Hatching for children 5 6. Hatching - exercises for children. How to draw geometric shapes
Read to the child the task given on the page. Summarize briefly what the child will need to do. The tasks are very simple: first select or find, and then circle, connect or underline. All this is available to any child! He can do almost everything himself!
Examples.
With a simple pencil, without the help of a ruler, draw a straight line from each arrow to the point opposite.
Draw the elements according to the pattern. Then step back one cell down and draw the same line.
With a simple pencil, without the help of a ruler, draw lines along the dotted line. Where there is no dotted line, draw lines from point to point.
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Publication date: 11/09/2016 10:16 UTC
- Express courses on learning to count, I count up to 100, 4-7 years, Burakov N.D.
- Express courses on learning to count, Composition of the number, 5-8 years old, Burakov N., 2011
- Printed letters, For children 4-7 years old (Express courses on preparing a hand for writing), Burakov N.B., 2011
- Intellectual training, Level 6, For children 4-8 years old (Express courses on the development of cognitive processes), Burakov N.B., 2011
The following tutorials and books:
- My first recipes, For children 5-6 years old, Notebook, Bortnikova E.F., 2013
Hatching is one of the types of exercises for children, which is mainly aimed at developing fine motor skills. However, this is not the only advantage of this lesson.
Hatching is one of the types of exercises for children, which is mainly aimed at developing fine motor skills.
However, this is not the only advantage of this lesson.
Tasks of this kind are designed for children from 4-5 years old. Even before school, a child must learn how to properly hold a pen and a pencil in his hands, be able to find mistakes.
To prepare him for learning to write, hatching is a great option.
You are in category Hatching for kids. Coloring page you are looking at is described by our visitors as follows "" Here you will find a lot of coloring pages online. You can download Hatching coloring pages for kids and also print them for free. As you know, creative activities play a huge role in the development of the child. They activate mental activity, form an aesthetic taste and instill a love of art. The process of coloring pictures on the topic Hatching for children develops fine motor skills, perseverance and accuracy, helps to learn more about the world around them, introduces them to all the variety of colors and shades. Every day we add new free coloring pages for boys and girls to our website, which you can color online or download and print. A convenient catalog compiled by categories will make it easier to find the right picture, and a large selection of coloring pages will allow you to find a new interesting topic for coloring every day.Dear readers!
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Recipe- special albums and manuals for training the correct spelling of letters and preparing the hand of a preschooler for writing. If earlier we, parents, knew copybooks only at school (these were notebooks in which first-graders learned to write letters accurately), now you can find special prescriptions for kids and preschoolers. Recipes for children: shapes, numbers, letters teach kids to write beautifully and train their hand.
There are recipes that are designed for a certain age of the child. On the shelves of shops you can find recipes for children 3-4 or 5-6 years old.
In this article, I have prepared for you sets of prescriptions that you can download and print for free. You can save the pictures you want and give your child a new copybook every day.
Recipes for kids
Do you think that prescriptions are only for preparing for school? This is not entirely true. Small children can outline or dot simple pictures or large letters. These are recipes for kids. There is almost no text in such copybooks, because the child cannot yet read. But they are very large, and the pictures are funny. Why not invite the kid to circle the cheerful cockerel by dots or color the duckling.
DOWNLOAD PRECISIONS FOR KIDS
Children 4-5 years old can be invited to play with graphic tracks- These are also peculiar recipes. In such prescriptions you will not find numbers or letters, they are still difficult for the baby. But tasks for logic or accuracy of movements will be required. By tracing figures, drawing curves and even lines, the child masters a pen or pencil, learns to press and draw without tearing off the paper.
Among the prescriptions for kids, a special group of prescriptions can be distinguished - this hatching. They are drawings that need to be filled in with straight or dotted lines, depending on the task.
Recipes for children 5-6 years old
For children 5-6 years old, prescriptions will be with more complex tasks. They include printed and written letters, as well as sticks, hooks and other parts from which written letters are built. But the dotted lines in these prescriptions are preserved. On them, the child circles the letters, learns to draw a line evenly and without interruption. It is better to trace the letters in the copybook with a good pen, because when working with a pencil, the child can press the pencil too hard, and this will tire the hand.
Using such prescriptions, the child will not only get acquainted with the letters of the Russian alphabet, but will also become better at remembering them, and will also learn how they are written in writing. Also in prescriptions for preschoolers, numbers are often found. A preschooler learns numbers and counting.
DOWNLOAD LETTERS
Prescriptions for children 5-6 years old can be divided into:
- spelling ALPHABET,
- spelling NUMBERS.
DOWNLOAD NUMBERS
Recipes for schoolchildren
In order for a child to learn to write beautifully, and his handwriting to be preserved and not deteriorated, you need to do a lot. At school, teachers do not attach much importance to the correct position of the hand while writing and handwriting.
Preparing your hand for writing: hatching for children
But parents can try to work with the child themselves with the help of special recipes for schoolchildren.
Calligraphic writing is a good skill that every child can develop. Download and print copybooks and practice writing beautiful letters with a student. AT
Note that there are no pictures or shading in these recipes. Basically, these recipes are aimed at training good beautiful handwriting.
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During classes, pay attention to how the student holds the pen, how he draws lines. Make sure that the child writes letters without tearing off the paper. Do not scold the child if he immediately fails to write beautiful letters. Make sure that the child begins to write the letter from the right point, and not the way he likes. For example, they begin to write the capital letter P from the bottom up. Follow this. Now in many copybooks there are even arrows and dots - landmarks for children. Show them these arrows, explain what they are for.
I hope the copybook will help your child learn to write beautifully and correctly!
Technique "Reproduce drawings"
This technique is intended for children aged 3 to 4 years.
Cards for preparing for school "Hatching"
Her task is to reproduce the pictures shown in the same figure on the left in the special empty squares shown on the right in Figure 7. For this, the child is given a dark-colored felt-tip pen and rice. 7 accompanied by the following instructions: “On the right, in the empty cells, it is necessary to draw exactly the same figures that are on the left. It is necessary to do this as accurately as possible, shading evenly all the parts where there are Dark fields, leaving no empty areas and not going beyond the given contour”
You have 5 minutes to complete the task.
Evaluation of results
| 10 points | - the child completed the entire task in 5 minutes, i.e. drew all six figures in empty matrices. At the same time, there were no empty, unshaded areas in any of the figures in those places where the hatching should have been solid, and the contours of the figures went beyond the specified samples by no more than 1 mm. |
| 8-9 points | - the child completed the task in 5 minutes. At the same time, no more than one or two sections remained unshaded in each figure, and the contours of the completed figures differ by no more than 1 mm from the originals. |
| 5-7 points | - the child completed the task in 5 minutes, but his work has at least one of the following shortcomings in almost every figure there are from 3 to 4 unshaded areas, the contours of some figures differ from the originals by up to 1.5 mm |
| 4-6 points | - in 5 minutes the child was able to shade 4-5 figures out of six, and in each of them at least one of the following flaws occurs; at least one fifth of its area remains unshaded, the contours of some figures differ from the originals by up to 2 mm |
| 2-3 points | - the child was able to shade only 2-3 figures in 5 minutes, and in each of them at least one of the following flaws can be found, at least one fifth of its part remains unshaded, the contours of some figures differ from the originals by up to 2 mm |
| 0-1 point | - in 5 minutes the child was able to shade no more than one figure, and it has at least one of the following shortcomings; |
Picture for the technique
Lecture Search
Rules for preparing a hand for writing
Learning to write should begin during the formation of the mental functions of a preschooler. Late in learning, teachers lose the opportunity to direct children's development along the right path, to regulate this process. The most effective use of the rich possibilities of the child is real only when the period of special sensitivity to the assimilation of this or that material in his development has not yet passed.
At the first stage of learning, children most often experience difficulties with writing: the hand gets tired quickly, the working line is lost, the correct spelling of letters is not obtained, mirror writing is often found, the child does not distinguish between the concept of "left", "right", "sheet", "line" , "page", does not fit into the overall pace of work.
These difficulties are due to the weakness of fine motor skills of the fingers and the insufficient formation of the skills of visual-motor coordination, voluntary attention, analytical perception, and auditory attention.
All this negatively affects the assimilation of the first grade program by children and necessitates the organization of special classes in kindergarten, the purpose of which is to prepare the child's hand for writing.
Preparing a preschooler's hand for writing includes:
- Development of fine motor skills of the child's hand.
- Development of auditory attention.
— Development of graphic reproduction.
To achieve the goal, you need to set the following tasks:
Educational: Development of finely coordinated hand movements. Development of auditory attention and graphic reproduction.
Developing: Development of graphic movements, visual perception, hand-eye coordination.
Educational: Education of diligence, accuracy, independence and confidence in one's skills.
Drawing by cells according to auditory perception.
This work involves a system of techniques and tasks from simple to complex. Given the age characteristics of older preschoolers, the characteristics of auditory and visual perception, classes are held in notebooks in a large cell. The cage provides great opportunities for the development of fine motor skills and elementary graphic writing skills, since drawing by cells requires small and precise movements, and also develops the ability to navigate in space.
At the first stage, the child gets acquainted with a notebook in a box, then learns to perform tasks in a limited space-cell, improves the ability to measure with a conditional measure-cell.
Subsequently, the tasks will become more complicated, we gradually move on to complex auditory dictations after the children have already formed sufficiently clear spatial guidelines and they freely perceive auditory tasks. Tasks can be completed with various materials: a ballpoint pen, a felt-tip pen, simple or colored pencils.
Preparing your hand for writing.
The development of correct posture, the inclined position of the notebook on the desk and the ability to hold a pencil and pen while writing and drawing. Preparatory exercises for the development of the eye, hand and small muscles of the fingers: tracing and hatching contours, connecting lines and shapes, drawing and coloring patterns and borders with a continuous movement of the hand.
Recipes for download
Line mastery.
Letter elements of letters: straight oblique short stick, straight oblique long stick, stick with a rounded bottom, long stick with a loop, sticks with a rounded top and bottom, semi-oval and oval.
Finger gymnastics.
Scientists came to the conclusion that the formation of speech areas is carried out under the influence of kinesthetic impulses from the hands, or rather from the fingers. It is necessary to stimulate the speech development of children by training the movements of the fingers. Performing various exercises with fingers, the child achieves a good development of fine motor skills of the hands, which not only has a beneficial effect on the development of speech, but also prepares the child for drawing and writing. The hands acquire good mobility, flexibility, stiffness of movements disappears, which will further facilitate the acquisition of writing skills. "Finger games" are very emotional and exciting. They seem to reflect the reality of the surrounding world - objects, animals, people, their activities, natural phenomena. During the "finger games" children, repeating the movements of adults, activate the motor skills of the hands. Thus, dexterity is developed, the ability to control one's movements, to concentrate attention on one type of activity.
"Finger games" is a staging of any rhymed stories, fairy tales with the help of fingers. Many games require the participation of both hands, which allows children to navigate in terms of "right", "left", "up", "down", etc.
Graphic exercises. Hatching.
Performing graphic exercises and shading help prepare the hand for writing. The development of fine motor skills is determined not only by the clarity and beauty of the image of the lines, but also by ease and freedom: hand movements should not be constrained, tense. Correctly observing graphic proportions, writing smoothly and symmetrically is important for developing a beautiful and clear handwriting. The child should try not to tear the pen from the paper and not interrupt the lines. When drawing straight lines, the clarity of the handwriting and the confidence of the movement of the hand are clearly visible. The ability to freely draw smooth lines from left to right is important in the formation of handwriting. The ability to write with an inclination from top to bottom and from bottom to top is necessary for the formation of handwriting. Graphic exercises also contribute to the development of accuracy of movements, attention and control over one's own actions.
Hatching is one of the most important exercises. By mastering the mechanism of writing, children develop such confidence in the stroke that when they start writing in notebooks, they will do it like a person who has written a lot.
Hatching rules:
Hatch only in the specified direction.
Do not go beyond the contours of the figure.
Keep the lines parallel.
Do not bring the strokes together, the distance between them should be 0.5 cm.
Performing various exercises in preparation for writing, the child and the teacher must constantly remember and observe the hygienic rules of writing, bringing their implementation to automaticity. Compliance with hygiene rules will help the child to overcome the difficulties of the technical side of writing in the future.
Cutting with scissors.
It is necessary to pay special attention to mastering the basic techniques of cutting - the skills of cutting in a straight line, the ability to cut various shapes (rectangular, oval, round). The task is to bring children to a generalized understanding of how to cut out any objects. When explaining the task, it is necessary to teach children not only to passively master the process of cutting out, but also to encourage them to give a verbal description of the movements of the adult's hands when showing the ways of cutting out. Getting symmetrical shapes when folding paper folded like an accordion, children should learn that they are not cutting out a whole shape, but half of it.
Older preschoolers begin to master the skills of silhouette cutting without preliminary drawing, preparing the contour line. When teaching silhouette cutting, the technique of tracing the contour of an object in the air is successfully used. The development of the ability to "see" an object in the air is facilitated by the systematically conducted games "Guess what I'm drawing?", "Guess, I'll guess". Before you start cutting out the silhouette, you should consider where, from what angle, in which direction of the sheet, to direct the scissors, i.e. learn to plan ahead.
The ability to confidently use scissors plays a special role in the development of manual skill. For preschoolers, this is difficult, it requires coordination of movements. Symmetrical cutting, cutting out various figures from old postcards, magazines is a useful and exciting activity for future first graders.
Also, in daily work for the development of fine motor skills of children, the following games and activities should be provided:
· Sets of small toys for the development of tactile perception (recognition of objects by touch).
· Mosaic of increasing complexity.
· Colored balls for rewinding.
· Stringing beads, beads, buttons.
· Planks with a knurled layer of plasticine for laying out a pattern of buttons, pebbles and other small items.
· Plastic and wooden sticks for laying out patterns according to the sample.
· Sculpting from clay, plasticine and salt dough.
· A set of children's expanders (for training the muscles of the hand).
· Sets of rings of different sizes for stringing them on the rod.
· All kinds of lacing.
· Sets of plastic templates for tracing (wild and domestic animals, insects, vegetables and fruits, etc.).
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How to learn to lay down a stroke in the shape of an object
How to learn how to lay a stroke according to the shape of an object - we will improve our pencil skills and learn how to create a drawing of geometric shapes, creating their volume. In our arsenal there is a cube, a sphere, a cone and a cylinder.
Our work will be divided into two parts. The first part is we draw according to the idea. Perhaps you have layouts of these shapes, if not, then you can look at the page on how to make a layout of geometric shapes and, in fact, make them, but we will start with something else. We'll start by understanding, parsing the form first without layouts. You can first create them and sometimes look at them while 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 how to convey the shape of these basic figures. Initially, after all, the work takes place in the head, and not before the eyes. Right?
The second part - we will draw from nature, but just as in the first case, we do not cling to nature strongly, but first of all we think and analyze ourselves, and now we are already testing ourselves with what nature shows us.
So, the first part. You can draw on A3 format. We take whatman paper, a pencil and draw a figure, it is also not bad to use the knowledge of perspective when building it. And then you begin to "lay down" a stroke in the form, sculpting the volume of the figure with the help of your mind and a pencil.
We already know that chiaroscuro is distributed over the shape of an object, creating tonal gradations, or zones. For now, let's take the three main ones - light, partial shade and shadow. We are limited only to figures, not using all the space.
Let's draw a cube. We avoid mistakes. In my picture on the left, the perspective is strongly conveyed, too much, so don't do it. Here it is enough to convey it quite a bit, slightly distorting the shape. Look at the picture on the right. See the difference between the front wall and the back? It's enough. We do not use such large sizes to transform architecture from small forms.
Let's talk about light transmission. Light, shadow and penumbra are shown.
But do not forget about the golden rule - the light, moving away from the shape of the object, darkens, the shadow brightens. Look: the light, receding into perspective, slightly loses its brightness, add a little shading there. And now penumbra and shadow, the same picture, but in reverse order. The shadow, moving away, weakens, slightly brightens. But anyway, the general tone of the shadow will never be lighter than the general tone of the light, and the penumbra also does not break out of its tone boundaries. Everything is in its place.
We also look: how we taught from our first lesson, see the basics of drawing, we don’t forget about that even now. We select the corners and faces closest to us, we make accents on them. The near edge and corners are accentuated for me, which is what they take the main attention to themselves, everything else smoothly goes into space. But here this space does not need to be transmitted strongly, since our distances are, in principle, small.
Note: how 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 yet you don’t have to look at the work “head on”, often move it away from you, scatter your eyesight, don’t cling to details.
And then the rest of the figures. These figures, in general, are quite streamlined, rounded, so we notice the following:
Let's say the ball is the first in the row. 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 along the edges, since the shape has gone into space there - take this moment into account when drawing a streamlined shape.
The same is true for the cylinder and the cone. Where the form begins to wrap up and goes into space, the emphasis should not be made. But where it is necessary to emphasize the form, then where there is a break in the form 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, below it is stronger, while rising up it loses its activity. Do not make it the same key throughout the height. These values here are not huge, but they still exist, otherwise the conditional space cannot be correctly conveyed.
I stop your attention on hatching. This is something that is one hundred percent touch that fits in the form. Despite the fact that it is somewhat monotonous and boring, it is very useful in terms of learning. He teaches discipline, concentration, teaches you to make straight lines and just cleanliness of 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 is written strangely, but I try to convey to you the beauty of this exercise as juicy as possible. And about the strokes that should fall in the shape of the object and which they are not, we will talk further with you.
And don't worry if something doesn't work out. No one is immune from mistakes, and there can be many of them, and there is nothing ideal in the world. 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 the environment. Wrap them in air, draw in space. We take the main ones:
Let the cylinder go first. We put the cylinder on the object plane - a table, set the lighting so that the shadow from the figure falls beautifully on the object plane, is neither strongly stretched nor small - it is harmonious and emphasizes the volume of the figure.
Stretch the paper over the tablet to create a clean drawing. Take a tablet with a size of 30-40, it is quite enough for such work.
Now we need to arrange our cylinder in the plane of the sheet, find its harmonious place in the sheet space, taking into account the shadows, of course. Use an eye to find proportions, reinforce it with feelings of linear perspective.
Be sure to transfer the object plane. Our figure does not "float" in space, it is on the object plane!
When constructing a figure, be sure to show invisible faces as well, show how you build - construction lines. You need it more than the viewer. Place accents where necessary, show the intersection of planes. Don't forget about perspective. If you notice, then the lower plane of the cylinder is visible to us more than the upper one, and it is correct, since the horizon line (at least for me, it may be different for you) gives such an overview.
See how the shadow is built - it can be correctly conveyed using construction lines. Figuratively: rays come from the light source, which are divided into two types, one - illuminate the figure, stop on it, therefore there will be no further light behind the figure. And the rays of light that do not fall on the figure go further, illuminating everything in their path.
Hatching - exercises for children
And we can show you this border. And one more thing: the shadow, moving away from the figure, will tend to increase somewhat, it resembles a reverse perspective. Do you understand why? If you direct the rays in the opposite direction, then the lines for constructing the shadow will converge at one point - the point from which the light comes.
This is roughly what you should be doing. Further, in principle, we no longer need nature, since everything can be analyzed independently. Turn on analytical thinking and reason logically. But anyway, let's take it 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 also horizontal. Vertical planes - a wall and a break in 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 all the same, it is necessary to single out its object plane. This is achieved by highlighting the angle of the object plane.
Next, our subject plane gets the main light, but we need to show that it is horizontal. And we know that as the light moves away, it goes out, weakens. That's the farther away from us the object plane will go, the weaker its light will be - we put a stroke in this way.
Now we need to deal with the part of the cylinder that will be in the shadow. Our cylinder is located vertically to the object plane, which means that the main light will fall on its horizontal upper plane. Everything else is in the shade, with the exception of the area where the light slides over the form, since the light does not fall exactly from above, but a little from the side - this area is highlighted by me as the lightest on its vertical plane. The general shadow of the cylinder is more active than the wall, since the cylinder has its own active shadow 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 the farthest, it will be in the background. We lay down the stroke in this way.
The falling shadow of the figure will be the most active, but it also lies on the subject plane, and therefore, moving away from it, it will become a little 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 a pencil and it is difficult to lay a stroke in the form, and it is difficult to clearly define the shape itself with a stroke, that is, it is possible to work as shown in the figure on the left.
Lightly outline the breaks in the shape. That is: suppose you are aware of how light is distributed over 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. In order to convey more qualitatively the volume of the 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 lay down the usual straight stroke, but in such a way as to fashion the volume - use the frequency of the stitch-stroke or the pressure force of the pencil.
Here I ask you not to confuse two concepts: how light is distributed over the shape of an object and how a stroke falls on the shape of an object. In the first case, we have 5 zones, in the second, we can designate as many zones, shape breaks as you need. But do not blacken, all auxiliary lines should be inconspicuous.
Note: if you could notice by looking at this picture, you saw 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 here and there, but this is how our eye sees. For the sharpness of the sensation of reality, for the best accent of light and shadow, for the harmonious touch of the picture with our eye, and in the end, let's make our eye pleasant! Let him see in the drawing what he sees in nature. This is only a slight nuance, which will only enrich our drawing, can be unobtrusively conveyed.
Addition: see how the shadow of the cone is built.
Next, let's draw a ball. You can see the building on the left. Notice how the shape's shadow is built. We have already figured out the falling one, like: we determine it with the help of an eye and reinforce it with knowledge of perspective. Do not forget that the shadow falls on the object plane - this must be conveyed and understood.
But what about your own shadow? Interestingly, if you draw lines from the point of illumination to the center of the ball, through which passes the diameter that forms the circle of shadow, then this diameter will be perpendicular to the line drawn to the point of illumination. If you understand this, then how to lay down a stroke in the shape of a ball in order to show your own shadow is not at all difficult.
Now I got bored of drawing something in the same manner and I wanted to experiment. Look at the work on the right. Do you think it is hatched? Does not look like it. It is made with a tonal stain using pencils of varying degrees of softness. If you take pencils with a solid lead, without a wooden frame, and you just pick up the tone on paper, and not hatch, then you will also get such a drawing.
And what else, besides the technique of execution, is wrong with us? The light is in place, the shadows too, so everything is in order.
But let's take a closer look anyway. We will have the brightest light 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 subject plane there will be a little more light, but nevertheless, we accentuate this area.
Look at your own shadow of the ball - I put the emphasis on that area of it, which will be closer to us, and wrapping in shape, the shadow will lose activity. Remember: the ball is a streamlined shape.
The wall is in partial shade, moreover, in the background, so let it remain unobtrusively there. The only thing is that it will "play" with the volume of the ball. From the side of the light, the wall will appear somewhat darker, from the side of the shadow, lighter. Let's make our eye pleasing here too;)
How to learn to lay down a stroke in the shape of an object. Hatching
Here we smoothly approached what we already talked about at the very beginning of this page. How the stroke fits in the shape of the object and which stroke is not. The fact is that every draftsman, in the process of work or study, develops his own specific stroke style. Of course, there are canons, different historical times have their own canons of drawing and stroke, but it is not at all necessary to adhere to them. Optional. I think that if with the help of a stroke it is possible to convey the volume of a figure and the space itself in a sheet, then it is absolutely all the same what this stroke represents. The main thing is that everything was done correctly and beautifully. Simply put, do not make straw, learn to draw beautifully. This also applies to the stroke. On this page we learned how to make a stroke, we will continue a little more.
For example, this is how I draw a cube, which 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 construction and its shadow, not forgetting to take into account the perspective
3. We determine the place of light and shadow - we put a light stroke. 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 the work is done with, it's quite unusual, right? It’s better not to resort to such a stroke in drawing lessons, don’t scare teachers, they don’t have such modern progressive views as you do. But in your creative work, you can apply such a stroke, why not? After all, the drawing is made according to all the laws. The space in the sheet is transferred, the shape of the object is shown, the main tonal relationships in our drawing are transferred. But to this we also added a touch that makes the work interesting and airy. Well, then again, we disassemble the picture, analyze:
Let's go through the main tonal relationships, for starters, the shadows: the darkest shadow is the drop shadow, then comes the cube's own shadow. The fracture of the object plane takes the third place, we select it, but do not blacken it, since there is enough light there. And the fourth is the wall, which also gets light, we can say that the wall is in partial shade, but farthest. See how the penumbra of the wall plays with the shape of a cube: from the side of the illuminated part of the cube, the wall is darker, from the side of the shadow, it brightens. These gradations may be very small, but they are present.
Next, we analyze the light: the lightest and most illuminated part will be the upper plane of the cube, the second in terms of light and darkness - the object plane, which is horizontally in front of us and going into space - loses light.
We focus on the breaks of forms. We select the near faces of the cube and the corners, this will help to pull it out of space in front.
And do not forget - the light, moving away, darkens, goes out, the shadow, moving away, loses its activity and brightens somewhat, but we take into account the golden rule: the darkest halftone in the light is lighter than the lightest halftone in the shadow.
Lastly, if you decide to experiment with shading. Since the tonality of chiaroscuro, which we convey in the space of the sheet, varies, so the stroke can change shape - play with the size of the stroke. The wall is made with a stroke of the middle stitch, quite static. The cube is made with a small and active stroke, which gives the cube dynamics. And the object plane is made with long stitches, rather trivial and of little interest. So, even a stroke helps to reveal the main character in the picture - a cube, which is made by the most dynamic stroke that attracts attention, in my opinion. What do you think?
Try to do something of your own, experiment, then the simplest work will be done with pleasure, great attention and great interest. And when you are sitting, doing work, for example, you are trying to evenly put a stroke in the form, and even you succeed, and at the same time you begin to notice that your breath stops from the concentration of your attention, in these very minutes you feel the whole prelude of the drawing and you get untold pleasure.