How to learn to lay a stroke on the shape of an object - we will improve our pencil skills and learn to create a drawing geometric shapes, creating their volume. We have a cube, a ball, a cone and a cylinder in our arsenal.
Our work will be divided into two parts. First part - we draw according to submission. Perhaps you have layouts of these figures, if not, then you can look at the page on how to make a layout of geometric figures and, in fact, make them, but we will start with something else. We'll start by understanding, analyzing the form first without layouts. You can first create them and sometimes look at them when 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 to convey the shape of these basic figures. Initially, the work takes place in the head, and not in front of the eyes. Right?
The second part - we will draw from life, but just like in the first case, we do not cling too much to nature, but first of all we think and analyze ourselves, and now we test ourselves with what nature shows us.
So, first part. You can draw on A3 format. We take whatman paper, a pencil and draw a figure; it’s also a good idea to use knowledge of perspective when constructing it. And then you begin to “lay” the stroke on the shape, sculpting the volume of the figure with the help of your mind and a pencil.
We already know that chiaroscuro is distributed across the shape of an object, creating tonal gradations, or zones. For now, let's take the three main ones - light, penumbra and shadow. We limit ourselves to only the figures, without using the entire space.
Let's draw a cube. Avoiding mistakes. In the picture on the left I have a strong perspective, too much, don’t do that. Here it is enough to convey it quite a bit, slightly distorting the shape. Look at the picture on the right. Do you see the difference between the front wall and the back? It's enough. We use sizes that are not so large, so that we transform small forms into architecture.
Let's talk about light transmission. Light, shadow and penumbra are shown.
But don't forget about the gold rule - light moving away along the shape of the object it darkens, the shadow brightens. Look: the light, moving into perspective, slightly loses its brightness, add a little shading there. And now penumbra and shadow, the same picture, but in reverse order. As the shadow moves away, it weakens and brightens slightly. But all the same, the overall tone of the shadow will never be lighter than the overall tone of the light, and the penumbra also does not break out of its tonal boundaries. Everything is in its place.
Let’s also look at how we carried out the training from our first lesson, see the basics of drawing, we don’t forget about that even now. We highlight the corners and edges closest to us and place emphasis on them. The near edge and corners are accentuated, which is what takes the main attention, everything else smoothly goes into space. But here this space does not need to be transferred much, since our distances are, in principle, small.
Note: 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 don’t look at your work head-on; move it away from you more often, diffuse your vision, and don’t get caught up in the details.
And then the rest of the figures. These figures, in general, are quite streamlined and rounded, so we notice the following:
Let's say the first ball in the row is. 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 at the edges, since there the shape goes into space - take this point into account when drawing a streamlined shape.
The same is true with a cylinder and a cone. Where the form begins to wrap up and goes into space, there is no need to place emphasis. But where the shape needs to be emphasized is where the shape breaks 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, at the bottom it is stronger, while rising upward it loses its activity. Don't make it the same tone over the entire height. These quantities here are not huge, but they still exist, otherwise the conditional space cannot be correctly conveyed.
I draw your attention to the shading. This is something that is a 100% stroke that fits the form. Despite the fact that it is somewhat monotonous and boring, it is very useful in terms of learning. It teaches discipline, concentration, and how to do straight lines and simply pure 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’s written strangely, but I try to convey to you as vividly as possible the beauty of this exercise. And we’ll talk about the strokes that should fit the shape of the object and which ones they are not.
And don't worry if things don't work out. No one is immune from mistakes, and there can be many of them, and nothing in the world is perfect. 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 surroundings. Let's envelop them in air and draw them in space. Let's take the main ones:
Let the cylinder go first. We place the cylinder on the object plane - table, set the lighting so that the shadow from the figure falls beautifully on the object plane, is neither very stretched nor small - it is harmonious and emphasizes the volume of the figure.
Stretch the paper over the tablet to create a clean design. Take a tablet size 30-40, it’s quite enough for this kind of work.
Now we need to arrange our cylinder in the plane of the sheet; find its harmonious place in the space of the sheet, taking into account the shadows as well. Use your eye to find proportions and back it up with a sense of linear perspective.
Be sure to convey the object plane. Our figure does not “float” in space, it is on the object plane!
When constructing a figure, be sure to show the invisible edges, show how you build the construction lines. You need this more than the viewer. Place accents where necessary, show the intersection of planes. Don't forget about perspective. If you noticed, the lower plane of the cylinder is visible to us more than the upper one, this is correct, since the horizon line (at least for me, it may be different for you) gives such an overview.
Look at how the shadow is constructed - it can be conveyed correctly using construction lines. Figuratively: rays come from the light source, which are divided into two types, one illuminates the figure, stops on it, therefore there will be no light beyond 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 slightly; this resembles reverse perspective. Do you understand why? If you direct the rays in the opposite direction, then the shadow construction lines will converge in one point to point, from which the light comes.
This is roughly what you should get. Further, in principle, we no longer need nature, since everything can be analyzed independently. Turn on analytical thinking and reason logically. But still, let's look 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 horizontal. Vertical planes - the wall and the break of 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 it is still necessary to highlight its object plane. This is achieved by highlighting the angle of the object plane.
Next: our subject plane receives the main light, but we need to show that it is horizontal. And we know that as the light moves away, it goes out and weakens. The farther the object plane goes from us, the weaker its light will be - we lay out the stroke in this way.
Now we need to deal with that part of the cylinder that will be in the shadow. Our cylinder is located vertically to the object plane, which means the main light will fall on its horizontal upper plane. Everything else is in shadow, with the exception of the area where the light glides across the form, since the light falls not exactly from above, but slightly from the side; this area is highlighted as the lightest on its vertical plane. The general shadow of the cylinder is more active than the wall, since the cylinder has an active shadow of its own and is closer to us, even though the wall is also located vertically.
The wall will be darker than the object plane, because it is vertical, which means there will be less light here, and because it will be farthest away, it will be in the background. Let's lay out the stroke like this.
The falling shadow of the figure will be the most active, but it also lies on the object plane, and therefore, as it moves away from it, it will become slightly 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 the pencil and it is difficult to lay out a stroke according to the shape, and it is difficult to clearly define the shape itself with a stroke, then there is an opportunity to work as shown in the figure on the left.
Lightly outline the kinks of the shape.
That is: let’s say you know how light is distributed according to 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. To better convey the volume of a 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 apply a regular straight stroke, but in such a way as to sculpt the volume, use the frequency of the stitch-stroke or the pressure of the pencil.
Here I ask you not to confuse two concepts: how the light is distributed over the shape of the object and how the stroke is laid out over the shape of the object. In the first case, we have 5 zones, in the second, we can outline as many zones and shape breaks as you need. But don’t scribble, all auxiliary lines should be inconspicuous.
Note: If you may have noticed by looking at this drawing, you will see 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 in both places, but that’s how our eyes see it.
For a keen sense of reality, for the best accent of light and shadow, for the harmonious perception of the drawing by our eyes, and in the end, let’s make our eyes pleasant! Let him see in the drawing what he sees in nature. This is just a slight nuance that will only enrich our drawing and can be unobtrusively conveyed.
But what about your own shadow? It is interesting that if you draw lines from the point of illumination to the center of the ball through which the diameter passes, which 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 a stroke in the shape of a ball in order to show your own shadow is not at all difficult.
Now I was getting a little bored with drawing in one manner and wanted to experiment.
Look at the work on the right. Do you think it was done with shading? Does not look like it. It is made with a tonal spot using pencils of varying degrees of softness. If you take pencils with a solid lead, without a wooden frame, and just draw the tone on the paper, rather than shading, then you will also get a drawing like this.
What else is wrong with us, besides execution technique? The light is there, the shadows too, which means everything is in order. But still, let’s take a closer look. Most bright light
we will have 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; at the break of the object plane there will be a little more light, but nevertheless, we will emphasize this area.
Look at the ball's own shadow - I put emphasis on the area of it that will be closer to us, and as it wraps itself in shape, the shadow will lose activity. Remember: a ball is a streamlined shape.
The wall is in partial shade, and in the background, so let it remain there unobtrusively. The only thing is that it will “play” with the volume of the ball.
From the light side the wall will appear somewhat darker, from the shadow side it will appear lighter. Let's please our eyes here too ;)
For example, this is how I draw a cube that 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 structure and its shadow, not forgetting to take into account the perspective
3. Determine the place of light and shadow - add a light touch. 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 is used to complete the work, it is quite unusual, right? It’s better not to resort to such a touch in drawing lessons; don’t scare the teachers, they don’t have the same modern progressive views as you. But in their creative works
You can use this touch, why not? After all, the drawing was made according to all laws.
The space in the sheet is conveyed, the shape of the object is shown, and the basic tonal relationships in our drawing are conveyed. But to this we also added a touch that makes the work interesting and airy. Well, then again, let’s analyze the drawing and analyze:
Let's go over the basic tonal relationships, first through the shadows: the darkest shadow is the falling shadow, followed by the cube's own shadow. The fracture of the object plane takes third place; we highlight it, but do not blacken it, since there is enough light there. And the fourth is the wall, which also receives light; we can say that the wall is in partial shade, but farthest away. See how the penumbra of the wall plays with the shape of the cube: on the side of the illuminated part of the cube the wall is darker, on the side of the shadow it becomes lighter. These gradations may be very small, but they are present.
Next, we analyze the light: the lightest and most illuminated part will be the top plane of the cube, the second lightest is the object plane, which is horizontally in front of us and loses light as it goes into space.
Lastly, if you decide to experiment with shading. Just as the tonality of light and shadow, which we convey in the space of the sheet, varies, so the stroke can change its shape - play with the size of the stroke. The wall is made with a stroke of a medium stitch, quite static. The cube is made with small and active strokes, giving the cube dynamics. And the object plane is made with long stitches, rather trivial and uninteresting. So, even a stroke helps to identify the main character in the picture - the cube, which is made with the most dynamic stroke, attracting attention, in my opinion. What do you think?
Try to do something of your own, experiment, then the most simple work will be performed with pleasure, great attention and great interest. And when you are sitting, doing work, for example, trying to put an even stroke on a form, and even succeeding, and at the same time you begin to notice that your breath stops from concentrating on your attention, and at these very moments you feel the whole limit of the drawing and get unspeakable pleasure.
Applique is an ancient method of developing children of all ages, which includes a huge number of varieties: from geometric shapes, from fabric, from natural materials, object-based, 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:
Preparing the workplace and materials
Whether it’s a simple application of geometric shapes or gluing long history using the data provided, Due attention must, first of all, be paid to organizing the child’s workplace:
- scissors (light, small, comfortable for a child’s hand, always with blunt ends);
- a base that will become the base for the appliqué (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 type);
- working material (what the applique will be made from: colored paper, fabric, cereals, foil, flowers, and so on).
Working with Templates
To properly organize appliqué lessons with children, it is important to work out every little detail, in particular the templates. 
Applications for the youngest (3-5 years old), for example, from geometric shapes, leave no questions regarding the creation of templates for them. In this case, you need to create a drawing, indicating on it the places where the baby should glue the pre-cut elements.
In situations with preparing for appliqués for older children, certain difficulties may arise if the organizer does not have good drawing skills. The situation described is due to the need to create more complex sketches, tracing and independently cutting out which children will be able to obtain 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 over 5 years old) the image copied in color into the constituent parts of the future work;
glue the elements onto 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 in younger children:
kindergarten
Figure templates for the senior group of kindergarten Application of geometric shapes, adding to the plot of a picture, “composing” pictures of animals, birds by gluing eyes, paws, wings and so on on them -
main types of applicative activities with children 4-5 years old:
Templates of figures for the preparatory group of kindergarten As a rule, tasks for children over 5 years old
This involves not only cutting and gluing, but also preparing a template for the applique yourself:
Figure templates for 1st grade
An applique of geometric shapes will certainly be suitable for schoolchildren who know how to handle scissors carefully. Students are given complex tasks with big amount
templates - circles, polygons, cutting out which will require strength, perseverance, and accuracy.
Applications:
Shape templates for grade 2
Scroll:
Shape templates for grade 2
Shape templates for 3rd grade
Shape templates for grade 2
Shape templates for 4th grade
Application on the theme “Summer” Applications of forest, sun, mushrooms, trees, grass, made of geometric shapes,different material
will perfectly reveal the theme of summer in a child’s work: As a result of the work, the child receives an image sunny day with all the components.
summer period
Application on the theme “Autumn” When working on “autumn” applications, you can, as an option, use:
As a result of simple manipulations, the child will receive an application illustrating the details of the autumn season.
Application on the theme “Winter”
Working with winter theme can be made from many materials: cotton wool, paper, fabric and so on. The most useful from the point of view of developing fine motor skills in children is an applique consisting of small pieces of paper. The child should not cut out these components, but tear the paper as small as possible. It is better to use dark as a base blue leaf colored cardboard. 
Performance:
- First, children need to prepare templates of houses and trees, consisting of geometric shapes. (rectangles - houses; squares - windows of houses; elongated rectangles - tree trunks; triangles - roofs of houses).
- Having glued the resulting appliqué parts 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, and ground, depicting snowfall or snowdrifts.
As a result of creativity, an image of a winter city is obtained on a sheet of paper.
Application on the theme “Space”
When working on a “space” application, you can invite your child to “make” constellations:
As a result of creativity, you should get a variety of constellations of the night sky: Ursa Major/Little Bear, Gemini, Canis Major, and so on.
Making patterns from geometric shapes
Making a pattern of geometric shapes helps children master or consolidate knowledge about their names and develops fine motor skills, creative thinking, imagination. This type of activity consists of gluing the simplest figures in a chaotic order to obtain a pattern or classifying components by size, shape, color, and so on. 
To spark a child’s interest in this type of appliqué, an adult invites him to decorate a napkin.
Having provided the student with the templates, it is necessary to show him a sample, a copy of which should become the result of the work. An alternative to the model can be cooperation with the teacher, where, hearing the name (color, size) of a geometric figure previously cut out according to a template, the child must choose the same one and stick it to the indicated place.
It is important for the organizer of application classes to remember the need to:
- properly equip workplace“student”: remove the unnecessary, prepare the necessary;
- in classes, resort to playful techniques to keep the child’s interest;
- use a variety of materials for applications to best development tactile sensations of children;
- choose a topic that suits your specific interests age group;
- ask the child to express his personal opinion after the work done for further analysis of errors in organizing the process;
- do not limit the child’s imagination and allow him to refine the appliqué lesson plan as he works.
Applications made in the style of simple gluing together pictures of geometric shapes, along with more complex options, should, first of all, bring joy to children.
Definitely, the “teacher” must interest the children before formulating the task, praise them during the process, and evaluate the merits of the work already completed. By enjoying the activities, the child will not only develop, but also have a pleasant time in the company of peers or parents, which means that appliqué classes will take root firmly in his life. for a long time.
Video: application of geometric shapes
Applications from geometric shapes in the video:
Find out how to create an applique with animals in the video:
All objects and figures are placed in space. Even in simple drawing It is worth understanding not completely different objects, but everything that is on it, and everything that we want to depict. It is worth considering it as one flow of shapes and lines, white and black, light and shadow.
The drawing should be perceived as a space on paper, where there is a plane and proportions of all objects, light and shadow, which is directed according to the shape of the object.
Basic geometric shapes:
2D flat shapes
Three-dimensional figures that have volume
Absolutely all objects are based on these figures.
A cube is a figure, the basis of which is a three-dimensional image in the spatial relationship of the sheet. The cube has all the geometric parameters, such as: verticality, horizontality and depth. The cube itself contains the concept of the drawing as a whole.
To begin to understand the drawing, we will work with it. With the help of figurative and logical constructions, you and I We will develop thinking through form analytics. For greater understanding and analysis of the drawing, there are several exercises.
Exercises
We sit down at the easel and take large leaf paper, maybe inexpensive, or even a piece of wallpaper (paper doesn't really matter in this exercise). We draw a square, naturally we try to make sure that its sides are even and its lines are straight.
So, we see an ordinary square, completely uninteresting and unimpressive, but this is only at the moment...
Making a cube out of a square using a pencil: draw lines from the edges at approximately 45 degrees. 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 the way we conveyed the space to achieve the desired result. But that's not all. Now it is important to correctly convey smoothness in order to obtain volume in the drawing.
We present to your attention a short video tutorial on the topic of optical illusions.
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 masters foreign language. Geometric shapes are the first stage of constructing an object of any complexity. This is clearly visible in computer modeling, where the construction of three-dimensional spaceship starts 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 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 with further construction as a starting point for vertical lines designs.
- 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 instruction 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.
From what experienced artists can be applied quickly complex drawings without spending a lot of time on marking, building? Because at first they thoroughly memorized the rules and canons, and now they clearly understand the structure of any form. 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!
