Autumn still life step by step drawing for children. Drawing a still life step by step

Description:

The introduction is long, boring and uninteresting to read, so I’ll get straight to the point. 1. Tools. First of all, we need a reference. In this case, this is a photo found on the Internet. You can pose from nature yourself - it’s much more useful to draw. Try to look for a reference where painting (drapery, apples) and...

The introduction is long, boring and uninteresting to read, so I’ll get straight to the point.

1. Tools.
First of all we need reference. In this case, this is a photo found on the Internet. You can pose from nature yourself - it’s much more useful to draw.
Try to look for a reference where both painting (drapery, apples) and tasty details (leaves) can be used. Some details, you know, are not always good, especially on early stages training - behind their depiction the picture itself is lost. Do you want realistic rendering? Take your camera and take pictures. Our task is to present the nature (or reference) as we see it, and not as the camera sees it.

(the ref has a rather sparse range of colors, so I decided to depict the nearest apple as yellow)

Also, of course, we will need various art supplies, such as:
- watercolor (in braces, in tubes - whichever is more convenient for you);
- watercolor paper, prepared for work (that is, stretched onto a tablet), size - larger than A3, quality - again, to your taste, in our city special choice no, that’s why I can’t advise anything here;
- masking liquid (not entirely necessary in this case);
- easel (I personally hate painting on a table; I’m more accustomed to working on a vertical plane);
- office supplies - brushes (preferably squirrel brushes, No. 2, No. 3 and No. 4 for the background), a jar of water (which should be changed as often as possible), a palette (what type of palette to use is a matter of your habit), pieces of paper for proofing, clean a rag and a ruler, a pen (if you use masking fluid).

2. Pencil sketch. Beginning of work.
This lesson can help you in constructing a pencil sketch of a still life: Linear-constructive drawing of a still life.

First, we determine the boundaries of our still life: the lower boundary is where the yellow apple lies; top, right and left - where the leaves reach as much as possible. Using a pencil (ruler, but better train your eye), you can immediately determine from the photo how much larger this rectangle will be in width than in height. Measure distances in comparison with some specific value.

Then mark the places (traces) where each of the objects is on the table - estimate how much further the glass is from the red apple than the red apple is from the yellow one. Then, again, using a pencil and an eye, determine the boundaries of each object (since the glass is a symmetrical object, we also mark its center line - exactly in the center of the rectangle). I advise you not to use a ruler at all at these stages.

We schematically outline the main branches of the autumn bouquet, to which the leaves are held. If you go a little beyond the intended border, it’s not scary. The main thing is a little.

We are building an apple. For the first time in my life I decided to try drawing; faceted; fruits. It turns out interesting, although many of my friends (including my dad) didn’t like it. I probably won’t be able to tell you the algorithm for building an apple in this way yet - you just need to feel its shape, all the bulges and dents. Fit the apple within the boundaries outlined earlier. Also determine the width of the bottom of the glass (even if the bottom is not really visible - by eye) and symmetrically draw two inclined lines - the future walls of the vessel.

The second apple is the same:

Here I immediately outlined a fold of fabric that slightly covers the bottom of the fruit.

Assess the location of all the leaves and try not to draw them separately, but to fit them into big picture. Outline your imaginary boundaries of this bouquet. Of course, many things will not match the reference, but it doesn’t matter.


At this stage, you can already erase the general boundaries of still life, which we outlined at the very beginning.

The most time-consuming step is drawing the leaves. Just study the reference more carefully, the abundance of sizes, shapes and inclinations of each leaf. Don’t bother too much with the composition - it’s already well placed in the photo. Don’t get hung up on one branch - draw the whole bouquet at once, first schematically, with sketches, and later, drawing out the details. I advise you to start drawing a leaf from two lines - the main vein, which runs along the entire length of the leaf, and the middle line, which is parallel to the vein, which characterizes the widest part of the leaf. But since the majority of the leaves are inclined towards us at an angle, these two lines will not intersect at a right angle.


We also outline the tails of the apples.

And the last stage of the pencil sketch is a little stylization. Just an insert in the form of a straight ribbon with elements of red and tan leaves.


Use a washing eraser to slightly lighten such moments as the edges of apples, for example, or the same stylized insert, so that it does not hurt the eyes and does not appear strongly under layers of watercolor.

3. Let's start with watercolors.

First, "buy" future job V clean water- just wet the entire surface of the paper evenly. It is advisable to do this on all watercolor works before starting with paints: when drawing with a pencil, the paper is covered with a thin layer of fat from the fingers, and this can sometimes prevent the water and the watercolor from adhering well to the surface.


(I wetted the work twice - in the evening, after sketching, and in the morning to write the background wet; you can easily do it once)

For the background, we use ONLY a palette and ONLY diluted watercolors in order to prevent the appearance of bright colored spots, which can’t be washed out or extinguished without dirt. We mix on the palette the colors that you see/would like to see in the photo. For example, I decided to make the background not blue, but more bluish, and leave the rag behind the stylized insert completely white. The background didn't work out for me, but I'm sure you'll do much better.
I took the following colors - bluish blue, grayish turquoise, orange (with a small amount of purple added to it to reduce the brightness), heavily diluted lemon, a little purple.
We begin to paint the background using vertical strokes. I saw the folds there quite abstractly, especially considering that the background should be minimally contrasting and light (since the leaves and apples are dark). We write wet. Make sure that the paint does not flow where it is not needed - I;let; it is only on some leaves. If you notice that a drop is collecting at the bottom and is about to roll down, quickly soak the brush with a rag/mouth and collect this drop without touching the paper. If you need to lighten something - while it is wet, you can also wet the brush and dry it to collect moisture from the paper - the paint will lighten, but you will not be able to completely remove it.
On the first layer of paint, I would not recommend making too much difference in tones or soaking anything. The first layer is a kind of lining under the main one: it gives direction to color and shape.



On the right, I left torn edges - a habit of not painting completely. They are done with a semi-dry brush with paint, sideways, on a dry or slightly damp surface.

Let me remind you: the first layer is painted with very diluted paint, and it ends up being very light.


(I did not specifically process this photo in Photoshop - I did not increase the contrast so that it would be clear how light the background actually is)

We paint the second layer dry (we wait for the first one to dry), and we paint not everything that we painted over first. Here I added shadows and “folding” to the right of the leaves, to the right of the glass I began to draw a fold (by the way, we add crimson shades here and there - as they will be on the leaves - so that the image is harmonized in color, and the bouquet does not look cut out later), I added the shadow from the apples and from the leaves on the left (to the left of the apple in the fold there is also a red color - then I “muffled” it a little - I washed it out with water when it was dry). I also started drawing the drapery under the apples - it is white, which means the reflexes are very clearly visible on it. In this case, I deliberately exaggerated these reflexes, adding such pseudo-reflections from the apples so that the rag did not stand out too much for its “cleanliness,” so to speak.

Then, with the third layer, I added a shadow to the fabric from the rightmost leaf (the large one), strengthened the shadow of the fold above it, and muted the place that I thought to leave unpainted (where the torn edges are). Don't be lazy to step away from time to time, post your work and evaluate it. I do this probably after every two or three strokes, especially in the background.

Then I saw an epic fail in this work and thought about abandoning it altogether. Is the background terrible? Still would. But, in essence, the background plays virtually no role here - that’s why it’s the background. In addition, you need to evaluate work that has already been completed, but for now this is just the beginning.
I decided to leave the drapery for now and move on to the objects and leaves themselves.

As I already said, I leave the background, since I will always have time to improve it, but in no case should I clutter anything. In general, if you don’t like something in your work, leave it, draw something else, but don’t try to correct it several times in a row. The work will lose its transparency and watercolor quality.

A little about planning. The drapery is the background, the glass with leaves is in the middle, and the apples themselves are in the foreground. How to transfer plans? There are many ways.
One of them is layers of watercolor paint. The fewer layers, the further away the object is. To reduce the number of layers, you need to immediately paint with more or less concentrated paint, trying to convey all the colors, shapes, and tones of the object the first time. To add more layers, we use heavily diluted paint, achieving brightness and color saturation by applying these layers.
Another one is contrast and detail. Look at the finished version of this work. Notice how little detail the drapery has, especially behind the leaves and to the left. Literally one coat of paint, and virtually no contrast. Now switch to leaves. Are there any details? A lot of. Layers? Three or four for the closest leaves, and two or three for those distant to the left and below. The only downside is that the veins are too light, which should have been toned down even more. The apples themselves are very stingy in detail (I can’t convey the mottled texture of their skin in watercolor, that’s for sure), but their segmentation, clarity and strong contrast (especially in the yellow apple - a white reflex, a very dark shadow) move them forward.
And one more thing is color. Remember that red brings things closer and blue makes objects farther away. That is why I liked this photo - I knew that the picture would turn out voluminous due to the fact that the drapery is blue and the main objects are red. But still, I painted the leaves, often adding blue so that they would not come into the foreground.

I'll start with the glass. In it, I also liked the highlights on the right in the photo, and the way the leaves are visible through the glass. This is what we will try to convey. To begin, fill the glass with water (it sounds good, if anything, I mean - we wet the surface of the paper within the boundaries of the glass) and draw a color lining, leaving almost white areas on the right for the masking liquid, on the left - a blue reflex from the fabric, and on the bottom, closer to apple, also the color saturation and tone decreases - to visually distance the glass.
We use the blue, orange-brown color “Mars Brown” left from the drapery, for dark shades an irreplaceable mixture of purple and orange, a little crimson and just orange.


We also take into account the pattern on the glass. True, I inadvertently bent it in the other direction, but no one has noticed this little thing yet

We apply the masking liquid - on the right, where the highlights are - generously, a little in the picture, just a little to the left and above, along the edge of the glass. ATTENTION; We wait until the paper is COMPLETELY dry before using masking on it - otherwise the film will peel off along with the paper (many people had this problem, including me).

It’s better to apply it with an iron pen - once you’ve dipped it in, lightly tap the pen onto the piece of paper (lightly tap it) to knock off the excess. After the liquid on the pen dries, it is very, very easy to peel it off with a single film, unlike with a brush. In addition, the pen can draw very thin and neat lines.

With more saturated tones we add contrast and shadows inside the glass, but do not forget to leave some places (for example, orange - where the leaf inside the glass hits the light). Also, along the way, I worked a little on the white drapery under the apples - added color to the right, finalized the folds.


The film of liquid can be removed; where it is too light, dim it.

Leaves.
We draw them one by one general principle: moisten with water -> color lining in the wet -> apply veins with masking liquid -> two or three more layers of finishing in the dry.
The most important thing to remember is: when you are finalizing, you should not change much of the color that was on the lining. For example, we started with large leaves on the right (and a few small ones in the back). As you can see, the lining contains blue, yellow, crimson, and orange colors, except that there is no green. Firstly, do not forget about the total volume of the bouquet of leaves - the light falls from the right and from above, and from the front, and not from the side - that is, the leaves (especially the central one) will be light and contrasting both in color and tone. Secondly, when you paint the second layer, you should not use orange or yellow on, say, a blue lining - it creates dirt. Try to simply enhance the brightness of the colors, adjusting it here and there. This is watercolor - in this technique, everything, starting from the very first layer, will be visible through subsequent layers. Thirdly, don’t rush and don’t overcook the leaves. It’s better if it doesn’t work out, leave it for later - you’ll always have time to improve it. Fourthly, in subsequent layers, leave more and more space “not painted over” with this layer.

Wet lining:

Veins in a mask (not all veins are visible on all leaves):

Second layer (orange-yellow on the yellow lining, blue on the blue):

Third layer - leave places where the second one is visible:

With the fourth layer we enhance some shadows.


Then carefully remove the film (as soon as the paint dries!). We see that the veins are too light. Then I will mute them at some stage.

Another tip - apply the next coat of paint only when the previous one is COMPLETELY dry, in order to avoid dirt and grime.

And so, piece by piece, we work through the whole bouquet. It would be more correct to write all the leaves at once, but I’m not at that level yet - my nerves would give way.
We add variety along the way: green and blue flowers, vary the tone of each leaf.

Now there are leaves that are more distant from us. We will not use masking fluid for these. The veins turned out because I tried to make do with the lining and one (maximum two) layer, in which I skipped places “by hand”.










I also added a shadow from the right large leaves on the drapery, to the right of the cup. Along the way, I kept working on the background here and there where it didn’t suit me.

In approximately the same way as the leaves, we draw a stylized insert (without masking).


There is absolutely nothing left.

Apples.
There will be a lot of layers on the apples, especially the yellow ones. Do not be afraid. Just use less saturated colors.
I'll start with yellow. To begin, just like on the leaves, wet the apple and draw the lining.

And then I, piece by piece, and you, try to completely work on the apple with the second, third, fourth, fifth and even sixth layers. Do not overdo it. Remember that you are using relatively thinned paints.
In order for the fruit to shine, you need to take into account a lot of reflexes and highlight (I applied it at the very end with white gouache).
Diagram of where, where and what color the reflexes should be:

So is the red apple. With the last layers, as on the leaves that we painted without a mask, try not to cover the entire apple, but leave the layer “below” visible here and there.

So, what is a still life? The first thing that comes to mind is a jug or vase, fruits, vegetables, cups, flowers, etc. In fact, a still life can contain absolutely any two or more inanimate objects, usually small in size, lying on the surface.

In this lesson I will show you how to draw a flower still life (the lesson uses a wonderful photo from Galina Chi).

Step 1. When drawing any still life, the first thing you need to do is imagine all the objects in the form of the simplest forms. In this example, the basket can be represented as a parallelogram, and the vase as a cylinder. It is very important to immediately place the objects correctly on a sheet of paper. Please note that items should stand on the table and not roll off it.

Step 2. We bend the lines to get the shape of the objects we need. Add a handle to the basket.

Step 3. We draw cherries with circles and sticks, not forgetting that they overlap each other. Don't try to make them perfectly even.

Step 4. Designate the flowers and their centers. At this stage, you don’t have to draw the petals yet. We also add leaves.

Step 5. Draw the petals.

Step 6. We begin to shade the drawing - add a wicker texture to the basket, shade the cherries in a circle, leaving a large number of highlights to make them juicier. On the right side of the vase, add a strip of highlight on top of the shading. We shade flower petals and leaves from the center to the edges.
Since the light is coming from the left, we add horizontal shadows to the right of the objects.

Margarita Akulova

Open lesson for art teachers in the art studio kindergarten with children of the preparatory group.

Subject:

"Autumn still life"

(using the “reverse graphics” technique)

Tasks:

1. Continue to introduce children to one of the genres of painting - still life.

2. Introduce the view visual arts– graphics and “reverse” graphics.

3. To arouse in children the desire to create a still life from the proposed objects, combining them with each other in color and size.

4. Strengthen the ability to convey in drawing characteristics leaves, flowers, fruits: shape, structure, size, location.

5. Continue to master the techniques of working in an unconventional technique - drawing with an eraser (reverse graphics).

6. In the process of work, create a joyful mood in children, teach them the ability to enjoy the results of their work and the successes of other children.

7. Support the manifestation of imagination and courage in presenting your own ideas.

Progress of the lesson:

*Installation for a meeting in the art studio (in a group):

Guys, our pencil friend is waiting for you in the art studio, he has prepared a lot of interesting things for you.

1.

*Children in the art studio.

Today we have many guests in our art studio, welcome them.

*In the magic window - Pencil.

Guys, we often meet with a pencil, and it has become our friend.

*On the screen Pencil and Eraser

Today he came not alone, but with an elastic band. Why did he bring her, you will find out later, but now Pencil has prepared a video riddle for you, do you want to guess it?

*Video excerpt: “If you see in the picture (still life)

Guys, you guessed what we will talk about today, and if you want, draw (about still life).

I invite you to a video exhibition where we will admire still lifes by different artists.

*Viewing still lifes (on TV screen).

Did you like the still lifes?

What time of year do these still lifes tell about? (autumn)

What colors did artists use to convey the gifts of autumn?

Expected answers from children: bright, warm, golden, sunny...

Look how bright the works are, what a variety of colors there are.

Before drawing a still life, the artist composes it.

And I also wanted to create an autumn still life.

I saved oak branches, maple leaves, flowers. We have vases and fruits.

Guys, I’ll try to make a still life, and I hope you can help me.

What is our background? (dark) Choose the vase that suits best (dark or light)

(-Dark vase, as if hidden)

*Making a still life with the children. We admire it.

*On Screen Pencil

Pencil has something else in store for you.

It turns out that you can depict a still life using only two colors - black and white, and this type of fine art is called graphics.

Pencil wants to show you autumn still lifes made using this technique.

* Viewing autumn still lifes (on the TV screen).

**Comment while watching:

If painting is a colorful art, then the main colors of graphics are black and white. Expressive means graphics - line, drawing, transitions of color and shadow, contrast of dark and light.

*On the screen is a Pencil and an Eraser (an excerpt from the song Big Secret...)

But now the pencil wants to reveal the secret of why it came with an eraser today

Often when we draw a sketch with a simple pencil, we use an elastic band. But the eraser not only erases, but can also create a picture itself.

This is graphics in reverse or “reverse graphics”.

Look through the magic window - these are children's works using technology - reverse graphics.

* Viewing children's works (on the TV screen).

Pencil has prepared tinted sheets for you and invites you to draw an autumn still life as a memory of this beautiful time of year. Do you mind?

2.

Guys, I invite you to take a seat in our art workshop.

I wanted to draw a still life like this in memory of autumn.

*Showing my still life.

If you liked the still life that we compiled together, then you can draw it.

Or you can come up with and depict your own still life.

The same object can be depicted in different ways:

Dark - can be conveyed simply contour pattern or highlighting the outline

Light - light silhouette with additional veins drawn in with a simple pencil

*Showing three different ways images of one subject(leaf) and how small round shapes can be depicted.

*Turn on calm music

Now, to the music, imagine your autumn still life and depict it using the technique - reverse graphics, using an eraser and a simple pencil.

Those who are ready can start working.

*When working with children I use:

Suggestive questions:

What size should the leaves be so that everyone can see and admire them;

Can there be leaves from different trees on the same branch?

What part of the leaf can the vase occupy?

How you can correct the mistake is to shade out this part;

To draw thin lines, it is better to use an eraser on a pencil, and to draw large lines, use an eraser.

Indirect instructions:

Would you like to add veins to the leaves...

Reminders:

Did you remember to draw the table or shelf on which the still life is located?

How interesting you decorated the vase, well done;

I really liked the way you arranged the objects in your still life;

You got carved leaves, great...

*During work, I offer a minute of physical education to those children who are tired:

Finger gymnastics “Autumn Bouquet”

Children place their fingers to the side and bend them to the beat of the poem, one at a time, starting with the thumb:

One two three four five,

We will collect leaves. (All fingers are collected into a fist.)

Oak leaves, (Bend your little finger)

Maple leaves, (Bend your ring finger.)

Rowan leaves, (Fold your middle finger.)

Aspen leaves. (Bend your index finger.)

We will collect beautiful leaves together

(Place two palms with fingers apart.)

And we’ll bring an autumn bouquet to mom!

3.

- Guys, the little bell is ringing now. But as soon as the big bell rings in our magic window, our art workshop will close, and we will invite all guests to the opening of the exhibition of autumn still lifes.

(And those who didn’t have time to finish drawing a little can do it in a group, in their free time).

* Upon completion, place the children’s work in an exhibition

Guys, today at our meeting you learned how you can depict still lifes in different ways - in color and in graphics, and in reverse graphics.

Your autumn still lifes turned out expressive, interesting, and different.

And what helped you create this beauty was an ordinary eraser and a simple pencil.

Today you were graphic artists.

Whose still life is similar to ours? Why did you decide to draw him?

How exactly did you depict the veins? What did you use?

Which branches did you get that were thin, and what tree did they come from?

And your leaves turned out as if they were alive.

You decorated the vase very beautifully, you chose unusual patterns.

Guys, let's admire your still lifes and invite guests to join us.

Master class on still life drawing for children 5-8 years old “August - asters”

...Motley caps are blooming,
Like festive fireworks.
One hundred shades and varieties
These joyful flowers: Pink, red -
The most beautiful!(T. Lavrova)

Legend of the Aster

Progress.

1. We start by building a composition. Using a simple pencil we make a sketch of the future still life. Draw a vase (in the shape of an inverted trapezoid)

Master class on drawing “Decorative still life” using the “decorative drawing” technique

I bring to your attention a master class on decorative drawing “Decorative Still Life”. It is designed for children in grades 3 and 4 (9-11 years old). This technique can be used both as additional creativity and during a fine arts lesson (for example, according to the “Planet of Knowledge” program in the third grade there is a topic “Decorative still life”).

Target: Arouse children's interest in decorative painting.

Tasks:

· development of children's imagination and imagination;

· development creativity children;

nurturing an interest in technology decorative painting.

To create a painting “Decorative Still Life” using the decorative drawing technique we will need:

· Format A-3 - 1 sheet;

· brushes (medium (approximately No. 5) and thin (No. 2));

· PVA glue;

· simple pencil;

· a jar of water;

· palette.

1. To begin with, using a simple pencil on A-3 format, draw a line for the table on which the still life will stand, and a “skeleton” for the vase. The construction of a still life should be taken very seriously, since the final result of the work will directly depend on the basis (drawing):

3. And round off the sharp corners:

4. Now we draw the ellipses. The closer the ellipse is to the horizon line, the less open it is, and the further from it, the rounder it is:

5. And we finish drawing other elements of the still life - for me these are fruits (apples and plums) and drapery in the background:

6. Now it’s better to age unnecessary lines so as not to get confused in them further (for example, these include invisible distant lines of ellipses):

7. And now we have to divide all the objects of the future decorative still life on a plane along to the following principle: light - penumbra - shadow - reflex.

8. The final touches in constructing our still life will be a sketch of the design on the fabric so that the background is not too empty (I decided to draw circles of different diameters that touch each other):

9. After the still life is built, we begin working in gouache. In my decorative still life there will be no smooth transitions of color; I will paint it along the planes into which we previously divided the objects. I decided to paint the entire work in warm colors. Let's start writing with the distant drapery. On the palette we mix shades of pink - from dark to light: