Not always ready-made models stand and just wait - when will you, such a beloved artist, start sketching it. And some are not even worth asking for this - either they are too proud, or we are too modest (I judge this by myself).
So, precisely so that this does not interfere with the impulse " I wish I could draw her (him) right now», need to develop drawing from memory, which we will talk about now. This skill is very important for your creative self, because not only does it increase your self-esteem, it also gives you the opportunity to exercise to develop the processes of memory and imagination.
Thanks to it, you can develop your analytical mental abilities - that is, independently find and correct mistakes (avoid them in the future).
In the drawing from memory, you must convey the actual essence of our figure, namely some general concepts(something like sketches): well there, general outlines, structural patterns and all that. All this should be based on knowledge of anatomy and structural fundamentals.
Drawing training from memory
To train this skill, it is better to draw after drawing from nature - drawing from the memory of the character that you have already depicted earlier. But! Don't copy, but draw from memory. Well, for example, let’s take a certain lady already depicted by you (let’s say she’s standing in your drawing, looking dreamily out the window) and imagine how she would look if the one she was waiting for entered the room.
Surely her position would change, right?
We can depict this, taking into account all the changes in her position and the position of the clothing, the folds on it. In other words, to avoid stupid copying of an existing drawing, it’s better to try to portray him (the character) from some other point of view. Here.
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Saraeva N.P.
art teacher
Drawing from life, from memory and from idea
in art classes in a secondary school
IN modern world art has not lost its importance in the education of the younger generation, in the development of artistic taste and sensitivity to beauty in the surrounding life.
Passion for art and love for it do not come to a child on their own; an adult must carefully and passionately lead him to this. And first of all, the school teacher is a professional who will convey to an inexperienced student all the subtleties of his business - teaching fine arts, teach him to understand and feel the world of the artist, and through him - the beauty and meaning of life, reality.
The formation of interests and needs of a student’s personality is carried out by various means, including the means of fine art. Success here can be ensured only when the student, along with independent visual activities, is prepared to perceive paintings, drawings, sculptures, works of architecture and decorative and applied art. Fine arts lessons play an irreplaceable role in this.
Fine art is beautiful, amazing and attractive world. It is not always possible to simply enter into it right away. This world lives according to its own special laws. Without feeling them, without trying to understand them, it is not easy to perceive all the beauty and complexity of fine art.
Far from it last place in school teaching of fine arts, such types of work as drawing from life, from memory and from imagination are assigned, the implementation of which contributes to the development of students’ ability to see the world in connection with art, the formation creative personality. Students who understand the language of graphics, painting, and sculpture perceive other types of art much more deeply.
Different kinds creative activity, mastered by students, contribute to the development of their attitude towards fine art as a form of human consciousness, to an activity that requires deep knowledge, great work, observation, determination, and the ability to overcome difficulties.
Drawing from life
Drawing from life is the leading section of teaching, a visual teaching method that gives excellent results not only in teaching drawing, but also in general development child. Drawing from life teaches you to think and purposefully observe, awakens interest in analyzing nature and thereby prepares the child for further educational work.
Drawing from life plays a role in mastering the skills of competent depiction. big role. This fair statement of many methodologists is reflected in various literature, drawing and fine arts programs. The difficulties of drawing from life not only for teenagers, secondary school students, but even for professionals lie in the fact that, after going through analysis, maintaining the freshness, activity and integrity of the initial perception, deepening and enriching it. A close analytical-synthetic perception of objects of reality in the process of drawing from life encourages contemplation; this ability is extremely important for the emergence of aesthetic emotions and artistic image.
Drawing from life in a secondary school creates the prerequisites not only for mastering the basics of competent depiction, but also the conditions for a creative artistic and figurative reflection of reality. One of the types creative work, artistically reflecting reality can be called still life.
The main task in still life is to develop in schoolchildren the ability to emotionally and aesthetically perceive the depicted objects. The direction of visual perception should be emotional in nature. Having felt the beauty of objects, the child begins to look at an ordinary still life differently; he sees the harmony of the outlines of the vase, the sparkling whiteness of the plates, the picturesque texture of the drapery, that is, he learns to analyze what he sees and see the beauty of the objects that surround them in everyday life.
When working on a still life, the following educational and creative tasks are solved:
1) analysis of shape, proportions, structure, spatial position;
2) depiction of the symmetrical shape of objects using the midline;
3) color analysis;
4) training in how to work with different materials(graphic, pictorial, plastic).
5) acquiring skills to work in monochrome;
6) studying the rules of composition;
7) acquisition of skills in working from memory and representation (observation, knowledge).
The fine arts course involves students performing various still lifes, starting with simple ones, composed of one or two objects, becoming more complex at subsequent stages of training.
So in the fifth grade at the beginning school year a still life with fruits and vegetables is performed. Work on a still life begins with composition - the arrangement of a group of objects on the plane of a sheet of paper. The image of the objects should be very large and occupy the entire sheet of paper. Then the outlines and design of the still life objects are drawn, starting with the largest. Next, the construction lines are removed and paint work begins. Thin lines outline the boundaries of light, shadow, penumbra, highlights and reflections on objects; with the help of color and chiaroscuro, the beauty of the shape, surface, and color of objects is conveyed.
Children learn to understand nature, learn the laws of its competent depiction, master the skills of building work sequentially from simple to complex, from elementary exercises to more diverse and profound tasks.
In the process of learning to draw from life, educational tasks are laid down,
which contain a lot of different information, for example: if they draw fruits, vegetables - information - where they grow, about the works of artists - masters of still lifes; if instruments, a story about their purpose follows. When they draw household items, they talk about traditional folk decorations of household items (Palekh, Khokhloma and other folk crafts), a story about crafting techniques. The visual range, which usually accompanies any information, ensures more conscious drawing by schoolchildren.
So the next step is drawing autumn still life"Rowan branch and apple." The drawing is preceded by a story about rowan: “Against the background of the three sacred trees (ash, hazel, oak), an ordinary rowan looks modest. In our forests this tree, with its thin branches, carved leaves, large berries, swaying in the wind among the mighty oaks and pines, is as much a symbol of magic as this sacred three.
In the past, sacred rowan groves grew in sacred places of the sanctuaries of the ancient gods, since rowan provided magical protection and contributed to predictions. In addition, rowan was associated with such skills as the ability to control one’s feelings and protect oneself from other people’s spells.
A rowan tree growing near a house is still considered a good omen, and cutting it down unless absolutely necessary is not good, and we pay attention to the extraordinary beauty of this tree.” Children are given the opportunity to meet some paintings, which depict a rowan. Attention is drawn to the rowan tree growing outside the office window, which at this time of year - autumn - is decorated with bright clusters of berries.
Next, the teacher, together with the students, analyzes the full-scale setting, shape, volume of the rowan bouquet, spatial position, horizon level, structure of leaves and bunches of rowan. The sequence of linear construction of a still life drawing is demonstrated. Special attention is given to the first stage - determining the compositional arrangement of the entire group of still life objects on a sheet of paper. Attention is drawn to the correct and incorrect composition of the still life drawing. Students are very interested in this work. The still lifes are very bright, beautiful and emotional. The beauty of the rowan tree outside the window is also reflected in the students’ drawings.
In the seventh grade, it is planned to perform the “Festive Still Life” and the national “Russian Still Life”.
When drawing a “Festive Still Life” from life, it is necessary to remind students of the need to examine the object being drawn and compare it with their drawing. To make the still life easier to perceive, contrasting objects are set, simple in shape and different in color. At the same time, it is necessary to help the child see the characteristic color and shape of objects, to draw his attention to the aesthetic qualities of the model. A staged work may contain a small number of objects, but the requirements for the quality of the drawing are increased.
When performing “Russian Still Life”, students expand their knowledge about
decorative and applied creativity of the peoples of Russia, folk crafts, the specifics of figurative and symbolic language and the role of color in works of decorative and applied art. The still life is made up of Russian household items (jar, birch bark, clay bowl, wooden spoon). Students' attention is drawn to the fact that a production drawing is not just a sum of details; one object is drawn onto another. This is something whole, but including several items. Here it is necessary to take care of the balance of the composition, the plastic unity of the entire drawing.
Even when drawing a jar, which is generally a simple object, it is necessary to follow a certain sequence. We start by studying the form, understanding the structure and texture of the surface. Then we assemble the image into a format and begin constructive construction. We check the correctness of the design, the verticality of the axis, the symmetry of the right and left sides of the lid, stability on the plane: is there a feeling that the object is falling forward or backward. If there is, it means that the horizontal parts of the jar or other thing are not accurately marked relative to eye level. After correcting the inaccuracies and errors of the entire composition, students begin to work with paints.
In this way, the knowledge acquired during the learning process is consolidated. The number of tasks is decreasing, but quality requirements are increasing.
The first step in mastering image techniques volumetric items is drawing the simplest geometric bodies. IN primary school Students become familiar with geometric bodies and acquire linear construction skills. IN high school this knowledge expands and deepens. The ability of students to understand and draw basic geometric bodies provides enough knowledge to depict any everyday object, which, when analyzing the shape, reveals similarities with geometric bodies or consists of their combinations.
Geometric bodies underlie many objects; all perspective changes are clearly visible in them, and the process of depicting these bodies is simple and determined by only a few specific stages.
In the fifth grade, a “Still Life of Geometric Solids” is drawn, composed of geometric solids various shapes(parallelepiped, cylinder, sphere). The task is in progress soft pencils: TM, M, 2M. Drawing this still life has the following goals:
Familiarity with design, end-to-end drawing, linear construction, chiaroscuro;
Drawing geometric bodies from life with an attempt to convey volume;
Understanding the structural structure of objects, elements of linear perspective;
Development of visual memory, transfer of impressions, awakening of fantasy, creative imagination;
Drawing from the general to the details;
Development of memory, ability to combine parts;
Strengthening interdisciplinary connections (mathematics).
The educational performance is aimed at understanding the basics of perspective, the ability to understand the design of objects, and to reveal volume using chiaroscuro. The lessons learned from drawing simple objects will help you later convey any objects, regardless of their size or complexity. For example, buildings are thought of as combinations of spheres, cylinders, cones, prisms and pyramids. The domes of cathedrals are usually hemispheres, the roofs of some houses resemble triangular prisms or low pyramids. Gas and water storage facilities, in most cases cylinders with conical or domed tops. The interior of the room and furniture also have geometric proportions.
In the sixth grade, the knowledge acquired in the previous stages of education is consolidated. For example – “Drawing carpentry tools from life » – still life with a plane and mallet. This educational activity promotes the formation of spatial imagination and develops the ability to use the laws of linear construction of a drawing.
The ability to draw a plane, which is based on a parallelepiped, provides enough knowledge to depict any household object, which, when analyzed in shape, reveals similarities with this geometric body or consists of combinations of several parallelepipeds, including a mallet.
Working on the drawing “Drawing carpentry tools from life” is a sequential solution to interrelated basic problems.
1) Perspective construction of objects (parallelepiped) in an angular position. Determination of the horizon line and two vanishing points, which determines the correct placement of objects on the sheet.
2) Definition by four lines of the horizontal edge of the parallelepiped of the plane body on the plane of the sheet. Lateral planes bounded by vertical edges are depicted vertical lines. Then the spatial arrangement and size of the mallet, and promising reductions in shapes are outlined.
3) Construction of an end-to-end drawing of each geometric body. Conveying the proportions of objects, relationships in height, width, proportionality of objects, well conveying the design of objects.
4) Definition of gradations of light and shade, transfer of volume, competent use of shading “according to form”. The dependence of the illumination of an object on the strength and distance of the illumination source is explained.
Despite the difficulties that arise, drawing this still life is interesting for students, and good execution of the drawing increases self-esteem. To obtain such an image, you need not only life-long visual experience, but also knowledge of perspective patterns. Knowledge of these patterns will help in depicting from memory and in representing three-dimensional objects in a spatial environment.
All objects around us have a form. We distinguish them by the characteristics of this form. There is a classification of forms established by geometry. In some cases, the signs of the shape of an object are very clear, they fit exactly into this classification, in others they are barely noticeable. Sometimes forms that are familiar by classification form new, complex and unique combinations in objects. Developing in children the perception and ability to convey the shape of objects on a plane, we first pay attention to its clearly distinguishable features.
In many works of artists you can find images of various buildings and houses. These are village huts, ancient wooden and brick mansions, modern houses. The ability to draw buildings is especially important for architects. Students again encounter the simplest laws of linear perspective and the rules of three-dimensional image when drawing from life in a lesson in the fifth grade on the topic “Sketches from life of a model of a house.”
Students can complete one or two sketches of a house model in different rotations, or one long drawing revealing the volume of the house with shading. It should be noted that children look at the house model from different sides, which means their points of view are different. For some children, the house will have its façade facing it, while for others it will be located at the corner. Therefore, to form a full-fledged image of the house in them, it is necessary to analyze its design, geometric shape and observe from different angles.
Any artist pays a lot of attention to the depiction of a person throughout his life. In the general education curriculum, a certain number of hours are also devoted to the image of a person, providing for drawings from life on the topics “Sketches of a human figure” and “Sketches of a person sitting in profile.”
Sketches are one of the types of drawing, quick, concise sketches. Most often they are small in size. This is due to the purpose and specificity of the sketches, the speed of their execution, and the conditions under which they are performed. Sketching plays an important role in the process of mastering visual literacy. Systematic work on sketches develops observation, eye, develops a sense of proportions, enriches with observations and knowledge.
In the sketches one finds mainly the main, most significant characteristics of the depicted figures. Essential in quick drawing is the ability to begin work by establishing the whole. When drawing sketches from life, one must strive to express the general impression of nature. Give a complete picture of it. One of the very important tasks facing students is the correct transfer of the characteristic features of the depicted figures, including proportions individual parts bodies. When sketching a person, students are guided by rules taken from ancient canons about the proportions of the human figure. In the process of creating a composition, students constantly compare nature with their drawing.
Independent work of students can be done in various ways:
Making sketches using only lines (the first lines depict the general outline of the figure, and then parts of the figure are drawn);
Making sketches using lines, diagrams (first, straight line segments are drawn showing the spatial arrangement of parts of the figure, then the volumetric shape of the figure is drawn).
To reinforce the clarity of the material, you can show similar poses (standing straight, standing sideways, sitting straight or to the side) on reproductions, and give a similar pose to the natural material. The person's face is not drawn in detail.
Sketching plays an important role in the process of mastering visual literacy. Systematic work on sketches develops observation, eye, develops a sense of proportions, enriches with observations and knowledge. Purposeful drawing from life contributes to the formation of students' worldview, accustoms them to conscious perception of phenomena and objects of the surrounding reality, and develops their artistic taste.
Drawing from memory and idea
Creative work on any topic is largely based on the work of memory and imagination. Therefore, in the process of preparing students for creative activity, it is necessary to carry out constant training of visual memory, to promote the enrichment and replenishment of visual ideas, which is achieved through appropriate exercises in drawing from life and from memory.
The basis for successful drawing from memory and from imagination is the systematic work of students on drawings and sketches from life. By drawing from life, students learn and remember characteristics buildings various objects, get acquainted with the principles of their image. Drawing from memory is based on this basis.
In practice art education A certain terminology has developed that distinguishes between certain types of work on the image carried out without the direct use of nature. This is drawing from memory, from idea, from imagination. They are based on the work of memory, thinking, as well as previous observations and drawing from life.
Under drawing from memory involves making drawings and sketches based on visual memory.
At drawing from idea visual activity proceeds according to a slightly different principle. The image is also performed on the basis of memory, using visual representations previously obtained as a result of observations and full-scale sketches. In addition, in the process of drawing from imagination, imagination plays a certain role, the ability to depict familiar objects in various positions, combinations. Drawing by representation is more complex look visual arts than drawing from memory.
Drawing from memory and from imagination finds its application in educational work with students. The program for preparing students for drawing from memory includes various tasks and exercises.
One of the tasks that students work on in the fifth grade is “Drawing answers to folk riddles" Getting to know this type of oral folk art How riddles teach you to look closely at the entire world around you, see beauty, enjoy its diversity, develop associative thinking, curiosity, and broaden your horizons. Children are asked to illustrate the riddles, but at the same time think through the composition so that the drawing - the answer - cannot be seen next to the text of the riddle. A sheet of paper can be folded like a postcard. The text of the riddle, describing using artistic and expressive means the signs by which the object is guessed, is written in block letters colored pencils, felt-tip pens, ballpoint pens on the first page. Answer - the answer is drawn inside the postcard. Completing this task requires the student to have competent command of composition, line, color, and developed associative thinking.
In the work of representation, knowledge about reality and its observation play an important role. Knowledge is classified, combined and stored in memory. Certain knowledge and observations are also required from the animal artist.
Introducing students to the animal genre in high school involves sketching and drawing animals. The peculiarity of the animalistic genre of fine art requires knowledge of the anatomical structure, proportions, and color of animals.
Working on the topics “Red Cat”, “Sketches of Pets”, students implement the following activities:
1) Analysis of the main forms and body parts of animals.
2) Familiarization with behavior and methods of movement.
3) Clarification of characteristic movements.
4) Features appearance(leather, fur).
5) Study of the habitat.
6) The ability to draw an animal using means of artistic expression.
What is wrong are those students who, having received the task of drawing an animal from memory, immediately begin the drawing process, without giving themselves the trouble to imagine what needs to be done, without first achieving a clear mental reproduction in memory of the object to be sketched. In this work, students can be helped by developed memory and imagination, the presence of skills and abilities that are developed in the process of consistent repeated repetition.
The attitude towards the natural world is expressed primarily in the genre of landscape. Love to native nature, understanding its beauty is an indispensable part patriotic education person. The feeling of attachment to one’s native land begins precisely with the awareness of the poetry of the natural world that surrounds us from childhood.
Practical work in the landscape genre provides many opportunities to understand and master elementary artistic skills, which expand and deepen in the tasks of each lesson. Working from memory and imagination to complete the landscape “In the Autumn Park” and the sketch “Crimson and Gold of Autumn” allow students to improve their knowledge of the application of the laws of linear and aerial perspective, color, composition.
For a more complete and vivid representation of nature, reproductions of paintings by Russian artists are shown to the class, drawing attention to the coloring of the presented paintings, because the mood of the painting and its emotional impact depend on the choice of color. The color of the canvas can be joyful and sad, calm and anxious, mysterious and clear.
Thus, the red-excited coloring of A. Arkhipov and F. Malyavin creates a major mood in their works. And vice versa: a minor mood is evoked by the tender, thoughtful colors of V. Borisov-Musatov or the cold, fabulously mysterious color of M. Vrubel.
It is known that the natural colors of objects themselves are rarely harmonious. However, they always look united and harmonized precisely thanks to the general lighting. When working from memory, students find the greatest difficulty and difficulty in conveying the color characteristics of nature. So, for example, the color of grass, tree foliage is sometimes written simply in shades of green, a brick house - in orange-red, blue, and so on.
Therefore, students are told that the coloristic unity of an image using watercolors is sometimes achieved by artists mechanically. For these purposes, the same paint is introduced into all shades used to depict objects; the same results are achieved by pre-coating with one color or another.
The conversation ends with an analysis of the characteristics of autumn and changes in autumn nature. Schoolchildren recall their observations during walks in nature and share their impressions. Reading excerpts from I. Bunin’s poem “Falling Leaves” and from G. Skrebitsky’s work “Artist - Autumn” reinforce children’s aesthetic impressions of an autumn park or forest.
Drawing on the topic “Landscape with images of houses above, below and on the horizon” sets the following goals and objectives for students: studying the features of the image of prismatic forms located on at different levels to the horizon line; consolidation of information about linear perspective: horizon line, horizon level, point of view, vanishing point, frontal and angular, aerial perspective. In the process of working on a drawing, the skills and abilities of observing the laws of frontal and aerial perspective are expanded, and the concept of linear angular perspective is introduced.
Drawing on topics such as “Sports” and “Motherhood” allows you to pay attention to the beauty of the movements of the human body, apply the knowledge and skills previously acquired when drawing a human figure from life, and consolidate the expressiveness of body proportions in the movement of figures.
When drawing from memory and idea on the topic “Sports”, students d For greater expressiveness, one must choose such body positions and moments of movement when the dynamics - its culminating moments - are most fully felt. The movement of figures can be enhanced by dynamic compositions.
When analyzing the works of the artist A. Deineka, students’ attention is drawn to the fact that the figures in a sports game are never located on the same line - some are closer to the viewer, some further away. Attention is drawn to the possibility of overlapping a figure with a figure and their rhythmic connection when depicting figures in a single action.
It is far from indifferent where the image is placed. If it is in the center of the sheet, it will be motionless. It will also be motionless at the very edge. The edge of the sheet seems to hold the image. It is suggested to think about where the image should be placed to make it dynamic.
At the end of the conversation, students must answer the question: why are the movements of the figures conveying movement sports games, are the artists' works so convincing? The answer is that only what we ourselves have seen in life is convincing. All this creates a feeling of naturalness and vitality.
Subject motherhood present in almost every fine arts program - the most important topic attitude towards life and close to the child. It is always carried out with special interest, but it is also quite difficult - here it is necessary to convey people’s feelings through their image and facial expressions. Z a remarkable number of works by outstanding Russian and foreign artists, proverbs create a certain mood for work. Not always having a good idea of the nature of working from memory, students are afraid to try their hand or unsuccessful attempt regarded as an inability to draw from memory in general. In this regard, it should be noted that a drawing from memory does not necessarily have to be detailed or exhaustive in conveying the impression of what was seen. It is difficult for students to achieve similarities even when drawing from life, and even more difficult when drawing from memory. However, these very natural difficulties should not be frightening and should not be regarded by students as insurmountable.
Processes of drawing by representation may vary depending on their content and the relationship between observation and imagination involved in the drawing process. Images of representation can be very far from objects of reality, for example, fairy tales: they bizarrely combine signs of reality, violating the laws familiar to us objective world. In the image, the representation can convey images of the distant past. The drawer recreates them in his imagination based on knowledge and ideas about material culture peoples, nature and life of past eras. Such work is drawing based on a presentation in the fifth grade on the topic “Ancient Mansion”.
During the lesson, students become familiar with the image architectural structures in paintings by masters of Russian painting, with the architectural ensemble of the Moscow Kremlin. Then students draw an “ancient mansion” using geometric shapes, which they previously studied and depicted (cube, cone, tetrahedral prism, cylinder, ball). Thus, exercises in drawing from memory and from imagination help consolidate previously acquired knowledge, develop visual memory and spatial thinking.
Drawing from memory and from imagination is drawing compositions on themes from the life around us. In the process of drawing on themes, the skills of competently depicting proportions, structural structure, volume, spatial position, lighting and color of objects are improved and consolidated.
The creation of works of art is unthinkable without creative imagination, without the participation of memory. Many Russian and foreign artist-teachers used in their pedagogical work with students drawing lessons from life, from memory and imagination as a mandatory component of the learning process for future artists.
In everyday work on drawings, children need developed creative thinking, a rich supply of plastic observations, strong skills of confident and free drawing, the ability to improvise. These qualities are acquired as a result of systematic drawing from life, from memory and from imagination. The ability to draw from memory is ensured by knowledge of perspective, plastic anatomy, and color science. In drawing on topics - from memory and imagination - students use skills, which were developed when drawing with nature. Without them, successful work on tasks on thematic drawing and composition is impossible, since a compositional sketch is not compiled mechanically.
Writing compositional sketches is one of the important means of developing memory, observation, and creative imagination. By how a student copes with composition tasks, one can to a certain extent judge how developed these data are in him. It must be borne in mind that developing the ability to work “on one’s own” is not an end in itself, but a necessary condition for successful work, especially in composition and thematic drawing. The main assistants in this case are the artist’s skill, memory, imagination, as well as his observations and knowledge of life acquired while working from life.
Thus, drawing from life, from memory and from imagination perform common tasks:
- improving and consolidating the skills of competent depiction of proportions, structural structure, volume,
illumination, spatial position, color of the object, highlighting the compositional center; - developing the ability to draw expressively;
- development of the ability to independently choose the plot of a proposed topic and convey it using artistic expressive means
your attitude towards him; - development of fantasy, imagination, logical and spatial thinking.
Concluding the work, we can also say that drawing from life, from memory and from imagination, develops in students an aesthetic attitude towards the environment, the ability to see and feel beauty, develops artistic taste and creative thinking, and forms a sustainable interest in creative activity.
Bibliography
1. Nemensky B.M. Beauty wisdom: About problems aesthetic education: Book for teachers. – 2nd edition, revised and expanded – M.: Education. 1987. – 255 p.
2. Nemenskaya L.A. Art. Art in human life. 6th grade. Tutorial for educational institutions. Edited by B.M. Nemensky. Moscow, "Enlightenment". 2013. - 175 l.
3. Drawing. Tutorial for students of the art and graphic faculty pedagogical institutes. Edited by A.M. Serova. M., “Enlightenment”, 1975. 271 p.
Informational resources
The creative work of an artist is largely based on the work of memory and imagination. The creation of works of art is unthinkable without creative imagination, without memory involvement. In the practice of art education, a certain terminology has developed that distinguishes between certain types of work on the image, carried out without the direct use of nature. This is drawing from memory, from idea and from imagination. They are based on the work of memory, thinking, as well as previous observations and drawing from life.
Under drawing by memory This means making drawings and sketches based on visual memory, i.e. traces available in memory as a result of recent drawing from life. In this case, the depicted object is depicted in the drawing in the same position, from the same point of view, as was the case when drawing from life. The artist usually retains fairly clear impressions of the process of working on a drawing from life, which allows him to quite convincingly create a drawing of similar content by memory. In the latter case, they strive to convey in the drawing the most significant features of the full-scale setting.
Drawing from memory
When drawing, visual activity proceeds according to a slightly different principle. The image is also performed on the basis of memory work, using visual representations previously obtained as a result of observations and full-scale sketches. In addition, in the drawing process, imagination plays a certain role, the ability to depict familiar objects in various positions and combinations. Drawing is a more complex type of visual activity than drawing by memory. One of the most commonly practiced types of drawing classes are tasks to depict plots of academic productions or individual objects that were previously studied by drawing from life and then conveyed in drawings by presentation in different positions, as if you were looking at them from different points of view.
Drawing by imagination, as the name suggests, is based on the work of imagination, fantasy, and memory. You can depict any real objects, objects in the most unexpected, sometimes incredible combinations. Often, on the basis of creative imagination, a draftsman creates seemingly completely new, never-before-seen events or objects. Meanwhile, this new thing is created by the artist on the basis of memory, visual ideas acquired through observations and sketches of the surrounding reality and is a reflection, reproduction of traces of previously perceived impressions. Such ideas, combined with knowledge of the material depicted and with creative imagination, enriched and transformed by fantasy, are prerequisite creating works of art.
Drawing from memory and imagination
Job by imagination requires a certain degree of development of visual memory and imagination in those who draw, and their ability to work without direct visual support from nature. Such skills and abilities are acquired as a result of thorough and systematic work on drawings and sketches from life, from memory and from imagination, and on sketches of compositions.
In the formation of ideas, in memorizing the structural features and appearance of an object, the conscious mind plays an important role. goal-oriented process drawing from life. When performing each drawing, the depicted object is studied, knowledge about it is deepened, and the process of memorization is carried out. Consequently, visual memory training and its development occur virtually every day, at every stage of work on a drawing from life.
When doing exercises by memory and, when performing sketches of compositions, work by memory takes place even more intensely and purposefully. In these cases, the artist’s thinking and attention are activated. In this case, mainly the most significant features of the depicted objects are reproduced in memory.
Drawing by representation
One of the main conditions for lasting memorization is meaningful study of the material and its repetition. The process of memorization, the strength of preserving the perceived material in memory are associated with the thinking process (selection of the main, essential things in what is depicted, analysis of visual information). Wanting to draw by memory or any object, a scene, the person drawing must make a certain volitional effort, direct thinking, memory along in the right direction, to evoke the necessary visual associations, clear ideas. By concentrating and remembering the outlines of the desired object, its characteristic features ( appearance, proportions, main defining features), the drawer can begin to graphically embody the image, object or event recreated in his memory.
Systematicity and sequence of drawing classes by memory and can be achieved thanks to special exercises in these types of drawing, as well as by linking these exercises with the performance of long-term tasks from life. Therefore, after finishing work on the most important educational drawing poses, set yourself the task of completing a drawing of each of these poses from memory, conveying its main features, without detailed characteristics details. The main task when performing such a drawing is to consolidate in memory the visual ideas obtained when working on a production based on a drawing from life.
There are activities for money, and there are activities for the soul. My passion for drawing on a tablet is a hobby clean water. But I am supported by the words of Barbara Sher: “Your abilities are not only a source of pleasure, they replenish the treasury of your knowledge. And knowledge is like money - even if you don’t know where to use it yet, sooner or later it will come in handy. What if someone needs a piece of the puzzle that you have - and you can help make someone's dream come true. You always bring a fresh perspective to any situation, and sometimes that is priceless.” I continue to learn how to draw on a tablet. Today I will tell you about the exercises that I do.
Coloristics
Below is an exercise on mixing paints done on a tablet from the book “Painting from Scratch”. From primary colors (yellow, blue and red) you can get secondary ones, and by mixing them together you can get tertiary ones. Sketches Pro does this using the color scale (bottom right).
Hippopotamus step by step
Very often, artists use photographs to translate contours. Or a special lightbox. The iPad is very convenient in this regard - you can take photos and add them to the application as a separate layer. I tried to draw a stone hippopotamus brought from Tanzania. 1. Take a photo.
2. Reduce layer transparency
3. Trace the contours and add a base layer of paint (light beige). The tool included is a pencil and acrylic paints. Make the photo layer invisible. 
4. We work out the details.
5. On the final layer, add highlights and patterns. Highlights are strokes of white acrylic paint, patterns are imitation white gel pen. Strengthening the shadow. 
Hippopotamus is ready!
Giraffe sketches
Eat good exercise- make a sketch, almost without looking at the paper and without interrupting the line. I decided to draw giraffes this way. 
I copied the first giraffe (on the left) from a photograph, almost without looking at the tablet. It took about three minutes. Surprisingly, it is even clear that this is a giraffe. The two giraffes on the right are quick sketches, each of which took about 8 minutes. Now I know that the horns of giraffes are quite large and thick, somewhat similar to palm trees. The legs have cloven hooves. I really enjoyed this exercise. It's fast. And the result is expressive and recognizable.
A few more drawings
Bird. Tools - brush with acrylic paints, black gel pen.
I started studying lettering and calligraphy.
Megapolis. Transforming a two-dimensional drawing into a three-dimensional one is an exercise from the book “Drawing from Imagination.” This book is a treasure trove of graphics exercises. 
Doodling and noodling. Another exercise from this book. You draw a line and then fill it with abstract designs or color. When you let a line go for a walk, it's doodling; when you fill the space around that line, it's noodling.
This watercolor wolf took about two hours to complete due to the abundance of pieces that make it up. I copied the cover of the book “Animals of the North”. Many children's books have amazing illustrations, and by copying them you can learn to draw well.
Check list
I am beginning to form a vision of how to turn self-learning into a system. You definitely need a checklist for each week with tasks that need to be completed. For example:
- 20 varieties of one image on one sheet (cats, whales, mugs, books)
- Lettering, calligraphy
- Self-portrait
- Fantasy, drawing from the imagination
- Redrawing of a painting by a famous artist
- Botanical painting
List of books
During these two weeks I studied from books:
1. “Painting from Scratch” by Claire Watson-Garcia
2. “Drawing from Imagination” Bert Dodson
3. Creative Rights by Danny Gregory
4. “Graphics. We draw from our imagination” Vasily Bushkov From the last book I really liked the advice on how to make a drawing original. In order for the drawings to become original, and perhaps unusual, strange, crazy, to attract attention by their difference from traditional and often seen forms (like a spoken word can turn into a scream, whisper or other intonation), you can play on variations in increasing or decreasing one or several elements image. And here are some examples from the book: 
Here are my variations of the snake pattern - a spiral, a snake around the equator, a tree snake and laces of small snakes.
I recently found a couple of books on English language on Amazon for drawing on iPad. I'll tell you about them next time, in April.
Next steps:
- learn digital lettering.
- try botanical watercolor on a tablet.
- continue to master all the tools in Tayasui Sketches.
- complete the checklist.
- draw every day.
- take a course at Veronica Kalachova’s school, entirely on a tablet.
Many drawings can be viewed using the tag #drawingontablet. Join if you are interested in this topic. You can write reviews and comments to me by email - [email protected].
