Drawing sequence
At this stage it is not as important to get exactly and perfectly correct drawing as it is essential to follow the reflections and proper techniques. It is far more significant to learn how to grow aware of (think over) the entire sheet, the whole depictive plane as a single creative product, and build the whole image on it, on the entire sheet, instead of drawing all the items individually. In this case, the whole (overall) group of items is a single, integral image which should be properly linked together on the sheet.
Items (the plot) of the drawing define and form the space, showing the development (deepening) of the space in depth. The extent of projection of the black carton box forward is conveyed in the drawing correctly, giving the viewer a true idea of the depth in which the cube and the back of the still life are positioned.
Mentally tracing the slope of the inclined line of the edge of the box, we evaluate the depth of position of the cube.
It is important not only to draw but also to evaluate the drawing from the standpoint of the viewer (abstractive observer, not the drawer himself/herself) looking at the drawing in the process of drawing. The viewer should feel (find) the real, accurate depth in which the cube stands that is correctly conveyed.
Correct and compositionally balanced positioning of masses of objects on a sheet reflects the taste of an artist and is something that should be first and foremost developed in an artist.
The beautiful, aesthetic, balanced unity of all forms making up a picture is the primary objective of an artist as a creator of any work of art, whether it is work of a drawing artist, a graphic designer or a set designer.
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Thinking “by masses” (Development of thinking by masses)
A fundamental aspect of teaching drawing is the development of so called thinking "by masses."
We perceive the sheet space as a kind of mass in which we have to position objects. At the same time, the total mass of objects constitutes a set of their silhouettes.
In this work, we see how the student, having started from positioning the masses of objects within the sheet space, "skipped" to searching an object (within the sheet) instead of searching the masses of objects. The student wanted to visualize the box object in order to evaluate its mass.
On the contrary, the training purpose is to be able to evaluate accurately and convey the mass of an object without actual visualization of the object. Therefore, a trained artist evaluates the mass of an object faultlessly, correlates it with other masses of other objects “by intuition”, and then the artist is said to have a developed sense of proportion.
Let us consider this once again in more detail. Thus, when you start a new drawing, you have to realize the total mass of the sheet. To do this, you can pass your hand across the entire sheet, imagining it as a kind of mass. Then, you need to feel the total mass of the configuration of the still life objects, also encircling all the objects as a whole, positioning and feeling the total mass of the objects within the sheet space. You must achieve an accurate sense of somewhat of the mass of all the objects, imagine as accurately as possible how this mass is correlated with the plane of the entire sheet, how exactly it is placed on it.
By doing this, we do not draw any objects, but only declare and evaluate the masses.
Then, the masses of individual objects must be further evaluated as part of the total mass of the objects by correlating them with each other and the total sheet space.
When we reach the feeling that the masses are recognized quite clearly (there is a vision of them), and they are properly arranged within the sheet, then we outline the overall proportions of the objects and elaborate the slopes.
In this picture we can see the back corner of the blue sheet as if protruding upwards, not lying on the surface. The sheet does not lie on the same surface as the bottoms of the boxes, therefore it seems to “hang” in the space. In addition to the incorrect silhouette, this impression is also created by the sameness of lines in the foreground and in the background. Furthermore, the sheet corner in the background is even more highlighted in tone, more emphasised.
The “tail” (back part) of the box seems to be slightly raised, the sheet does not look like the one that the viewer would consider to be actually of the regular rectangular shape. The shape of the sheet is distorted.
After she had learned how to draw ovals, she was told that in fact true artists do not think about ellipses during their work. To the contrary, they opt to consider the tout-ensemble of the drawing or a painting and control изменения overal imperession it ( в процессе работы). Х. was suggested not to think about the ovals, but rather to write a composition about objects represented on her still-life drawing, and then choose the best one and incarnate a vision in
The idea behind this still life was to produce a certain image by conveying textures, colors, and certain vision, which could enframe all the objects in a в каком то контексте single semantic space.
She was instructed that it was not necessary to copy all the dots (design) pattern (тут хотелось бы вставить дизайн паттерн, чтобы дотс не было слишком буквально) from the background, and that it was better to invent a unique presentation взамен.
She was drawing a still life, and we could see how the impression was changing as the background was being worked on. We argued that if the dots are highlighted it would push the background towards similarity to the starry sky, and the shaded ones slightly reminded us the hanging grapes.
In this work, the tops (upper surfaces) of the boxes constitute no plane parallel to the plane of the table. The yellow and blue sheets do not lie on the table, they seem to slide down, being somewhat twisted (turned) towards us.
Drawing such objects, we want to reach the effect of the viewer seeing that the tops of the boxes lie on the planes that are strictly parallel to the horizontal plane of the table.
The tops of the boxes should constitute kind of parallel shelves (a system of shelves), and these
shelves are placed in three-dimensional space and look strictly parallel in the drawing for the viewer.