Drawing of a musical mirror in pencil. How to draw a mirror with a pencil step by step

April 6th, 2016

I have seen such drawings and examples of such creativity more than once. This is when the drawing looks like some kind of mountains, but you put a shiny cylinder and see real picture. I always wanted to know how they draw it. Now let's figure it out...

Anamorphosis is a deliberately ugly distorted image of an object, which under certain conditions appears correct. The images in anamorphic paintings are highly distorted, but if you look at them with a mirror, you can see an undistorted image of the subject. Anamorphic pictures can be linear, conical, cylindrical, etc.

According to some sources, it is believed that anamorphosis, or otherwise the art of distorting projection, was once invented in China, and later brought to Europe. Although it is possible that similar inventions may arise independently of each other in different corners world, but in different time periods. The founder of anamorphism in European art considered to be Leonardo da Vinci (1452 - 1519).

First famous example An anamorphic drawing is considered to be his drawing, which research scientists found in one of the artist’s treatises - the Codex atlanticus. When viewed in the drawing plane at an angle, a clear image of the child's face appears.

In the Middle Ages, artists painting cathedrals and temples in Italy introduced anamorphism into high art paintings. In order to see the correct image, one had to look at the painting underneath certain angle. Since the Renaissance, anamorphic works have been created on cathedral lampshades in such a way that the viewer viewing them from below can grasp the correct perspective.
Often a similar technique was used by artists to depict “forbidden” scenes that, for example, have an erotic connotation. In the 16th and 17th centuries, such anamorphoses made it possible to distribute political and religious cartoons and store prohibited images.

From an early 17th century engraving:

Many artists created anamorphic paintings with educational goals in mind, some of them were also mathematicians.

A famous example of partial anamorphosis was painting Hans Holbein the Younger's The Messengers, created in 1533 and currently on display in London.

The artist's depiction of the skull in the lower center becomes clearly visible when the painting is viewed from a very low angle on the lower left side.

Below is the anamorphic work unknown artist(about 1550 g), which is an example of linear anamorphy. Here the distortion lies in the incredible stretching of the picture horizontally.

If you look at the plane of the picture at an acute angle or using flat mirror, you can clearly see the images of the apostles Peter and Paul and other characters.

Anamorphic portrait of Carlos V private collection. From the catalog of Carolus Charles Quint 1500-1558 Kunsthal De Sint-Pietersabdji a Gand

If you hold up a small mirror and look into it, then

This is an example of linear distortion...

During the Renaissance, anamorphic painting was one of the favorite techniques. The paintings were painted in such a way that they could only be viewed using a special anamophoscope device. Because of their unusual nature, anamorphic paintings were believed to have magical properties.

Another anamorphic work of the "old" artists: a portrait of Charles I. The place in which it must be placed cylindrical mirror indicated by a circle with a skull.

Now let's move on to the "physics" and talk about cylindrical mirrors, which are so often used to view anamorphic drawings.

Cylindrical mirrors come in both convex and concave forms, and interesting effects can be observed when using these mirrors.

In the old days, copper, brass or bronze cylinders, polished to a mirror shine, served as cylindrical anamorphoscope mirrors.

Images that are obtained undistorted in a cylindrical mirror are called cylindrical anamorphoses.

An anamorphic picture for a convex cylindrical mirror can be recognized by a circle, usually located somewhere in the middle of the picture. To view anamorphic cylindrical paintings in an undistorted form, it is necessary to place a cylindrical mirror on it in the center of the circle.

In the novel "Invitation to Execution" by Vl. Nabokov has this passage:

"... I remember: when I was a child, they were in fashion - ah, not only among children, but also among adults - such things were called “netkas” - and they were supposed to have a special mirror attached to them, not much else crooked - absolutely distorted, nothing could be understood, gaps, confusion, everything slides before the eyes, but its curvature was not without reason, but just so fitted... Or, rather, they were matched to its curvature in such a way...
No, wait, I'm not explaining it well. In a word, you had such a wild mirror and a whole collection of different nonsense, that is, absolutely absurd objects: all sorts of shapeless, motley, holes, spots, pockmarked, knobby things, like some kind of fossils - but a mirror that ordinary objects were distorted, now, therefore, they received real food, that is, when you placed such an incomprehensible and ugly object so that it was reflected in an incomprehensible and ugly mirror, it turned out wonderful; no to no gave yes, everything was restored, everything was fine - and from the shapeless motley a wonderful harmonious image emerged in the mirror: flowers, a ship, a figure, some kind of landscape. It was possible - to order - even own portrait, that is, they gave you some kind of terrible porridge, and it was you, but the key to you was in the mirror. Ah, I remember how fun it was and a little scary - what if nothing happens! - to pick up such a new incomprehensible net and bring it closer to the mirror, and see in it how your hand is completely decomposing, but how the meaningless net is folded into a lovely picture, clear, clear..."

How does a cylindrical mirror “work”?

A straight line drawn on a sheet of paper turned into a curve in a cylindrical mirror, and vertical parallel arrows turned into diverging rays.

In order to see an undistorted image of an anamorphic picture, you need a polished metal cylinder, and for this you can roll a sheet of foil into a cylinder. Then you need to come up with a picture and draw it in the original rectangular coordinate grid.

For example, in a rectangular grid there is a circle, a square and a triangle. After which it is necessary to draw a new, but already radius coordinate grid, and transferring the coordinates of the points of the original drawing to it, trace the contours. When anamorphizing, a square becomes a rectangle or rhombus, and a circle becomes an oval.

The higher the reflection of the design in the cylinder, the further and wider it should be on the paper.

Now we place a cylindrical mirror at the central point and look! Although the drawing is distorted on paper, on the surface of the mirror the reflections of the figures have the correct outlines: circle, square and triangle.

As we can see in the old drawing above, for accurate transfer regular image onto a sheet of a future anamorphic picture, you need to clearly calculate the possible distortions of the objects in the picture. For this regular drawing is divided into cells, and a radial grid is created on a sheet of amorphous pattern with a center where in the future it will be necessary to place a cylindrical mirror. Have you ever had to enlarge a drawing by redrawing it cell by cell? Here it’s the same thing, only the cells are curved. Usually artists draw such anamorphoses, constantly checking with the mirror; this is very painstaking and tedious work. Now this can be done easier: not manually, but on a computer.

One of contemporary artists Who revives the technique of creating anamorphic images is the Hungarian artist István Orosz.

For this purpose, Oros uses a conical or cylindrical mirror, which transforms indistinct strokes on paper into a three-dimensional image on the walls of the mirror.

It turns out that there is another type of anamorphic paintings. And it is completely incomprehensible to an outside viewer how the artist paints such pictures, how is he capable of such a “vision”? This is exactly what you saw in the first GIF.

In these paintings we see on the sheet a pattern that is completely understandable to the viewer, BUT as a reflection on the side surface of the mirror cylinder, a completely different pattern appears! Are there any calculations here? What laws of mathematics and physics help the artist in this work on the painting?

How do you like these things, these are the works of Jonty Hurwitz:

Here are more works by other masters.

Would you like, however, to verify this similarity? You have a mole on your right cheek - your double's right cheek is clean, but there is a spot on his left cheek,

back to normal.

Finally, your mirror doppelganger has one thing going for it: he's left-handed. He writes, sews, eats with his left hand, and if you express your readiness to greet him, he will extend his left hand to you.

It's not easy to decide whether your counterpart is literate. In any case, he is literate in a special way. You will hardly be able to read even one line from that book. that he is holding, or some word in those scribbles that he writes with his left hand.

This is the person who claims to be completely like you! Do you want to judge by it? appearance yourself...

Jokes aside: if you think that when you look in the mirror you see yourself, you are mistaken. The face, torso and clothing of most people are not strictly symmetrical (although we usually do not notice this): the right half is not exactly similar to the left. In the mirror, all the features of the right half are transferred to the left, and vice versa, so that a figure appears before us, often producing a completely different impression than our own.

Drawing in front of a mirror

Non-identity mirror reflection with the original appears even more noticeably in the following experiment.

Place a mirror vertically on the table in front of you, place a piece of paper in front of it and try to draw some shape on it, for example a rectangle with diagonals. But do not look directly at your hand, but only follow the movements of the hand reflected in the mirror (Fig. 99).

You will see that such a seemingly easy task is almost impossible. Over the course of many years, our visual impressions and motor sensations have managed to come into a certain correspondence. The mirror disrupts this connection, as it presents the movements of our hand to the eyes in a distorted form. Long-standing habits will protest against your every move: you want to draw a line to the right, but your hand pulls to the left, etc.

Rice. 99. Drawing in front of a mirror.

You will encounter even more unexpected oddities if, instead of a simple drawing, you try to draw more complex figures in front of the mirror or write something while looking at the lines in the mirror: the result will be comical confusion!

Those prints that are made on blotting paper are also mirror-symmetrical images. Look at the writing on your blotting paper and try to read it. You won’t be able to make out a single word, even a completely distinct one: the letters have an unusual slant to the left, and most importantly, the sequence of strokes in them is not the same as what you are used to. But put a mirror to the paper at a right angle - and you will see all the letters written in it the way you are used to seeing them. The mirror gives a symmetrical reflection of what itself is symmetrical image ordinary letter.

Calculated Haste

We know that in a homogeneous medium, light propagates rectilinearly, that is, along the fastest path. But light also chooses the fastest path in the case when it does not go from one point to another directly, but reaches it after first being reflected from a mirror.

Let's follow his path. Let the letter A be drawn. 100 denotes the light source, line MN is the mirror, and line ABC is the path of the ray from the candle to the eye C. Line KB is perpendicular to MN.

According to the laws of optics, the angle of reflection is 2 equal to angle falls1. Knowing this, it is easy to prove that of all possible paths from A to C, with incidental reaching the mirror MN, path ABC is the fastest. To do this, compare the path of the beam ABC with some other one, for example with ADC (Fig. 101). Let us drop the perpendicular AE from the point

And on MN and continue it further until it intersects with the continuation of the ray BC at point F. Let's also connect points F and D. Let us first make sure that triangles ABE and FBE are equal. They are rectangular, and they have a common leg EV; in addition, angles EFB and EAB are equal to each other, since they are respectively equal to angles 2 and 1. Therefore, AE =FE. This implies the equality of right triangles AED and FED on two legs and, consequently, the equality of AD and FD.

In view of this, we can replace the path ABC with the equal path FBC (since AB = FB), and the path ADC with the path FDC. Comparing the lengths of FBC and FDC, we see that the straight line FBC is shorter than the broken line FDC. From here the path ABC is shorter than ADC, which is what needed to be proven!

Wherever point D is, path ABC will always be shorter than path ADC, unless the angle of reflection is equal to the angle of incidence. This means that light really takes the shortest and fastest path of all possible between the source, the mirror and the eye. This circumstance was first pointed out by the remarkable ancient Greek mechanic and mathematician Heron of Alexandria.

Burning haystack problem

Knowing the shortest path in cases such as those now considered can sometimes serve us well in practical life. Imagine, for example, that a man from his house (Fig. 102) on the river bank noticed that a stack

Rice. 102. Burning haystack problem: find the shortest path to the haystack.

Rice. 103. Solution of the burning haystack problem.

the hay in the meadow at a distance caught fire. Grabbing a bucket, he runs to the river and, having scooped up water, hurries to the haystack. For simplicity, let's assume that he runs just as fast with a full bucket as with an empty one. Which way should he run in order to get to the scene of the fire as quickly as possible?

It is easy to realize that this problem is completely similar to the one we just considered. Therefore, it is not difficult for you to give the correct answer: the runner must imitate the ray of light, that is, head towards the shore so that Angle 1 is equal to angle 2 (Fig. 103). We have already seen that in this case the path will be the shortest.

New and old about kaleidoscope

Everyone knows good toy, called “kaleidoscope” (Fig. 104): a handful of motley fragments is reflected in two or three flat mirrors and forms an amazing beautiful figures, changing in various ways at the slightest turn of the kaleidoscope. Although the kaleidoscope is quite well known, few people suspect what a huge number of different shapes can be obtained with its help. Let's say you hold a kaleidoscope with 20 pieces of glass in your hands and rotate it 10 times a minute to get a new arrangement of reflected pieces of glass. How long will it take you to revise all the resulting

at the same time the figures?

Hello again!
Question: How is this done?- Doesn't leave me when I see interesting works on the Internet, and not only there... And the process immediately begins... I want to sit down at the computer and create...))))

IN this lesson Let's try to draw a mirror like this.
It's simple to do, but it turns out beautifully - it might be useful to someone...

Create a New Document...

...and fill the New or Background layer with 50% gray ( Edit-Fill… - Edit-Fill…).
Then, above - on a New layer we create Rectangular selection (RectangularMarqueeTool) with feathering ( Feather) approximately 45 pix.
And fill it up #bebebe gray.

Using a tool Ellipse(ElipseTool) or Oval Highlight (ElipticalMarqueeTool) draw an oval of any color.

Now we begin to turn a simple oval into a mirror!
Apply to the layer with an oval (if the oval is drawn using a shape, it is better to rasterize the layer - RMB - rasterize layer - Rasterizelayer) the following Layer Styles (Layer-LayerStyle):

And again, above - on a New Layer we create an oval, but of a smaller size, color #d0d0d0.
Add a layer style to this Stroke (Stroke), as they did before.

So we did facet mirrors
Something is usually reflected in mirrors... Surprisingly)))))
Let's add a window reflection.

Using the tool Rectangular selection (RectangularMarqueeTool), draw a white rectangle on a New Layer.
And then, using the same tool, we cut out unnecessary parts (we use Selection -Transform Selection -Select-TransformSelection).

You can choose the window shape yourself.
We apply Filter-Gaussian Blur (Filter-Blur-Gaussian Blur) radius 15 pix. And we put Opacity(Opacity) layer 85% .

Distorting the window a little using Transform Distortions (Edit-Transform-Distort).
Copy the layer with the window. Removing the visibility of the copy.
Now we remove the excess parts around the mirror.
To do this, go to the layer with a small oval and create a selection of this layer ( Ctrl+click on the layer icon), invert the resulting selection ( Shift+Ctrl+I) and on the layer with the window click Delete-Delete.
This is what happens.

Now, on a New Layer located below the mirror, create an oval selection ( ElipticalMarqueeTool) with feathering ( Feather) 10 pix. Let's call him light spot.
And fill it up #bababa.
We put Opacity(Opacity) layer 80% .

Let's do visible copy layer with a distorted window and flip it vertically Edit-Transform-Flip Vertical ( Edit-Transform-FlipVertical).
We match the reflection of the window on the mirror and on the surface. This layer will be called Light spot 1.

Create a layer selection light spot(while on a layer, Ctrl+click on the layer icon), invert the selection and remove unnecessary details of the layer Light spot 1.
Opacity(Opacity) for this layer we do 30% .

And again using the oval selection tool ( ElipticalMarqueeTool), draw as shown in the screenshot with shading 45 pix:

Invert the resulting selection ( Shift+Ctrl+I).
AND Eraser (eraserTool) With Opacity(Opacity) 50% use a soft brush to erase the layers a little light spot And Light spot 1.

Now let's add a shadow.
We stand on the layer with the large oval and create a selection of this layer ( Ctrl+click on the layer icon).
Go to the Quick Mask state ( EditinQuickMaskMode) and apply Filter-Gaussian Blur (Filter-Blur-Gaussian Blur) radius 10 pix. Exiting the quick mask state ( EditinStandardMode).
Below (under the mirror) create a New Layer and fill the selection with color #666666 .
We slightly reduce the shadow vertically and move it to the side.

We are done with the mirror itself.
But I want to add something... you've probably heard about decorating mirrors with pieces of baked glass? Fusing called. So, let's draw this. Forward …)))
Using a tool Feather (PenTool) draw a leaf (it is better to save the outline so that you can draw only once - double click on the outline).

And on the New Layer (above the mirror) we draw a simple ornament.
With the selected instrument - DirectSelectionTool and the active contour, being on a new layer, right-click and select Fill -Fill…).

Doesn't look like glass yet...))))
Therefore, for greater plausibility, we use Filter Texture (Filter-Texture-Texturizer):

And slightly weaken the effect of applying the filter: Edit-Weaken Texture - Edit-Fade-Texturizer(reduce the percentage). This step is done immediately after applying the filter!
It wouldn’t hurt to show the glass volume (add Layer Styles):

AND Opacity(Opacity) layer reduce to approximately 90% .
Here you go! Work is done! Evaluate the result!
You can slightly tone down the white outline in the dark parts of the mirror.

Fantasies on the topic:

With best wishes,
PIROGOVADESIGN

To learn how to draw a reflection in water you need to understand the following principles:

1. The surface of water is essentially a mirror. And this “mirror” reflects everything that is above the water.

2. Reflection in water can be very different. The surface of the water can be calm, or it can be covered with small ripples, small waves, big waves... All this greatly distorts the pattern reflected in the water. Water is changeable, and therefore the nature of the reflection pattern is changeable.

3. The color of the water is not blue or cyan. It's transparent. Large masses of sea water create an effect in which the sea acquires a blue-green and blue color. But it also constantly changes depending on the weather, the nature of daylight, etc. The color of water mainly depends on what is reflected in it. If an orange sunset is reflected in the water, then Orange color will dominate color scheme water. If the water reflects green Forest, then the main color of the water will be green, etc.

4. All light fragments reflected in water look darker. And dark areas are lighter. Therefore, the reflection in the water will be slightly different in tone and will be more muted. But there are often exceptions to this rule due to various optical effects and weather conditions.

5. If the artist draws an object on the bank of a river (for example, a tree trunk), and if this object is depicted close-up, then its reflection in the water will be displayed in more detail and detail. If the reflection of large masses is drawn from afar, (for example, a forest wall at a distance of 1 kilometer), then such a reflection will be completely different. It will become more generalized, may be more blurry, etc. In addition, the water can be calm and smooth like a mirror, or it can be disturbed by a light breeze or a strong gust of wind... All this affects the characteristics of the transmission of reflection in the water.

6. Above stated key points. It is impossible to describe all the patterns, so the artist must be observant and constantly make sketches while studying nature. This is the key to success.

A broken mirror is bad luck? Bad sign? Perhaps this is true. But not in our case. More precisely, not in the case of the Korean artist and designer Hye-Yun Kim, who turned breaking mirrors into a kind of ritual. Yes, Hye-Yun Kim uses cracks to paint stunning images on mirrors.

And even though many will consider this art vandalism, and will insist that it is blasphemous to damage mirrors by creating dubious images, they will have enough opponents who are convinced that such paintings on mirrors are unique. They have no analogues, and each such work is exclusive, since it is simply impossible to break several mirrors in the same way.