ΠΠΈΠ·Π°ΠΉΠ½ ΠΎΠ΄Π΅ΠΆΠ΄Ρ Π½Π°ΡΠΈΠ½Π°Π΅ΡΡΡ Ρ ΡΠΈΡΡΠ½ΠΊΠ°, ΠΎΡΡΠ°ΠΆΠ°ΡΡΠ΅Π³ΠΎ ΠΈΠ΄Π΅Ρ Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ°. Π§Π΅Π»ΠΎΠ²Π΅ΠΊ, ΠΊΠΎΡΠΎΡΡΠΉ ΡΠΎΠ·Π΄Π°Π΅Ρ ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΡ ΠΊΠΎΡΡΡΠΌΠΎΠ² ΡΠ°ΠΊ ΠΈ Π½Π°Π·ΡΠ²Π°Π΅ΡΡΡ “Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊ ΠΏΠΎ ΠΊΠΎΡΡΡΠΌΡ”, ΠΏΠΎΠ΄ΡΠ°Π·ΡΠΌΠ΅Π²Π°Π΅ΡΡΡ, ΡΡΠΎ Ρ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ° Π½Π΅ ΠΏΡΠΎΡΡΠΎ ΡΠ°Π·Π²ΠΈΡ Π²ΠΊΡΡ, Π½ΠΎ ΠΎΠ½ ΡΠ°ΠΊΠΆΠ΅ Π²Π»Π°Π΄Π΅Π΅Ρ ΠΈΠ·ΠΎΠ±ΡΠ°Π·ΠΈΡΠ΅Π»ΡΠ½ΡΠΌΠΈ ΡΡΠ΅Π΄ΡΡΠ²Π°ΠΌΠΈ Π΄Π»Ρ Π΅Π³ΠΎ Π²ΡΡΠ°ΠΆΠ΅Π½ΠΈΡ Π½Π° Π±ΡΠΌΠ°Π³Π΅ ΠΈΠ»ΠΈ Π² Π΄ΠΈΠ΄ΠΆΠΈΡΠ°Π» ΡΠΎΡΠΌΠ°ΡΠ΅. Π ΡΡΠΎΡ ΡΠ°Π· Ρ ΡΠΎΠ·Π΄Π°Π²Π°Π»Π° ΡΡΡΡΠΊΠΈΠ΅ Π½Π°ΡΠΎΠ΄Π½ΡΠ΅ ΠΊΠΎΡΡΡΠΌΡ ΠΏΠΎ ΠΌΠΎΡΠΈΠ²Π°ΠΌ ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½ΠΎΠΉ ΡΠΎΡΠΌΡ ΠΈ ΡΠ²Π΅ΡΠ°. Π― Π²ΡΠ±ΡΠ°Π»Π° ΡΠ°ΠΌΡΠΉ ΠΊΡΡΠΏΠ½ΡΠΉ ΠΈΠ·ΠΎΠ³ΡΠ°Ρ Π΄Π»Ρ Π»Π°ΠΉΠ½Π°ΡΡΠ° (isograph 1.0) ΠΈ Π½Π΅ΡΠΊΠΎΠ»ΡΠΊΠΎ ΡΠ²Π΅ΡΠ½ΡΡ ΠΌΠ°ΡΠΊΠ΅ΡΠΎΠ² copic Π΄Π»Ρ Π·Π°ΠΏΠΎΠ»Π½Π΅Π½ΠΈΡ ΠΊΠΎΡΡΡΠΌΠΎΠ² ΠΎΡΡΠ΅Π½ΠΊΠ°ΠΌΠΈ (ΡΡΠΈ ΠΎΡΠ½ΠΎΠ²Π½ΡΡ β ΡΠ΅ΡΠ½ΡΠΉ, ΠΊΡΠ°ΡΠ½ΡΠΉ ΠΈ ΠΆΠ΅Π»ΡΡΠΉ). ΠΠ°ΠΊ Ρ ΠΎΠ±ΡΡΠ½ΠΎ ΠΏΠΎΡΡΡΠΏΠ°Ρ, ΡΠ½Π°ΡΠ°Π»Π° Ρ Π½Π°ΡΠΈΡΠΎΠ²Π°Π»Π° Π»Π°ΠΉΠ½Π°ΡΡ. Π ΡΡΠΎΡ ΡΠ°Π· Ρ ΡΠ΅ΡΠΈΠ»Π° ΠΎΠ±ΠΎΠΉΡΠΈΡΡ Π±Π΅Π· ΠΌΠ΅Π»ΠΊΠΈΡ Π΄Π΅ΡΠ°Π»Π΅ΠΉ ΠΈ Π²ΡΠ΅ Π»ΠΈΠ½ΠΈΠΈ ΠΈΠΌΠ΅Π»ΠΈ ΠΎΠ΄ΠΈΠ½Π°ΠΊΠΎΠ²ΡΡ ΡΠΎΠ»ΡΠΈΠ½Ρ:
Task: to show a traditional Russian costume in a graphic style through its form and primary colors.
To give vibrant colors I did not have one shade of red and yellow, so I used 4-5 markers from each group.
What are the features of drawing clothes?
When you decide to portray a suit of a certain style, it is important to grasp its essence, form and priority elements. The main thing is the volume of the form and clear color transitions in the elements. To make the costume look lively and bright, as is customary in the Russian tradition, it is important to alternate contrasts and make interspersed colors in a plain canvas. Significant spaces of one shade and space with a pronounced pattern in the form of flowers, petals, twisted leaves and delicate details (contrasting dots and lines) are combined.
Folds, shadows, volume – this is what you should pay attention to in a suit. To portray a convincing shape, you can use this technique: go from light to dark – first fill in the base with the lightest shade, for example, red; then take the shade a little darker and note the shadows from the folds and other color spots; then take the shade even darker and deepen those shadows and so on. When drawing with markers, the return path (from dark to light) is practically not possible; you should immediately note with light shades those places where there will be glare and transitions.
To make the white parts of the costume more attractive, you can take two shades of gray (W3 and W5 came in handy for me) and mark them with shadows and indentations. White becomes even whiter if there are few shadows in it. As soon as the general picture is ready, I usually go through a gray marker or some other shade around the situation to create the volume of the whole figure as a whole. By adding some shadows at the transition borders, we create the illusion of bulge or layering.
In this picture, I more freely combined similar shades of red – from more orange to fuchsia – in the adjacent elements of the costume, I also gave the hair a neighboring shade, rather than being very different. I liked the resulting effect of a more “soft light”, barely noticeable glare. I still need to work on the image of the hands and the proportions of the lengths of the hands, which are noticeably worse than the rest. The volumes in this figure were given to me much better than before.
I caught one interesting detail – when you are not trying to draw a voluminous sleeve, but trying to draw a certain geometric abstraction from dark and light spots, then at some point I myself am surprised that some kind of croco-ginger in the end looks like a pretty nice dress. In this matter, it is very important not to piss, and it is rather stubborn and methodical to believe that someone will also believe in the final result. And … damn symmetry!