of the basis of a drawing, let's play a little more with other geometric figures in the drawings - the same way we played with a cube before, that is, draw them in different angles, rotate them in space on paper.

We still DO NOT remember about the future. But we remember about the feature in nature - the one whose essence is somewhat reminiscent of an arc. We draw the foreground drawings - those that are closer to us - harder, and the background ones, accordingly, a little softer, depending on how far we want to show this item.

Forget about neatness on paper (and in general about being careful when working with pencil or charcoal)– now it’s completely unimportant. Like straight lines, this is a profitable business. You can complicate the task a little, and while drawing all sorts of different cubes, also draw a plane through the shaded edge. BUT! Don't forget that the plane (which we, in turn, also paint with shading) has the same rights as figures - it has its own tonality, which corresponds to its direction and location. For example, if it is directed deep into the leaf, then it seems to fade away.

Main task academic drawing- reliably convey form And volume. These are the 2 main characteristics of any object, and they are inextricably linked. It is impossible to imagine something having form, but not having volume and vice versa. Under shape usually understand the geometric shape, outline of an object, and volume is its three-dimensional spatial characteristic.

You can find items with the same shape, but different volume. Let's say, a sheet of paper, a notebook, and a book - form one, volume- varies.

No matter how difficult they may be shape and volume object, they can always be reduced to a set of simple geometric primitives. A jug may consist of a ball and a set of cylinders, a person may consist of parallelepipeds and prisms. It may sound strange, but the ability to see objects as a set geometric bodies- one of the most important skills of an artist.

This skill is called spatial vision(the ability to perceive the shape and spatial relationships of objects), and it should be constantly developed.

Of course, out of habit, it is quite difficult to discern geometric primitives in the figure of a person or animal. However, their shape is very complex; there are a lot of details that do not allow a beginner to see the main volume. And the attention of the novice artist focuses mainly on these details. In a portrait, for example, he begins to carefully draw holes in the nose and eyelashes, without paying attention to the shape of the nose and eyes. I think there is no need to clarify that such a portrait will not be realistic.

I once saw a portrait made in this way of a very pretty freckled girl in reality. The drawing showed a flat pancake with eyes, a mouth and many black dots - it felt like the artist had counted and depicted every freckle. The model didn't like the portrait)

So, the most important thing in drawing is not to copy visible image, but to analyze and generalize. That is, draw not what you see, but how you understand the shape of the object - then the result will be more convincing. In general, drawing is a process in to a greater extent logical than sensory, especially in the early stages.

Artistic analysis concerns not so much the external form as the design, because it is the design that determines the character of the form. The structural shape of a building is a parallelepiped, an apple is a sphere, and so on.

In the design of objects there is more complex shape you can isolate more geometric bodies, but always work in progress from largest to smallest: first the main volume, then the details (which are also divided into geometric components).

All objects and figures are placed in space. Even in simple drawing It is worth understanding not completely different objects, but everything that is on it, and everything that we want to depict. It is worth considering it as one flow of shapes and lines, white and black, light and shadow.

The drawing should be perceived as a space on paper, where there is a plane and proportions of all objects, light and shadow, which is directed according to the shape of the object.

Basic geometric shapes:

2D flat shapes

Three-dimensional figures that have volume

Absolutely all objects are based on these figures.

A cube is a figure, the basis of which is a three-dimensional image in the spatial relationship of the sheet. The cube has all the geometric parameters, such as: verticality, horizontality and depth. The cube itself contains the concept of the drawing as a whole.

To begin to understand the drawing, we will work with it. With the help of figurative and logical constructions, you and I We will develop thinking through form analytics. For greater understanding and analysis of the drawing, there are several exercises.

Exercises

We sit down at the easel and take large leaf paper, maybe inexpensive, or even a piece of wallpaper (paper doesn't really matter in this exercise). We draw a square, naturally we try to make sure that its sides are even and its lines are straight.

So, we see an ordinary square, completely uninteresting and unimpressive, but this is only at the moment...

Making a cube out of a square using a pencil: draw lines from the edges at approximately 45 degrees. Finishing the drawing back and... we get a cube. But again we don’t see any space in our sheet. You can freely confuse the nearest and farthest edges. Now it's just a few lines on paper.

In order for us to feel space, we need to give the drawing smoothness. That is, to make it clear to us where the front of the drawing is and where the back is.

The side of the cube that is closer to us needs to be highlighted, made clearer and conveyed more actively. Take your pencil and draw in a bold tone on the front edges. Now we can already see where the near side is and where the side is further from us.

This is the way we conveyed the space to achieve the desired result. But that's not all. Now it is important to correctly convey smoothness in order to obtain volume in the drawing.

We present to your attention a short video tutorial on the topic of optical illusions.