How to show volume in a drawing. How to draw three-dimensional figures and bodies with a pencil

All objects are voluminous. To more accurately convey this volume, you need to be able to distinguish between the illuminated part, that is, the part of the object where the light falls, the object’s own shadow, that is, the darkened part, and the falling shadow, that is, the shadow that falls from the object itself, located on some or surfaces.

The lightest surface of an object is the one that is closest to the light, and the darkest is the opposite side. Between light and shadow there is penumbra.

We see an object because it is illuminated. But the light illuminates the object differently: somewhere it is lighter, somewhere it is darker. This degree of illumination of an object is called chiaroscuro. Chiaroscuro depends on the subject: it can be round, rectangular, etc. The volume of an object is given by the tone, which is applied to the object in the form of shading. And shading, in turn, also depends on the shape of the object: a round object is hatched in a circle, and a rectangular object is hatched at an angle. Rays of light on more convex and shiny surfaces seem to gather at one point, forming glare of light. They are especially noticeable on glass and polished surfaces. That is, highlights are light spots with clear boundaries. Highlight is the lightest spot on the surface of an object.

How to make tonal transitions in a color drawing

As already mentioned, to make an object three-dimensional, you need to make tonal transitions. To do this, paint, the color corresponding to the darkest place of the depicted object, is applied to the drawing starting with the darkest tone - this will be the shadow. Next, without allowing the paint to dry, the border of the shadow is blurred with water (by dipping the brush in clean water) - this will be partial shade. Then, in the same way (that is, by blurring the penumbra boundary with water), a light area of the object is obtained. Using this method, which artists call blurring, you can get an image of a more voluminous figure, and the transitions from light to shadow are very soft. This drawing was made using the wash method. The artist used only black paint.

Let's try, using this method, to draw a flower pot with flowers.

First we determine the height and width of the plant and pot. We notice how the height of the pot relates to the plant. Let's take a good look at the pot: what kind of bottom does it have, is it the same width at the top and bottom? Where does the shadow from the pot fall?

After drawing a pot with a flower along the outline with a pencil, we begin to paint it with watercolors. When working with paints, move gradually from shadow to penumbra and the part from which the light falls.

Basic geometric shapes:

2D flat shapes

Three-dimensional figures that have volume

Absolutely all objects are based on these figures.

A cube is a figure, the basis of which is a three-dimensional image in the spatial relationship of the sheet. The cube has all the geometric parameters, such as: verticality, horizontality and depth. The cube itself contains the concept of the drawing as a whole.

To begin to understand the drawing, we will work with it. With the help of figurative and logical constructions, you and I We will develop thinking through form analytics. For greater understanding and analysis of the drawing, there are several exercises.

Exercises

We sit down at the easel, take a large sheet of paper, maybe inexpensive, or even a piece of wallpaper (paper doesn't really matter in this exercise). We draw a square, naturally we try to make sure that its sides are even and its lines are straight.

So, we see an ordinary square, completely uninteresting and unimpressive, but this is only at the moment...

Making a cube out of a square using a pencil: draw lines from the edges at approximately 45 degrees. We finish drawing the back part and... we get a cube. But again we don’t see any space in our sheet. You can freely confuse the nearest and farthest edges. Now it's just a few lines on paper.

In order for us to feel space, we need to give the drawing smoothness. That is, to make it clear to us where the front of the drawing is and where the back is.

The side of the cube that is closer to us needs to be highlighted, made clearer and conveyed more actively. Take your pencil and draw in a bold tone on the front edges. Now we can already see where the near side is and where the side is further from us.

This is the way we conveyed the space to achieve the desired result. But that's not all. Now it is important to correctly convey smoothness in order to obtain volume in the drawing.

We present to your attention a short video tutorial on the topic optical illusions.

Basic information about the design, graphics and accessories

Drawing is a type of graphics. An image made by hand, by eye, using graphic means: lines, strokes, spots - is called a drawing. The drawing is like an independent species fine arts, and the basis for painting, sculpture, engraving, posters, decorative and other arts. Not only in works of art, but also in the most different types human activity figure plays important role, examples include drawings in textbooks, various design elements of scientific papers, sketches technical details, sketches of costumes and sketches of clothing details, product processing units and much more.
The scope of drawing is vast, but it is of exceptional importance as a means of cognition and study of reality. Both in oral and written speech of a person, and in drawings, the process of thinking and communication of the artist with the world is reflected.
Any object can be the object of an image, but people perceive the objective world around them differently. And although each of us has the opportunity to sense the diversity of the quality of objects with the help of vision, the visual perception of the artist is most acute. With the help of drawing, the artist learns about the outside world, comprehends the secrets of its depiction on a plane and in volume.
Here we will look at drawing as a type of graphics and how independent phenomenon art.
Graphics (from the Greek grapho - I write, I draw) is a type of fine art that includes drawing and a very wide and diverse range of printed materials. works of art. We see graphics everywhere. Illustrations in books, drawings in magazines and newspapers, packaging designs for various goods, postal and banknotes, emblems, posters and much more - all these are the works of graphic artists. Compared to painting, graphics are more conventional and do not convey all the richness of color and shape of the surrounding objective world, the artist selects and highlights the most important things.
Graphics combine drawing as an independent area and printed artistic images: woodcut (woodcut), metal (etching), stone (lithography), linoleum (linocut), cardboard and other types based on the art of drawing, but having own funds artistic expression.
Unlike works of printed graphics, which can be replicated in many copies - prints, the drawing is unique.

Drawings may vary in technique and nature of execution, purpose, genres and themes. The easel drawing has independent meaning- this is a carefully crafted work, executed on an easel (artist’s machine), on a separate sheet. These can be drawings of various genres: landscapes, portraits, still lifes, drawings for household and historical topics etc. Depending on the time of execution, drawings can be long-term or short-term. In contrast to lengthy drawings, in sketches and sketches the artist quickly records his impressions of what he sees. In preparatory drawings and sketches, artists, sculptors, and designers embody the initial ideas of their projects.
Means of artistic expression in graphics
Like any type of fine art, drawing has its own figurative language. Line, stroke, spot, tone, chiaroscuro are the means of artistic expressiveness of a drawing. Various combinations These tools allow you to create light and shade and tonal effects.
Main means of expression drawing - line. Its role in the drawing is complex and responsible: it is inextricably linked with the essence of what is depicted and is the result artistic comprehension reality. The artist's line is different from the drawing line. It sometimes thickens, sometimes becomes thinner, sometimes strengthens, sometimes weakens, and can be rigid, angular, insecure and timid (Fig. 1.1). The line conveys not only the character of the depicted object, but also emotional condition the artist himself.
The emotional palette of the line is varied. How plastic and expressive the line is in V. Mukhina’s sketch (Fig. 1.2) and how dynamic it is in L. Spazzapan’s drawing (Fig. 1.3).

A stroke is a short trace of a pen or pencil, the simplest element of drawing technique. A system of strokes conveys space, reveals the volumetric-plastic properties of objects, their texture, and creates expressive effects of dynamics, light and shadow.
The drawing amazes with the magic of space and light French artist J. Seurat (Fig. 1.4), depicting a singer on the stage. It is made with a pencil, but not with an ordinary pencil stroke, but with a soft, uniform shading, creating, as it were, blurry, unclear outlines of figures and objects.
If the circuit linear drawing fill it with an even color from the inside, you get a silhouette - a spot - a flat color image. A spot with apparent non-plasticity can reveal an infinite variety of states. Using a spot you can express not only the shape, but also the character of the model, plot situation(Fig. 1.5). They masterfully use stains in the art of textiles, which always tend to be flat.

Ability to work with stains - important quality for craftsmen who create designs on fabric (Fig. 1.6).

The spot pattern may not be a silhouette. For the most part it is based on the use of gradations of tone, i.e. gradual transitions from dark to light. The drawing by N. Kupriyanov (Fig. 1.7) was made in black watercolor, but there is some poetry and mystery in this sketch.

Graphic materials, accessories and requirements for them
Many tools and materials are used for drawing. The most common of these is the graphite pencil. Already the ancient Romans knew a pencil, but only a silver or lead one. In the Middle Ages, tin and an alloy of tin and lead were added to it. However, such pencils could not become widespread. The revolution was made by the discovery of graphite in the second half of the 16th century. in England. But graphite pencils had disadvantages - they got dirty and did not stick well to paper. And only in late XVIII V. The French mechanic Gonte, having mixed graphite powder with clay in the right proportion, invented the pencil that we still use today.
Graphite pencils are available in various degrees of hardness. Domestic pencils have 13 degrees of hardness, the harder ones are designated by the letter T (from 1T to 7T), the softer ones by the letter M (from 1M to 5M); imported pencils - N and V, respectively.
Relatively soft pencils of the TM, M, 2M - 5M brands are most suitable for drawing. They can make lines of varying thickness and a range of tonal gradations from the lightest to almost black, which is achieved by shading.

Charcoal is also widely used in drawing because it has great expressive capabilities. It gives a deep velvety black color and various tonal transitions. They perform quick sketches and long drawings. Coal can be used thin line and quickly cover a large area with tone. Charcoal drawings should be secured with a special fixative.
Charcoal goes well with other materials - sanguine, chalk, pastels, colored pencils and a special “Retouch” charcoal pencil.
Drawing with a pen develops the hand and eye well. Feathers are used for drawing with liquid dyes: ink, ink, stain, watercolor. The pen has been known for a long time as an artist's tool. In the old days, goose, swan, crow, peacock, reed and straw feathers were used. Currently in artistic practice metal feathers are common different forms and sizes (Fig. 1.8).
Working with a pen requires observation, attention, confidence and precision. The peculiarity of working with a pen is that corrections are almost impossible. By changing the pressure of the pen, you can achieve lines of varying thickness. Steel feathers give a clear and thin line, while goose and reed feathers give an expressive and lively line (Fig. 1.9).

A variety of graphic effects can be achieved with colored pencils. Blurring with water watercolor pencils, you can also get picturesque effects.
Graphic work is mainly performed on paper, the selection of which must be selective. Exist different varieties paper. For quick drawings with a pencil or paints, a thick one is better suited. White paper with a slightly rough surface - whatman paper or half-whatman paper. For short-term drawings and sketches made with soft graphic materials (very soft pencils, coal, sanguine, etc.), they use paper of different quality: wallpaper, wrapping, newspaper, etc. Smooth, without roughness, thick white paper is suitable for working with a pen.
For educational drawings use paper 1/2 or 1/4 size of a standard sheet of drawing paper. It is better to store sheets of drawing paper in a special folder rather than on a roll, since a curled sheet is difficult to attach to an easel or drawing board.
The set of drawing supplies also includes a folding knife or scalpel and a soft elastic band cut diagonally, since it is more convenient to eliminate unnecessary lines with a sharp end.
Knowledge of artistic materials and techniques for working with them helps to realize creative ideas and make drawings more expressive.

Three-dimensionality. Form. Volume

The world around us is rich in a variety of forms. Everything we see around us has a form that the best way characterizes any object (Fig. 1.11, a and b). When it is necessary to graphically represent an object on a plane, we focus our attention on the form. Any form that has already passed through our visual perception can be associated in consciousness with other similar forms, with which our imagination will create certain relationships and connections. For example, a spot of paint can be associated with a face, and in the outline of clouds you can see a lying dog, a running horse, and much more.
The expressiveness of the form of the depicted object is very important for the artist, because it determines the type of models he creates. On a flat sheet the artist creates an image in which the viewer sees volumes and space. In order for the painter to succeed, he must learn to perceive all visible space three-dimensionally: when drawing an object from one side, it is as if he sees it from all sides. The artist must consciously represent the structure of the object, the laws of its construction, and not “copy” the contours, light and dark spots without meaning.
Any form created by nature or man is based on geometric bodies, from which learning to draw begins.
The volume of an object is characterized by three parameters: length, width, height. Depends on their ratio appearance an object and the outline of its shape.
In order to convey a three-dimensional form in a drawing, you need to use imagination and logic to imagine its internal structure, that is, to understand the design of the object.
A design is the structural basis of a form, its frame, which connects individual elements and parts mutually located in space into a single plastic volume.

In order to understand the structural features of the form and its design, the method of through drawing is used in the drawing (Fig. 1.12).
Based on their shape, objects can be classified as simple or complex. Complex shapes are a combination of different surfaces (flat, convex and concave). An example would be the shape of a car.
Simple shapes of objects can be divided into faceted and round. Faceted surfaces geometric bodies formed by flat faces - these are cubes, prisms, pyramids. The surfaces of round geometric bodies are formed by the rotation of a flat contour around its axis - these are a ball, a cylinder, a cone. They are characterized by curved surfaces - spherical or cylindrical.
When starting to draw, you need to carefully examine the depicted object from all sides in order to get a clear idea of its volume. Next, to clarify the design of the object, make several sketches, using the method of end-to-end drawing, in which to outline the axes and characteristic lines of the sections.

Optical illusions. To correctly depict the shape of objects, it is necessary to become familiar with perception. Artists encounter a number of phenomena called optical illusions. Studying and taking them into account will help to avoid visual distortions of objects. Psychologists have noticed that our consciousness tends to group things into simple units. Points located at equal distances from each other and representing unrelated objects are organized in rows and columns in our minds (Fig. 1.13).

In Fig. 1.14, a - illusions that arise when comparing the lengths of segments. Optical illusions can also appear when comparing geometric shapes(Fig. 1.14, b). The same objects may appear larger when surrounded by small ones and small when surrounded by large ones. The perception of a geometric characteristic can be distorted if the sides of the rectangle are crossed by many rays emanating from the center (Fig. 1.14, c). These rays seem to transform the parallel straight lines of the sides of the rectangle into curved ones. White square on a black background it seems more black on white, although they are the same (Fig. 1.14, d). Optical illusions are the result of our own minds. For example, the so-called ambiguous drawings, which clearly demonstrate how the perception of one and the same object gives an alternating image and is read as a figure, then as a background: now we see two dark profiles on a white background, now a white vase on a dark one (Fig. 1.14, d).
Knowledge of the peculiarities of form perception will help you create accurate and expressive drawings, interesting compositions. In artistic design modern clothes knowledge of laws visual perception and the occurrence of optical illusions will help the costume designer to realize his idea in the most complete and interesting way, and the cutter will help to correct some shortcomings of the customer’s figure.

Chiaroscuro and its patterns.

The volumetric form is conveyed in the drawing not only with the help of constructive construction, but also with the help of chiaroscuro. Any three-dimensional object is limited by curved or flat surfaces, which, when illuminated, fall into different light conditions. Light, spreading across the form, depending on the nature of its surface, has various shades- from lightest to darkest.

The degree of surface illumination depends on the distance to the light source: the further the light source is from the surface, the weaker it is illuminated, and vice versa. The apparent lightness of the surface of an object also depends on the distance between the object and the viewer. When removed, light surfaces gradually darken, and darkened ones lighten.

The angle of incidence of light rays on the surface also plays a significant role in the degree of illumination of the surface. The most intensely illuminated surface will be the one on which the light rays fall at right angles, i.e. perpendicular. The smaller the angle of inclination of the light rays to the surface, the weaker it is illuminated.
The lightness of an object depends on the color and texture of its surface: a glossy surface will reflect light more than a matte and rough one. Dark surfaces absorb more light rays and reflect less. On very dark or very light surfaces, the gradations of light are poorly distinguished, since our eye is not able to distinguish between too weak or too strong light stimulation.
As an example of the distribution of chiaroscuro on various surfaces depending on the angle of incidence, let us consider chiaroscuro on the simplest geometric bodies.
Based on forms various items the simplest geometric bodies lie. Knowing the laws of light and shadow distribution on spherical, cylindrical and flat surfaces, you can understand the light and shadow of any object with a complex shape.
In order to better imagine the nature of the distribution of light and shadow on the surface of geometric bodies, imagine that they will be illuminated by strong lateral light with the shadow sides illuminated by reflected rays from a nearby white vertical plane (Fig. 1.15).
The part of the surface of the body that is hidden from the light source and is in the shadow is called its own shadow, and the illuminated part of the surface is called light. The degree of illumination of a curved surface is determined by the angle of incidence of the light rays: the most illuminated area will be the area on which they fall at a right angle. Where the rays only glide across the surface, penumbra is formed. As you approach the shadow line, the angle of incidence of the light rays decreases. On smooth shiny surfaces the light source is reflected and the brightest place is formed - glare. The illumination of a shadow by rays reflected from illuminated planes located nearby is called a reflex. The shadow cast by an object is a falling shadow.
For polyhedra, the most illuminated face will be the one on which the light rays fall at a large angle, and as the angle between the light rays and the face decreases, the degree of its illumination decreases. Each face of the polyhedron is visually perceived as unequally illuminated at all its points. A light surface bordering on a dark one will appear lighter, and a dark surface will appear darker.
On cylindrical, conical and spherical surfaces, the transition from light to shadow will occur gradually, without a sharp change in light-and-shadow ratios. Such surfaces are characterized by a smooth, saturated halftone transition from the lightest to the darkest spot.

Proportions

Proportions are the dimensional relationships of parts of a form with each other, as well as between different forms.
The sense of proportion is one of the main things in the drawing process. Compliance with proportions means the ability to subordinate the sizes of all parts of the depicted object in relation to each other and to the whole.
For example, in order to draw a still life from several household objects, it is necessary to determine how they relate to each other in size: height, width, volume, weight. Having established the proportional relationships between objects, they move on to identifying the proportionality of the parts of the form of a single object. Thus, by establishing relationships between objects and between parts of the form of an individual object, we identify their proportional characteristics. Therefore, the basis of proportions is the method of comparison.
The proportionality of the parts of the form creates its beauty. When we admire the works of masters of the past, we are struck by their amazing harmony, which is largely determined by such an aesthetic quality as the proportionality of the whole and details.
Artists different eras sought to understand the proportional patterns of objects in the surrounding world, and especially human body.

IN Ancient Egypt To depict the human body, a special canon was developed, according to which parts of the human body were measured with mathematical accuracy. The Egyptians based the division of the figure on 21 parts (Fig. 1.18), with 19 equal parts for the figure itself and 2 parts for the headdress (the crown of the pharaoh). Rules for the image were set standing man, walking, sitting, kneeling, etc. T9.K LS6 rules were developed for the depiction of a lotus flower, sacred animals and birds. When creating reliefs and paintings, the Egyptians used special grid-tables, which were applied to walls and stone slabs. The artist had to know the rules established by the canon and follow them using a grid table.
The ancient Greeks based their visual arts on the image wonderful person. They argued that a strict pattern reigns in the world, and the essence of beauty lies in harmonious order, symmetry, harmonious unity of parts and the whole. These provisions formed the basis of the canons created by the Greeks. In 432 BC. e. The sculptor Polykleitos wrote an essay on the proportions of the human body, which was called “Canon”. To illustrate his theory, he created a statue of "Doriphoros", which means spearman. This statue of a young athlete served as a model for artists. Artists Ancient Greece discovered a system of proportions, which later became known as “ golden ratio" The essence of this proportion is that the sum of two quantities is related to the larger quantity, just as large value refers to the smaller one. An example of dividing segment AB according to the “golden section” principle is shown in Fig. 1.19 (AB: AC = AC: SV). Approximately in whole numbers, the "golden ratio" is expressed as 5:3; 8:5; 13:8; 21:13, etc.
Knowledge of the law of the “golden ratio” played a significant role in ancient architecture, painting and sculpture. If ancient artists intuitively followed the principle of the “golden ratio” in search of harmony, then it was theoretically described in the Renaissance. Leonardo da Vinci, based on the experience of the ancients, developed a system of proportions of the human body. Creating rules for depicting the human figure, he made a drawing diagram that clearly shows the proportional pattern of parts of the human body (Fig. 1.20).
Among the Renaissance masters who dealt with the theoretical foundations of drawing, a prominent place belongs to the German artist Albrecht Durer. Having written several books on human proportions, he strove to scientific justification topics, attaching a large number of drawings, diagrams and drawings to the texts.

Problem perfect proportions worried artists in subsequent eras. In 1947, the French architect S. E. Le Corbusier developed the modulator - a system for dividing the human figure in accordance with the principle of the “golden section”. On this basis, a school of models for architectural planning and design was created. In this system, the human figure is divided into segments from the foot to the waist, from the waist to the back of the head, from the back of the head to the fingertips of the raised hand (Fig. 1.21).
A developed sense of proportion largely determines success in drawing. Practice shows: the more accurately the proportions are found, the brighter and more expressive drawing. Correct selection has proportional relationships great importance when designing a costume. Co-size and successful organization of the parts of the costume help to give human figure attractiveness and hide some flaws. And not only in the field of clothing design, but also in any artistic and design activity, proportionation plays an important role.
IN visual arts, when drawing from life, the proportions of objects can be checked by sighting (Fig. 1.22).
This is done like this: we press the pencil with the ring and middle fingers to the palm, and thumb moves along the pencil and serves to mark the required dimensions on it. The pencil is held on a horizontally outstretched hand between the subject and the eye. It can tilt both to the right and to the left depending on the position of the object being measured, but in this case the pencil must be in a position strictly perpendicular to the main line of vision. Without these conditions, measurements will be erroneous.
Using the sighting method, you can determine how many times the width of an object fits into its height, clarify the degree of inclination of the shape axes, etc. However, the sighting method should not be abused, since it inhibits the development of the eye, which is trained through systematic exercises. Measurements by eye can be more accurate than measurements by sighting if the sense of proportion is developed.

Basics of Perspective
When learning to draw from life, as well as from memory and imagination, you need to know theoretical basis constructing realistic images. Considering the world, a person cannot help but notice that objects, moving away, decrease in size.
The explanation for this lies in the properties of our vision. The objects we see are necessarily illuminated in one way or another, otherwise we would not see them. The rays reflected from illuminated objects are perceived by our eye and cause irritation of the nerve endings in its retina. This irritation in our mind is transformed into a visual image. In Fig. Figure 1.23 shows a diagram of visual perception, which shows that due to the optical properties of the eye from two objects equal size the nearest one is larger, and the more distant one is smaller.

A classic example of a promising reduction in size is a road running into the distance with pillars running along it. Moving away, the road narrows, and the pillars become smaller until they converge somewhere on the horizon into one point (Fig. 1.24).
The horizon is not always visible - you won’t see it in the city or in the forest. In this case, it must be presented. main feature The horizon line is that it always passes at eye level of the observer. You look at everything above the horizon line from below, and at everything below you look at it from above. All horizontal lines of objects standing above the horizon line slope down, and similar lines of an object standing below the horizon line slope upward towards this line. All these changes occur according to certain laws.
Studying the patterns of images on a plane visible world in accordance with the optical features and physiological properties of our vision, a science called perspective is involved (from the Latin perspicio - I see clearly). The image itself, made in accordance with the provisions of this science, is also called perspective. The perspective method was developed during the Renaissance. One of the creators of the scientific theory of perspective was the architect early renaissance Filippo Brunelleschi in collaboration with mathematician Paolo Toscanelli. Then Italian and German artists Pierodella Francesca, Paolo Uccello, Leonardo da Vinci, Albrecht Durer and others in their scientific works and works of art developed previously discovered laws.
IN fine arts Three types of perspective can be distinguished: observational, linear and aerial. Observational perspective is a set of rules derived from the experience of direct observation. In this case, the artist, when conveying a full-scale image, is based not on precise geometric calculations, but on his own vision and analysis. Unlike observational perspective, linear perspective is a system of various methods geometric construction perspective images on a plane. Aerial perspective is a particular section of observational perspective and speaks of the change in color and clarity of the outline of objects as they move away from the viewer under the influence of the atmosphere. It is mainly used in painting.
Before you begin learning the basics of perspective, there are a few concepts you should familiarize yourself with. Everything that a person can cover with one glance, without moving or moving his eyes, is called the visual field. It is within a visual angle approaching 60°, but the clearest perception is within a visual angle of about 30°.
If we look at the same object, moving now to the right, now to the left, now crouching, now straightening up, it will appear to us differently each time. The position of the observer's eyes in relation to the observed object is called point of view.
When looking out the window from a room, we see a large space with houses, trees or other objects located at different distances. If we trace their outlines on glass with paint, we will get a contour image of objects located in space. In this case, the glass will be the picture plane. Looking at the full-scale setting, the painter seems to imagine an imaginary picture plane in front of him, on which objects are visible as they should be depicted on paper.

The horizontal plane of the ground, floor or table on which the depicted objects are located is usually called the object plane.
Points on the horizon at which parallel lines that go deep into the picture visually converge are called vanishing points.
For each group of parallel lines, no matter where they are in the picture and no matter what objects they belong to, there is only one vanishing point. Parallel lines, located at right angles to the horizon, go to one point, which is located opposite our eyes and is called the main point. In Fig. Figure 1.25 shows a spatial model for constructing a perspective image.
Lines perspective. Lines that are parallel to the picture plane in nature are called frontal. In the drawing they have the same directions as in nature, no matter how far away they are. All frontal lines, no matter what position they are in, do not have vanishing points.
Lines that are directed into the depth of the picture can be perpendicular to the picture plane or go under it different angles. An object appears to us to become smaller as it moves away from the eyes, and parallel lines directed inward appear to approach each other at the vanishing point.
Square and circle perspective. A square in perspective will be either a trapezoid if its two sides are parallel to the picture plane, or an irregular quadrilateral if the plane of the square is located at a random angle. In the first case, two sides of the square will be parallel to the horizon line, and the sides going deeper will converge at the central vanishing point P (Fig. 1.26, a). In the second case, the sides of the square will be directed to the vanishing points Fx and F2, located to the right and left of the central one (Fig. 1.26, b).

A circle in perspective looks like an ellipse (Fig. 1.27). The closer to the horizon line, the narrower the ellipse becomes, and when it coincides with the horizon line, it turns into a straight line. When constructing the perspective of a circle, you should pay attention to the fact that the front half of the circle will be larger, and the back half will be smaller.
Cube perspective. It is best to understand the principles of changing shape in perspective using the example of such a simple geometric body as a cube. There can be two main, characteristic positions of the cube in relation to the picture plane: frontal (planes located parallel to the picture) and at an angle. In the first case, the perspective is frontal, and in the second - angular.
In the frontal arrangement of the cube, two of its faces are parallel to the plane of the picture, and the rest are perpendicular to it. Horizontal lines, forming faces going into depth, will converge at one, central vanishing point P (Fig. 1.28).
When constructing a cube perspective in an angular position, there will be two vanishing points Fx and F2 on the horizon line, located to the right and left of the central one (Fig. 1.29). Moreover, one or even both vanishing points may be outside the picture.
Knowledge of laws linear perspective will help the painter to understand the internal structure of the form in order to depict it vividly and convincingly. However, the use promising constructions should not turn drawings into dry diagrams. Knowledge of the laws of perspective helps when drawing from life, from memory and from imagination.

(You can view the resulting drawing in the section of this site)

In order for the forest drawing to be voluminous and the space of the forest to be felt in the landscape, you need to be able to apply the laws of chiaroscuro to complex natural forms. If you imagine an academic drawing of geometric bodies - a ball, a cylinder, a cube, then you can remember how chiaroscuro is constructed. It consists of six main zones: highlight, light, penumbra, shadow, reflex, falling shadow. The crown of a tree can be conventionally represented as a ball. Those. from above the tree will be illuminated by light, then there will be partial shade, and below there will be the darkest part - the shadow. But this is only conditional. The tree does not have smooth surface and even from a distance its silhouette will be clumsy, curved... Therefore, if in general the tree is illuminated like a ball, then in particular individual branches and groups of leaves will be illuminated more or, conversely, less. Thus, we get an uneven surface of foliage, unevenly illuminated, inside of which, in the shadows, we can observe dark spaces between the branches. The trunk of the tree and large branches are illuminated like a cylinder, because they have a cylindrical shape. But a tree trunk is rarely even and smooth, so you need to add features to the chiaroscuro that introduce unevenness, bends, knots, cracks, bark...

If we talk about the space of the forest, then the same laws of chiaroscuro also apply to it. For example, falling shadows from trees will lie on the ground. But since the earth does not have a flat surface, the shadows will bend around these irregularities, repeating their shape. A huge variety of grasses and shrubs also add features to the character of the falling shadows. The shadows will bend around the tops of the blades of grass, so these shadows will not be even. The silhouettes of the shadows will take on a “loose” texture based on the nature of the grass. In addition, the drawing of the forest will consist of different plans: first, second, third... If in the foreground the artist can draw the trees in sufficient detail, then in the background they are generalized. For example, a group of five or six maples in the background can be drawn in a general way: the trees are combined into a group and the artist draws chiaroscuro not individual trees, but the whole group.

In addition to the laws of chiaroscuro, the laws of aerial perspective also apply to the forest space. This means that the tonality of the trees in the first and second planes will be different. For example, tree trunks in the distance will be either darker or lighter than those trunks that are in the foreground. It depends on the weather, time of day, time of year... If you take foggy weather, then the silhouettes of plants in the foreground will be darker than those in the distance. In the fog, all dark silhouettes become lighter, and light silhouettes become darker. And the further away the tree is, the more clearly this pattern appears.

In conclusion, I would like to add that drawing a forest is an image of various masses. These can be masses of foliage from one tree or an entire group. These can be masses of tree trunks, or masses of grass and shrubs. The artist must know the nature of certain plant species. This will affect the texture of the stroke, the shape of branches or tree trunks. The artist must also see the difference in tone of these multifaceted masses of vegetation. It is necessary to convey the light and shadow of these masses. Well, the above skills are crowned by the ability to generalize the unnecessary and draw the details of the main thing. As a result, in these masses of foliage and grass there will appear branches, individual leaves, bark, a hollow, a snag, a stalk of grass, flower petals... Then the landscape will delight the eye of the author and the viewer with its expressiveness.

Have you ever felt like you could walk right into a beautiful landscape painting? Like a magician, the artist has transferred the third dimension onto a flat canvas, and you, the viewer, are drawn into the world created by paint.

Creating a believable landscape painting Depth isn't really some kind of magic trick, it's a technique. More than a century experienced artists used some of the following techniques to carefully arrange compelling landscape paintings. Learn how to draw the viewer into your landscapes with these tips.

1. Layers and overlay

The use of word and overlay is effective when there is a noticeable contrast in the shadow or texture of two overlapping objects. This creates additional contrast and helps separate objects from each other. In Edgar Payne's magnificent painting below, the small boats in the foreground layer and partially overlap the larger ones. This creates a feeling of depth.

2. S-curve and winding path

A winding river or path that winds its way in an S shape through a painting can be used as a way to control the viewer's eye. Charles Warren Eaton's tone painting, Winter's Solitude is an example of this popular method.

3. Use diagonals

Lowell artist Birge Harrison makes effective use of diagonals in Moonrise on the Shore. Smoothly rolling waves move away from us at an angle, creating a feeling of depth and distance.

4. Aerial perspective

A mountain range in the distance usually appears lighter, foggier, and bluer as it gets further away. This is an optical effect that the atmosphere creates when you look at objects on long distance. Use temperature changes in color to get aerial perspective. This is a generalization, but warm colors are more eye-catching.

5. Interest in the foreground

When painting objects at medium to long distances, they can often appear flat. Add interesting subject to the foreground to enhance the sense of depth. This draws the viewer's eye to the stage, from foreground to an object at a distance. Use less detail and texture in the background. Famous artist, teacher and author John F. Carlson demonstrates this technique in the following painting.

6. Change your size

In this painting, The Road to Sluys, Charles Warren Eaton effectively uses the technique of resizing. Please note that although in real life we know that these trees are the same size; Eaton masterfully painted them in descending order. In other words, trees get smaller as you move away. This created a wonderful illusion of depth.