We draw a still life flowers in a vase and fruit

We draw a still life flowers in a vase and fruit

At the beginning of any drawing it is necessary to plan lines near edges of paper for which we do not want to play, and then to plan subjects. Here it is not necessary to bother especially if only it was clear where settle down what subjects and what they the size. Here is how it looked at me:

Then I designated flowers in the bouquet, and also traced books, a drapery and apples in more detail. Pay attention, how camomiles are drawn: the general form, the size and an arrangement of flowers is planned, and petals and leaves are not traced. We will do it then.

It is necessary to construct a vase further. It at me glass, with an interesting crosswise relief on sides. We start building with that we draw the basis (bottom) of a vase. It in this case the hexagonal. The hexagon as it is known fits into a circle, and the circle in the long term is an ellipse. So if it is difficult to construct a hexagon in the long term, we draw an ellipse, we note six points at its edges and we connect. The top hexagon is similarly drawn, only it at us is more by the size as the vase to top extends.

When the basis and a neck are drawn, we connect points and at us three sides of a vase will automatically learn. I planned at once a pattern for them.

After that I drew shadow borders on subjects and began shading. I started shading from the most dark — books. As the pencil has not boundless opportunities and has the limit of brightness, it is necessary to draw at once the most dark subject at full capacity (with good pressing). And then we will shade other subjects and to compare them on tone (more dark or is lighter) to books. So at us quite contrast still life, but not greyish, as at beginners who are afraid to draw dark sites will turn out.

Then it is necessary to define tone of other subjects. I look at the still life and I see that the drapery on books is lighter than books. Unfortunately, when drew a still life I it did not guess to take a picture so I should take the word. The drapery which at me hangs behind a bouquet more darkly, than lying on books, but is lighter than books. Apples are more dark than a light drapery and are lighter than the dark. You when draw something ask yourself questions: "What the most dark?", "That the lightest?", "What subject from these is more dark than two?" It will make at once your work correct on tone and it will be much better to look!

Here it is visible as I begin shading of other subjects:

Here it is visible as I began work on a vase. During the work on glass it is necessary at once to try to draw all detalk. Look at that that you draw and observe where there are patches of light (white flashes of light). It is necessary to try to leave patches of light white. Besides it is necessary to notice that in glass (the same concerns also metal subjects) quite sharply differs dark and light sites. If on a drapery of tone pass into each other smoothly, on a vase dark and light sites are close to each other.

Throughout drawing I shaded a back drapery. One photo below the directions of strokes on a drapery which have to be imposed in a subject form are visible. Remember: if draw a round subject, the stroke in a form reminds an arch, if a subject with equal sides (for example the book), and strokes direct. After a vase I start drawing wheat ears as we did not define their tone.

Here I decided to trace flowers and cones. Thus it is important to look at nature and to notice distinctions between flowers, they after all not identical. Some of them lowered the heads down, some on the contrary — look up, each flower needs to be drawn in own way.

Then I shaded a white background between flowers. Such white silhouettes against a dark background with which we will work further turned out. Right there I work with a light drapery. We do not forget that strokes lay down on forms.

Meanwhile there came time when we start drawing the most interesting — a bouquet. I began with ears. They in some places are lighter than a background, and in some is more dark. Here it is necessary to look at nature.

At this stage I utemnit forward apple as it was insufficiently dark.

After that we start tracing camomiles. At first we will define where on them a shadow where light and we will shade shadows.

We work on flowers further. We specify near apple, we lighten a zone of a patch of light.

Then I finished distant apples (their utemnila and designated patches of light).

Our still life is ready! Of course it still can be finished very long, but time not rubber and I decided that it already quite not bad looks. Inserted it into a wooden frame and sent to future hostess.

Author: Manuylova V.D. Istochnik: sketch-art.ru

There are still lessons:

1. Flowers and a basket with cherries. The still life is easier

2. Video a skull and a candle on a table

3. Ware

4. Easter