How to draw crumpled leaf paper.....Well, dear admirers of such an interesting, but rather demanding science - drawing, now there will be a task that will not be pleasant, but very, very useful. I really understand how you will feel now. This exercise is simply highly recommended to be done from time to time, and art school students go through it more than once. The exercise allows you to develop your eye, consolidate the material you have covered, and it also makes it very clear what stage of “drawing development” you are at now. Simply put, you see what you already know. Today you are performing the exercise for the first time, I hope not the last - it’s up to you.

Well, are you ready? Be very determined. We will make a drawing of a crumpled sheet of paper, cardboard, with an analysis of the fracture planes. Simply put, we will analyze the fracture planes of the paper volume.

For those who find it difficult, you can start by drawing crumpled cardboard. There will be fewer fractures and the fracture planes themselves will not be small.
Slightly crumple a sheet of A3 cardboard and place it nicely in front of you. Look: each face resembles the face of a cube - and we have already learned to draw the cube itself and rotate it in space at different angles. When you understand this, the task does not seem so difficult. But this exercise is very, very useful for developing the eye.

Let me tell you a little more, before starting work, what an eye gauge is. In a nutshell and very simple. When you look at a still life, holding a pencil out in front of you - turning it horizontally and vertically, you take measurements relative to the “line” of the pencil. Determine conditional angles. This is how your eye doesn't work. The eye meter is your visual skills, something that only your eye remembers and analyzes. Your eye notices the relationships in front of you and helps you transfer them to paper. But with the help of a pencil or other handy means, you only test yourself. Additionally, there is also material on how to develop your eye.

Here is a photo of what we have to convey on paper. Let's get to work. And, probably, we will try to make everything as clear as possible and start, again, with something simple. First, let's take a small sheet of white cardboard; I take thick Whatman paper. Wrinkle it roughly as you like, but don't make it too wrinkled. Now let's take a soft material - coal and start drawing. You can draw on a piece of wallpaper approximately A3-A2 in size. There is no need to stretch the paper onto the tablet yet, just secure it to the easel. And yet, you should sit so that the easel is to the right of what you are going to depict. Otherwise, you will block the picture with your hand (for right-handers). For a left-handed person the opposite is true.

So, arrange a sheet of paper in paper space. Since we are already starting to draw such a “still life”, that is, to draw from life, it is imperative to show object plane. Our piece of paper doesn't hang in the air, does it? It is located on the table - the object plane. Find the place of the sheet on the object plane with its total volume - height, width, general outline. Afterwards, designate our experimental subject more specifically, checking the volume of paper on the table and in your sheet for consistency, and find a place for the largest planes and angles - along the bends of your cardboard. It is best to find proportional relationships using conditional three points. Draw without pressing the charcoal too hard on the paper, take care of the light - learn little by little to make a clean drawing.

Once you have found the main volumes and the main proportional relationships planes and edges of crumpled cardboard, smaller fractures and planes can be identified.

Only after all this work has been done do we begin to lay down the strokes - to separate the light from the shadow using shading. Just like with the cubes that we rotated in space, the same drawing principle remains here too. Separating the shadow from the light. Give the entire shadow part of the crumpled cardboard stroke - stroke you have already learned a little to lie down. I begin to designate the darkest shadows - the falling ones and the shadow of the object plane, since it will be closest to us, and therefore darker. There will be no darker tones in the drawing. Then I put a stroke on the rest of the shadow part. Now, we have identified the shadows, separated the light from the shadow. There is always tension at corners and intersections of planes; place emphasis in these places.

Next, you analyze the light-shadow relationships in the same way as with cubes in lessons 1, 2, 3. The near faces and planes to us will be highlighted more strongly, the far ones less. The fractures that are closer to us will be highlighted more strongly. The same goes for shadows. The shadows closest to us are darker, those that go into the air, into space, are weaker. Draw. A special attitude towards the falling shadow - it will be stronger than its own, but also, moving away into space, it will weaken.

Try to work slowly, do not press too hard on the coal rod. Don't overwork your work. If you have redrawn or smeared your work and don’t know what to do next, try again, taking into account past mistakes.

The object plane is illuminated, moving away into the air it will lose its activity and become darker. And the further away from the lighting, the less active its light will be. In relation to the wall, the object plane will be lighter. Remember the cube: the vertical object plane is illuminated, the background wall will be in shadow. But not in such an active plane as the shadow—the table breaks. If you project onto a cube, then the darkest shadow of the object plane will be the shadow side of the cube.

The same thing will happen with a crumpled sheet of paper. Kinks - like the faces of a cube will be highlighted, the corners are active, the planarity of the faces is clearly defined - the near ones are more active, the far ones are weaker. The chiaroscuro will be distributed according to the shape of the object - a crumpled sheet. The light on the object plane will be the most active, since it is closest to the mother. Moving deeper into the space of the sheet, the light becomes weaker, but will always be lighter than any shadow.

Now let's see what I got:

So soft material, in in this case You can use charcoal to draw a crumpled sheet of paper. Now let's analyze what happened to me.....
Do you see errors? Who said I don't see? The foreground is highlighted, this is understandable. Edges and sides are visible, accents are placed. But that's not all.
Let's sort out the mistakes! I want you to learn to see mistakes. In this case, mine, and then you’ll understand yours using mine as an example. We look at the pictures below and analyze:

This is what we captured at the very beginning. Let's see what happened:

Well, how does it look? How are things going with my eye? No way. Let's look at:
1. Blue shows that the object plane was not found.
2. Red shows that I have problems with the transmission of light (light gets darker as it moves into space).
3. Green shows how the main planes are found.
4. Yellow shows how the most visible near and active angle was found.
5. Well, brown for a snack - a falling shadow. That's enough for now.

In this case, the eye gauge worked very, very little. The primary task has not been solved - to find the object plane and the main proportional relationships of the crumpled sheet (height - width). Everything else has already gone wrong. And the conduct of the work itself is not correct.

Now rest a little and look at your work. Analyze everything the same way. You can use handy tools (pencil, ruler) to determine the correspondence of sizes and proportional relationships. You can control and correct the operation of the eye meter.

We draw another crumpled sheet of paper - we think, analyze and try

Now let's work more seriously and responsibly, taking into account all previous mistakes. I hope you remember them once and for all.

1. Prepare paper stretched over a tablet and a graphite pencil. Place a crumpled sheet at a distance of 1.5-2 meters from you, sit down at the easel. Then everything is as usual - find the place of your “crumpled experimental subject” in the space of the tablet sheet, determine the main proportions - height and width, angles and place of the largest planes.

When you determine the place in the space of the sheet for all the planes and bends - kinks, in other words - you find the design of the “experimental”, the constructive beginning, then rest a little. After a while, look at the work again - maybe something needs to be corrected. Proportions, proportions and more proportions! Until the proportional relationships of the main parts of the composition and their details are found, it is impossible to proceed to shading.

2. The second stage will be shading all the shadows present in our composition with one character - a crumpled leaf. We take and separate all the shadows from the light. A stroke of one key, lightly, analyzing the shape - on which planes the light will fall, and which will be in the shadow. If it’s a little difficult to lay down a stroke, then you can make short strokes, like mine. Fill with them all surfaces that, one way or another, stronger or weaker, will be in the shade.

Here I begin to lay down strokes on the largest surfaces - the wall, that part of the object plane that is in the shadow. Notice that this resembles the structure of a cube. The object plane is the face of the cube that is exposed to the light. The wall is in partial shade, then there is a break in the object plane, which will be in the shadow.

Now I place a stroke on that part of the crumpled sheet that will be in the shade. I cover absolutely all the necessary areas that will be in the shadow part with shading. If it is difficult to lay down a stroke evenly, lean your little finger lightly on the tablet or support your hand under your elbow, but do not lean back side hands on paper.

3. Next we will try to show how the light will behave in our conditional sheet space. Let us again take on the largest and most basic surfaces. Our table is an object plane. She will be in the light. But we still need to convey its horizontal position. Let us also take into account the factor that, as the light moves away into space, it gradually goes out and fades away. So we leave the lightest that will be closest to the light source. And everything else will fade, darken. Moving away from us towards the wall the object plane will go into the air and lose the power of light. Moving away from the light source, the object plane will also receive less light and, naturally, darken.

Next we move to the wall. Our wall is in partial shade. In any case, if side factors do not influence, its tonality will be darker than the object plane. And, just as in the situation with the object plane, moving away from the light source, the degree of its illumination will decrease and it will receive less light.

Now let's move on to the darkest and most saturated shadow - the bend in the surface plane. This area will not be lit, in complete shadow. But, of course, we won’t make it black. This is not possible, this darkest shadow can be influenced by many factors that allow the darkest shadow in our composition to be lively, airy, transparent. But still the darkest. And let that part of it that is opposite our eyes be of the darkest tone, and let those parts of it that go away from us lose a little of their strength. The most contrasting part will also be in front of us, closer to us.

Note: Surely you are holding the pencil properly in your hand now? Well it's hard, especially at first, create such dark shadows with this hand position. I allow you to take a pencil for this very purpose, so to speak." native", as you write, and put a stroke of such power that this shadow is worthy. But in moderation, of course. Don’t make holes;)

I also want to add something else. If you visited the page on color science, then you already know how color behaves in space. We don't have color here. But there are clear, unshakable laws both in painting and in drawing: the light gets darker and goes out as it moves away. As the shadow recedes it brightens. But! The darkest half-tone in the light is still lighter than the lightest half-tone in the shadow.

In general, it is considered better that work should be carried out “on all fronts” at once. How to diffuse your vision, immediately perceiving the whole work, and draw not by details, but draw, touching on the object plane, and still life objects, and drapery... This way the drawing will turn out to be integral and this way it will be more correct to convey the light-shadow relationships. But here we will set the main “atmosphere” in the sheet for now, and then we will subordinate our “experimental” hero to it. This makes it easier to understand in what tonal “framework” it will be.

Here, now we outline the falling shadows. There will be two of them, one from the top lighting, the second from the side, and they beautifully overlap each other, reinforcing themselves. Look - when the shadow is closer to us, where it begins, there I make it darker, more active. As it moves away, it becomes softer and a little lighter. By the way, this is how it turns out to “put” it on a plane.
The falling shadow will be dark, darker than everything except the shadow of the object plane, where both the falling shadow and its own shadow are superimposed on one another.

4. The space in the sheet is given, the power of the pencil is exhausted, we understand what tonal gradation the subject will be in. Next we deal with the crumpled sheet itself. Note that the overall shadow of the crumpled sheet of paper will be darker than the half-tone of the wall. But in any case, it is lighter than the falling shadow. We work within this framework.

Do not forget that the crumpled sheet is the same sides, edges, corners. But finding their sizes, turns, and slopes is our task. We simply try to constructively analyze the experimental subject, conveying all his nuances with light and shadow.

We emphasize the breaks in the shapes, highlight the corners, and mark the intersections of the planes. Since the light falls according to the shape, we also try to lay the stroke according to the shape. In general, we analyze more and copy less.

This is the drawing we get. Already much better than the first time, right? The only thing I haven't touched on here at all is the glare. But now there is no need. To be honest, this is not an easy task for a beginner. But the one who endured and completed it, even if it didn’t turn out very well, received very necessary skills and grew one step, without a doubt.
Well done!!!

Among various techniques In drawing, one, rather unusual, one stands out - drawing with crumpled paper. This technique attracts attention with its simplicity and uniqueness. And it is also accessible to small children, although it deserves special attention and experienced artists.

Benefits of drawing with paper

This method of drawing is very simple, because the paper can be crumpled into a lump by the most small child. In addition, kids really like this activity, so why not turn it into a useful game.

Any paints are suitable for this type of creativity, but gouache or watercolor is better, of course. They need to be diluted with water, which kids will also be happy to do.

The most important advantage of this method is that drawing with crumpled paper contributes to the development and expression of children's imagination. After all, every stroke of paper will be unusual, unlike the next one. And in each of them the child will see completely different things.

Performance technique

In order to create a small masterpiece you do not need a lot of material and effort. The simplest and most accessible materials are enough to get started.

Before starting work, you need to prepare a sheet of paper on which the drawing will be created, paints and containers in which they can be diluted with water. It is also worth preparing several napkins, from which you need to create arbitrary lumps. If the drawing is combined, that is, combining the usual drawing technique and drawing with crumpled paper, you should prepare a brush.

After all the preparations, it’s worth thinking through the details of the future drawing and trying to reproduce them. The most important thing in this type of creativity is imagination. It depends on it what the final result of the work will look like.

You must try to keep the lumps of paper different sizes and degree of compression. Then the prints that will remain will turn into a wide variety of shapes. It is safe to say that this is the easiest technique. Drawing with crumpled paper will turn an ordinary task into a fun activity.

How to create a picture?

To start creating, you need to prepare your paints. To do this, they are diluted in specially prepared containers with a small amount of water. It is worth remembering that the more water, the lighter the tone of the selected color, and vice versa.

The second step is to prepare the “lumps” of paper. It is advisable to make them in advance from a paper napkin or something else. It is not advisable to take newspaper sheets - imprints of black printing ink may remain on the drawing.

When everything is ready, you can safely start drawing with crumpled paper. An adult can show a master class for a child so that the principle of creating a drawing becomes clear. But since this is one of the simplest and most accessible types of creativity, learning is fun and exciting.

Undoubtedly, in order to get a full-fledged drawing, it is necessary to draw some lines or backgrounds with a brush - be it the sky, grass, or parts of an animal’s body.

Crumpled paper makes excellent clouds, the sun, the body of various animals. The list can be continued endlessly, the main thing is your and your child’s imagination.

Elena Panina

Target: introduce children to unconventional technology drawing: drawing with crumpled paper.

Tasks: develop creativity, interest in drawing, develop imagination, thinking, fine motor skills and hand coordination. Develop aesthetic perception and imagination. Foster independence, activity and accuracy in work.

Drawing with crumpled paper- this is very interesting and unusual drawing technique. It gives children room for imagination and excellent gymnastics for children's hands and fingers.

Even the process of preparing for a lesson becomes unusual, interesting and exciting.

Preparation paper making lumps is a fascinating activity and children can easily and happily handle it themselves.

After you have prepared all the supplies occupation: paints, jars, paper, containers in which you can dilute paints, brushes, rags. It is necessary to think through the details of the future drawing. Try to reproduce the drawing.

The most important thing in this type of creativity is imagination. It depends on your imagination what the final result of the drawing will look like.

When discussing the upcoming work, the children and I discuss small and large details of the drawing, which means paper We will need lumps of large and small sizes. Accordingly, the prints from them will vary in size.

As a result looms invented by children painting:

In our work we use brushes to draw or complement the elements of the picture. Therefore, the drawings turned out to be combined.

Now I suggest you look at some of our work:

This is how we met unconventional drawing technique -"crumpled paper".

Publications on the topic:

Drawing is a fun and exciting activity. One of the very first tools with which you can create colorful and original.

Master class for teachers “Unconventional drawing technique “scratch” The purpose of the master class: to increase the desire of teachers to master the new non-traditional drawing technique “scratch”. Objectives of the master class: 1. Introduction.

"BOUQUET OF LILAC" Dear colleagues, I would like to present to your attention a master class on unconventional drawing techniques. In my work I.

It is in creativity that you can give your child room for self-expression: help him choose what to draw, what to draw on and how to draw. Nothing.

Master class “Unconventional technique of painting with sand on glass” Slide 1: Dear colleagues! I present to your attention a master class “Unconventional technique of painting with sand on glass.” Slide 2: According to.

Drawing using non-traditional painting techniques fascinates, calms and captivates children. This is a free creative process.

Master class on group work “Non-traditional drawing techniques” Master class on group work “Non-traditional drawing techniques” I, Tatyana Leonidovna Parnacheva, teacher Kindergarten No. 1 was studying.

Goal: to expand teachers’ knowledge about non-traditional methods of drawing, namely, drawing with crumpled paper. Objectives: - to introduce special knowledge and practical skills in the field of visual arts unconventional ways drawing; - increase the level of teachers' skills.

Unconventional drawing attracts with its simplicity and accessibility, revealing the possibility of using well-known objects as art materials. And the main thing is that unconventional drawing plays an important role in general mental development children. After all, the main thing is not the final product - a drawing, but the development of personality: the formation of self-confidence, in one’s abilities, and purposefulness of activity. Unconventional techniques They allow you to express feelings and emotions in a drawing, give the child freedom and instill confidence in their abilities. Owning different techniques and ways of depicting objects or the surrounding world, the child gets the opportunity to choose.

Visual activities using non-traditional materials and techniques promotes the child’s development of: fine motor skills hands and tactile perception; Spatial orientation on a sheet of paper, eye and visual perception; Attention and perseverance; Thinking; Fine skills and abilities, observation, aesthetic perception, emotional responsiveness; In addition, in the process of this activity, control and self-control skills are formed.

Drawing with crumpled paper The first method: crumple a sheet of paper, straighten it, draw the intended design with any colors. On the folds, the paper absorbs paint more strongly, resulting in an interesting mosaic effect. The second method: crumple a piece of paper, dip it in paint and paint using the “lure” method.

Non-traditional drawing techniques for older preschoolers.

Technique of drawing with crumpled paper.

Alekseeva Anastasia Igorevna, social teacher MBDOU No. 20, Vladimir
Purpose:the drawing can be used as interior decoration. This master class is intended for kindergarten teachers, parents and children. Children's age is 5-7 years.

Target:introducing children to the technique of drawing with crumpled paper.
Tasks:
- Development of creative abilities in preschool children;
- Bring up careful attitude to nature;
- Development of attention, thinking and taste;
- Education of accuracy.
Material:sheets of paper, gouache, brushes, jars of water.

Drawing with crumpled paper is a very entertaining drawing technique that gives room for imagination and freedom for little hands. Even the process of preparing for a lesson is exciting. Children can happily crush the paper lumps that will actually do the work themselves.

Stages of work:

1. Take several sheets of paper and crumple them into lumps.

2. Having first applied water to a sheet of paper, we begin to set the background.

3.Dip the lumps into plates of paint and press the lumps onto a sheet of paper, leaving imprints in the form of clouds and grass. You can draw the outlines of the desired image in advance and then print it.