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Обучение_рисунку#

обучение_рисованию

рисунок_для_начинающих

как_правильно_держать_карандаш

перспектива

рисуем вместе

композиция

с чего начать обучение рисунку

рисунок живопись композиция

00:00:01

[music] I

00:00:04

welcome everyone to my channel My

00:00:06

name is Volodkin Ger Mikhailovich I’m an

00:00:08

artist teacher teaching Well,

00:00:12

rather not even drawing, but studying the

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visual language through

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which we can display reality the

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artist is like a magician, he

00:00:25

forces people to pay

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attention

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when we go to work we come from work

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home at home they go to work Children dogs

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anything and the artist talking about the

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world around us shows how

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beautiful it can be it can be a forest field a

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river Yes, just beautiful houses or a

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beautiful lawn

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[music]

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perfectly depict what we want and so

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that the viewer believes in what it will

00:01:04

depict We need to remember one algorithm

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by which we read

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information, so the first thing a

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novice artist must learn is to

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perceive three-dimensional objects as just a

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set of flat spots, a spot has the shape of

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tone, color, there is a fourth category, this is the

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contrast between spots, the contrast can

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be nuances, it can be hard, well and

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accordingly, in the range of nuance and

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rigid contrast, a

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huge number of sub-

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contrasts can be presented, if you can

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call it that, and only the next step we

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begin to think about chiaroscuro about the three-dimensionality of

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objects about

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perspective Well, everything regarding

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visual knowledge,

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that is, first of all,

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we must see a set different

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spots that add up to a

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balanced stable composition,

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the spots are light, there are dark,

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there are halftones, they should be, they

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should be balanced relative to

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each other, then the picture will be perceived by the audience

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as an integral, complete work

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in today's video. I would like to

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draw attention to the formal spots

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that for an ordinary person

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turn into into the shadow, that is, the falling

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shadow from objects. Unfortunately,

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most beginners and non-

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novice artists first draw

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objects and then add

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private shadows to them. I’m talking specifically about the pads of those

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who are full

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participants in the intended

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composition. After all, any composition

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is made up of light and dark spots

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the absence, let’s say, of one of the sides does not

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allow us not only to see the real

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object, but at the same

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time to draw an inexpressive composition composition

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The expressiveness of the

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composition is achieved through the use of Contra in

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this case through the use of light tmx spots with

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contrast relative to geometric contrast,

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that is, a certain linear pattern that

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has its informativeness tonal

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contrast color contrast Well, you can

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say contrast contrast That is, all

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the components

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that

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determine the properties of the spot, that is, I

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repeat once again, the spot has the shape of tone color and

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Contra mep

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mi Rava department spot Why Therefore, any

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light spot can become mm

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relative to a nearby spot and

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on the contrary But today we will talk about

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a spot that plays an important role in the

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composition and the falling shadow when we

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start working on the painting, that is, we

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depict in the

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drawing parts of the object and

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the buttress before starting work on the

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painting in this case, on the still life,

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make black white Forus kis where the

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dark spots which includes dark

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objects, their own falling shadows

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are combined into one large local

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Dark spot and you will see that

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light and dark spots are in balance, the word

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balance can be replaced with the usual word

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beautiful, so a falling

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shadow is so powerful that it can

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change the properties of the physical properties of an

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object As an example I usually have a look at the

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drawing, I suggest this

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option, we

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draw

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sticks that are roughly identical, now we

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’ll take a felt-tip pen that we have,

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this one writes better 1

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2

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3 and Let’s draw

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another small

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[music]

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stick here. Now I’ll change the physical

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properties of this one in this case

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and the parade or a rectangle just by

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changing the position of the shadow itself in the first

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case, I will draw a shadow in this

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way, it is clear that the light falls from the left and the

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falling shadow shows us in which

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direction and what environment is located to the

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thief of this

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rectangle, this is how you

00:06:32

see, I make the viewer

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believe that we have this rectangle

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jumped up or hangs in the air

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by means of a shadow, I can change

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the space around an object, we will draw a

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shadow like this,

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that is, the

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environment, that is, around a given stick of a

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lino surface, while changing the

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tone of the falling shadow, I can change not

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only the surface itself, but also the color, or rather

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not the color, but the tone that material or

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that plane on which this

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object stands, we will draw a

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stick here in this way, we will draw a

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pad in the future

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case, thus changing only the

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shape of the falling shadow, I can change the

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physical properties of not only the

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object itself, but also show the material or

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the environment on which this object

00:07:51

is very advantageous when the shadow

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falls on a plane of different tone and color.

00:08:00

Let's try to

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draw something

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like this. I'll have a certain

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plate standing and let's draw

00:08:19

different planes around it. Around this

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plate. First,

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we'll draw a line and

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create an

00:08:33

environment of the same

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tone on that side,

00:08:41

respectively.

00:08:46

so we will have one plane and

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now we will draw another plane We will

00:08:52

draw a different

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color that will be darker than ours

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We will paint it with blue

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paint and so we

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will have a

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blue drapery here I don’t know that

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this is actually not so

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important What color is the most important thing so that

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they are different,

00:09:31

here I have a certain plate that

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stands on different planes on two different in color

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and tone now I will draw a

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falling shadow, the falling shadow has the color of the

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object on which it falls,

00:09:47

respectively, it’s [ __ ] ocher in the

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shadow But it should be ocher in the

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shadow

00:10:00

and we will draw a falling

00:10:02

shadow like this,

00:10:09

continuing further, the falling shadow

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has the color of the object on which it

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falls. That is, now our shadow

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will continue to fall on the blue

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drapery, so we will

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continue the shadow in the form of more, so it

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turns out that in order to

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create the illusion of a falling shadow has the color of the

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object on which it falls and the

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falling shadow has the tone of the object on

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which it falls in the visual

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arts, a very advantageous

00:10:48

situation in order to create the illusion of

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space, now give the surroundings so that it can be

00:10:55

seen like this, you

00:11:02

can make it even

00:11:03

darker, create a completely illusion of

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illumination, this principle is necessary

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remember and

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analyze this many times I

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say that the falling shadow should always

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be used both in composition as m and

00:11:29

light spots and also to create the

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reality of the image that we want to

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convey on the picture

00:11:39

plane the following questions that

00:11:41

may arise for novice artists

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Or let's do it like I already said

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that the falling shadow has the shape of the object

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from which it

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falls, that

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is, conventionally, I will draw

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a cube, no matter a parallelepiped or any

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object that

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we have in the form of a cube, so in order to

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show the falling shadow, it is enough

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to transfer this edge edge to

00:12:23

the plane, that is, the falling shadow has the

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shape of the object

00:12:30

from which it

00:12:33

usually falls, people begin to count How to

00:12:36

construct a shadow, by and large, there is no way the

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viewer just has to believe that the shadow is

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from this particular object and the next

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moment How long do we have? The shadow in the

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diagram is very

00:12:51

simple, here is our object, our cube, here

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we have a

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light source, this one the corner that I have

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shown Here we simply

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draw a straight line through this

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corner and, accordingly, the length of the shadow

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will be on a straight line

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passing through the edge of the

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object, respectively, if the

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light source is lower, the shadow

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will become longer Well, let’s

00:13:25

assume the same thing Let’s Draw a cylinder in

00:13:27

this case, again, the light falls

00:13:32

on the left. I need to show the

00:13:35

vertical edges. That is, if we dissect the

00:13:39

cylinder, then we

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get a rectangle, respectively,

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this rectangle should lie on the

00:13:46

plane, but since here we have an ellipse,

00:13:49

then in this case I draw exactly the

00:13:53

ellipse whose horizontal axis is

00:13:57

exactly the same as the horizontal axis of the

00:14:00

upper

00:14:03

ellipse, let’s make the shadow

00:14:07

part here like this,

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learn to see the falling shadows of

00:14:13

objects, maybe even draw them separately,

00:14:15

that is, take some object Well, it’s

00:14:18

easy, I don’t know a

00:14:21

teapot Flower and

00:14:24

show, draw not the object itself, but

00:14:27

falling shadow

00:14:29

When you learn to notice falling

00:14:32

shadows from objects that participate in

00:14:34

the production Well, in a landscape It doesn’t matter where In

00:14:37

any case, we are trying to convey

00:14:39

illumination Light without falling shadows

00:14:43

Light will not work and once again I remind you that you

00:14:48

need to analyze these phrases that the

00:14:51

falling shadow has the shape

00:14:55

Meta

00:14:57

koto falling a shadow has the color and tone of the

00:15:02

object on which it

00:15:06

falls and in conclusion I will repeat once again

00:15:10

the artist needs to learn to

00:15:13

perceive I don’t know a landscape thermal

00:15:16

anything in the form of a flat image

00:15:20

that consists of abstract non-

00:15:23

functional spots the spot has a shape

00:15:26

tone color Well as an example Try

00:15:30

to photograph a still life landscape it doesn’t

00:15:33

matter if you make a drawing from a photograph, you will

00:15:38

see how simple it is because

00:15:41

you will need to carefully transfer

00:15:44

the spots that have their own TOC shape. Yes,

00:15:48

each spot inside

00:15:50

itself should, in principle, have no one, but in

00:15:54

most cases, a tonal

00:15:57

stretch is a monochrome image or a

00:16:00

color tonal stretch if

00:16:02

the image is color therefore, it looks like a

00:16:06

real object. It’s difficult to imagine it in the

00:16:09

form of a flat image. This skill

00:16:14

is acquired by periodically

00:16:17

repeating and memorizing the

00:16:20

algorithm for creating any

00:16:24

image in general. VBM

00:16:27

art,

00:16:32

in principle, I have a small one below

00:16:34

called movement, rhythm of composition,

00:16:38

this

00:16:40

book describes several compositional

00:16:43

laws that allow us to create the

00:16:46

illusion of space and one of the themes of the books

00:16:57

is just light and colored spots in a given

00:17:00

format, while creating a

00:17:03

visual movement of the

00:17:06

viewer’s attention inside the picture

00:17:09

plane. Whoever is interested in this book,

00:17:13

leave a contact in the

00:17:15

comments, our little lesson

00:17:19

is over, train and you’re done

00:17:23

it will work out with you was an artist teacher

00:17:25

Volod Kinga Mikhailovich all the best to you

Description:

ВИДЕО О ЗНАЧЕНИИ ПАДАЮЩЕЙ ТЕНИ В СОЗДАНИИ СБАЛАНСИРОВАННОЙ КОМПОЗИЦИИ И О ТОМ, КАК ПАДАЮЩИЕ ТЕНИ ВЛИЯЮТ НА ИЗОБРАЖЕНИИ РЕАЛЬНОСТИ В ХУДОЖЕСТВЕННЫХ ПРОИЗВЕДЕНИЯХ. ОНЛАЙН КУРС ПО ЖИВОПИСИ. СКИДКА НА ОНЛАЙН-КУРС 30% Подробнее о курсе, записаться на курс: https://vimartstudio.com/ Занятия в студии (г. Москва): http://www.volodkinart.ru/st.html Дополнительная информация по тел.: +7 965 329 84 66 Для заказа книги по композиции, пишите на адрес: [email protected]

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