Draw an illustration for the fairy tale that you can. All the books are about: “draw an illustration for...

The art of illustration is a very subtle matter and, in addition to the ability to draw, it also requires a great ability to think and imagine what is happening in literary work events IN ACTION. Well, let's learn to draw and develop our imagination.

Let's draw illustrations for the famous children's fairy tale "The Mitten". Since there are several versions of this tale, I will briefly retell the plot of our version. One winter, the old man went to the forest to get firewood, and on the way back he accidentally dropped his mitten, didn’t notice, and returned home. At home, he discovered the loss and, despite the late hour, hurried to return to the forest for it. Meanwhile, the lost mitten lay in the middle of the road. A mouse ran past and, without hesitation, decided to settle in a cozy and warm shelter, because it was winter outside. Then a frog appeared and asked to live with the mouse. The mouse accepted her, and they lived together. When they came later, the bunny, fox, wolf and boar owners also received them hospitably. However, when the bear appeared and also wanted to live in the mitten, the animals began to object that it was already cramped. However, the old man arrived in time, shook out the uninvited guests, put on a mitten and joyfully went home.

There are also slightly different versions of this tale, for example, with a hedgehog and without a boar, but we will rely on the version described above and now we will talk a little about how to illustrate it all.

Drawing an illustration for this fairy tale is not as easy as it might seem while listening to it. First we need to imagine what exactly we want to depict. Let's think about the content of the fairy tale. Let us think about how it happened that the old man lost his mitten and did not notice it right away. It turns out that she could not have fallen from his hand, otherwise the owner would have immediately missed the loss. Most likely, having gotten excited, he tucked his mittens into his belt, and that’s when one of them slipped out. Now let’s ask ourselves, could she fall and lie upright on the road?

It’s unlikely, it’s immediately clear that she would rather fall on her side. No good, even less likely. And that won’t work either, otherwise how would our characters get into it if the move was at the bottom? Therefore, we conclude that the mitten lay flat.

Let's list the most interesting episodes of this story that are worth illustrating. For example:

The grandfather tucks his mittens into his sash (belt).

The grandfather leaves, and a lost mitten lies on the road.

The mouse discovers the mitten.

The frog asks to live with the mouse.

The mouse and the frog let the bunny go.

The coming of the fox and the wolf.

A little boar arrives, and the animals decide whether to let him in or not.

A bear comes to visit, and life becomes very cramped for the animals.

The old man returns and finds the mitten.

The inhabitants of the mitten are deprived of their homes and scatter in different directions.

So, let's reflect on each episode.

Grandfather in the forest. The forest, since it was winter, was all covered in snow, the branches of the fir trees drooped under its weight, there was no foliage on the trees. There are snowdrifts everywhere. Let's think about how a grandfather from fairy tales should be dressed? On his head is a fur hat, for example an earflap, on his feet are felt boots, a warm sheepskin coat, tied with a sash: we made sure that the old man did not freeze. In order not to complicate our task too much, let's agree - the horse, harness and sleigh will remain behind the scenes, we will not depict them.

The old man leaves, leaving the mitten. It's not that simple here, and there are several options. The simplest one is that the old man moves horizontally away from the lost mitten “along” the image. Another option is that the road in perspective shortens “into the depths” of the image, the old man either goes away with his back to the viewer, and the mitten lies in the foreground, or, on the contrary, the old man comes towards us, and the mitten lies in the “depths” of the picture, that is, behind his back. You can also depict a road crossing the sheet diagonally. We will recommend working with perspective display, as it is quite complex, for older children, and we will consider a more accessible one in more detail.

The mitten lies on the road.

The mouse approaches the lying mitten. The mouse can be depicted either as in life, or, given fairy tale plot, in clothes. In this case, you should still remember that this is happening in winter, and dress her according to the season. Our goal is to study the structure of a four-legged animal, so we will try to make the animals resemble real ones as much as possible, and not look like people, but in animal masks. First frame: the mouse examines its find(). In this case, you will also have to depict the surrounding winter forest and snowdrifts.

Second frame: the mouse entered the mitten. Here we have to make the assumption that we can look inside. In order for the guys not to lose touch with life, we will try to depict our little animals as realistically as possible, and not in a cartoon style. The most you can afford is a little stylization for simplicity. Once inside the mittens, the mouse, of course, first begins to look around. Let's practice imitating the turn of the animal's head. By the way, it was probably dark in the mitten, but this is not a reason to draw a light bulb under the ceiling, as children who have seen enough bright books often do.

The appearance of a frog. The frog is an amphibious creature, and its structure is radically different from the structure of the other characters in our fairy tale. The frog has long and muscular hind legs for jumping and swimming, membranes between the elongated toes, and slightly bulging eyes. Read -. It’s not worth depicting it jumping, it’s too difficult for children, so let our frog sit better. Anyone who has seen frogs in nature knows that they are not always green, as they are usually painted. The coloring of this amphibian depends on environment, and usually ranges from dark brown to light beige, but almost always with dark stripes and spots for camouflage.

It's time for us to move on to the bunny. The bunny, like the frog, has strong jumping muscles. hind legs and relatively short front ones. It’s easier to draw him jumping than a frog, so we’ll do that.(). However, an option is possible - about a mitten. Despite the fact that the bunny long ears, don’t think that they always stand upright. Usually the scythe keeps them thrown back, and raises them only when he senses danger - he listens. We also won’t draw a hare with a bent, crooked ear: this practically never happens in nature.

We propose to consider the fox and the wolf, as representatives of the same family (canines), in comparison. What distinguishes a fox other than the red color of its fur? Her muzzle is sharp, her long nose gives her a sort of cunning expression (). The fox is smaller and thinner than the wolf. Tell me, why does the fox need her famous bushy tail? That's right, she uses her tail as a steering wheel so that she doesn't skid when turning while running fast. There is also an opinion that the red-haired rogue uses its tail to cover its tracks in the snow.

Now we will talk about the wild boar. The wild boar, as you know, is a relative of the domestic pig. However, in appearance it is noticeably different from her. The boar looks terrifying: huge, covered with dark-brown coarse bristles growing “backwards”, with a powerful triangular head, such high withers and low croup that the back seems humpbacked (in domestic pig the back is straight). Lesson: .

The boar's legs are long and muscular rather than thick, ending in cloven hooves, and sharp fangs protrude from the mouth (read ""). The wild boar lives in the forest and eats the same things as the bear, that is, it does not disdain either carrion or small animals, which is not entirely typical for an artiodactyl. A wild boar is very dangerous; you wouldn’t want your enemy to meet it. When this formidable beast asked to stay, despite the cramped conditions, no one dared to object to him.

The last thing to appear in the plot of our fairy tale was the bear(). Like the wild boar, the bear is omnivorous; of course, one should not think that it feeds only on honey. In winter, in fact, he is supposed to sleep in a den; a bear that wakes up and walks through the forest is called a “shatun”; such an animal is incredibly dangerous for anyone who meets it. A bear looks like this: a large, more or less rectangular body, a small hump at the withers, a croup higher than that of a wild boar, a much longer neck, a head with a blunt muzzle and rounded ears, brown coloring. With thick clawed paws, the animal can move on both four and two legs. By the way, the bear's tracks are similar to human ones. Even the boar had to make room when this giant appeared on the stage. The animals lived in cramped conditions, but were not offended - somehow they were able to get along, but then the old man returned for his lost mitten.

So, we know how to portray each of the heroes of the fairy tale separately. Now let's move on to composing the compositions. We need to get creative: we don't have the right to simply collect our characters in a mitten in the form of separate independent elements. The composition should be interesting, entertaining and reflect the relationships of the characters, as required by the plot of the fairy tale.

Agree that the scene with the appearance of the second guest, the frog, should carry a fair psychological burden. The mouse, which had obviously been examining the “room” before, of course, turns its head towards the entrance; the frog, with an uncertain and pleading look, is stomping around “on the threshold.” It seems to us great opportunity practice depicting the rotation of the animal's head. The mouse makes it clear to the frog that he can come in, now our little animals are sitting, looking at each other, and talking. Let's try to give the animals' faces a friendly expression. But what is it - a hare suddenly appears at the entrance. Both interlocutors, of course, immediately turn their heads in one direction; Having realized that the guest is not dangerous, they welcome him into their company. Most realist artists are convinced that the psychological authenticity of a composition is largely determined by the correct direction of the characters’ views. In our case, we need to show that the animals are looking at each other, and not at the viewer.

I’m inserting these two pictures for fun so that readers don’t get sour. In general, admire it - a fox carved without a design from a blank sheet of paper.

The fox approaches the lost mitten

The fox decides to live in the mitten

Next act - unexpected appearance foxes. Here everything is not so simple, because at the sight of a red cheat, the inhabitants of the mitten should be wary - it is no secret that the fox poses the most immediate threat to both the bunny and the mouse. There is no doubt that the mouse, having immediately given the fox forced consent, out of fear hides in the compartment for thumb mittens to stay out of reach. The fox with a cunning look goes inside and, looking around, begins to make (insidious) plans. But she never has time to take action, because a wolf is already standing at the entrance. Judging by the fairy tale “The Fox and the Wolf,” the relationship between these animals is not easy. Perhaps, when a wolf appears, a bunny and a frog rush into the depths of the mitten, and the fox, on the contrary, comes out to meet you with a flattering look, confident that this time too he will gray predator. The next scene: the wolf is talking to the fox, who is hovering around him, but he himself, most likely, is looking at the hare. The hare, in turn, is curled up into a ball: ears are flattened, eyes widened, watching the behavior of predators.

Now the boar. This formidable beast appeared at the entrance with the words “chro-chro-chro,” and it immediately became clear to everyone that they would have to make room. We must give him a special place here, not the last one. The boar entered the mitten and gazed at the animals. He pushed the fox and wolf into the very depths of the shelter. Perhaps the wolf is looking appraisingly at the boar - now he has no time for the hare, or at the entrance, in case he has to run away. The hare no longer hopes for anything and has given up on his fate: his ears are drooping, his eyes are apathetically closed. When a bear finally squeezes into the mitten, a terrible crush begins: the animals are like herrings in a barrel. A comparison with a crowded bus is also appropriate. Now there can be no talk of any kind of mutual psychologism: the faces of all the characters express patience and acceptance of the situation, because there is nowhere to go. A bear and a boar are fighting for a place of honor in the center of the composition; against the backdrop of these two leaders, the fox and the wolf are completely lost, pressed against the wall, the rest of the characters get underfoot and are afraid of being trampled.

Comrades, these pictures are purely for option and to amuse you, dear readers, they do not claim to be “canonical” reading.

There is no point in escalating the atmosphere further: fortunately for our friendly company, an old man appears. As soon as they notice the owner, everyone rushes out and rushes in all directions. The old man, looking happy, puts on his mitten and examines his hand. This is our version of reading this tale. But in general there are infinitely many such options. In this example, we simply showed how this is done; the perky tone of the narrative is designed to liberate your imagination and creativity. Of course, we hope that after reading our thoughts, you will come up with your own - cooler and more interesting.

The fairy tale "The Mitten" was retold to you by Evgeniy Novikov.

We wish you good luck.

French artist Xavier Collet explains how to make the drawing process more efficient using the example of his work with a dark fairy surrounded by a forest.

I think the following drawing rules can help you develop your skills, but sometimes it can feel like they are trying to limit you. Trying to satisfy a wide range artistic criteria such as: character design, thoughtful compositions and effective color schemes– you can slow down, but fast work is not always of high quality, remember this.

I believe that the best way to the top is to learn to feel, to do things instinctively. With practice, seeing the things that are in the image and identifying those elements that still need work becomes second nature, filling the subconscious as you work.

With practice, it becomes second nature to see things that need improvement.

The only thing I did before I started drawing was to step away from everyone and the photos in my head so that my subconscious could start generating ideas. After that, I completely immersed myself in the drawing process.

Initial sketches

I don't know how far I'll go with this illustration. But I know what I want main character was a queen of sorts—someone who would make you feel afraid, uneasy, when you looked into her eyes.

So I'll start with a rough sketch to get an idea of ​​what the composition will be like. She walks in the forest and watches you. Well, let's start drawing someone who will make you feel real fear and mesmerizing horror.

Fifty Shades of Gray

It is important to take into account the depth of the image and decide on the planes: a background with two or three levels of depth; your character's main plane and foreground.

I start in mono - it's faster and it will be easier to change something. I chose a palette of many shades of gray and, adding horns and long dress in full height, I began to determine her character.

Starting point

We all have our little weaknesses. Mine is that I can't resist drawing the character's face in the early stages. It is often said that detailing elements in isolation is not a good practice because you end up missing the big picture.

Helpful advice, no doubt, but I can't stand the fact that there will be only a few details on the face, I'm terribly itching to add them. So I took some time to draw the face, crown, horns and hair.

Sometimes it is very difficult to determine what colors the illustration will be in. So here you go little advice. Take an old drawing or even a photograph, it doesn't matter. Duplicate the image layer and apply the Gaussian Blur effect to the duplicate. Then change Blending Options – Blend Mode – Overlay. And see if this color scheme inspires you for your work illustration.

Search for a color theme

After that, I adjusted the Hue/Saturation and painted with the brush in color mode. Another tip is to apply Auto Levels or Auto Contrast and then play around with the layer blending modes. Sometimes happy accidents will inspire you and help you overcome the wall of “uncreativity.”

Add details

I start drawing out the details of the character, starting with the head and bust, before moving on to designing the clothing.

I'm not doing any dress ideas like I said, I'm just flipping through a large selection of different images to get my creative juices flowing so I can come up with ideas unusual design for a dress.

Contrast

It's good if there is contrast in the drawing. More specifically: the contrast of shapes, brightness and color. My choice for this illustration is a bluish light that will indicate magical power and control over all living beings in this picture.

More details

Now that I'm happy with the colors, I can finalize her costume by adding details such as jewelry, and introduce a range of materials such as fur, leather, metal, and glitter that all add up to make the design more interesting.

Plastic surgery is your friend

Remember the benefits of digital graphics programs. Photoshop's Plastic filter is a powerful editorial option. Here in my illustration I use it to touch up the fairy's face since I decided it was too long.

Let's finish with her

Time to complete the final details of the character. I added the finishing touches to her corset, painted a skull on her staff, added a blue glow to her costume, etc.

Now it's time to spice up the background with some light and some noise. The speckled brushes in the Foundation Lightening mode are perfect for me.

We create pets

I want my dark fairy to have... pets. The bottom of the composition is a bit loose, so it's the perfect place to draw the creatures that come to life with her dark magic.

I don't have a specific idea of ​​what I'm going to do, so I sketch it out with a dark brush and then use a brush in the Dodge mode to add details like eyes and mouths with wisps of magic coming out of them.

Menagerie of Monsters

So far I'm working instinctively and I'm quite happy with the design of my creature. Now I can add others. I use the same workflow: create a small sketch and then add details using the brush in the base dodge mode.

Blurred elements

I'm almost finished with this illustration and will now be applying some of the tricks I've learned over the years. I want my fairy to look at the observer - the spectator who is hiding in the forest.

So I'll finish off the branches with hard brush strokes. There is no need to draw them in detail. Then I added a Gaussian Blur effect to them and that's it - they're ready!

Grain adds texture

I love adding texture to my drawings. Sometimes it's just a paper texture created using a Layer Overlay. But now I will do something completely different.

I added a neutral gray layer (Saturation - 0, Brightness - 50) and applied Filter>Noise>Add Noise twice (set to maximum) and Filter>Blur>Blur three times. Then I set this layer to Overlay (Overlay) and clicked on the Layer Opacity, setting the settings to 5-6%

More magical life

I decided that the picture needed more life. My solution is to quickly paint the butterflies in the foreground, again giving the drawing more depth.

The final trick

Last tip. An easy way to add a little more variety to your art is to create a new layer and fill it with a soft cloud brush.

Set the base color to a light gray and use a soft cloud brush to create contrast. Then set this layer to Blend Mode.

I followed my own advice and finished the drawing!

From methodological tips for the textbook Literature. 5th grade.
Since fifth-graders rarely pay attention to the names of illustrators, we will ask them to read the names of the artists whose illustrations are included in the textbook. It would be nice to bring several illustrated collections of Russian fairy tales to class. As a rule, children like illustrations by Ivan Bilibin most of all. Children say that this artist best conveys the mystery and antiquity of Russian folk tales.

BILIBIN, IVAN YAKOVLEVICH (1876–1942), Russian artist. Born in the village of Tarkhovka (near St. Petersburg) on ​​August 4 (16), 1876 in the family of a military doctor. He studied at the school of A. Azhbe in Munich (1898), as well as with I. E. Repin at the school-workshop of M. K. Tenisheva (1898–1900). He lived mainly in St. Petersburg and was an active member of the World of Art association. Having set off on instructions from the ethnographic department of the Russian Museum on a trip to the northern provinces (1902–1904), I experienced great influence from the side of medieval wooden architecture, as well as peasant artistic folklore. He expressed his impressions not only in images, but also in a number of articles ( Folk art Russian North, 1904; etc.). He was also significantly influenced by the traditional Japanese print on a tree.

Since 1899, creating design cycles for editions of fairy tales (Vasilisa the Beautiful, Sister Alyonushka and Brother Ivanushka, Finist the Clear Falcon, the Frog Princess, etc., including Pushkin’s fairy tales about Tsar Saltan and the Golden Cockerel), he developed - using the technique of ink drawing, highlighted watercolor, - a special “Bilibino style” of book design, continuing the traditions Old Russian ornament. However, despite his artistic “nationalism”, the master adhered to liberal-anti-monarchist sentiments, clearly expressed in his revolutionary caricatures of 1905–1906 (published in the magazines “Zhupel” and “Hell Mail”). Since 1904 he was successfully engaged in scenography (including in the enterprise of S.P. Diaghilev).

In the summer of 1899, Bilibin went to the village of Egny, Tver province, to see for himself dense forests, transparent rivers, wooden huts, hear fairy tales and songs. Impressions from the recent exhibition of Viktor Vasnetsov came to life in my imagination. Artist Ivan Bilibin began illustrating Russian folk tales from Afanasyev's collection. And in the fall of the same year, the Expedition for Procurement of State Papers (Goznak) began publishing a series of fairy tales with Bilibin’s drawings.

Over the course of 4 years, Bilibin illustrated seven fairy tales: “Sister Alyonushka and Brother Ivanushka”, “ White duck", "The Frog Princess", "Marya Morevna", "The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf", "The Feather of Finist Yasna-Falcon", "Vasilisa the Beautiful". Editions of fairy tales are of the small type large-format notebook books. From the very beginning, Bilibin’s books were distinguished by their patterned design, bright decorativeness, Bilibin did not create individual illustrations, he strove for an ensemble: he drew the cover, illustrations, ornamental decorations, font - everything was stylized as an old manuscript.

The names of the fairy tales are written in Slavic script. To read, you need to look closely at the intricate design of the letters. Like many graphic artists, Bilibin worked on decorative type. He knew the fonts of different eras well, especially the Old Russian ustav and semi-ustav. For all six books, Bilibin draws the same cover, on which the Russians are placed fairy tale characters: three heroes, the bird Sirin, the Serpent-Gorynych, the hut of Baba Yaga. All page illustrations are surrounded by ornamental frames, like rustic windows with carved frames. They are not only decorative, but also have content that continues the main illustration. In the fairy tale “Vasilisa the Beautiful,” the illustration with the Red Horseman (sun) is surrounded by flowers, and the Black Horseman (night) is surrounded by mythical birds with human heads. The illustration with Baba Yaga's hut is surrounded by a frame with toadstools (what else could be next to Baba Yaga?). But the most important thing for Bilibin was the atmosphere of Russian antiquity, epic, fairy tale. From authentic ornaments and details, he created a half-real, half-fantastic world.

Therefore, when preparing questions about illustrations, you can ask:

• What do you see in the ornament of the illustration?
• What role does ornament play and how does it relate to the image?

Ornament was a favorite motif ancient Russian masters And main feature art of that time. These are embroidered tablecloths, towels, painted wooden and pottery, houses with carved frames and piers. In his illustrations, Bilibin used sketches of peasant buildings, utensils, and clothing made in the village of Yegny.

• What household items and buildings characteristic of the life of a peasant do you see in the illustrations?
• How does an artist show us how our ancestors lived?

From methodological tips for the textbook Literature. 5th grade. Fairy tale "The Frog Princess"

Bilibin's illustrations framed by floral patterns very accurately reflect the content of the fairy tale. We can see the details of the heroes’ costumes, the expressions on the faces of the surprised boyars, and even the pattern on the kokoshniks of the daughters-in-law. Vasnetsov in his picture does not dwell on the details, but perfectly conveys the movement of Vasilisa, the passion of the musicians, who seem to be stamping their feet to the beat of a dance song. We can guess that the music to which Vasilisa dances is cheerful and mischievous. When you look at this picture you feel the character of a fairy tale.

Assignments on illustrations for "The Frog Princess"

Students work with illustrations by I. Bilibin, determine which episode the artist illustrated, which of the illustrations most accurately conveys magical world fairy tales, the characters of the heroes, determine how I. Bilibin’s illustrations differ from paintings based on a fairy tale plot by V.M. Vasnetsova. This way children learn comparative analysis illustrations and paintings, gain image matching skills literary heroes with those that artists create.

Assignments for the fairy tale "Vasilisa the Beautiful"

Consider I.Ya. Bilibin’s illustrations for the fairy tale “Vasilisa the Beautiful.” Select appropriate captions from the text for them.

What signs fairy tale Did you notice while reading "Vasilisa the Beautiful"?

How do I.Ya. Bilibin’s illustrations convey the magical world of fairy tales?

Consider the illustration by I.Ya. Bilibin to the final episode of the fairy tale "Vasilisa the Beautiful". Describe Vasilisa's appearance. Does your idea of ​​the heroine match the way the artist depicted her?

Look at the illustration depicting Baba Yaga. How did you imagine this witch?

Illustrations for fairy tales by A. S. Pushkin

Bilibin's passion for ancient Russian art was reflected in the illustrations for Pushkin's fairy tales, which he created after a trip to the North in 1905-1908. Work on fairy tales was preceded by the creation of sets and costumes for Rimsky-Korsakov’s operas “The Tale of the Golden Cockerel” and “The Tale of Tsar Saltan” by A. S. Pushkin.

Bilibin achieves special brilliance and invention in his illustrations for the fairy tales of A. S. Pushkin. The luxurious royal chambers are completely covered with patterns, paintings, and decorations. Here the ornament so abundantly covers the floor, ceiling, walls, clothes of the king and boyars that everything turns into a kind of unsteady vision that exists in a special illusory world and ready to disappear any moment.

And here is a drawing where the king receives shipbuilders. In the foreground, the king sits on the throne, and the guests bow before him. We can see them all. The final scene of the feast: in front of us are the royal chambers, in the center there is a table covered with an embroidered tablecloth. Everyone is sitting at the table royal family.

In the watercolor illustrating Saltan’s reception of the shipmen, the space of the “stage” perspective goes into depth, and in the foreground the king and his entourage are decorously seated on the throne. The guests bow before him in a ceremonial bow. They move from right to left, one after another, so that it is convenient for us not so much the king to look at them, they move to the middle of the stage. Their brocade, velvet outfits, large ornaments of precious fabrics turn the foreground into some kind of moving carpet.

More in to a greater extent theatrical illustration for final scene feast Its center is the plane of the tiled floor of the royal refectory. Streltsy with reeds stand in converging lines in depth. The background is closed with an embroidered tablecloth and a table at which the entire royal family sits. Only the boyar sitting on the floor and playing with a cat attracts attention. Perhaps this is the image of the storyteller who concludes the tale with a traditional ending.

I was there: honey, drank beer -
And he just wet his mustache.)

Fools are lucky, which means everyone has a chance to be in a fairy tale. Today we will find out how to draw a fairy tale about the fisherman and goldfish! One day, an amateur fisherman threw a stick and a rope several times into a local swamp called Purgatory, and pulled out a golden Loch Ness monster, which began to speak out of fear. Not knowing how to save her skin, the fish invited the catcher to fulfill any wishes of his choice. Since the fisherman was a representative of the ordinary rural elite with a small house and an old wife, he was the master of the house, and therefore he went to ask his wife everything.

The old woman mistook the old man for a senile man and said: Let the fish make a trough for them, otherwise old Bekha has completely lost her horsepower. When the trough suddenly appeared near the house, the woman realized that she was in the matrix and could do whatever her heart desired. This continued until she wanted to be the queen of the sea, to which the fish showed her a very indecent gesture with its tail and left in an unknown direction, leaving the old woman with a broken trough. Well done for the fairy tale, and whoever listened will see the end. There are different types of wishes that come true:

• Trial version of the golden fish, which grants only three wishes;
• A golden shark that grants three dying wishes;
• The golden octopus, although not a fish, is willing to fulfill several of your needs;
• Golden wedding ring– fulfills the whims of exclusively the female part of the population, while taking away freedom of speech, will and money from men;
• Having golden hands, you can make wishes with your own hands from any available material;
• Gold teeth help dentists fulfill their wishes;

All other objects in this world do not fulfill desires. Except for a lot of money. But this is not a desire, but rather a purchase. So believe in fairy tales and grab your pencils and try to draw a fairy tale. It will be fun.

How to draw a fairy tale with a pencil step by step

Step one. Let's draw two circles on a piece of paper, indicating the head of a fisherman and a fish. We will also show the horizon line.
Step two. Let's sketch a fish and grandfather.
Step three. Let's draw the elements of the face.
Step four. Let's add a crown to the fish and a fishing rod to grandfather. Don't forget about background.
Step five. Let's remove the extra lines and correct the contours with a thicker line. And here's how it should work out.
Try to draw more of these fairy-tale characters.