Imaginative logical tasks

Imaginative tasks, basics of the drawing, part 3. Lets diversify our topic with more complex exercises that will help you understand the basics of the drawing and develop logical thinking to the proper level. Today we will solve imaginative tasks and do three very useful exercises:

1. Volume filling exercise

2. Volume building exercise

3. Volume subtracting exercise

4. Construction of the volume-spatial structure in the internal volume of the cube.

What are these exercises good for? Doing them, you are closely approaching the correct transfer of any figure that you will be depicting. These are objects of nature, a person or an animal, or architecture, anything. It has already been said, but I will repeat once again in more detail: in each object there is a constructive beginning of form. Any object needs to be drawn somehow, conveyed in sheet space. And without an understanding of the constructive beginning of the subject, simply without knowing how the form works, it is difficult to do this. Any object has a form in which the main ones can be laid, and a mass of minor small geometric figures that can “flow” one into another. Whatever item you choose, it can be constructively disassembled. Only after understanding its design itself, can one approach its transfer on paper. These exercises help to get the skills to parse the design of any object and help to understand and convey the structure of it. These four exercises are a logical continuation of our previous two lessons. And, of course, we take our cube as a basis, as the simplest and most understandable element of visual literacy.

So, we develop logical thinking with the help of imaginative logical constructions.

Exercise to fill the volume

Imagine that inside our cube there is a whole world, which we will now fill with content. Let's draw one more inside our cube. And behind him is the next, and maybe some cube rooted to the side. You can build a whole city inside our cube. Draw visible and invisible edges to clearly see where one cube ends and another begins. For convenience, you can shade some of the sides of the cube. Do this exercise until you can build small towns inside the cube.

Do not use coal, sanguine, wax material, because you will smear the work faster than complete it. And then there is something to think about, analyze your actions and just the soft material will “be ahead of you” in this. Exercise perform graphite pencil medium soft. It is advisable to pull the paper on the tablet! Remember all that we have taught before. This is the same space in the sheet, the same simplest form-cube. But we limited ourselves to working with this space in the volume of a single cube. Note that all tonal relationships within a given main cube will be subordinate to it. The darkest tone will be present on the front corners of the main cube, and the weakest accents are no darker than the tone of the farthest corners of the cube. All other tonal relations will be located between these values, since they will be in the same total volume.

Exercise to increase the volume

Imagine that such a small town of cubes can be built not inside the cube, but outside. Well, here you have a place to roam (of course, in the leaf area), your actions are not limited by anything except the laws of the figure. We repeat: clearly show the difference between near and far angles and edges — spatial perception should be evident; it does not matter at what height or at what distance the “stuck” cubes will be relative to the main one — if they are located closer to us, then the emphasis on them will be given stronger disperse your vision and observe the parallelism of the faces and sides of the cubes, in theory they should all be uniquely parallel; the corners will be displayed in the same way, the rotation of the main cube will be repeated by all additional ones.

Be sure to draw or mark invisible faces, you must follow this. If you start to get confused in them (although this should not be, since you are highlighting the near corners and edges), you can resort to shading for ease of perception created by you in the sheet.

The stroke lies evenly and corresponds to the tonal solution of the cube on which this stroke falls. I note: in the process of work, you can feel very well how the stroke rests on the shape of a cube. Remember this sensation: you clearly understand on which side of the cube you place it and what strength it should be, the stroke turns into another tool for the correct transfer of the figure in the space of the sheet.

Exercise to subtract from the volume

Draw a cube and start cutting it off a piece. The bottom line: you have a cube, with full edges, corners and sides. Everything is fine. And you already perfectly understand how to draw it correctly, with all the laws of the picture correctly place in the space of the sheet. We emphasize the near corners and edges, accentuate the shape breaks, this is all clear. But what will happen to our cube if it starts to “lose” its shape, if its volume changes?

Indeed, in real life it is very difficult to find such a form so that it is an absolute cube. Perhaps this form will carry such a constructive beginning, it can be entered into a cube, but no more. Analyzing this form in more detail we will see that it is a form, the object has no smooth surfaces at all. We will discover dents or depressions, somewhere convexities (as in our previous exercise), but not absolutely level.

But nevertheless, our form, the subject, when we depict it in the space of a leaf, will in one way or another obey the laws that we are now studying.

Suppose if any form can be inscribed in a cube, then all light-shadow relations will be subordinated to the light-shadow relations of the cube in which the form is inscribed. The darkest and distinct accent will be no darker than the near corner or near face of the main cube, and the softest relationship will be no weaker than the far side of this cube. It's simple. Here is the primary meaning of this exercise.

Building a volume-dimensional structure in the internal volume of the cube

Take a cube and place a ladder inside it. Draw it "from the ground." Then from this ladder one more, third, fourth side goes ... Notice that all sides and steps of the stairs will support the sides of the cube. The movement of the steps of the ladder follows the movement of the edges of the cube.

The farther the lines, the weaker they will be, the closer the sharper. The edge of the ladder near us will be clearer, the edge of the far one will be less pronounced. Rotate the cube in space and notice how the ladders will be built. Here rush is not needed.

And yet, as mentioned earlier, watch your eyesight. Spread attention throughout the volume of the cube. When drawing the ladders, you will transfer the view from one to the next and in turn until the very last - you will not see how the last is drawn relative to the first.

Dissect your vision, learn to look at what you draw and look at the work as a whole. Constantly observe the conformity of the faces of the cube and the steps of the ladder, feel the turns, make accents at the intersection of the ladders and, naturally, that closer to us will be given more clearly. But everything is relative to the main cube in which the action takes place.

You may quite naturally have a question: why draw all these ladders in a cube? Then I suggest to look at the following two sketches. Take a look at how the legs are painted (and not just the legs).

Yes, the legs here are located in some perspective, but we have not yet reached the point of view of the angle, we are only at the very beginning of the path, we are considering the basics.

How to understand the connection between what we are doing now, how the living form behaves in space and how to portray it on a sheet?

In my opinion, in these two sketches some points from the last exercise are used. Don't you think so?)

I recommend that you perform all these exercises in turn, starting with the first page of the basics of the figure. Each next exercise is one step more difficult than the previous one; therefore, it is very important to preserve the order of receiving and consolidating information.

When you understand the essence of the exercises, you can work as you like, alternate them. Also, you must first carry out the work on an easel on A2 or slightly smaller paper (40/50 tablet) by drawing with a pencil. Then you can work on different paper sizes with different materials. Though in a notebook. Just in a notebook and draw a pen-pen or a black gel pen. It organizes very much at work, concentrates on correct execution and teaches cleanliness.

Do all these exercises until you are sure that you will do everything without looking at this site.
But if anything, here you will always be happy =)

Rapidograph I do not recommend to use. Whoever drew them, he knows that he is more suitable for drawing, because it works cleaner and more conveniently at a large angle of inclination to the plane of the paper — which is not very convenient in drawing.