Contour drawing of autumn still life. Beautiful and warm autumn still life

Goal: learn to draw still life.
Tasks:
-introduce the artistic genre “still life”, teach how to convey the beauty of autumn leaves, observe proportions, learn to select the right color scheme, use a palette;
- develop imagination, memory, hand motor skills, eye;
- cultivate a caring attitude towards nature.

Materials and equipment:
Illustrations depicting autumn bouquets in a vase, sheets of paper, brushes, palette, paints, jars of water, simple pencils, setting a vase with a twig with autumn leaves.

Preliminary work:
Drawing autumn leaves in the wet, observing autumn trees, reading works of art on the theme of the beauty of nature in autumn.

Progress of the lesson:

Guys, what time of year is it now?
- autumn.
What happens in the fall?
- leaves turn yellow, red, orange, and fall off.
In the last lesson we drew an autumn leaf. How did we convey the beauty of an autumn leaf?
- painted in different colors.
How did they do it?
- until one paint dried, they added another and they merged.
Right.
And today I propose to draw a still life.
Still life is a French word that translates as “dead nature.”
Still life is a genre of fine art that depicts a group of inanimate objects. A painting or photograph may contain flowers, fruits, dishes and other objects arranged so as to create a harmonious composition. A traditional still life is painted in a realistic style from life (looking at the original).

Look at these pictures

A conversation is held based on these paintings.

And our still life will be called “Branch with autumn leaves.”
Look, in front of you is a vase with an autumn twig.
Let's take a look at our setup.
What is the vase on?
What vase?
What shape?
What shape are the leaves?
What color are the leaves?
Let's get to work. First, let's make a sketch in a simple pencil.
Let's outline the table, height and middle of the vase:

These are auxiliary lines for the vase, so we draw them thinly, without pressing hard on the pencil.
Now let’s draw the vase:

Now let's rest.

Physical education minute:

Autumn rain is drizzling from the clouds,
(throws with relaxed hands)
The tree, having shed its leaves, stands
(hands up, fingers pointing up (tree branches))
The autumn wind shakes the branches
(smoothly shake hands)
The wind blows the leaves under the tree.
(they sit down and “ruffle the leaves” under the tree, imitating their rustling: “sh-sh-sh-sh...”)
The wind blows, blows, blows, blows
(wave your arms towards yourself)
Tears yellow leaves from a tree
(spinning around in place)
and the leaves are flying,
Circling along the path (walk around on tiptoes)
Leaves are falling right at our feet. (turn around themselves and squat).

Now let's complete our drawing in color. First, let's draw the branches. What color and brush will we need?
— Brown or black, with a thin brush.

Drawing the leaves:

Option 1: Cover the entire leaf with green paint, then until the paint has dried, apply yellow paint from the edge or in the middle. And vice versa.
Option 2: cover with red paint, then add yellow and vice versa.
Option 3: cover with green paint, then add red and vice versa.
Let's get to work.
Now we paint over the vase and table. Our still life is ready.

Lesson summary:
Guys, tell me, what did we draw today? What was difficult and what was easy? Do you think we managed to be real artists? Your still lifes are so beautiful that I propose organizing an exhibition.

Translated into Russian, the word “still life” means “dead nature”. To put it simply, such a painting depicts inanimate objects in a certain color scheme and with a characteristic fall of light and shadows. It is very difficult to depict a visible composition using pencils and paints, to convey all the shades, mood and spirit. Therefore, to simplify the task, conventional artists began to divide compositions into categories. They may depend on the time of year, on the colors and on the objects that are depicted. Now we will look at an autumn still life, get acquainted with its color scheme, style and other features.

Features of autumn still life

Sometimes it seems that painting pictures of autumn is the most exciting activity. They contain a huge number of shades, but they are all in the same color scheme - warm, red and yellow. An autumn still life can be dark, saturated or light, transparent, but in both cases the colors will be bright and expressive. The background may catch your eye, for example, painted objects are standing on the window, and behind the glass you can see a bright blue sky. In a similar way, attention can be drawn to objects located in the foreground of the picture.

As a rule, an autumn still life shows us the gifts of this season, its features, which are not only in colors. These can be pictures of the harvest (apples, pumpkins, grapes), images (asters, chrysanthemums), with which household items are certainly combined - vases, pots, chests, etc. Among the artists who painted such masterpieces, Eduard Panov, our contemporary, occupies a place of honor. His work contains floral motifs and other autumn attributes.

Different pictures of autumn

It is worth noting that autumn as art has come a long way from antiquity to the 21st century, and over the centuries people have depicted everything that surrounded them, including paintings of autumn. They became most plausible in the 19th century, when the trends that followed them also became relevant. Among the masterpieces of that time, A. Gerasimov’s painting “Gifts of Autumn” deserves attention. The name of the canvas speaks for itself - it represents the golden age in all its glory.

Examples in painting

Josef Lauer captured this season with a slight touch of romanticism in his painting “Peaches, Plums, Grapes, Melons and Autumn Flowers.” This autumn still life has retained all the warm tones that are characteristic of the golden age, which is why it is considered one of the standards of autumn painting.

But Henri Fantin-Latour managed to depict autumn in an unconventional way in his painting “Flowers, Fruits and Pumpkins.” The canvas is painted in red, rich colors, as if passed through a gradient. The style is something between romanticism, realism and primitivism. The painting is rightfully considered a masterpiece of painting.

Using modern technology, you can also make a unique autumn still life. A photo of objects in which every shade, every shadow and reflection is captured - a work of art of the new century. Such paintings are more than realistic, but still depend on the mood of the master who made them.

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 understand, are not always good, especially in the early stages of learning - behind their drawing 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, we don’t have much choice in the city, so I can’t recommend 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 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 individually, but to fit them into the overall 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.

Lighten a little with a washing eraser 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.

To begin with, “buy” your future work in clean water - just evenly wet the entire surface of the paper. 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 of leaving 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, left from the drapery, orangish-brown color “Mars Brown”; for dark shades, an irreplaceable mixture of purple with 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 paint them according to one general principle: moisten them with water -> color lining in the wet -> apply veins with masking liquid -> another two or three 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 as we go: green and blue colors, 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.

Notes for older children

"Autumn still life"

Additional teacher education Rudometkina N.P.

Target: to arouse in children an active interest, an emotional response to works of art, a desire to look at a still life, admire the beauty of objects, the unusualness of their shape, color, and combination of objects.
Tasks:
Educational:
Continue to introduce children to the genre of fine art - still life.
To consolidate children's knowledge about non-traditional types of visual techniques (blowing paint with a tube, printing with fingers, a cotton swab, a sheet of wood, stamps).
Continue to introduce children to the means of expression in artistic activity: color, material, composition.

Educational:
Develop technical skills in drawing, working with different materials and methods.

Develop creative thinking, speech activity, communication skills, attention, memory.

Develop fine motor skills of the hands, mouth muscles, and train breathing.

Educational:
Cultivate a caring attitude towards household items.

Arouse children's desire to preserve the beauty of objects in paintings.

Materials for the lesson: album sheets, watercolors, gouache, brushes, tubes, a glass of water, a napkin, cotton swabs, stamps, tree leaves.
Reproductions of paintings by I. Mashkov “Rose in a crystal vase”; I. Khrutsky “Flowers and Fruits”, “Still Life with Mushrooms”” P. Konchalovsky “Lilac”, etc.

Vocabulary work: still life, inanimate objects, France, rowan, bunch of rowan, color contrast, composition.

Educational areas: communication, health, cognition, socialization, reading fiction, music.

Progress of the lesson:

Teacher:

“Every day it gets darker faster,

Later it dawns.
Summer leaves turn yellow,
Yellow ones fly off.

And a streak of fog
Stretches lazily

To beautiful forests

Sad but beautiful"

What time of year is this poem about? (poem about autumn)
Many poems have been written about autumn.
How many of you know poems about autumn? (Children recite poems).
D/i “Wonderful bag”

Autumn brings us many gifts, and these gifts are hidden in my wonderful bag. Want to know what's hidden there? But first you need to guess by touch what kind of object it is, say what shape it is,
colors, and only then take it out of the bag.

Guys, tell me, what is the name of the picture where the artist depicts all these objects? (this painting is called still life)

And here is the poem the artist came up with about still life:

"If you see in the picture

Cup of coffee on the table

Or fruit drink in a large decanter,

Or a rose in crystal,

Or a bronze vase,

Or a pear, or a cake,

Or all items at once -

Know that this is a still life"

What does this word mean? (non-living objects)

Let's look at the works of artists who painted still lifes. What's on them?

What do you think the artist wanted to tell us in this picture? (the teacher points to the desired picture) What mood do you get when you look at this picture? What colors did the artist use? (bright, warm, cold)

Why did the artist want to paint these objects? (The artist painted these objects because he wanted to show what a rich harvest people had reaped.)

You and I saw different still lifes. They depict flowers and fruits, vegetables, mushrooms, dishes, etc. In life, sometimes you don’t notice the beauty of objects, and artists are very attentive people. Every object in the picture seems to say how beautiful it is. People will eat the picked fruits and berries, but those drawn by the artist will live forever.

D/game “Guess the object”
I suggest you come to this table and carefully look at the cards that lie here. Pick up one card at a time with an object that can be depicted in a still life. (Children pick up cards with flowers, vegetables, fruits.)

Why didn’t they show a card with pictures of birds, people, or a tree? (If there is a person in the picture, it is a portrait, if a tree is a landscape.)

Ryabinka (physical education)

There is a rowan tree on the hill,

Keeps your back straight and level. (Stretching - arms up.)

It’s not easy for her to live in the world -

The wind turns, the wind turns. (Rotate your body to the right and left.)

But the mountain ash only bends,

He is not sad - he laughs. (Tilts to the sides.)

The free wind blows menacingly

For a young mountain ash. (Children wave their hands, imitating the wind.)

Practical work.

I suggest you sit down at the tables.
On the tables: album sheets, watercolors, gouache, brushes, tubes, a glass of water, a napkin, cotton swabs, stamps, tree leaves.
Exercise: draw an autumn still life in a vase.

The procedure for performing a still life:
1. Tint the album sheet with wax crayons, using cool-colored crayons.
2. Draw the outline of the vase.
3. Dip the brush into diluted paint (ink) and draw two branches in the vase.

4. We take a tube and blow through it onto the paint, getting branches in different directions. (So ​​that the branches are in different directions, you need to rotate the sheet of paper)

5. While our branches are drying, we will need to decorate the vases with watercolors or wax crayons.

D/game “Make a still life”
Look at the tables. Here you see different objects. Which? (Children list fruits, vegetables, vases, plates, flowers).

3 people make a still life of fruits, 3 people make a still life of vegetables.

Moving away from the table, they admire their work. They talk about their still life and come up with a name for it.

6. The twigs have dried up. Now we need to draw autumn leaves or berries. We will draw them using the printing method: printing with a finger, with a cotton swab, blowing paint with a tube, with a stamp - your choice. (We look at drawings made using different printing methods)

The children continue to work.

At the end of the lesson, children come up with a name for their still life, tell what they drew and why.

We give works to parents.

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)