I have already written that any object can be visually divided into its components simple geometric shapes (article). This method of construction was developed by Paul Cézanne, who was interested not only individual characteristics what he depicted, as well as general patterns. IN paintings he revealed in protozoa in objects shapes - sphere, prism, plane. And now his technique is generally recognized and widespread.

We've already tried paint geometric primitives. Let's try to move on to more complex forms.

So, first, let's take an apple. Obviously, geometrically it most closely resembles . Of course, the ball will not be perfect, but somewhat deformed, but the easier it will be paint- some construction errors will not be so obvious... However, the distribution of light and shadow will resemble the distribution of light and shadow on.

3 stages of drawing

• The first thing we do is outline the position subject on paper. Let me remind you that we need to arrange it in such a way that our apple does not visually get lost on the sheet, but is not too large and does not roll out of bounds. Because the item 1 and that's enough simple, Can vertical axis place in the middle (you can read about errors in composition).
• The second is to outline on the object, first with large planes, then clarifying the shape and adding halftones.
• The third stage is clarifying the form and working out the halftones. As you can see, chiaroscuro creates not only volume, but also an artistic image.
• At the end, as usual, you enhance the contrasts, you can outline the background a little. AND drawing ready:

Items more complex shape draw exactly the same as simple, although there are some features:

• The geometry of the jug is more strict and therefore requires more careful construction. In particular, it is necessary to outline the axis of symmetry (after all, it is symmetrical?) and stick to it. Firstly, the axis will support the vertical, preventing the jug from drawing squint; secondly, when constructing a contour, check how much contour lines symmetrical about the axis.
• As you can see, there are already several geometric components: in the jug you can see a cone in whole or in part. When constructing, it is important to outline the differences in shape - these are exactly the places where various geometric parts “meet”. Wherein are drawn completely as if you see item through - as with the axis, this is necessary for self-control to avoid perspective distortions.

As you can see, in figure 3 there are quite clear differences. Even if you leave them like that, drawing can be considered completed. Although at the end you can smooth them out somewhat (not shade them, but make the shading softer):

The construction lines do not need to be erased (and it is not even advisable - you can accidentally erase something unnecessary). It's okay if they show through somewhere - it won't hurt at all drawing, but on the contrary, will make it more convincing.

_______________________________________________________________________

Do you love old architecture? There are many preserved in Russia ancient estates. And one of the most interesting - built according to the design of the architect N.A. Lvov Znamenskoye-Raek in the Tver region, belonging to the clan Glebov.

4. How to learn to draw object forms. Charcoal drawing.

In this drawing lesson we will acquire the skill of conveying the material qualities (textural properties) of objects and apply new technology: Let’s not use a pencil - let’s turn to charcoal, which allows you to immediately cover large surfaces of paper, easily correct the drawing, and achieve greater depth of tone.

Let us immediately warn you that painting with natural charcoal is a very dirty technique. Therefore in the studio drawing schools New Art Intention we use special pencils increased softness, and learning to draw with charcoal takes place in the open air.

But before we move on to learning how to draw with charcoal, let’s try to depict some large object form. For example, a stool or a chair placed on the floor. This is necessary for beginners to feel large objects in the drawing.

Let's learn to draw a stool.

How to learn to draw objects.

So, the first stage is pencil drawing stools. The drawing of the stool is made on half a sheet of whatman paper, i.e. on A2 format. The stool is placed on the floor at an angle so that both its legs and seat are visible. (It is the lying, rather than standing, stool that allows you to better understand both the design of the form and the sequence of work on the drawing.) Analyzing new model, the artist will not find in it the integrity of form that was in the jug or vase. Legs, crossbars, and a seat can confuse an inexperienced draftsman with their design. Not to mention that the stool is large in size, its shape seems so complex that the artist faces a new task - to draw this form in a way that is already understandable to himself. He must imagine the stool in such a way that it is easy to build, which means that he must see in it one of those forms on which he previously worked.

To learn for beginners, the concept of “simplification of forms” is introduced, which helps to break down and generalize complex objects to the state simple shapes. This method helps a lot in the future - from a portrait and even the whole person, and, most interestingly, it leads to learning how to draw abstractions.

Indeed, if you imagine a stool covered with gauze, it will resemble a prism, which in itself will suggest the technique of drawing it. (You can watch a lesson on drawing a prism with a pencil). Generalizing, bringing the shape of the stool to the simplest geometric form, and you should start drawing this model.

But since the task here is largely new, we begin the drawing by determining the base, trying to more correctly determine the direction and dimensions of the edges lying on the floor of the stool. It is important to ensure that the base lies in the space of the sheet and that it feels like right angles. You need to draw by freely moving the pencil along the edges of the legs and drawing strokes beyond the edges in order to better feel the perspective of the shape of the stool. It is very good to mentally outline the horizon line and the point of convergence of the lines on it. This will help you create such complex shapes more accurately and quickly.

Having worked out the base, we move on to determining the width of the stool, that is, the height of our conditional prism, and then its upper part, which will give us all sides of the model’s surface. In this generalized form there will not yet be legs, crossbars, or a seat, which the artist has to find as details general form stools. You should draw the stool all at once, drawing both volume and lighting at the same time. Gradually coming to greater accuracy of proportions and relationships of parts, the artist will complete the drawing and build this model.

In the same way, you should draw a standing stool, ensuring that the dimensions of its parts exactly match nature, and only then learn to draw, for example, a Viennese chair with a round seat. Drawing a round object requires more precise measurements and is more difficult to construct than drawing objects with straight sides. The drawing of a Viennese chair also begins with the base, that is, with finding the base of an imaginary cylinder, which can be simplified to represent a chair. It is imperative to determine the axis and only after completion of the construction proceed to detailing.

It will also be useful to learn how to draw chairs of various shapes; You can draw household items or draperies on them.

The final stage of drawing an educational still life is an image of a still life in the interior, that is, a drawing of objects located not only on the table, but also in some part of the room. These tasks require certain professional skills and abilities. The production itself, the selection of objects itself, plays a big role in them; the composition must be thought out carefully and in all details. You should not place a lot of objects, especially small ones, but you need to use different surfaces: matte, shiny, contrasting.

We draw with charcoal.

A still life in the interior is necessarily preceded by a carefully worked out sketch in pencil or charcoal. In the sketch, it is necessary to accurately decide the composition, mark the lighting and tonal differences of objects. The drawing is done on a large sheet of paper and preferably with charcoal. The sequence of work here is somewhat different than in previous productions. So, for example, when transferring a composition from a sketch - and you need to transfer it by holding the charcoal like a pencil and drawing with a sharpened end - the artist then breaks off a piece of charcoal and with the flat part marks the general shadows, illuminating the entire mass of the still life at once. When this is done, they begin to determine individual objects, their positions, ensuring that each of them takes its place in the already outlined overall composition still life. Then you should clarify the large light-and-shadow relationships on each object, the color and tonal differences of the latter, and with a stick of charcoal begin to identify and draw the details of the forms. The work here is carried out very freely, shadows are laid out widely, but the sequence - from large details and large chiaroscuro to small details of form - is in no way disrupted so that simultaneously with the refinement of chiaroscuro, the refinement of form also occurs.

When the entire still life is completed, the artist needs to reconsider it again from the point of view of accurately conveying the textural differences of the things depicted. In some cases, you can rub the charcoal with your finger to obtain a very smooth surface, in others you can draw with charcoal like a pencil, somewhere enhancing the tone, and somewhere highlighting the shape of the object. At the same time, the relationship of all objects included in the set to the floor and wall is checked. You need to draw in such a way that you constantly compare the drawing with nature and achieve the most complete image of reality that the artist sees in front of him.

Carrying out a charcoal drawing is for a beginning artist a test of all the accumulated knowledge about the structure of objects and the method of drawing them. Therefore, one must learn to construct the first still lifes carefully, and in their drawing, achieve the exact spatial arrangement of objects, so that the very design of the shape of the object, its position, speaks about what it is made of and what its character is. At the second stage of work, you should, very freely laying shadows, learn to draw the shape of objects in tone. When analyzing the characteristics of the material of things, the main attention should be paid to identifying and emphasizing the features of the texture: the transparency and shine of glass, the heaviness and woolliness of cloth, etc.

Drawing lessons at school New Art Intention I spend a lot of time working with glass and transparency. Drawing with a pencil and paints the properties of the transparency of objects allows you not only to learn how to draw, understanding the importance of tonal unity when solving a still life, but also create the necessary conditions for solving complex productions using visual methods.

The same principles apply when drawing a person with charcoal. The New Art Intention school provides part of the course for learning how to draw a person: 1. portrait, 2. clothed and 3. nude figure.

.

The most complex objects in shape are those that combine various geometric shapes. These usually include complex bodies of rotation. For example, a clay pot made on a potter's wheel is a ball combined with a cylinder or cone. Here's the bottom one

Objects that combine various geometric shapes have a more complex structural structure. How more complex structure, the more difficult it is to depict an object, since its design, as a rule, is hidden from view and can only be revealed by certain characteristic features. These objects, the most complex in form, include various elements of architecture and human body, which have a hidden internal structure. This remains to be considered, but now let’s move on to analyzing the forms of various household items and their constructive construction. the body is a ball, and the neck is a cylinder or cone. The base of the ball is a truncated cone with a certain thickness of the die. The figure shows an image of a jug, the design of which can be viewed in two ways. In the first case, it consists of two cones directed with their wide bases towards each other ( frame), and cylinder ( neck), in the second - from the ball ( frame) and cone ( neck). When analyzing the designs of various objects, it is very important to accustom yourself to see them as a whole. geometric bodies, interconnected in various combinations.

First, let's look at simpler objects that are based on one geometric shape close to rectangular - a cube or parallelepiped ( drawers, boxes, books, tables, stools, etc.). As we master simple objects, we will move on to drawing more complex ones, combining two geometric shapes - a cylinder and a cone ( can, vacuum cleaner, jar, bottle, cup, thermos, pan, etc.).

So, gradually mastering one simple subject after another, methodically and consistently move on to more and more complex ones, including two or more geometric forms : jugs, vases and other complex bodies of revolution, and further to objects whose surfaces are formed by curved planes, such as musical bowed instruments such as violin and cello.

The construction of object structures is carried out in a linear constructive image, taking into account proportions and perspective from different points of view. This method promotes the development of spatial thinking and consolidation of skills in perspective image construction. Upon completion of mastering the images of individual objects, students should move on to drawing groups of objects ( still life), consisting of several geometric bodies.


In the previous section, devoted to drawing geometric bodies, we learned in detail about the principles and methods of depicting three-dimensional shapes and their designs. Therefore, we will not dwell in detail on simple and clear-shaped household objects, but will immediately move on to the consideration of complex forms - a can and a plaster vase, since the basic principles and methods for constructing images of all forms are the same, moreover, the figure is quite clear and techniques for constructing systems of varying complexity are convincingly demonstrated household items.

When consciously constructing the structure of three-dimensional objects, a certain sequence of work is required. Dividing the drawing into its logical stages promotes understanding of the task at hand, disciplines attention and systematizes the work. Step-by-step drawing makes it possible to monitor the progress of the work. Consistently mastering one stage after another, they come to the natural and unique possible way drawing from life. All this convinces us of the need to divide the process of educational drawing into separate stages that logically follow from one another.

In order for the work to progress successfully, it is necessary to carry out it by observing the following steps:

I. Analysis of the shape of the staged objects.
II. Compositional placement of an image on the plane of a sheet of paper. III. Constructive analysis of shape and perspective construction of a drawing on a plane.
IV. Revealing the volumetric shape of objects using chiaroscuro.
V. Full tonal elaboration of the form.
VI. Summing up the work on the drawing.

I. Analysis of the shape of production objects

Before you start working on a drawing of a group of objects ( still life), it is necessary to carefully analyze them, examining objects from all sides, while choosing the most advantageous settings from the point of view of compositional expressiveness. You should pay attention to their illumination. Objects are illuminated most expressively with lateral overhead lighting. Based on this, having chosen a certain point of view for yourself, you should think about how best to place objects on the sheet. When choosing a seat, you should not sit against the light.

II. Compositional placement of an image on the plane of a sheet of paper

In a drawing, layout should be understood as the proportional ratio of the image of the mass of objects in relation to a sheet of paper, where the mass is a whole, and the area of ​​the sheet is its location. And the success of working on the drawing largely depends on how correctly the images of objects are placed on a sheet of paper. First of all, you need to learn to see objects as a whole, and not separately, mentally, as it were, uniting the entire group of objects into a single whole.

The figure clearly shows ways of placing a group of objects on a paper plane, where the latter most often appears as if enclosed in a triangle or quadrangle, depending on the nature of the group. Here it is very important to balance a group of objects relative to a sheet of paper, taking into account the direction of movement of nature ( up, down, left, right, diagonally), as well as depending on the illumination and location of shadow areas. Shadow areas are also included in the overall layout on the sheet. To avoid damage to the sheet when placing the image, you should first work on the sketch. The sketch can be made on a piece of paper or directly on the margins of a given sheet of paper. In this case, it is very important that the outlined frame exactly matches the size of the sides of the main sheet of paper. Otherwise, the build may fail. The dimensions of the frames of the layout sketches should not be made large; within 5-7 cm is sufficient. They are positioned in accordance with the nature of the arrangement horizontally or vertically.

Thus, having outlined a group of objects with bounding boxes in the form of a triangle or quadrangle, you should check how they are located on the format. If they are offset in any direction, then they should be balanced. Having balanced the boundaries of the frame of a group of objects, you need to outline the relative positions of individual objects inside it in accordance with their natural setting. In this case, you need to strictly monitor the proportional sizes of objects in relation to each other, as well as the nature of the shape ( narrow, wide, round, etc.). After which you should begin to construct them, taking into account additional clarification of the sizes, nature of the shapes and relative position in relation to each other.

III. Constructive analysis of the shape of objects and perspective construction of a drawing on a plane

Having identified a group of objects, it is necessary to perform a check. Only after this can we proceed to analysis and construction. forms items. First you need to determine the horizon line, and then, carefully studying the character forms objects, start building them. When constructing objects, you should take them seriously proportional relationships, both to each other and to each object separately. This will greatly facilitate the task of constructing drawing . Along with compliance proportions and taking into account character forms objects in volume-constructive construction images rules should be followed prospects .

The construction of the shape of objects should be carried out in a linear constructive image, which begins from their base. This makes it possible to correctly determine the distances between objects so that they do not crash their bodies into each other and the footprints of some figures do not step on others.

To do this, when drawing from a place, you need to clearly imagine the location of the marks, taking into account the nature of the protruding surfaces of nearby objects. The marks of some objects are significantly narrower than their surfaces, which, protruding beyond the limits of the mark, can crash into the surfaces of nearby forms. In order to avoid this kind of mistakes, you should get up from time to time and approach the full-scale model, trying to understand the location of objects and the nature of the forms. When constructing the shapes of objects, you need to accustom yourself to constantly analyze how, where, why and why. So, for example, when building individual objects, make sure that they lie in the same plane ( table, stand). As practice shows, when you are completely focused on one thing, you often forget that all objects are on the same plane and in a certain perspective. As a result, some objects are depicted as if they are from a different angle or crash into the plane of the table, or even hang in the air, etc.

When marking the surfaces of individual objects, you should draw invisible shapes ( remember transparent wireframe models). When constructing an image of the objects that make up a group, you cannot draw them in turn, one after the other. You should draw the entire group as a whole, going from general to specific, without being distracted by details and details.

Thus, when completing work on constructing objects, you should once again check the proportions, perspective, nature of the shapes of objects and the placement of individual objects on the plane ( table, stand), focusing on the whole. Any errors noticed must be corrected without delay.

IV. Revealing the volumetric shape of objects using chiaroscuro

At this stage of working on the drawing, it is necessary to identify the volume of objects using chiaroscuro - tone. To identify the volumetric shapes of objects in tone, it is first necessary to determine the lightest and darkest places in nature. Based on the difference in light-tonal contrasts, from the lightest to the darkest and their intermediate tones, it is necessary to carefully trace the direction of the light rays falling on the surface of objects. Having determined the boundaries of light and shadows on the shapes of the object, find the position of the falling shadows. Having outlined the boundaries of your own and falling shadows, proceed to laying out the tone. The tone should be applied gradually, starting from the darkest places, simultaneously throughout the entire area of ​​the picture, while comparing the strength of the tones in relation to each other and as a whole, including taking into account the strength of the background tone. Then gradually move on to halftones on those surfaces of objects where the rays fall at sliding angles. When working with tone, you should know that the most important thing is the ability to work in relationships, without which all work will be reduced to only superficial copying of visible tone spots. When applying halftones, enhance the tone in the shadow areas: own and falling shadows, as well as their boundaries, taking into account the color of objects ( dark, brown, green, etc.). Thus, gradually increasing the tones, move on to detailed drawing of the forms.

V. Full tonal elaboration of the form

When starting to draw detailed forms, you need to carefully monitor all the shades of light and shadow on the details of the form and their transitions from one surface to another. When modeling the shape of objects, it is very important to work correctly with tonal relationships, starting from the lightest to the darkest and their intermediate tones ( highlight, light, penumbra and shadow). To correctly take tonal relationships, you should start from nature, from two contrasting spots on it that are opposite in strength. The lightest place in nature will be the highlight and its surroundings, and the darkest place will be its own and falling shadows. These two contrasting spots should serve as a guide in subsequent work on the light-tonal pattern in determining the correct tonal relationships. Focusing on the lightest and darkest places in nature, constantly comparing one tone strength with others, find all the other shades of chiaroscuro. Trying to replicate absolute lightness and darkness in a full-scale setting is impossible, and it makes no sense for the reason that the strength of the highlight tone on paper and the brightness of the light highlight on the object have nothing in common. In the same way, the strength of the darkness of a pencil, even the softest one, is not comparable to the strength of the blackness of an object or its dark spots.

Therefore, the impression of light can be achieved in monochromatic pattern due to consistency tonal scale. Drawings by tone can be either light or dark. Therefore, in tonal drawing it is very important to install correctly tonal scale between light the tone of the whiteness of the paper and the strength of tone darkness of graphite pencil. Wherein tonal the scale, regardless of the softness of the pencils, with the exception of hard ones, can be correctly set. For clarity and to get a complete picture of tonal scale, it’s good to practice on a separate piece of Whatman paper. Pave with strokes tone in the form of strips of several rectangles arranged in one row ( tonal spectrum), where is the strength tones , correctly subordinating throughout the entire range, from paper lightness smoothly and gradually, barely varying, moves to the darkest I'm drowning pencil Of such kind practical exercises give the opportunity to feel

Draw household objects using the material - a simple pencil, the size of the drawings - A4, landscape sheet. The task is to practice quick sketches to competently and correctly convey the shape of objects, tone and surface quality, lighting, and proportions.

Type of control: Demonstration of drawings.

Drawing a chair

Draw a chair with a pencil on a sheet of A4 paper.

Before you start drawing, do a few test sketches to see how the structural box method works. First, extend your hand with a pencil in front of you and place the pencil horizontally at your eye level to determine the horizon line. Mark the horizon line with a dot on the paper.

Then draw two boxes stacked on top of each other under the horizon line, having the same proportions as the chair. Construct perspective lines for the sides of the boxes that go to the vanishing point on the horizon line. Draw a chair inside the drawers, using the outlines of the drawers as guide lines. This will help you position the legs, back and seat of the chair correctly.

1 Building a box

Step by step pencil drawing lesson - step 1

Study the chair carefully and measure its proportions using a pencil at arm's length. Take a pencil and draw in perspective two boxes standing on top of each other. It is very likely that the vanishing points will be outside the boundaries of your sheet of paper. You can place additional sheets of paper on the right and left to extend these lines.

2. Let's start drawing a chair

Step-by-step pencil drawing lesson - step 2

Mark the chair legs, seat and back so that they fit exactly into the drawers. The legs of our chair are beveled and the back is curved, so some of the contour lines of the chair will inevitably either go a little inside the drawers or go slightly beyond their boundaries. Draw the outlines of the three curved slats on the back of the chair.

Creating Perspective Lines It is very useful to have a diagram like this on hand while working, which shows perspective lines. When you create structural boxes, it will be easy to measure any lengths or angles with a pencil at arm's length.

3. We clarify the main contours

Step-by-step pencil drawing lesson - step 3

Outline the contours of the chair with a thicker line. Make sure that all parts of the chair are positioned in accordance with the structural lines. Emphasize the contours of the chair's slightly angled legs, the rounded corners of the seat, and the braces underneath.

Working on the toneEvaluate the result of your work, make the necessary adjustments. After this you can start shading. It will give the chair volume and strength. As you work, do not forget to gradually erase structural lines that are no longer needed.

4. Shade the back of the chair

Step by step pencil drawing lesson - step 4

Change the pencil to 2B and start adding tone. The chair is brightly lit from the left, so its entire right side is in shadow. Using diagonal shading, apply a deep shadow to the vertical post of the back of the chair and to the end of the seat.

5. Continue adding dark tone

Step by step pencil drawing lesson - step 5

Shade the shaded edges of the chair with a dark tone. Erase unnecessary construction lines, and your drawing will appear much more clearly. Take a 2B pencil and use the side of the lead to paint the seat of the chair in long strokes.

5. Showing the reflection

Step-by-step pencil drawing lesson - step 6

The seat of the chair is covered with smooth fabric. The top crossbar of the chair back is reflected on it. Consider this reflection and apply it using shading. Show the volume of the seat with a narrow path of intense shading on the right side. Add areas of intense dark tone on the back of the chair. The crossbars of the chair should be shaded with curved lines.

7. Finishing the work on chiaroscuro

Step by step pencil drawing lesson - step 7

Go over the entire drawing again, clarifying and deepening the tone. Finish the shadow work on the cross bars of the back of the chair. Do not forget to leave unpainted those areas where highlights are visible. Then refine the light and shade on the chair legs. Surfaces in the shade should be covered with an intense tone, and those facing the light with a medium tone.

Now remove the remaining construction lines and the drawing will look complete. True, if you wish, you can continue working to clarify the tone and add shadows. This will give the chair more stability in space and allow it to be firmly “tied” to the floor surface.

8. Draw shadows on the floor

Step by step pencil drawing lesson - step 8

The chair is brightly lit, which means the shadows it casts should be clearly visible on your butt. Draw these shadows using diagonal lines, short at the base of the chair legs and then gradually widening.

Step by step pencil drawing lesson - step 9

To improve the drawing, you can give more expressiveness to individual areas of tone. Deepen the tone on the shadowed sides of the back, slats and legs of the chair. Do not forget to place a piece of paper under your hand while working so as not to smear the pencil. Use the eraser to create additional highlights.

A Realistic outlines. This chair is drawn using construction lines and in full accordance with the laws of perspective, which is why the depicted object looks so realistic.

B Clearly defined tones. The darkest tones, created by intense strokes, expressively contrast with lighter and lighter gray intermediate tones.

The cast shadows depicted using shading help to give the chair stability in space. They firmly “tie” the object to the floor surface.

Type of control: Demonstration of the drawing.

After mastering the drawing of simple geometric bodies and in accordance with the principles of “from simple to complex” and “from general to specific”, you should move on to drawing more complex shapes. These include, first of all, Houseware, such as furniture, drawers, boxes, televisions, refrigerators, books, dishes and much more.

Household items, simple and clear in form and design, are closest in their basis to simple geometric bodies. Geometric bodies: sphere, cube, prism, cylinder, cone, pyramid - form the basis of the structure of any complex shapes.

The simplest of them include objects that combine one or two different geometric shapes. For example, let’s take objects that are based on the same geometric shape - a mug and an hourglass, where the body of the mug consists of a cylinder, and the hourglass consists of two truncated cones, directed towards each other with narrow bases.

A stool, table, book, cabinet, drawer, cardboard box, refrigerator, etc. have one rectangular (parallelepiped) geometric shape. Other objects contain two geometric shapes. For example, a can, the main parts of which - the body and neck - consist of cylinders, and the part connecting them is made of a truncated cone.

The most complex objects in shape are those that combine various geometric shapes. These usually include complex bodies of rotation. For example, a clay pot made on a potter's wheel is a ball combined with a cylinder or cone. Here the lower body is a ball, and the neck is a cylinder or cone. The base of the ball is a truncated cone with a certain thickness of the die.

The figure shows an image of a jug, the design of which can be viewed in two ways. In the first case, it consists of two cones, with their wide bases directed towards each other (body), and a cylinder (neck), in the second - of a ball (body) and a cone (neck). When analyzing the designs of various objects, it is very important to accustom yourself to see in them a set of geometric bodies connected to each other in various combinations.

Objects that combine various geometric shapes have a more complex structural structure. The more complex the structure, the more difficult it is to depict an object, since its design, as a rule, is hidden from view and can only be revealed by certain characteristic features.

These objects, the most complex in shape, include various elements of architecture and the human body, which have a hidden internal structure. This remains to be considered, but now let’s move on to analyzing the forms of various household items and their constructive structure.

Chair (square base)

First, let's look at simpler objects that are based on one geometric shape, close to rectangular - a cube or parallelepiped (boxes, boxes, books, tables, stools, etc.). As we master simple objects, we will move on to drawing more complex ones, combining two geometric shapes - a cylinder and a cone (can, vacuum cleaner, jar, bottle, cup, thermos, pan, etc.).