Original techniques and drawing techniques. Non-traditional drawing techniques for children in kindergarten and school How to draw with crumpled paper

Ekaterina Luchkina

The master-class is intended for kindergarten teachers, parents and children. Children are 5-7 years old.

goal: introducing children to technology drawing on crumpled paper.

Tasks:

Develop fine motor skills of the hands.

Development of creative abilities in preschool children;

To cultivate a respect for nature;

Development of attention, thinking and taste;

Cultivate accuracy when working with paints

For work you need:

Watercolor paints

The brush is soft (number of your choice)

Sheet a4 paper

Jar of water

Sheet crumple paper, but carefully so that it does not break.

Then we spread the sheet on the table with our palms.

Getting started painting with paints... We need watercolor, as it requires a lot of water, unlike gouache. And a lot of water is required for this work.

You need to take a lot of water and a lot of paint on the brush. Their excess will drain into folds. And after drying, the folds will become brighter and more beautiful. Gradually draw a mountain landscape detail by detail.

The work is ready! Try it with children, I hope they will be interested!

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Educational area: "Artistic and aesthetic development" Drawing on crumpled paper "Snowdrop" Topic: "Snowdrop" Purpose: development of fine motor skills by non-traditional drawing techniques. Objectives: to consolidate the ability of children to classify.

The drawing master class is designed for lessons with children in art studios and in fine arts lessons. You can work in this technique both from nature and from memory. Images of trees, leaves, vegetables and flowers look advantageous.

Purpose: performance of a competition work in fine art on the theme "Mirror of Nature", which will later become a wonderful decoration of the interior of the room.

For work we need:

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

Progress:

1. Using a pencil on smooth dry paper, 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 get dirty.

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

4. It is necessary to decide in advance on the color scheme of the future work. I suggest using a limited palette. The color of the future work will be cold, respectively, the colors will prevail: purple, blue, lilac, blue. Start painting with lighter 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 pattern already made in color to enhance light and shade and add different shades. Working with a limited number of colors, we concentrate on creating a volumetric image, rather than racking our brains over choosing a color.

6. In order to highlight the center of the composition, it is necessary to perform the background in calmer cold colors. To work out the cores of flowers with warm colors using the "poke" method, with an increase in color in the center.

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

8. To create an aerial perspective, you need to work more carefully on the flowers in the foreground. During work, do not forget about chiaroscuro. Therefore, on the shadow side of future dew drops, draw falling shadows. During the execution of the work in color, the paint flows interestingly into the created "cracks", creating a beautiful craquelure.

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

From the lighted side, we show the reflexes of purple and golden colors. Leave the glare intact.

10.Now the drawing needs to be dried and ironed on the reverse side with an iron.

The work is ready. Many cracks allegedly formed on the surface, the picture looks like the canvases of artists of the last century.

Thank you for attention! All new creative victories!

Contemporary art opens up new, sometimes the most unexpected. Some creative technologies are becoming a thing of the past, and the rare skills of ancient peoples disappear, just as their carriers disappear. One of these is drawing with crumpled paper - a painting method that was revived several centuries later, when everyone, both professional artists and art lovers, returned to the craft and retro style. In this article, you will learn more about this technique and you can repeat this drawing method on your own experience!

Unique technical features

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

Materials for creativity

Paper is an essential element of this painting style. Choose paper based on its density and texture depending on the final result you want to achieve. Its different types allow you to create a different texture of the picture. Whatman paper and any other type of paper can serve as your canvas. Use disposable dishes (flat plates) for mixing colors. In order to create a picture using this technique, you do not need to choose any specific paints, and you practically do not 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 picture to turn out 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 "correct" drawing with crumpled paper, on the contrary, every artist has the right to draw as he sees fit. Having a little understanding of the general steps of this method, you will easily master drawing with crumpled paper and will be able to supplement this technology with your inventions with each new drawing.

Who is this technique 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 smallest artists, this method is a great opportunity to develop fine motor skills and learn something new, instill a love of art. Thanks to such an interesting and even funny way of drawing, the kid will be able to learn to better distinguish and memorize colors, create vivid images with the help of parents. So, for example, young children are very often helped in creating a picture as follows: they draw a thick outline of a bright color and invite the child to carefully fill it in using crumpled paper.

Drawing with crumpled paper: master class

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

• It is highly discouraged to use newsprint (even glossy) to create a picture, it can break up into small pieces, stick to the canvas and leave dirty stains from printing.
• Try to shape your paper balls into different shapes, squeeze them differently each time to create an unusual and varied pattern.
• 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 in different techniques. Crumpled paper drawing techniques 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. It is this drawing technique that can be a great start for the development of a baby's talent. A picture made in this style is filled with an indescribable atmosphere of lightness and airiness and can decorate any interior.

Unconventional drawing techniques for older preschoolers.

Crumpled paper drawing technique.

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

Goal: acquaintance of children with the technique of drawing with crumpled paper.
Tasks:
- Development of creative abilities in preschool children;
- To cultivate respect for 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 fun drawing technique that gives little pens a lot of creativity and freedom, even getting ready for a lesson. The paper lumps, with which the work will actually be done, can be made by children with pleasure.

Stages of work:

1. Take a few sheets of paper and crumple into lumps.

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

3. Dip the lumps into plates of paint and press the lumps to a sheet of paper, leaving prints in the form of clouds and grass. You can draw the contours of the desired image in advance, and then seal it.

4. Dip the lumps in red paint and leave traces on the paper in the form of poppies.

5. We add the contour to the blades of grass in the field.

6. We finish our work.

The work is ready!

How to draw a crumpled sheet of paper ..... Well, dear admirers of such an interesting, but quite demanding science, drawing, now there will be a task that is not pleasant, but very, very useful. I really understand how you will feel now. This exercise is just highly recommended from time to time and art students go through it more than once. The exercise allows you to develop an eye, to consolidate the material passed through, and it is very clear from it that at what stage of "drawing development" you are now. Simply, you see what you already know how. Today you are doing the exercise for the first time, I hope not the last - it's up to you.

Well, tuned in? Tune in very strongly. 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 are difficult, you can draw crumpled cardboard for a start. There will be fewer kinks and the planes of the kinks themselves are not small.
Crumple a sheet of A3 cardboard a little and lay it beautifully in front of you. Look: each face resembles a face of a cube - and we have already learned how to draw the cube itself and rotated 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 is. In a nutshell and very simple. When you look at a still life with a pencil stretched out in front of you - turning it horizontally and vertically, you measure against the "line" of the pencil. Define conditional angles. This is how your eye gauge doesn't work. The eye meter is your visual skills, something that only your eye remembers and analyzes. Your eye sees the relationships in front of you and helps you transfer them to the paper. But with the help of a pencil or other handy means, you are only checking yourself. Additionally, there is still material - how to develop an eye.

Here is a photo of what we need to convey on paper. Let's get to work. And, probably, we will try to make everything as clear as possible and start, nevertheless, again, with a simple one. First, take a small sheet of white cardboard, I take a thick Whatman paper. Crumple 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 paint on a piece of wallpaper about A3-A2 size. You don’t need to pull the paper over the tablet yet, just clip it to your easel. Also, you should sit so that the easel is to the right of what you are going to portray. Otherwise, you will block the painting with your hand (for right-handers). For a left-handed person, the opposite is true.

So, arrange the sheet of paper in paper space. Since we are already starting to draw such a "still life", that is, to draw from nature, it is imperative to show object plane... Our sheet of paper doesn't hang in the air, does it? It is located on the table-object plane. Find the place of the sheet on the object plane with a total volume - height, width, general outline. Then designate our subject more specifically, checking the volume of paper on the table and in your sheet for correspondence, and find a place for the largest planes and corners, along the bends of your cardboard. It is best to find proportional relationships using conditional three points. Draw not pressing hard with charcoal on the paper, take care of the light - learn to make a clean drawing little by little.

After you have found the basic volumes and basic proportional ratios of the planes and faces of the crumpled cardboard, you can select smaller kinks and planes.

Already only after all this work done, we begin to lay down the stroke - to separate the light from the shadow with the help of hatching. As well as with the cubes that we rotated in space, the same drawing principle remains here as well. Separate the shadow from the light. Give the entire shadow part of the crumpled cardboard a stroke - you have already learned a little how to lay down a stroke. I begin to designate the darkest shadows - falling 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 picture. Then I put a stroke on the rest of the shadow part. Here, we marked the shadows, separated the light from the shadow. At the corners and intersections of the planes, there is always tension - make accents in these places.

Next, you analyze the light-and-shadow relations in the same way as with the cubes in lessons 1, 2, 3. The near faces and planes to us will be emphasized more strongly, the far ones weaker. Kinks that are closer to us will be highlighted more. So it is with shadows. The shadows closer to us are darker, those that go into the air, into space are weaker. Draw. A special attitude to 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 hard on the coal rod. Don't redo the work. If you have redrawn, smeared the work and do not 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 will become darker. And the farther 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 lit, the background - the wall will be in shadow. But not in such an active one as the shadow of the object plane - the break of the table. If you project onto a cube, then the darkest shadow of the object plane will be the shadow side of the cube.

The same will happen with a crumpled piece of paper. Kinks - as the edges of the cube will be highlighted, the corners are active, the planality of the edges is clearly defined - the near ones are more active, the distant ones are weaker. Chiaroscuro will be distributed according to the shape of the subject sheet. The light on the object plane will be the most active, as it is closest to the mothers. Moving deeper into the space of the sheet, the light becomes weaker, but it will always be lighter than any shadow.

Now let's see what I got:

So with a soft material, in this case, you can draw a crumpled sheet of paper with charcoal. Now let's analyze what I did ...
Do you see mistakes? Who said I don't see? The foreground is highlighted, that's understandable. The edges and sides are visible, the accents are highlighted. But that's not all.
Let's analyze the errors! I want you to learn to see mistakes. In this case, mine, and then you will disassemble your own on the example of mine. We look at the pictures below and analyze:

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

How does it look like? How are things with my eye gauge? No way. We disassemble:
1. Blue shows that the object plane was not found.
2. It is shown in red that I have problems with the transmission of light (the light receding into space darkens).
3. Green shows how the main planes were found.
4. Yellow shows how the most visible near and active corner is 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 either - to find the object plane and the main proportional ratios of the crumpled sheet (height-width). Everything else has already gone wrong. And the conduct of the work itself is not true.

Now take some rest and look at your work. Analyze everything the same way. You can use handy tools (pencil, ruler) to determine the correspondence of sizes and proportions. You can control and correct the work of the eye.

We draw a still crumpled sheet of paper - think, analyze and try

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

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

When you determine the place in paper space for all planes and bends-kinks, in other words, you will find the "experimental" design, a constructive beginning, then take a little rest. After a while, look at the work again - maybe you need something to fix. Proportions, proportions and proportions again! Until the proportional ratios of the main parts of the composition and their details have been found, it is impossible to proceed to shading.

2. Already the second stage will be the shading of all the shadows present in our composition with one character, a crumpled sheet. Take and separate all the shadows from the light. With a stroke of one tonality, lightly, analyzing the form, on which planes the light will fall, and which ones will be in the shadow. If the stroke is difficult to lay down, then you can make short strokes, like mine. Fill all surfaces with them, which one way or another, stronger or weaker, but will be in the shade.

Here I begin to put a stroke on the largest surfaces - the wall, that part of the object plane that is in the shadow. Note that this resembles a cube structure. The object plane is the face of the cube that is in the light. The wall is in partial shade, then a break in the object plane, which will be in the shade.

Now I put a stroke on the 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 hatching. If it's hard to get the stroke straight, lean your little finger lightly on the tablet, or support your hand under your elbow, but don't lean with the back of your hand on the paper.

3. Next, we will try to show how light will behave in our conditional paper space. Let's take again for the largest and most basic surfaces. Our table is the 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 it recedes into space, the light gradually fades out, fades away. So we leave the lightest what will be closest to the light source. And everything else will go out, darken. Moving away from us to the wall, the object plane will go into the air and lose light... Moving away from the light source, the object plane will also receive less light and, naturally, darken.

Then we move on to the wall. The wall is in partial shade. In any case, if side factors are not affected, 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 we turn to the darkest and most saturated shadow - a break in the permeted plane. This area will not be lit in full shade. But naturally, we will not make it black. So it is impossible, this very dark shadow can be influenced by a lot of factors that allow the darkest shadow in our composition to be lively, airy, transparent. But, as before, the darkest. And let that part of it, which is opposite our eyes, be of the darkest tone, and those parts of it that leave us to the sides lose their strength a little. 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 difficult, especially at first, to create such dark shadows with this hand position. For this very purpose, I authorize you to take a pencil so to speak "native", as you write, and put a stroke of such power, which is worthy of this shadow. But moderately, of course. Do not make a hole;)

I also want to add something. If you've visited the page on color science, then you already know how color behaves in space. We have no color here. But there are clear, unshakable laws in both painting and drawing: the light goes dark, goes out. The receding shadow brightens... But! The darkest tint in the light is still lighter than the lightest tint in the shadow.

In general, as it is considered better, the work must be carried out at once "on all fronts." How to diffuse your vision, immediately perceiving all the work, and to draw not in detail, but to draw, affecting the object plane, and still life objects, and drapery ... This way the drawing will turn out to be whole and so it is more correct to convey light-and-shadow relations. But here we will set the main "atmosphere" in the sheet for now, and then we will subordinate our hero - "experimental" to it. This makes it easier to understand in what tonal "frames" it will be.

Here, now we outline the falling shadows. There will be two of them, one from the overhead lighting, the second from the side lighting, and they beautifully overlap each other, strengthening themselves. Look, when the shadow is closer to us, where it starts, there I make it darker, more active. Moving away, it becomes softer, a little lighter. By the way, this is how it turns out to be "put" on a plane.
The falling shadow will be dark, the darkest of all, except for the shadow of the object plane, where both the falling and its own are superimposed on one another.

4. The space in the sheet is set, the power of the pencil is exhausted, we understand in what tonal gradation the subject will be. Next, we deal with the crumpled sheet itself. Note that the general 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 to find their sizes, turns, slopes is our task. We just try to constructively disassemble the subject, conveying all its nuances with light and shade.

We make accents on the breaks of the shapes, select the corners, and mark the intersections of the planes. Since the light falls in shape, so we also try to lay down the stroke in shape. In general, we analyze more, copy less.

Here's a drawing we get. Much better than the first time, right? The only thing that I have not touched on here at all is glare. But now it is not necessary. To be honest, this is not an easy task for a beginner. But the one who withstood and finished it, even if it didn't work out very well, received the very necessary skills and grew one step, no doubt.
Well done!!!