Learning to draw three-dimensional figures. Drawing geometric shapes

Identification of individual typological differences.

Test instructions

“You need to draw a human figure made up of 10 elements, which may include triangles, circles, and squares. You can increase or decrease these elements (geometric shapes) in size and overlap 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 ten. If you used a larger number of shapes when drawing, then you need to cross out the extra ones, but if you used fewer than ten shapes, you need to complete the missing ones. Carry out the drawing according to these instructions."

Material: subjects are offered three sheets of paper measuring 10x10 cm, each sheet is numbered and signed. On sheet No. 1 the first test drawing is made; further, respectively, on sheet No. 2 - the second, on sheet No. 3 - the third. After three drawings are completed, the data is processed. If the instructions are violated, the material will not be processed.

Processing test results

Data processing is carried out as follows: the number of triangles, circles and squares spent in the image of a man is calculated (for each picture separately), and the result is written in the form of three-digit numbers, where

hundreds indicate quantity triangles,
tens- quantity circles,
units-quantity squares.

These three-digit numbers make up the so-called “drawing formula”, according to which those drawing are assigned to the corresponding types and subtypes, which are presented in the table.

Interpretation of test results

The interpretation of the test is based on the fact that the geometric figures used in the drawings differ in semantics. Triangle usually referred to as a “sharp”, “offensive” figure associated with the masculine principle. Circle– a streamlined figure, more in tune with sympathy, softness, roundness, femininity. It is easier to build something from square-shaped elements than from others, therefore square, the rectangle is interpreted as a specifically technical structural figure, a “technical module”.

Personality types

Type I – “ supervisor" Usually these are people with a penchant for leadership and organizational activities. They are oriented towards socially significant norms of behavior and may have the gift of good storytellers, based on a high level of speech development. They have good adaptation in the social sphere and maintain dominance over others within certain limits.

Drawing formulas: 901, 910, 802, 811, 820, 703, 712, 721, 730, 604, 613, 622, 631, 640.

Most severe domination over others expressed in subtypes 901, 910, 802, 811, 820;
situationally-у 703, 712, 721, 730;
when influencing people with speech - verbal leader or “teaching subtype” – 604, 613, 622, 631, 640.

It must be remembered that the manifestation of these qualities depends on the level of mental development. At a high level of development, individual traits are developed, realizable, and quite well understood. At a low level of development, they may not be detected in professional activities, but may be present situationally, worse if they are inadequate to the situation. This applies to all characteristics.

Type II – “ responsible executive“possesses many of the traits of the “leader” type, however, there is often hesitation in making responsible decisions.

This type of people is more focused on “the ability to get things done”, high professionalism, has a high sense of responsibility and demands on themselves and others, highly values being right, i.e. characterized by increased sensitivity to truthfulness. They often suffer from somatic diseases of nervous origin as a result of overexertion.

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

III type – “ anxious and suspicious“-characterized by a variety of abilities and talents - from fine manual skills to literary talent. Usually, people of this type are cramped within one profession, they can change it to a completely opposite and unexpected one, and also have a hobby, which is essentially a second profession. Physically they cannot stand disorder and dirt. They usually conflict with other people because of this. They are characterized by increased vulnerability and often doubt themselves. They need gentle reassurance.

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

415 – “poetic subtype” – usually people who have this drawing formula have poetic talent;
424 – a subtype of people recognized by the phrase: “How can you work poorly? I can’t imagine how it could work poorly.” People of this type are particularly careful in their work.

Type IV – “ scientist" These people easily abstract from reality, have a “conceptual mind,” and are distinguished by the ability to develop their own theories “for everything.” They usually have peace of mind and rationally think through their behavior.

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

316 is characterized by the ability to create theories, mostly global ones, or carry out large and complex coordination work;
325 – a subtype characterized by a great passion for knowledge of life, health, biological disciplines, and medicine.

Representatives of this type are often found among people involved in synthetic arts: cinema, circus, theatrical and entertainment directing, animation, etc.

V type – “ intuitive" People of this type have a strong sensitivity of the nervous system and high fatigue.

They work more easily by switching from one activity to another; they usually act as “minority lawyers”, behind whom lie new opportunities. They have increased sensitivity to novelty. They are altruistic, often show concern for others, have good manual skills and imaginative imagination, which makes it possible to engage in technical types of creativity.

They usually develop their own moral standards and have internal self-control, i.e. prefer self-control, reacting negatively to attacks on their freedom.

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

235 – often found among professional psychologists or people with an increased interest in human psychology;
244 – has the ability of literary creativity,
217 – has the ability for inventive activity;
226 – great need for novelty, usually sets very high standards of achievement for himself.

VI type – “ inventor, designer, artist" Often found among people with a “technical streak.” These are people with a rich imagination, spatial vision, and are 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, and do not accept any outside influences other than self-control.

Emotional, obsessed with their own original ideas.

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

019 – found among people who have good command of the audience;
118 is the type with the most pronounced design capabilities and ability to invent.

VII type – “ emotive" They have increased empathy towards other people, have a hard time dealing with cruel scenes of the film, and can be unsettled for a long time and shocked by cruel events. The pains and worries of other people find their participation, empathy and sympathy, on which they spend a lot of their own energy, as a result it becomes difficult to realize their own abilities.

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

VIII type – “ insensitive to the feelings of others" Has the opposite tendency to the emotive type. Usually does not feel the experiences of other people or treats them with inattention and even increases pressure on people.

If he is a good specialist, then he can force others to do what he considers necessary. Sometimes it is characterized by “callousness,” which arises situationally when, for some reason, a person becomes isolated in the circle of his own problems.

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

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

Drawing geometric shapes can be compared to learning the alphabet for someone who is learning a foreign language. Geometric shapes are the first stage of constructing an object of any complexity. This is clearly seen in computer simulations, where the construction of a three-dimensional spaceship begins with a simple cube. In a drawing, all depicted objects are always composed or divided into simple geometric shapes. For learning to draw, this means exactly one thing: having learned to correctly depict geometric shapes, learn 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 imagining a geometric figure as a frame consisting only of lines and vertices (where the lines intersect), by imaginarily removing 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.

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

Finding the central axis of the sheet will help in further construction as a starting point for the vertical lines of the structure.
Determining the horizon line to correctly depict perspective.
Taking into account 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 design 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.

The structural part is followed by line modeling. Here we analyze in detail the rules and techniques for applying strokes to geometric objects.

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

Why can experienced artists quickly create complex drawings without spending a lot of time on marking and construction? Because at first they 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 design and focuses on the composition, idea, image of his creation. There is an opinion that memorized patterns will not allow the artist to fully develop.
It is worth looking at where such creative masters as Picasso and Dali started 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!

All objects and figures are placed in space. Even in a simple drawing, it is worth understanding that the objects are not completely different, 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, take a large sheet of 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. We finish drawing the back part 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 how 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.

When needed: to identify personality types: leader, performer, scientist, inventor, etc.

TEST
“Constructive drawing of a man from geometric shapes”

Instructions

Please draw a human figure made up of 10 elements, which may include triangles, circles, and squares. You can increase or decrease these elements (geometric shapes) in size and overlap 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 complete the missing ones.

Key to the test “Constructive drawing of a person from geometric shapes”

Description

The test “Constructive drawing of a person from geometric figures” is intended 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 made, then, accordingly, 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, which may include triangles, circles, and squares. An employee can increase or decrease these elements (geometric shapes) in size and overlap 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 an employee used a larger number of shapes when drawing, then he needs to cross out the extra ones, but if he used fewer than 10 shapes, he needs to complete the missing ones.

If the instructions are violated, the data will not be processed.

Example of drawings made by three assessees

Processing the result

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

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

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

Interpretation of the result

Our own empirical studies, in which more than 2000 drawings were obtained and analyzed, showed that the relationship of various elements in structural 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 principle;
circle – a streamlined figure, more in tune with sympathy, softness, roundness, femininity;
a square, a rectangle are interpreted as a specifically technical structural figure, a technical module.

Typology based on the preference for geometric shapes allows us 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. Dominance over others is most severely expressed in subtypes 901, 910, 802, 811, 820; situationally - at 703, 712, 721, 730; when influencing people with speech - verbal leader or teaching subtype - 604, 613, 622, 631, 640.

Typically, these are people with a penchant for leadership and organizational activities, oriented towards socially significant norms of behavior, and may have the gift of good storytellers, based on a high level of speech development. They have good adaptation in the social sphere and maintain dominance over others within certain limits.

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

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

Type II – responsible executor

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

This type of person has many traits of the “leader” type, being disposed towards it, however, there are often hesitations in making responsible decisions. Such a person is focused on the ability to get things done, high professionalism, has a high sense of responsibility and demands on himself and others, highly values 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 cramped within one profession, they can change it to a completely opposite and unexpected one, and also have a hobby, which is essentially a second profession. Physically they cannot tolerate clutter and dirt. They usually conflict with other people because of this. They are characterized by increased vulnerability and often doubt themselves. Need encouragement.

In addition, 415 - “poetic subtype” - usually persons who have such a drawing formula have poetic talent; 424 – a subtype of people recognized by the phrase “How can you work poorly? I can’t imagine how it could work poorly.” People of this type are particularly careful 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. They usually have peace of mind and rationally think through their behavior.

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

325 – a subtype characterized by a great passion for knowledge of life, health, biological disciplines, and medicine. Representatives of this type are often found among people involved in synthetic arts: cinema, circus, theatrical 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 and its high exhaustion. They work more easily by switching from one activity to another; they usually act as advocates for the minority. They have increased sensitivity to novelty. They are altruistic, often show concern for others, have good manual skills and imaginative imagination, which gives them the ability to engage in technical types of creativity. They usually develop their own moral standards and have internal self-control, that is, they prefer self-control, reacting negatively to attacks on 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 for inventive activity;

226 – has a great need for novelty, usually sets very high standards of achievement for himself.

Type VI – inventor, designer, artist

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

Often found among people with a technical streak. These are people with a rich imagination, spatial vision, and are 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, and do not accept any outside influences other than self-control. Emotional, obsessed with their own original ideas.

The following subtypes are also distinguished:

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

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

VII type – emotive

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

They have increased empathy towards others, have a hard time dealing with cruel scenes of the film, and can be unsettled for a long time and shocked by cruel events. The pains and worries of other people find in them participation, empathy and sympathy, on 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 pressure on people. If he is a good specialist, then he can force others to do what he considers necessary. Sometimes it is characterized by callousness, which arises situationally when, for some reason, a person becomes isolated in the circle of his own problems.

/ Still life

1 pic. We outline the horizon - the line of the table. We compose a still life using straight lines. The result is the shape of a house, with a slight tilt to the left side. We find the center and draw a vertical axis, and then a horizontal one. We did a great job composing the still life composition.

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 shapes are located between the lines, where they go beyond the lines, and what slope they have.

3 fig. Here our task is to build 3 volumetric geometric figures (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 points “A”, “B” and “C” draw diagonals parallel to each other, find the points on them using a ruler and measure the same length. Connect the dots. Cylinder - draw along the length direction (with an inclination) the central axis, and find points for the cross axes of the cylinder. We measure equal distances from the center of the axes using a ruler (as we did the ball).

4 fig. Now we need to show shadow, light and falling shadow from objects on objects. The direction of the light rays shows where there will be shadow and light on objects. By applying a stroke to the form we show the main gradations. Look carefully 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 penumbra and half-light - this is a smooth transition from shadow to light. Here we need to show the density with a stroke. It is necessary to deepen the shadow, penumbra, half-light, reflex and falling shadow from objects.