Musatov drawing based on presentation. Drawing from life, from memory and from imagination in art lessons in a secondary school

The process of creating a drawing involves the establishment of constant and very subtle connections between the drawer and the subject of the image, between the drawer and the drawing, between all elements of nature and the drawing. These connections are determined by knowledge of the entire drawing process - drawing methods, aspects of the drawing process, drawing principles and solutions educational tasks.

Methods of drawing: reality, influencing a person’s consciousness, shapes his perceptions and ideas certain images. Due to the difference between the image of a real object formed in the process visual perception, and the image preserved in memory as a representation, there is also a difference in the methods of their representation. These methods are called drawing from life, drawing from perception and drawing from imagination.

Drawing by Perception characterized by the fact that the object of the image is in front of the painter throughout the entire work. Watching carefully with specific place beyond typical of this subject signs and parts, the painter transfers what he observes onto paper, trying to depict everything as it really is and as his eye sees it, that is, visually similar. This method of drawing is also called drawing from life. Latin word“natura” is translated as “nature”, “real reality”. In nature, the subject of the image can be everything that exists, that is, everything that has its own form and content.

Drawing from life, leaving a person eye to eye with the subject of the image, makes you think about its form and content, determine its signs and properties, comprehend their relationships - in a word, thoroughly study the subject; At the same time, drawing from life develops attention and observation skills, teaches you to see and think correctly.

Working from life not only expands the range of knowledge about reality - it allows visual means consolidate the images of understood things and phenomena, their essence and beauty. These wonderful qualities made it possible for drawing from life to become one of the main ways of teaching images.

In the old Russian school, at the first stages of learning drawing, drawing was often replaced by living nature original drawing made good artist. Everything in this original visual tasks were resolved in an exemplary manner. Students, copying the original, imitated the masters, learned to correctly use material and visual means and learned “exemplary” depiction techniques. This method of drawing from originals also takes place in the practice of teaching teachers, not only as a visual means of mastering techniques images and solutions to educational problems, but also as a tool to help create all kinds of tables and cards necessary for conducting classes with children.

Drawing by View characterized by the fact that the object of the image is absent, is not in front of the eyes of the painter. The artist recreates the image that was once formed in his mind from memory, description or imagination. Images of ideas are less specific and complete than images of perceptions, and therefore drawings made from ideas are somewhat generalized. Their content and originality depend on the conditions of image formation. Drawing from an idea develops visual memory, saturates thinking bright images and promotes the development of creative imagination.

Drawing from imagination also develops amazing abilities.

They say that the artist Reynolds had a long conversation with the person who ordered him a portrait, inquisitively watched him for more than one hour, and then was left alone. The master painted the portrait based on an idea. One day, one of the visitors to his studio accidentally found himself between the artist, painting a portrait, and an empty platform. Immediately there was an exclamation: “Don’t block my model.” It turns out that Reynolds imagined the person’s appearance so clearly that he continued to “see” him, and painted a portrait, constantly looking at the place where no one was already there.

Drawing from memory

Some people confuse working from memory and drawing from imagination. Both drawing methods have common ground: the depicted object is absent at the time the drawing is executed.

But in a drawing from memory they try to reproduce it in the same position and lighting in which it was observed. In a drawing by representation, the artist freely, at his own discretion, depicts a previously seen object from any angle and lighting, choosing what is necessary according to the plan.

It’s easy to verify this from your own experience: it would seem that you know your room like the back of your hand, but try to draw at least one or two objects from its furnishings from your imagination! You will immediately feel the need to look at nature. You may not be sure about something, general shape you won’t be able to draw it boldly, let alone the details. Support in kind is required. It becomes clear why the masters say: “draw a hundred times and it will be simple.”

Even in drawing from life, if it is done creatively, there is a moment of drawing from memory. Indeed, while the artist’s gaze is transferred from nature to the drawing, the work proceeds from memory, reflecting not only what he noticed in the production, in nature, but also impressions, experiences, refraction of what was seen in the consciousness and soul of the painter. It is no coincidence that they advise placing the easel not directly in front of the nature, but sideways to it, with the left hand, in order to thereby extend the time to experience what you see and not allow yourself to paint like on glass.

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Drawing by representation

Still life and composition of geometric bodies

F. N. Glushchenko

Created in the intellectual publishing system Ridero

This manual is intended to help students of art and architecture educational institutions, as well as for those who want to independently master the drawing technique, speed up the assimilation curricula. The work is full of universal material; it contains detailed step by step lessons drawing and other useful information. I think it will arouse professional interest among architects, designers, artists, as well as teachers of the discipline “Drawing”.

Such a wide range of recommended implementation is due to the fact that the work is based on the construction of settings using the method of geometric analysis. Or, as it is also called, an architectural method, erroneously attributed only to the architectural school, although it is most widely disseminated by it. In fact, the proposed method is already more than 80 years old, and this work is based on a solid scientific foundation of such works of the outstanding artist and teacher P. Ya. Pavlinov as “Graphic literacy” and “Everyone can learn to draw”, the successors of his work - architects-teachers Tikhonov S.V., Demyanova V.G., Podrezkova V.B. (textbook “Drawing”. M. 1983) and a number of others.

The analytical approach, which has long proven its high efficiency in mastering the subject, which P.Ya. Pavlinov called objective, descriptive and demonstrative, stands in opposition to the approach usually practiced by art schools and colleges - its supporters call for completely trusting nature and intuition, essentially not analyzing what is depicted, and “expressing” from the standpoint of subjective perception. In the epigraph of the book “Everyone can learn to draw,” the author cited the words French philosopher D. Diderot (1713-1784): “A country in which they taught to draw in the same way as they teach to read and write, would surpass all other countries in all arts, sciences and skills.” And Pavlinov himself noted that not every person who draws can become an artist, just as not every person who is literate can become a writer, but “an engineer, a teacher, and a researcher should be able to explain a thought through a drawing.”

However, resistance to the architectural method was not expressed in the reluctance of people to join the “beautiful” as such, it was met precisely by the proposed ways of mastering the subject. In other words, the observed confrontational position of many schools “neutralizes” the natural desire of students to master more effective methods knowledge of the world, a single language, known since ancient times, but presented by many teachers as ineffective.

Geometric analysis in pre-university educational drawing is the main tool in the formation of three-dimensional spatial thinking in students. This approach aims to not only explain the basics of drawing in six months to a year, but also teach how to think “in a complex way,” meaning by this the ability to compare promising views observed in nature with orthogonal projections, giving an objective, complete picture of them. But such a drawing will not only be beautiful and expressive, but also accurate, and therefore comprehensively useful.

The standard course for studying drawing in architectural classes, thanks to which the analytical (geometric, objective) approach to drawing itself was largely widespread, begins with exercises such as depicting cubes in space (“perspective”), simple and complex insets (for example, a cube , embedded in a cube; a ball embedded in a prism with some displacement of the ball along one of the coordinates), and ends with such tasks as head, interior, exterior (city landscape).

The course of architectural drawing divides the task “volumetric composition of geometric bodies” into two conditional stages, which is the subject of consideration of this work. The first stage aims to teach the applicant to perceive the environment as a set of spatial geometric volumes and to work with them analytically. The second stage is to teach how to use the knowledge acquired in the first stage. The second stage is a logical continuation of the first; This can best be seen in productions such as still life with the inclusion of geometric bodies, directly in the production architectural detail(rosette, ionic, vase, capital), interior and the city landscape that completes the course. Drawing the settings required in art and architectural universities - heads, figures - is also not divorced from general process knowledge of the world through geometric analysis, and is also “tested”, built, as when working with any geometric shape.

Our tutorial will mainly focus on the first stage. A certain detachment from nature, isolation from function, from the purpose of the subject of study, from the “first impression” - allows painters to more consciously perform the work and, as a result, more effectively create an image that is always individual.

Chapter 1. Problems of verification and self-test educational exercise"Composition of geometric bodies"

Before the teacher art school, college, university, the question often arises - which drawing is considered the most reliable. When working with nature, the answer seems obvious. Whereas in drawing from an idea it is not only difficult to give an answer, but the very formulation of the question seems meaningless. Any drawing can be “beautiful in its own way,” and everything depends only on who evaluates it. At the moment, there are no generally accepted or at least well-known rules for evaluating work according to objective criteria, the presence and absence of errors. All at first glance errors, or vice versa, advantages are tasteful, generally accepted, but often controversial, and sometimes simply harmful to the process itself - when obvious construction errors are compensated by the external diligent appearance of the drawing. This set the teachers the task of formulating evaluation criteria. “Errors” that often appear in assessments, such as “crooked lines”, “carelessness”, “inattention to work”, look especially unconvincing when we're talking about about a serious examination test, on which the profession of the examinee often depends.

First attempts to formulate general rules in the construction of geometric bodies led to even greater “discrepancies” due to the fact that they were not fully formulated and were rather advisory in nature. The justification for such “crude” techniques was that drawing is not an area descriptive geometry. This is partly true; the basis of the drawing, its “ main formula", which will be discussed below, in the third chapter, is not mandatory in construction and verification, for example, in descriptive geometry; but fundamentally, when it comes to self-testing or when there is a need to achieve the greatest accuracy of the depicted production, it inevitably requires knowledge in this particular area.

But such tools as a constructed horizon line, the use of prototypes of geometric bodies in nature, transitional exercises such as still life, interior, exterior, and individual special seminars that explain the basics of perspective images often do not give the desired effect. The work must be not only “reliable” in the “visible” part, not only convincing at first glance, which, as the standard methodology assumes, the student comes to with experience, but also be accurate, useful for mastering related, related courses, such as industrial and architectural design, drawing, paper modeling, design, etc.

In other words, the current compositional drawing, even in leading specialized universities, is a rather complex geometric design, often not without a complex author’s plot - that is, one of the goals of the exercise itself, but does not have a basis based on a real idea of space. Consequently, all “add-ons” in the form of introducing non-standard geometric shapes directly into the very condition for specifying “complex” sections - meaningless until the answer to the key question is formulated - what can be responsible for accuracy and “reliability” in the space of a plane, a figure, a body. And hence: accuracy of size, proportions, perspective and, ultimately, persuasiveness general impression from work.

In practice, when analyzing and checking work, a square with a circle inscribed in it is used: the square helps to assess the depth, the modular square also helps to determine the proportions of the figures, and the circle “helps” the square itself to be reliable. It would seem that these two interrelated techniques may well form the proper drawing, but the situation is complicated by the fact that three-dimensional space does not provide the freedom that is possible in the depiction of two-dimensional space. Three-dimensional space requires specific knowledge. For example, a violation of the sequence of drawing a square cube, when an ellipse fits into a square, and not vice versa, leads to the fact that the “expected” circle turns out to be an oval “in plan”, and not a circle elongated in width or height. This error is easily identified by constructing lateral and superior projections. The error occurs as a result of a “random” rotation of the axis of an ellipse inscribed in a square located on the object plane. Such a square, like the entire composition as a whole, is always easier to start over than to try to correct the first, fundamental error in it. In other words, if a square is not a square, then without a doubt a cube will not be a cube, and hence a prism will be a prism, a pyramid will be a pyramid, and the number of errors will be equal to the number of geometric bodies.

According to presentation, it is an important component of architectural design. This is most adequate to the creative process of the birth of an architectural concept, at least until the moment when it receives its expression in drawings and models. according to the presentation, it allows the architect to easily transfer his wildest fantasies onto the sheet, gradually form more and more realistic images, freely sculpt the volume, play with shapes, constructive and decorative elements.

... I intend, with God's help, to present what little I have learned, although many of you will disdain it. But that doesn't bother me. For I know well that it is easier to destroy any thing than to make something better. I want to present all this without concealment, in the most understandable way, to the best of my ability.

In the drawing, according to the presentation in front of you, there is no nature that could help out at the right moment, suggest the right decision. The basis of such a drawing is not nature, but knowledge. Contrary to a fairly widespread opinion, it must be said that knowledge has never interfered with the free and free creative process; rather, on the contrary, such an obstacle is its absence or insufficient quantity. This is how A. Dürer wrote about it: “...And the power of knowledge will expel the incorrect from your work and protect you from mistakes, for you will notice them, and thanks to your knowledge you will finish your work without delay, without making a single wasted stroke or stroke. And this speed is achieved due to the fact that you do not have to think for a long time, because your head is full of knowledge. That's why your work will seem skillful, beautiful, strong, free and beautiful, and everyone will praise him, for there is truthfulness in him” (A. Durer, p. 196).

The source of knowledge necessary for drawing by representation, in addition to books on drawing and teaching aids, can be a careful study of the world around us, which a novice draftsman realizes through drawing from life. By drawing from life, we study the object - its design, function, purpose. This knowledge expands our understanding of the world around us and forms a different, deeper view of seemingly ordinary things. “First we draw what we see; then what we know; at last we see what we know” (R.B. Hale, p. 47).

At some point you will feel that your knowledge of the subject you are studying allows you to depict it without life, from an idea. Further exercises will make it possible not only to depict an object as imagined, but to do it from any point and in any rotation. By persistently practicing this kind of drawing, you will be able to easily and convincingly draw both existing objects and those born of your imagination, which will help you in learning architectural art, and in the future it will make it easy to create and communicate with colleagues in the profession.

This logical and natural sequence is consistent with the method of teaching drawing by representation and with the structure of this book. First - a drawing of simple geometric bodies with the study of their structures, proportions, construction sequence, as well as the laws of perspective, then - a drawing of objects based on geometric bodies, as well as a drawing of simple geometric bodies in motion, from various angles and turns. And only then - drawing of imaginary objects.

Learning to draw from an idea will require your attention, diligence, diligence and, most importantly, constant practice. After all, your knowledge must be supported by exercises, constantly increasing skills and, finally, mastery. As A. Dürer wrote: “For there can be no freedom in work without knowledge, just as knowledge remains hidden in the absence of skill” (A. Dürer, p. 196), and also: “He who has never learned this before art and wants to learn the beginnings from this book, he must read it diligently and learn to understand what he read, and he must take a little and practice it well until he can do it all, and only then take on something else. For understanding must grow with skill, so that the hand can do what it intends. From this, solid knowledge and skill will grow over time. For they must be together, and one without the other is worth nothing” (A. Durer, p. 195).

Now that you have a good idea of the path that lies before you, and have nevertheless decided to take the first step, we wish you good luck.

In connection with the question of the sketch, we have already spoken about the peculiarities of working from life. Its advantage is that the artist can constantly check what he is depicting during the course of his work. This allows him to more accurately and truthfully convey reality.

We have already pointed out the importance of sketches from life as preparatory materials to the picture.

Working from memory

In addition to working from life, the artist has to make images from memory. Human figures, animals, birds are often depicted in paintings not in a calm state, but in one movement or another. To express movements in which the position of the body and its individual parts, the artist has to draw on the basis of those ideas that he had formed earlier, when he observed moving figures, that is, he has to depict not directly from nature, but from memory.

During some types of movement, for example, when walking, running, chopping and sawing wood, etc., the position of body parts is sequentially (rhythmically) repeated, and therefore they can be repeatedly observed.

By developing the ability to observe, one can then quite convincingly express a number of complex movements of man and animal in a drawing from memory.

Detailed explanations on how to memorize individual species movements, where to start observing movement in order to convey it more truthfully, you will find in the course of practical training in drawing and painting.

Based on observation, a visual representation of the various types nature, about the appearance of people, etc., which the artist can subsequently convey in sketches from memory.

Performance work

An artist, especially when he is working on plot picture, often does not have the opportunity to actually see the event that he depicts. For example, when the artist Surikov wrote a sketch for the painting “Boyarina Morozova,” he did not see, of course, either the reprisal against the disgraced noblewoman, or the crowds of this century, because he lived two centuries later. Such an image is made on the basis of the idea of that historical reality, which interests the artist in a given topic and is therefore a work of representation. In presentation work it is of great importance creative imagination artist. It is based on all his creative experience and on the information that he gleaned from studying special material.

Drawing by Representation is a Very Important View artistic image. A beginning artist should constantly develop this skill.

How can an artist depict an event without seeing it? The fact is that the artist has in his memory whole line ideas about people, animals, and even entire scenes and events he saw. Based on this life experience And special study different material Associated with the theme, the artist imagines how the event he conceived in the picture could happen in life and how various people should act in it.

Then, in the course of further work, the artist, thanks to the study of materials, can clarify and deepen, and sometimes slightly change the initial solution to the topic given. In fact, in the work of a realist artist, work from nature is always combined with work from memory and imagination.

So, for example, having made a sketch of a particular position of a figure from memory or from an idea, the artist can then sketch a suitable nature in the same position and, based on sketches from life, clarify the image made in the sketch.

The reverse order is also possible: the artist makes an image from life, and then reworks it based on the existing idea about the typical features of a phenomenon, etc.

Therefore, in creative process creation work of art There is, in essence, a constant interweaving of all these types of artistic representation. In order to freely construct a picture, the artist must be able to depict both from nature and from memory, from observation and from imagination.

Drawing by representation F. Glushchenko

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Title: Drawing by Representation

About the book “Drawing by Idea” by F. Glushchenko

The book is intended for those who teach “general arts” and architectural drawing, for art and architectural universities, as well as for those who want to independently master the technique of drawing. The method is based on working with settings through geometric analysis. The theory and fundamentals of drawing techniques on simple geometric bodies, and also outlines step-by-step technology more complex training exercises.

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