Drawings of geometric shapes with a pen. Pictures of animals from geometric shapes

Application is an old method of developing children of all ages, which includes a huge number of varieties: from geometric shapes, from fabric, from natural materials, subject, plot, decorative, and so on.

Benefits of applique classes for children of all ages

Application classes will make an extremely positive contribution to the development of the child:

Preparation of the workplace and materials

Whether it's a simple application of geometric shapes or pasting a long story using the provided data, due attention must, first of all, be given to the organization of the workplace of the child:

scissors (light, small, comfortable for a child's hand, always with blunt ends);
a base that will become the base for the application (for example, a white sheet of paper, cardboard, a wooden block);
glue (preferably glue - a pencil that will not spread, spill or stain, unlike the usual liquid form);
working material (what the application will be made of: colored paper, fabric, cereals, foil, flowers, and so on).

Working with Templates

For the correct organization of classes with applications with children, it is important to work out every little thing, in particular templates. Applications for the smallest (3-5 years), for example, from geometric shapes, leave no questions about creating templates for them. In this case, it is necessary to create a drawing, indicating on it the places where the baby should glue the pre-cut elements.

In situations with preparation for applications for older children, certain difficulties may arise if the organizer does not have good drawing skills. The described situation is due to the need to create more complex sketches, circling and cutting out on their own, which children can get the necessary components of a future craft.

The algorithm for working with templates is identical for each type of application:

create a sketch in color;
copy the original drawing;
cut (for children 3-5 years old) or divide with bright lines (for children from 5 years old) the image copied in color into the constituent parts of the future work;
glue the elements on the prepared base.

Figure templates for the younger group of kindergarten

Applications from geometric shapes - the most suitable a way to develop fine motor skills and creative thinking of children in the younger group of kindergarten:

Figure templates for the older group of kindergarten

Application of geometric shapes, addition of the plot of the picture, "drawing up" a picture of animals, birds, by gluing eyes, paws, wings, and so on to them - the main types of applicative activities with children 4-5 years old:

Figure templates for kindergarten preparatory group

Tasks for children over 5 years old, as a rule, they mean not only cut and paste, but also independently prepare a template for the application:

Figure templates for grade 1

An application of geometric shapes will certainly succumb to schoolchildren who know how to handle scissors carefully.

Students are given complicated tasks with a large number of patterns - circles, polygons, for cutting which will require strength, perseverance, accuracy.

Applications:

Figure templates for grade 2

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Figure templates for grade 3

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Figure templates for grade 4

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Application on the theme "Summer"

Applications of the forest, the sun, mushrooms, trees, grass, made of geometric shapes of various materials, perfectly reveal the theme of summer in the work of the child:

As a result of the work, the child receives an image of a sunny day with all the components of the summer period.

Application on the theme "Autumn"

In the work on the "autumn" applications, you can, as an option, use natural material:

As a result of the simplest manipulations, the child will receive an application illustrating the details of the autumn season.

Application on the theme "Winter"

Work with a winter theme can be done from a variety of materials: cotton wool, paper, fabric, and so on. The most useful from the point of view of the development of fine motor skills in children is an application consisting of small pieces of paper. The child should not cut out these components, but tear the paper as small as possible. As a basis, it is better to use a dark blue sheet of colored cardboard.

Performance:

To begin with, children need to prepare templates for houses, trees, consisting of geometric shapes. (rectangles - houses; squares - windows of houses; elongated rectangles - tree trunks; triangles - roofs of houses).
Having glued the received details of the application into place, you can begin the process of tearing the paper.
Small pieces of white paper, obtained as a result of the work done, are randomly attached to the roof, branches, ground, depicting snowfall or snowdrifts.

As a result of creativity on a sheet of paper, an image of a winter city is obtained.

Application on the theme "Space"

When working on a "space" application, you can offer the child to "compose" constellations:

As a result of creativity, various constellations of the night sky should be obtained: Ursa Major / Minor, Gemini, Canis Major, and so on.

Drawing patterns from geometric shapes

Drawing up a pattern of geometric shapes helps to master or consolidate knowledge about their names in children, develops fine motor skills, creative thinking, and imagination. This type of activity consists in gluing the simplest figures in a chaotic manner to obtain a pattern or classifying components according to size, shape, color, and so on.

To generate a child's interest in this type of application, an adult invites him to decorate a napkin.

Having provided the student with templates, it is necessary to show him a sample, a copy of which should be the result of the work. An alternative to a model can be cooperation with a teacher, where, hearing the name (color, size) of a geometric figure previously cut out according to a template, the child must choose the one and stick it in the indicated place.

It is important for the organizer of application classes to remember the need to:

competently equip the workplace of the “student”: remove the excess, prepare the necessary;
in the classroom, resort to gaming techniques to keep the interest of the child;
use a variety of materials for applications in order to best develop children's tactile sensations;
choose topics that correspond to the interests of a particular age group;
ask the child to express a personal opinion after the work done for further analysis of errors in the organization of the process;
do not limit the child's imagination and allow him to refine the lesson plan with applications in the course of work.

Applications made in the style of the simplest gluing of pictures from geometric shapes, along with more complex options, should, first of all, bring joy to children.

Definitely, the “teacher” should interest the children before formulating the task, praise them in the process, and evaluate the merits of the work already completed. Enjoying classes, the child will not only develop, but also enjoy spending time in the company of peers or parents, which means that appliqué classes will be firmly rooted in his life for a long time.

Video: application of geometric shapes

Applications from geometric shapes in the video:

How to create an application with animals, find out in the video:

When needed: to identify types of personalities: manager, performer, scientist, inventor, etc.

TEST
"Constructive drawing of a man from geometric shapes"

Instruction

Draw, please, a figure of a person, made up of 10 elements, among which there may be triangles, circles, squares. You can increase or decrease these elements (geometric shapes) in size, overlay each other as needed.

It is important that all these three elements are present in the image of a person, and the sum of the total number of figures used is equal to 10. If you used more figures when drawing, then you need to cross out the extra ones, but if you used less than 10 figures, you need to finish the missing ones.

The key to the test "Constructive drawing of a person from geometric shapes"

Description

The test "Constructive drawing of a person from geometric shapes" is designed to identify individual typological differences.

The employee is offered three sheets of paper measuring 10 × 10 cm. Each sheet is numbered and signed. On the first sheet, the first test drawing is performed, then, respectively, on the second sheet - the second, on the third sheet - the third.

The employee needs to draw a human figure on each sheet, made up of 10 elements, among which there may be triangles, circles, squares. The employee can increase or decrease these elements (geometric shapes) in size, overlay each other as needed. It is important that all these three elements are present in the image of a person, and the sum of the total number of figures used is 10.

If, when drawing, the employee used more figures, then he needs to cross out the extra ones, but if he used less than 10 figures, he needs to finish the missing ones.

If the instruction is violated, the data is not processed.

An example of drawings made by three graded

Result processing

Count the number of triangles, circles and squares spent in the image of a little man (for each drawing separately). Write the result as three-digit numbers, where:

hundreds indicate the number of triangles;
tens - the number of circles;
units - the number of squares.

These three-digit numbers make up the so-called drawing formula, according to which the drawings are assigned to the corresponding types and subtypes.

Result interpretation

Own empirical research, in which more than 2000 drawings were received and analyzed, showed that the ratio of various elements in constructive drawings is not accidental. The analysis allows us to identify eight main types, which correspond to certain typological characteristics.

The interpretation of the test is based on the fact that the geometric shapes used in the drawings differ in semantics:

the triangle is usually referred to as a sharp, offensive figure associated with the masculine;
circle - a streamlined figure, more in tune with sympathy, softness, roundness, femininity;
square, rectangle are interpreted as a specific technical constructive figure, a technical module.

A typology based on the preference for geometric shapes allows one to form a kind of system of individual typological differences.

Types

Type I - leader

Drawing formulas: 901, 910, 802, 811, 820, 703, 712, 721, 730, 604, 613, 622, 631, 640. Subtypes 901, 910, 802, 811, 820 are most severely dominated over others; situationally - in 703, 712, 721, 730; when exposed to speech on people - verbal leader or teaching subtype - 604, 613, 622, 631, 640.

Usually these are people who have a penchant for leadership and organizational activities, focused on socially significant norms of behavior, may have the gift of good storytellers, based on a high level of speech development. They have good adaptation in the social sphere, dominance over others is kept within certain boundaries.

It must be remembered that the manifestation of these qualities depends on the level of mental development. At a high level of development, individual features of development are realizable, quite well understood.

At a low level, they may not be detected in professional activities, but they may be present situationally, worse, if inadequate to situations. This applies to all features.

II type - responsible executor

Drawing formulas: 505, 514, 523, 532, 541, 550.

This type of people has many features of the "leader" type, being disposed towards him, however, there are often hesitation in making responsible decisions. Such a person is focused on the ability to do business, high professionalism, has a high sense of responsibility and exactingness to himself and others, highly appreciates being right, that is, he is characterized by increased sensitivity to truthfulness. Often he suffers from somatic diseases of nervous origin due to overexertion.

Type III - anxious and suspicious

Drawing formulas: 406, 415, 424, 433, 442, 451, 460.

This type of people is characterized by a variety of abilities and talents - from fine manual skills to literary talent. Usually these people are closely within the framework of one profession, they can change it to a completely opposite and unexpected one, they can also have a hobby, which is essentially a second profession. Physically do not tolerate disorder and dirt. Usually conflict because of this with other people. They are highly vulnerable and often doubt themselves. They need encouragement.

In addition, 415 - "poetic subtype" - usually people with such a drawing formula have poetic talent; 424 is a subtype of people recognizable by the phrase “How can this work badly? I can't imagine how bad it can be." People of this type are distinguished by special care in their work.

IV type - scientist

Drawing formulas: 307, 316, 325, 334, 343, 352, 361, 370.

These people easily abstract from reality, have a conceptual mind, and are distinguished by the ability to develop all their theories. Usually they have peace of mind and rationally think through their behavior.

Subtype 316 is characterized by the ability to create theories, mostly global ones, or to carry out large and complex coordination work.

325 - a subtype characterized by a great enthusiasm for the knowledge of life, health, biological disciplines, medicine. Representatives of this type are often found among people involved in synthetic arts: cinema, circus, theater and entertainment directing, animation, etc.

Type V - intuitive

Drawing formulas: 208, 217, 226, 235, 244, 253, 262, 271, 280.

People of this type have a strong sensitivity of the nervous system, its high exhaustibility. It is easier to work on switching from one activity to another, they usually act as lawyers for the minority. They are highly sensitive to novelty. They are altruistic, often show concern for others, have good manual skills and imaginative imagination, which gives them the opportunity to engage in technical forms of creativity. Usually they develop their own moral standards, have internal self-control, that is, they prefer self-control, reacting negatively to encroachments concerning their freedom.

235 - often found among professional psychologists or people with an increased interest in psychology;

244 - has the ability for literary creativity;

217 - has the ability to inventive activity;

226 - has a great need for novelty, usually sets very high criteria for achievement for himself.

VI type - inventor, designer, artist

Pattern formulas: 109, 118, 127, 136, 145, 019, 028, 037, 046.

Often found among individuals with a technical vein. These are people with a rich imagination, spatial vision, often engaged in various types of technical, artistic and intellectual creativity. More often they are introverted, just like the intuitive type, they live by their own moral standards, do not accept any outside influences, except for self-control. Emotional, obsessed with their own original ideas.

Also distinguish the features of the following subtypes:

019 - found among people who have a good command of the audience;

118 - the type with the most pronounced design capabilities and the ability to invent.

VII type - emotive

Pattern formulas: 550, 451, 460, 352, 361, 370, 253, 262, 271, 280, 154, 163, 172, 181, 190, 055, 064, 073, 082, 091.

They have heightened empathy for others, are hard pressed by violent scenes in the film, can be unsettled for a long time and be shocked by violent events. The pains and concerns of other people find in them participation, empathy and sympathy, for which they spend a lot of their own energy, as a result, it becomes difficult to realize their own abilities.

Type VIII - the opposite of emotive

Drawing formulas: 901, 802, 703, 604, 505, 406, 307, 208, 109.

This type of people has the opposite tendency to the emotive type. Usually does not feel the experiences of other people, or treats them with inattention, or even increases the pressure on people. If this is a good specialist, then he can force others to do what he sees fit. Sometimes it is characterized by callousness, which occurs situationally, when, for some reason, a person closes in a circle of his own problems.

/ 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 equal sides from the center and make a symmetrical shape.

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. Great! 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.

How to learn to lay a stroke in the shape of an object - we will improve our skills pencil possession and learn to create a pattern 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 is we draw according to the idea. Perhaps you have layouts of these shapes, if not, then you can look at the page how to make a layout of geometric shapes and, in fact, to 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 it is strongly transferred perspective too much, 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. We do not use such large sizes 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 below. drawing basics Let's not 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 too stretched nor small - it is harmonious and emphasizes the volume of the figure.

Pull the paper over 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 at one point - the 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; in this case, the corner of the object plane receives 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, with the exception of 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 subject 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 subject 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. In order 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 force 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 the 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, there will be a little more light at the break in the object plane, but nevertheless, we accentuate this area.

Look at your own shadow of the ball - I put emphasis on that area of it that 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 stroke. 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 your creative work, you can apply such a stroke, 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 object 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 are succeeding, 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.