Techniques for drawing with crumpled paper in kindergarten and school: master class. How to draw flowers, lilacs, landscapes, spring, dandelions with crumpled paper? Master class “Drawing on crumpled paper Drawing using crumpled paper

How to draw a crumpled sheet of paper.....Well, dear admirers of such an interesting, but rather demanding science - drawing, now the task 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.

After you have found the main volumes and the main proportional relationships of the planes and edges of the crumpled cardboard, you can identify smaller fractures and planes.

Only after all this work has been done 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 a stroke - you have already learned how to lay out a stroke a little. 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 the 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:

Using a soft material, in this case charcoal, you can 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. 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 is 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, rest your little finger lightly on the tablet or support your arm under your elbow, but do not rest the back of your hand on the 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. For precisely this purpose, I allow you to take a pencil, so to speak, “originally,” as you write, and put down a stroke of such power as this shadow is worthy of. But in moderation, of course. Don't make any holes ;)

I also want to add something else. If you have 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 still remains 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 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. Please 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!!!

The little foxes have been drawing enthusiastically all day today. Tell me, have you ever heard of drawings on crumpled paper? It turns out that it is very simple and incredibly interesting! And all you need for this is paint and thin paper... Read more in our master class.

Usually we paint with paints on a smooth, even sheet of whatman paper. This is ideal. But the fact that it should be smooth and even is for sure. But no! You can draw the same thing on crumpled paper. Moreover, an unusual effect is obtained. An imitation of cracks appears. It’s as if the picture was painted several centuries ago and the paint on it is cracked. Working in this technique with my students is what we call “antique paintings.” How does this work? This will be discussed in this master class.

To draw on crumpled paper you will need:

Thin sheet (such as photocopier paper)
- watercolor paints
- soft brush (number according to your taste, which one you prefer to paint)
- a jar of water, a graphite pencil (simple)
- eraser

How to draw on crumpled paper

For work we need thin paper, because... we will need to crush it. And this is difficult to do with a thick Whatman sheet. When crumpled, whatman paper can crack and tear. But we don't need this. Xerox paper is ideal for this type of work. And the writing paper is too thin. But, as an option, you can conduct an experiment with your child: try doing work using this technique on different types papers (writing paper, photocopy paper, Whatman paper, for watercolors, cardboard). And draw a conclusion which paper is best suited for this technique. Thus, the child will also become acquainted with various types paper.

On a piece of paper with a simple pencil do the drawing. The drawing should consist of large details. Small ones using this technique will be very difficult to complete in color.

We crumple the leaf. We crumple it, not fold it. But be careful so that it doesn't tear.

Smooth the sheet on the table with your palms.

Let's start painting with paints. Watercolor is suitable because it requires a lot of water, unlike, for example, gouache. And this work will require a lot of water.

Gradually we color the drawing detail by detail. You need to use a lot of water and a lot of paint on your brush. Their excess will flow into the folds. And after drying, the folds will become brighter compared to other places. This is how cracks appear. We painted this work entirely with paints, i.e. no white spaces were left. There is another option.

Initial stages: pencil drawing, crumpling is done in the same way. But in color we draw a little differently. Use a lot of paint on the brush and less water. When painting, do not press too hard on the brush; paint superficially. This will leave white unpainted areas.

You can choose any subjects for such drawings.

After the works have dried, it is advisable to frame them. To do this, cut strips of thick paper 2-3 cm wide and glue them along the edge of the work.

We also suggest trying it with a butterfly. Enjoy your creative work with your children!

The drawing master class is intended for classes with children in art studios and fine arts classes. You can work in this technique both from life and from memory. Images of trees, leaves, vegetables and flowers look great.

Purpose: performing competitive work on fine arts on the theme “Mirror of Nature”, which will subsequently become a wonderful decoration for the interior of the room.

For work we will need:

A3 paper (for the first time you can take A4). I advise you to try it on paper of different textures. To begin with, you can take a regular landscape sheet
Watercolor;
Palette;
Squirrel or kolinsky brushes (set);
A jar of water.

Progress:

1. Use a pencil on smooth dry paper to sketch the selected object. We must try to work with thin lines - cobwebs, and if there is such a need to use an eraser, do it carefully, without spoiling the texture of the paper.

2. The sheet with the finished pencil sketch must be crumpled, crumpled with the image inward, so as not to damage the surface of the drawing and not to stain it.

3. Gently straighten the crumpled sheet of paper on the table with your hands.

4. It is necessary to decide in advance color scheme future work. I suggest using a limited palette. The coloring of the future work will be cold, and accordingly the colors will predominate: purple, blue, lilac, light blue. Start painting with light colors, gradually moving towards darker and more saturated ones. It is better to work on slightly dampened paper, so the colors will smoothly merge with each other according to your idea. You need to wet the fragment of the drawing that is to be done next.

5. If necessary, you can return to the elements of the picture already made in color to enhance the light and shade and add different shades. By working with a limited number of colors, we concentrate on creating a three-dimensional image, rather than racking our brains over choosing a color.

6. In order to highlight the center of the composition, it is necessary to create a background in calmer, cooler tones. Work the cores of the flowers with warm colors using the “poke” method, intensifying the color in the center.

7. Paint over the crocus leaves one by one. All shades are suitable for drawing leaves Green colour and some cold notes. You can use 2 techniques: drawing on pre-wetted paper, and part of the drawing on dry paper. I decided to make dew drops on the leaves of the crocuses. To do this, you need to leave these places unpainted.

8. To create an aerial perspective, it is necessary to more carefully work out the flowers in the foreground. During work, do not forget about chiaroscuro. Therefore, on the shadow side from future dew drops, we draw falling shadows. While working in color, the paint interestingly flows into the created “cracks”, creating a beautiful craquelure.

9. It's time to make water droplets in color. To do this, from the shadow side, using a gentle emerald color, draw a shadow on the drop itself. Attention! We leave the outlines of the drop unpainted.

On the illuminated side we show reflexes of purple and golden color. Leave the highlight untouched.

10.Now the drawing must be dried and ironed on the reverse side using an iron.

The work is ready. Many cracks allegedly formed on the surface; the picture is similar to the paintings of artists of the last century.

Thank you for your attention! New creative victories to everyone!

Today we have prepared for you an unusual master class on drawing. Everyone is accustomed to using, as a rule, only new materials for creativity. Our children are even more conservative in this regard; in their opinion, a painted or wrinkled sheet is considered unsuitable and is put aside.

Let's try to break our own and children's stereotypes and try draw on crumpled paper. But where can I get it, suitable for drawing and at the same time beautifully wrinkled? Now we will do this with you. It is better if an adult himself does this work for a small child; older children, starting from the age of 5, can cope with such work, but it is better to carry it out under the supervision of parents, so that there is an opportunity to help and control the process.

Preparing materials: album sheet, water, brush, paints and napkins.

Let's prepare our sheet. Wet a napkin and wipe the landscape sheet with it. Without waiting for the water to dry, we begin to gradually crumple and crumple the sheet. We try to do this carefully so as not to tear the paper.

We straighten the sheet and while it is still damp, its surface has become uneven and, perhaps, even rough, and while it is still damp, we begin to draw whatever we want. Works done on such a sheet of paper look completely different than on a smooth background. Using water shading you can achieve very unusual effects.

You can create a background for future artwork at the same time as you age the paper. To do this, wet the sheet with a napkin or brush, apply a few spots of color and crumple the paper before it has time to dry.

An extraordinary relief with color transitions is ready to become the basis of a future drawing.

Our gallery

Contemporary art reveals new, sometimes the most unexpected. Some creative technologies are becoming a thing of the past, and the rare skills of ancient peoples are disappearing, as are their bearers. One of these includes drawing with crumpled paper - a painting method that was revived several centuries later, when everyone - both professional artists and drawing enthusiasts - returned to the craft and retro style. In this article, you will learn more about this technique and will be able to repeat this method of drawing from your own experience!

Unique features of the technology

Drawing with crumpled paper is an unusual way to add texture to your drawing. You will most likely find paintings made using this technique in galleries. contemporary art. Drawing with crumpled paper gives enormous scope for imagination, creates a unique chiaroscuro, the drawing becomes three-dimensional and seems to come to life on the canvas. Lax lines, random bends - all this gives the picture an interesting look and attracts the attention of the audience. If the painting is outside the museum, you can, of course, touch it. It is the ability to feel the picture with tactile receptors that is the leading advantage of the technique of drawing with crumpled paper. In order for the picture to be airy and voluminous, you must follow the rules listed below. Not all drawing techniques can boast so many advantages, so this technique deserves your attention.

Creative materials

Paper is the most important element of this drawing style. Select paper based on its density and structure, depending on what result you want to achieve in the end. Its different types allow you to create different textures of the picture. Whatman paper and any other type of paper can serve as your canvas. Use disposable dishes (flat plates) to mix colors. In order to create a painting using this technique, you don’t need to choose any specific paints, and you practically won’t need brushes, so you don’t have to worry about choosing brushes either. Watercolor, pastel or gouache - the choice is yours! In order for the painting to be as voluminous as possible, the paint will need to be heavily diluted with water; artists advise using warm water. There is no single formula for the “correct” drawing with crumpled paper; on the contrary, every artist has the right to draw as he sees fit. Having understood a little about the general steps of this method, you will easily master drawing with crumpled paper and will be able to complement this technology with your own inventions with each new drawing.

Who is this technique suitable for?

Professionals often turn to this technique; the relevance of the “drawing with crumpled paper” method cannot be underestimated in the world of modern painting. However, self-taught amateurs can successfully develop their skills in this painting technique. It's never too late to start drawing! Moreover, for the youngest artists this method is an excellent opportunity to develop fine motor skills and learn something new, instilling a love of art. Thanks to this interesting and even funny way of drawing, the baby will be able to better distinguish and remember colors, and create bright images with the help of their parents. So, for example, young children are often helped in creating a picture in the following way: they draw a thick outline of a bright color and ask the child to carefully fill it in using crumpled paper.

Drawing with crumpled paper: master class

Prepare disposable tableware. It is best if the number of plates is equal to the number of colors that you plan to use when creating the picture. A small amount of warm water is taken into these plates and a little of the chosen paint is added. With this ratio, the tones are gentle and airy. If you need to add contrast or brightness, you can use more paint or less water.
Prepare medium-sized pieces of paper that will become your “brush”. Roll or crumple the paper to the desired size (it is best that the paper fits in the palm of your hand, otherwise there is a risk that it may be accidentally dropped). The number of "brushes" - lumps of paper should also be equal to the number of colors that you use when painting.
Dip the lumps into water and wait a couple of seconds until they are saturated with color, and then apply to paper in any way (spot application, broad strokes).

It is highly not recommended to use newsprint paper (even glossy paper) to create a painting; it can fall apart into small pieces, stick to the canvas and leave dirty print marks.
Try giving your paper balls different shapes, squeezing them differently each time so that the design has an unusual and varied structure.
Prepare all the necessary tools in advance, the paint tends to dry quickly

Why drawing with crumpled paper?

Landscape, still life and even portrait - all these genres of painting can be performed using different techniques. Drawing techniques with crumpled paper open up a huge scope for imagination, allow you to experiment and learn something new day after day. As mentioned above, this type of drawing is useful not only for experienced artists, but also for very young masters who are just starting their creative path. This drawing technique can be an excellent start for developing a child’s talent. A painting made in this style is filled with an indescribable atmosphere of lightness and airiness and can decorate any interior.