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Creating pencil drawings for beginners may seem difficult and impossible. But believe me, it’s quite simple, even if these are the very first drawings in your life. Before explaining the whole process, how to do pencil drawings step by step, it is worth plunging into history.

A little history of the appearance of drawings

Since the sixteenth century AD. graphite pencil began to be widely used by people after, by chance, natural graphite was discovered in the town of Cumberland, England, in places where trees were torn out by a hurricane. Subsequently, the evolution of the use of this material led us to such an interesting drawing tool as a pencil. It received its name from the Turkic families of languages, where “kara” means black and “dash” means stone. And although this tool was previously used only for drawing sketch lines and outlines of a drawing, today you can see beautiful drawings pencil, which depict 3D illustrations, portraits of world-famous people, tattoos, graffiti, animals, etc. Of course, there is a big difference between how to depict a monosyllabic figure, for example, a ball, and how to depict a person’s face with certain emotions . After all, this is a matter of professionalism. But any beginner can create noteworthy illustrations if they start by doing pencil drawings step by step, step by step.

How to draw eyes (video)

What is useful for drawing with a pencil

To get started using the tool, a simple hard pencil, black pen and soft pencil. The pen is used to highlight deep shadows and blacker details of the drawing, for example, if you are drawing a bird, then the eye will need to be highlighted with a pen. To shade the strokes, use ordinary scraps of paper, which are used to rub the drawing and the individual strokes merge into shades gray, giving naturalness and life to the picture.

Why Pencil Drawings step by step?

Unlike oil, pencil can always be erased and corrected. Therefore, drawings begin to be made from primitive figures. To draw a face, draw an oval that describes the outline of the person's head. Then proportionally divide it into seven parts from the chin to the top of the head. And then the lips are marked with strokes, which start from the end of the lower part. The tip of the nose is drawn at the end of the second part, and the eyes are in the fourth part of the face. But for a professional portrait artist who draws with a pencil, there are other guidelines. They know that between the eyes of each person exactly the same eye could fit, and no more and no less. What unit of measurement of proportions can you take the width of the eye, and this will be the same distance as one of the seven parts into which the oval of the face is divided.

What difficulties may await us?

One of the complex objects is the human hand. There are entire books that describe how to do something like this. pencil drawings step by step. But if you understand the technique, it all seems quite simple. The palm is presented as a flat square shape, slightly curved outward. Draw the same semi-square fingers, consisting of separate segments. Then everything is softened and rounded, shadows are applied, shaded and voila - the picture is ready

Where to start drawing with a pencil?

Of course, if you just want to learn how to draw a little, you can start with animals.
To draw a rabbit, you can limit yourself to three ovals. Of which a large oval is the body, a small oval inside the large one is the hind leg and another one is the head. The same method can be used to depict many of our smaller brothers.

An important step on the path to quality pencil drawing

An important step on the path to high-quality pencil drawing is shading and subsequent shading. Circular shading, which is done in small circular motions, works very well for drawing skin and various similar textures. There are also long and cross hatches, the names of which speak for themselves. Rough shading is applied with a pencil lead sharpened with a spatula and is suitable for sketching and painting large areas. Well, black shading can be applied in different directions with very soft pencils, such as 6B, 7B. It is needed to depict the strongest shadows.

How to draw a 3D drawing (video)

How to Feather Hatching?

You can shade the shading, as mentioned above, with a piece of paper. But there are other ways. For example, a finger, a makeup brush, a rolled piece of paper with the tip cut off, and even an ear stick! What can experienced artists of this genre do?

Completion:

So, from the steps considered, the following can be distinguished: selection of the theme of the drawing, schematic representation of the object using primitive figures, shading and subsequent shading. And you can be sure that over time your experience will increase and professional shading tools can replace a simple pencil and improvised shading tools. Who knows, maybe in this genre you will become a great artist, and the whole art world will recognize you!

Tasks.

  • Give the concept of historical genre in fine arts and determine the reasons why artists of different times and peoples turned to historical themes, and determine the significance of works of the historical genre.
  • Develop skills and abilities when working with graphic and pictorial materials in the process of creating a sketch on a historical theme.
  • To develop an aesthetic attitude to reality, an emotional and value perception of artists’ works and respect for the work of masters.

Equipment.

  • Reproductions of paintings, sculptures with images of works:
  • I. Repin “Cossacks write a letter to the Turkish Sultan”, “Barge Haulers on the Volga”, “Ivan the Terrible and his son Ivan”; V.I. Surikov “The Morning of the Streltsy Execution”, “Boyaryna Morozova”, “Suvorov’s Crossing of the Alps”, V. Vasnetsov “Tsar Ivan the Terrible”;
  • MM. Antokolsky “Ivan the Terrible” O. Rodin “Citizens of Calais”; P.D. Korin “Alexander Nevsky”; A. Deineka “Defense of Sevastopol”, Rembrant Van Rijn “Night Watch”; J.L. David “Oath of the Horatii” and others.
  • Samples of teacher's drawings and tables.
  • Children's works.
  • Musical fragments of works by M. Mussorgsky, A. Lyadov. Computer, projector. Presentation for the lesson “Historical genre. The process of creating a painting.”

(Annex 1)

  • Materials.

Paper, cardboard, pencil, brushes, watercolor, sanguine, sepia, wax crayons.

  • Exercise.

Sketches and sketches for creating a collective composition on a historical theme.

Lesson plan.

Lesson 1

I. Organizational moment.

II. Announcing the topic of the lesson. Defining lesson objectives.

III. Historical genre in fine arts. Acquaintance with new material, conversation with viewing of the presentation.

IV. Discussion of artists' works. Fine analysis of the composition of the painting.

Lesson 2

II. Practical work

Teacher showing techniques for working with graphic materials

Students create an idea sketch on a historical theme.

III. Viewing and discussing the work, summing up the results.

Lesson plan.

I. Organizational moment.

II. Announcing the topic of the lesson. Defining lesson objectives

III. Historical genre in fine arts.

The historical genre is dedicated to the depiction of significant historical events, phenomena, and military figures. Mainly refers to the historical past, but can also show recent events if their historical significance is recognized by contemporaries.

It is often intertwined with other genres: everyday life (historical and everyday images), portrait (figures of the past, portrait-historical compositions), landscape (historical landscape). But especially cramped historical genre closes with the battle genre, when historical battles (battles, battles) and military events are shown.

The historical genre can be represented in painting, sculpture and graphics ( students look at reproductions, illustrations in books, presentation slides, the teacher names the authors and names of paintings and sculptures). (Annex 1)

The origins of the historical genre go back to ancient times, when memories of real events were intertwined with folklore fiction and myths. In Ancient Egypt - reliefs and wall paintings on the themes of battles, campaigns, travels, victories of the ruler and his troops. In ancient Greece - mythical themes and images on vases, on reliefs, in Rome - relief images of scenes of military triumphs. In medieval Europe, religious subjects were viewed as historical, and real events were given a sacred meaning (drawings of carpets, miniatures).

The historical genre itself began to take shape during the Renaissance in Europe (14th-16th centuries), which was facilitated by the entire culture of humanism and the awakening of interest in historical knowledge (wall paintings depicting battles and real events).

By the 17th century, genres in art had already taken final shape (especially with the advent of easel art) and the historical genre took a leading position in classicism. The opinion has been established that this genre is high, including both historical subjects and religious-mythological subjects. The compositions represented ancient heroes and ruling monarchs ( display of reproductions.).

In Russia, the historical genre developed in the 18th and 19th centuries. and was associated with the emergence of secular art, historical science, and educational ideas. A special role belonged to large thematic paintings, sculptural monuments and portraits on the theme of the War of 1812. Outstanding masters of historical painting were K. Bryullov, V.I. Surikov, I.E. Repin, V.M. Vasnetsov, N.N.Ge and others ( display of reproductions).

In the 19th and 20th centuries, artists in works of the historical genre reflected the events of many revolutions, the fight against fascism, and the events of liberation movements in different countries

(O. Rodin, P. Picasso, M. Grekov, A. A. Deineka, P. D. Koretsky, etc.) (Annex 1)

IV. Discussion of artists' works. Fine analysis of the composition of the painting.

Works of the historical genre give us the opportunity not only to see the past, but also to experience it and become a participant in it.

Three works of historical genre: sculpture by M.M. Antokolsky “Ivan the Terrible”, a portrait of V. Vasnetsov “Tsar Ivan the Terrible” and a painting by I. Repin “Ivan the Terrible and his son Ivan”.

They show us one person, Ivan the Terrible, in different life situations, depicted from different positions of the authors of the works.

In the portrait of V. Vasnetsov he is a great tsar, a ruler, a powerful man, but in the painting by I. Repin the tsar is frightened and gripped by horror. This can be seen in facial expressions and gestures.

This is no longer a ruler and autocrat, but simply a man, a father who, under the influence of emotions, committed the murder of his own son, realized it and repented.

The picture shows a terrible scene, but calls for mercy and kindness.

This is the great power of art: to reach the human soul through contradiction and convey a call for kindness and compassion.

The next work is a sculpture by M.M. Antokolsky “Ivan the Terrible”. Here the hero seems tired, aged and no longer so formidable. Here is another image of the king (although his hand is still clenched into a fist), he is with his head bowed, aged, in thought.

Three works and three different images one man. The power of art helps us understand not only what is depicted and how, but also to think about ourselves and our actions.

Why do artists turn to historical events?

All paintings depict real historical events. It is very interesting for artists to travel around the world and through time. The viewer, together with the artist, also begins to travel and learn how people lived, what events took place, what they fought for and what heroes there were, what things and objects surrounded people, they learn about architecture and nature. In addition, the artist conveys to the audience his own opinion and attitude towards the depicted event. We feel this through the characters of the characters in the picture. The whole image seems to be alive, and we experience the past as if in life. We see people, their relationships, we think about the meaning of events, the meaning of victories and defeats, about why people perform feats. And people suffer and perform feats in order to protect their loved ones, country, homeland. Such people are heroes, you want to imitate them, to be as brave, courageous, and decisive.

With their works, artists teach us kindness, courage, heroism, and the beauty of human actions. Each painting and sculpture conveys to us not only real historical events (although this is also important), but also an image felt by the author (subtext), which often speaks even stronger than the image: in composition, in movement, in color.

IV. Discussion of artists' works. Fine analysis of the composition of the painting.

I. The process of creating a work of art. Stages of working on a painting.

Let's remember how an artistic image is created. Once again we are convinced that the artist seems to “pass” the depicted event through himself, lives it and conveys to the audience something important about his time, about the relationships of people, about the meaning of life. Therefore, when we communicate with genuine art, we begin to feel the idea and intention of the author, begin to reflect, and often find answers to life’s questions for ourselves, learn mercy, courage, and compassion.

What is valuable in the art of the historical genre? Works of the historical genre give us the opportunity not only to see the past, but also to experience it and become a participant in it.

Where does the picture begin? How to create it?

You can take canvas, paper and immediately draw, paint in oils. But you might want to fix something, swap the pieces or make something larger. No, you can’t paint a picture right away. You need to prepare first. Everything needs to be thought through.

So, the artist has an idea - an image that the author has been thinking through for some time. The artist first embodies this image in quick figurative sketches in pencil, charcoal, and even color. This is the first impression that the author wants to capture in order to further develop it into a whole picture. There may be several such sketches-images. Next, the author makes a sketch-idea, a sketch-image. There may also be several such sketches, because the artist is constantly looking for a better, more expressive material embodiment of his invisible image. The author can change the places of figures and objects, bring something to the fore, and push something into the background, that is, he is looking for an expressive composition. But in the process of work, this option can also be corrected and remade, because the artist’s internal representation changes. Changes can also be made in the composition - in accordance with the plan, idea. Always remember the diversity of any situation.

The artist needs to know what the characters look like, what they are wearing, what they are holding in their hands, what surrounds the characters in the picture. It is necessary to collect a lot of material and carry out a lot of search work:

  • study material culture time, what makes the picture convincing ( Houseware, weapons, costumes, architecture);
  • find images of the characters in the picture (sketches, sketches, sketches from life);
  • find suitable landscapes, interiors, architectural fragments related to the chosen topic, that is, the historical background of the picture.

Such work can last for more than one month, even more than one year.

After collecting the material, the artist collects and summarizes his information into a composition - a developed sketch is born, which can also be further developed by the author (showing materials for the painting).

Now, based on the sketch, the master creates a picture, thinking through color, lighting, contrasting comparisons, and composition.

The work of some artists on their works sometimes takes several years (V. Vasnetsov, I. Repin, V. Surikov). Even in the final process of creating a painting, the author can make changes to the canvas in accordance with the vision of his idea.

So, the process of working on a painting may contain the following stages:

1. Sketch – an image of a future painting, which the artist saw with “inner vision”.

2. Study of the material culture of time.

3. Search for images of heroes.

4.Search for the environment in which the action takes place.

5. Sketch-composition.

6.Work on the final product.

This is not the final stage yet. For whom is the painting being created?

Of course, the audience should watch the work; it will definitely leave a certain mark on the soul. Of particular importance is who the author depicted and with what feeling; what is important is the artist’s attitude towards what is depicted.

The great power of art helps us understand not only what is depicted and how, but also to think about ourselves and our actions.

II. Creative task. Working on a composition sketch.

Today we have to create a sketch-idea for your future painting. We will listen to the music of M. Mussorgsky, and our imagination will suggest the plots of the works.

We remember that you can combine the historical genre with other genres in a sketch, create a historical portrait, a historical landscape, or create a sketch with a historical, everyday or battle plot.

You can use graphic materials (sanguine, pencil, felt-tip pen), use the expressiveness of the wax crayons technique in combination with watercolors.

Music plays, the teacher shows techniques on the board.

Students get to work.

Walking around the class, the teacher helps students choose the subject of the drawing, explains, complements, and helps.

After completion of the work, sketches on a historical theme are placed on a stand.

III. Viewing and discussing the work, summing up the results.

Artists are always interested in history. Art gives both the artist and the audience the opportunity to visit the past. But it is very important that you can not only find out how people lived in the past, what surrounded them, but also experience these events together with the author, feel the character, emotions of the heroes, their inner world. The works of masters always teach us to distinguish between good and evil, to empathize with heroes, teach mercy and compassion, call us to heroic deeds, and inspire us to do nobler deeds.

Children's work is evaluated, after which students can use the completed sketches to collect material for a collective work on a historical topic.

Information sources:

1. A story about Russian painting. G. Ostrovsky. Moscow. “Fine Arts”. 1989.

2. ABC of Russian painting. N. Astakhova, L. Zhukova. "White City". Moscow.2007.

3. Man in world artistic culture. Yu. Solodovnikov. 8th, 9th grade “Enlightenment”. Moscow.2005.

4. Russian artists. V. Artemov. “Rosman.” Moscow.2003.

5. Fine arts. O. Pavlova. Manual for teachers. 7th grade “Teacher”. Volgograd.2006.

7. Fine arts. 5-9 grades. Software and methodological materials. Ed. B. Nemensky. "Bustard". Moscow.2012.

8. Websites: www.bibliotekar.ru, www.museum.ru, www.iskusstvo.info.

Derived from the Italian word "istoria" ("descriptive"), the term "history painting" refers to any painting with heroic, religious or historical content. The plots of the paintings are based on real events, mythology, and biblical texts.

Initially, religious subjects dominated in the fine arts - during the formation of this style of painting in the Renaissance, the most popular were evangelical and biblical themes.

Paintings by Surikov, Repin, Gericault, Rembrandt and other artists depict events important for the development of humanity, culture and social consciousness.

Main stories

Religious

Any paintings with religious subjects, regardless of affiliation with a particular religion (Christian, Islamic, Hindu, Buddhist, Jewish or tribal religion). Christian subjects cover the period from the beginning of our era to the present, distinguishing the art of the Reformation and Counter-Reformation and other subtypes.

Mythological Pictures illustrating mythical story

, legends. Popular topics: Greek deities, creation myths, Roman mythology and pantheon of gods.

Allegorical

Pictures with hidden meaning. On the canvas, one object or character symbolizes another.

Literary

Historical Canvases illustrating real historical events with a high level of accuracy and authenticity. Special attention

pays attention to details. A prominent representative of the direction is the Russian painter Vasily Surikov.

History of development

In his treatise On Painting, Italian Renaissance artist Alberti identifies the historical genre with the representation of saints and other biblical figures to demonstrate moral struggles, historical events related to the development of religion.

Renaissance

According to the tradition of the Renaissance, history painting aims to raise the moral level of society, ideal for the decoration of public spaces, churches, city halls or palaces.


Almost all artistic events in Italian pre-Renaissance and Renaissance art can be interpreted as prerequisites for the development of the direction of “history painting”:

During the Renaissance, the main features of the “historical painting” direction arose - great attention to detail, monumentality, scale, and the use of religious themes as the main one in the work of artists.

Renaissance


Of the Baroque artists, Peter Paul Rubens clearly represents the historical genre. The main plots are mythological. Italian artist Caravaggio is known for his realistic religious paintings. Velazquez and Rembrandt are the authors of paintings on religious and mythological themes.

Baroque

In the Baroque era, the historical genre is represented by the works of:


In the 18th century

The historical genre of the 18th century is characterized by features not characteristic of previous eras. This period became a turning point in the development of painting. Artists sought to move away from academicism, looked for new themes for canvases, and chose minor events as subjects for creating paintings. The development of the movement was influenced by the dogmas of classicism and baroque.

Examples of 18th century works:


The decline in the importance of the direction is noticeable in the 19th century. Artists sought to dramatize art, not ascension moral standards. The development of the movement was most influenced by romantic and classical styles. The themes of the paintings became narrower - the masters moved away from extolling large-scale events and religious subjects.

The French artist Eugene Delacroix was the most energetic of the romantic painters - his canvases clearly demonstrate romanticism in painting. The works of Ernest Meissonnier, made in a strict academic style, are popular. Adolf Menzel became famous for his depictions of scenes from the court of Frederick the Great.

In the 19th century

The art academies of the 19th century sought to restore historical fine art to high status and importance in strengthening moral standards.

The great artist of the 19th century in France - academic teacher Gustave Moreau, famous for his works on mythological themes. In England, George Frederick Watts was the best of the Victorian painters - a prominent representative of the allegorical type of historical fine art. In America, the movement was supported by the German-American painter Emanuel Gottlieb Leutze.

Examples of 19th century paintings:


In 20th century

The 20th century brought changes: revolutions, wars, crises broke the value system. Fine art was marked by innovations - abstract painting styles and avant-garde movements appeared. In the 20th century, the direction was no longer ascribed special moral and cultural significance. The historical genre became a resource used by artists to demonstrate the seriousness of their work. New themes - Celtic, Scandinavian mythology, ideological, propaganda, ideological painting.

Works of the 20th century:


In Russia

Russian historical painting is famous for the works of Vasily Surikov, Ilya Repin, Vasily Polenov. The movement was developed in the 18th and 19th centuries by realist artists from the Itinerants association. The most popular are mythological and historical subjects. The formation of the direction is associated with the formation of educational ideas, which were propagated by the Academy of Arts. Surikov and other Russian painters worked in the styles of realism and classicism.

Most of the paintings by Surikov, Ugryumov, Ivanov, Losenko are large-scale, detailed, executed in accordance with all the traditions of academic art.

The representative of Russian fine art is Vasily Surikov: “Morning Streltsy execution", "Boyaryna Morozova", "Capture of the Snowy Town", "Suvorov's Crossing of the Alps". Features of the works: monumentality, a significant number of characters on the canvas, dynamism, use of natural, dark tones. Surikov’s paintings are the most representative example of Russian historical painting.

The meaning of genre

The historical genre of the late 20th - early 21st centuries is developing in the paintings of artists - representatives contemporary art. Fine art gravitates towards abstractionism, thematically – towards the current problems of humanity. The direction allows painters to express their opinions on events in the world, changes in politics, economics, and culture.

Works of historical painting cannot be confined within clear boundaries dictated by genre. In some cases, a portrait, landscape or everyday scene rises to the level of historical generalization, thus becoming painting historical content. For example, it is quite difficult to accurately classify paintings such as “ Ceremonial portrait Peter I” by Nattier, “ Procession in the Kursk province”, written by I. Repin.

On the one hand, this is just a portrait and an everyday scene, but on the other hand, these canvases reflect real historical events. The origin of historical themes in Russian painting began with icon painting. It is on icons that religious subjects are often intertwined with genuine historical events. An example of such icons can be “The Miracle of the Sign” (second half of the 15th century) with scenes of the defense of Novgorod or “The Militant Church” (mid-16th century), which recreates scenes of Ivan the Terrible’s campaign against Kazan. The book miniatures of the “Facebook Chronicle” and “The Life of Sergius of Radonezh” demonstrate a gradual transition to a realistic description of historical events, which in these works act as a semantic dominant.

In Russia, the emergence of historical painting as an independent genre of fine art should be dated back to the second half of the 18th century. This was due to the creation of the Academy of Arts in St. Petersburg. The first creations of the masters of the Russian historical school of painting were extremely distant from historical truth. Often, only the title of the painting (usually extremely long) helped to establish which country and time the depicted event was related to. Let's consider the painting by I. Akimov “Grand Duke Svyatoslav, kissing his mother and children upon returning from the Danube to Kyiv” (1773). On this canvas, the prince is dressed in antique armor and a rich helmet, and the children are depicted in tunics, and, of course, there is nothing actually historical (except for the fact of the return of Prince Svyatoslav) in the picture. The same pseudo historical direction The work by A. Losenko “Grand Duke Vladimir informs his wife Rogneda of the victory he won over her father Rogvold, Prince of Polotsk” (1770) is different. This painting contains the same lush clothes and draperies, theatrical poses borrowed from classical tragedies popular in those days. However, over time, significant changes have occurred in the traditions of the Russian historical genre. This was facilitated by the approval of new aesthetic ideas and the direction of realism.

Home distinctive feature The new stage is that real events are conveyed in the film with a high degree of historical accuracy. Paintings by K. Flavitsky “Princess Tarakanova in Peter and Paul Fortress during the flood" (1864), I. Repin's "Ivan the Terrible and his son Ivan" (1885), N. Ge's "Peter interrogates Tsarevich Alexei" (1871) are rightfully considered the brightest examples of a new stage in the development of the historical genre in Russia. The crown of Russian historical painting is the work of V. Surikov. Its worldwide famous works“The Morning of the Streltsy Execution” (1881), “Boyaryna Morozova” (1887), “The Conquest of Siberia by Ermak” (1895), “Suvorov’s Crossing of the Alps” (1899) have a tremendous impact on the viewer. Each of these paintings touches on a huge layer of Russian history and forces the viewer to think deeply and seriously about what he saw, and not just look at the image in admiration.

Since the beginning of the 20th century historical theme in the works of Russian painters acquired a symbolic interpretation. But still, the traditions of realism in the Russian school of painting were so great that even such adherents of romantic fiction as A. Benois, K. Somov, M. Vrubel and N. Roerich in their “court scenes” and “ historical landscapes" relied on everyday realism and a sense of the originality of the depicted time. The historical genre of painting in Soviet fine art acquired a completely new character. At this time, the clearly expressed ideological component of the plot becomes the fundamental criterion of the master’s creative doctrine.

This period is most vividly characterized by the works of I. Shadr “Cobblestone - the Weapon of the Proletariat” (1927), A. Gerasimov “Lenin on the Tribune” (1929), A. Deineka “Defense of Petrograd” (1928), B. Ioganson “Interrogation of Communists” ( 1933). The depiction of events of the distant past by artists was not encouraged by employees of the state apparatus. And only during the Great Patriotic War the patriotic enthusiasm that gripped the entire people pushed painters to create monumental paintings in which valiant moments in history were glorified Ancient Rus'. Paintings by P. Korin “Alexander Nevsky” (1942), M. Avilov “Duel of Peresvet with Chelubey” (1943), A. Bubnov “Morning on the Kulikovo Field” (1943) are deeply imbued with courage and civic pathos of heroic events. However, in subsequent periods, the traditions of historical painting in Soviet fine art, freed from ideological dogmas and norms, were again lost.


We decided to devote today's lesson to a real medieval knight.

Everyone knows that a knight is not just a warrior who fought dragons in the medieval epic and often came into contact with others fairy-tale characters. Just like the Japanese samurai, knights are bearers of the title of nobility. The knightly class had a very great influence on the entire history of Europe; many men from various social strata dreamed of becoming a knight in the Middle Ages.

The greatest chances of becoming a real knight were among representatives of rich noble families, whose members became famous for their devoted service to the king, or for special military merits. History buffs will definitely notice the Templar cross on our knight - we chose it for a reason, because this particular order is one of the most recognizable in the entire existence of knighthood. So, we are starting a lesson on how to draw a knight step by step for beginners, with a pencil!

To begin with, we want to demonstrate many different examples of drawing knights, and then we will tell you in detail how to draw one of them.

For convenience, you can use the content

The easiest way to draw a knight

Knights from an old drawing book :)

Rider on a horse

Quentin Dorward

Knight with shield

Goblin

Sixth drawing option

Russian warrior on horseback

And one more option

Now let’s draw it step by step

If you have already read the examples above, then it’s time to move on to a more detailed discussion of “How to draw a knight?”

Stage 1
You start with a stickman - a special man made of sticks and circles, which is drawn to indicate the pose and basic proportions. A little about the proportions of the human body - the length of the body should be equal to seven heads. The size of the foot is approximately equal to the height of one head, the distance from the top of the head to the hips is usually equated to three heads. By the way, the height of the human head in all artistic manuals is the main unit of measurement of all body proportions.

True, we digress from the stickman. Be sure to pay attention to the proportions, especially the head. It should appear much larger than a human head, since the knight’s head is wearing a voluminous and massive helmet. The warrior’s pose itself is quite simple, it does not involve any sharp actions or lunges - one arm is bent (the angle is slightly sharper than a straight line), the hand is located on the hilt of the sword, and the second holds a spear with a flag and bends very slightly.

With legs everything is very simple. They bend at the knees slightly and are in a completely natural position of a person who stands straight and does not strain his legs to give them straight position. It is important not to forget about two important lines - facial symmetry and eye symmetry, outline them and move on.

Stage 2
At this stage, you will add volume to the arms and upper torso, following the lines of the stickman as a guide. Outline body parts in the form of modified cylinders. This will help you in the future to accurately draw all parts of the knight’s body. In general, in further steps you will draw only the shape of the armor, since, in fact, they hide the entire Templar from head to toe.

Stage 3
Repeat the steps of the previous stage, but regarding the legs and belt of the knight - make them voluminous. The waist area is essentially a triangle, and the thighs of the legs look like cylinders. Don't forget to also mark the knees with flat ovals, then draw the calves, feet and move on to the next stage.

Stage 4
Now work on the fabric. We are talking about the knight's mantle, as well as the elements of the robe that are on the belt and cover his legs to the knees. First, give the mantle some general silhouette, and then draw the folds. Do this using natural and smooth lines.

Remember that you are depicting in the picture a kind of light wind that blows the knight’s robes. Don’t forget to also mark the folded part of the mantle that covers the folded part. left hand. A little more work with fabric - draw a surcoat (a piece of clothing covering the legs and torso). Also at this stage, you throw on a sword, the handle of which is actually completely covered by the warrior’s hand in a mitten.

Stage 5
You have a ready-made silhouette of a warrior, and from this stage you can begin to draw it in detail from head to feet. First, draw a horizontal seam at the very top. Next, give the shape of the helmet a finished look. Then, based on the two perpendicular lines from the first steps, draw the vertical seam, as well as the holes for the eyes that need to be painted.

You complete the stage by drawing small holes at the bottom of the helmet. Be sure to pay attention to their uniform size and orderly arrangement.

Stage 6
Great, now detail the upper torso and arms. First, erase the guide lines from the previous steps in the area of ​​the right arm and chest. Draw a cord with two buckles slightly below the throat - this will be the clasp of the robe. Draw curving smooth lines from it. They indicate folds of fabric that are secured with a clasp.

On the left, the mantle will fall down, and therefore the lines should gradually move to a vertical position. But again, extremely smoothly. Notice how the cloak fits the warrior's left forearm and mark this with folds. Also at this stage, draw the spear - it consists of a thin shaft and a tip that looks like a somewhat elongated diamond.

Stage 7
Erase all the auxiliary lines from the previous steps on the torso and draw a cross with flared ends in the center of the chest. On the fabric of the robe, mark several folds that should run diagonally, from the armpit to the stomach. The belt tightens the warrior's robe, and his right hand is raised, so the folds will go from the belt up, and also towards the right hand. Draw another cross on the left side of the cloak, but do not forget to take into account the folds in the fabric. Draw the belt, the sword sheath in the belt strips and the left gauntlet.

Stage 8
We devote this step to the folds on the fabric of the mantle and the lower part of the robe, which covers the legs of our knight. So, first of all, we align the stripes and erase all the unnecessary auxiliary lines. The folds should indicate the position of the mantle, which hangs freely from the right shoulder, which means they should be vertical and relatively long.

Please note that only one fold, which is located near the edge of the mantle, bends strongly; the rest look like smooth lines. In addition, at this stage you will need to erase the guide lines from the top of the legs and draw folds in the fabric in this area. Draw them with slightly curving lines in the direction from the waist to the knees.

Stage 9
Now you need to draw the legs from the knees to the feet. Actually, here you just need to give the legs a finished look, draw a couple of lines on the knees and mark the spurs. The chain mail fits quite tightly on the legs, and therefore try to convey the entire shape of the legs as correctly as possible. Draw the lower part of the clothing, sagging from the back. All that remains is to draw a flag with a cross flying on the shaft of a spear. Don't forget about the folds that go from bottom to top.

Stage 10
Actually, the knight is already ready, all that remains is to work with the shadows. You start, as always, with the head. In this case - from the helmet. First, shade the darkest areas with vertical strokes, while trying to outline the cylindrical shape of the helmet. Pay attention to the light stripe at the bottom of the helmet; it should be marked and left practically unpainted. Now use lighter strokes to indicate the transition from shaded areas to light ones. These transitions should be natural and smooth.

Stage 11
Continue painting the warrior and at this stage you will work on the limbs. It should be noted that the armor on the legs and arms must be drawn in exactly the same way. Look at your feet. This is what the first stage of shading should look like.

Cover the entire limb with very fine shading, in a criss-cross direction. After this, apply the darkest shadows and mark the transition from them to the light areas as you did with the helmet. Don't forget also about the shadows from the mantle on your arms. They should be especially thick.

Stage 12
Now you need to draw the shadows on the legs. They are applied in the same way as on the hands at the previous stage. To add realism, leave narrow strips of reflex light (that is, light that is thrown onto the subject from a very bright surface of something) on ​​the inside of the lower leg in the area of ​​​​the calf muscles. Especially thick shadows will be cast by the surcoat fabric.

Stage 13
Well, there's quite a bit left. At this stage you need to work on the shadows on the mantle. It may seem to you that the step is voluminous and complicated, but this is not so if you correctly determine the direction and nature of the lighting. As you can see, the light falls on the knight from the side of his left hand. Therefore, almost the entire left side of his cloak should be illuminated. The areas of shadows that are created from the folds should be marked with light, barely noticeable strokes with a minimum degree of pressure on the pencil. It is necessary to outline the forearm of the left hand protruding under the warrior’s cloak, shading the edges of the convexity so that it looks illuminated and bright.

Avoid flashy and harsh shadows, as in drawing various comic book characters. Even the most shaded areas must be painted carefully and accurately. To make the shadow more dense, shade the required area twice - first lightly shading diagonally, and then another layer on top to make a cross. From the right, the cloak is visible only from the inside, and it should be heavily shaded. Also note the shadows cast by the mantle on the knight's body. They form a sharp triangle. Its top is located under the clasp of the mantle.

Stage 14
The last step is where you will cast the knight's shadow onto the surface and lightly shade the sword, spear and the section of the robe that covers the neck near the left shoulder.

It was a very difficult lesson. If you couldn’t cope with it the first time, then don’t be discouraged - track the stage where you made a mistake and be sure to try again. Leonardo da Vinci often said that any obstacle can be overcome by perseverance. So just try more and everything will work out.

Source this example: drawingforall.ru