Graphic pencil drawing of a figure. Drawing geometric bodies. d Eraser

/ Still life

1 fig. We outline the horizon - the line of the table. We compose a still life using straight lines. It turns out the shape of a house, with a slight slope to the left side. Find the center and draw a vertical axis, and then a horizontal one. We put together the composition of the still life very well.

2 fig. Next, we need to arrange the objects themselves into a composition. We will use the shape of a circle and an oval in the layout. Notice how the shapes are located between the lines, where they go beyond the lines, what slope they have.

3 fig. Here our task is to build 3 volumetric geometric shapes (cube, ball and cylinder). Ball - find the center and draw two axes, measure equal sides from the center and make a symmetrical shape.

Cube - find the points of the front square, make sure that the lines are parallel, then from points "A", "B" and "C" draw diagonals parallel to each other, find points on them using a ruler, measure the same length. Connect the dots. Cylinder - Draw the center axis in the direction of length (tilted), and find the points for the cross axes of the cylinder. We measure equal distances from the center of the axes with a ruler (as the ball was made).

4 fig. Now we need to show shadow, light and falling shadow from objects on objects. In the direction of the rays of light, you can see where there will be shadow and light on objects. By applying a stroke to the shape, we show the main gradations. Look closely at the picture.

5 fig. Fine! Now it is important for you to find out what a reflex is. A reflex is a reflection of light. As a rule, it is depicted on the shadow side (see figure). And there are concepts such as partial shade and semi-light - this is a smooth transition from shadow to light. Here we have to show the density with a stroke. It is necessary to deepen the shadow, partial shade, semi-light, reflex and falling shadow from objects.

Very easy, but far from it. To portray volume and shadow, you need skill and accuracy in work. Let's see how to draw a cylinder with a pencil.

First option

There are many options for drawing with a pencil, we will analyze one of them step by step. For work you will need a pencil, preferably of medium softness, an eraser and a sheet of white paper, you can take the A4 format.

Progress:

1. Draw two parallel lines. Connect the segments above and below with ovals. Since this is a drawing lesson, do not use any rulers, try to put your hand right away, so that in the future it will be easier to draw various objects.
2. Make two perpendicular lines in the upper oval, and from the middle, draw a line downward.
3. Draw two lines at the bottom as well.
4. Outline the outline more brightly and move on to the shadow.
5. We choose right side for a darker shade, the cylinder will remain white on the left side. It is necessary to apply the shadow carefully, shading the pencil. The shade should change very smoothly.
6. Draw a shadow from the cylinder. Since it is darker on the right, we depict it in front.
7. There is no exact length, since in different time days, the length of the shadow from objects is not the same.
8. In this case, we take about a third of the height of the cylinder. Draw two parallel diagonal lines and connect their vertices.
9. Paint over the shadow.

The work is ready. This is one of the most simple options since we didn't use perspective and only depicted one cylinder.

Second option

In this master class, we will look at how to draw a cylinder with a pencil for more professional level, so if you are unsure of your abilities, it is better not to take up work. Also, this graphics technique is not suitable for young children.

To work you will need:

• paper, and for novice artists it is better to purchase a special medium-grained paper on which it is much more pleasant to draw;
• several pencils with different degrees of hardness;
• eraser;
• a stick to rub the shading (you can just roll the paper into a cone and rub it).

Tip before you start: create a sketch with thick strokes, as they are easier to erase later.

Let's move on to the work itself, how to draw a cylinder in stages:

1. We mark out a sheet of paper. This is necessary in order to correctly determine the location of the figure.
2. We do the markup. To do this, draw two vertical lines by hand, lightly pressing on the pencil. Then two horizontal ones - above and below, to connect the rectangle.
3. Next, draw a pair of ellipses (bottom and top) - this is the base of the cylinder. To make them of the correct shape, mark two points at the same distance from the center of the upper and lower lines in both directions, and then draw a shape.
4. Let's move on to toning. Let's assume the light source is on the top right. And, starting from this, we will draw the brightest and darkest places.
5. The darkest one will be the front side, just to the left of the center. Now we turn to shading, it is desirable that the strokes repeat the shape of the object.
6. It remains to draw the shadow of the cylinder, make it small and in the form of a cone mirrored from the cylinder.

The work is ready. To hide the brightness of the shading, take a rubbing stick or paper and smoothly move it in small movements along the sheet until we achieve the desired effect.

It is best to hone your craft by drawing a real object, so it is wiser to use an object as a basis. There are many things around you in the shape of a cylinder, such as a glass.

Multiple cylinders

Now let's look at how to draw a cylinder with a pencil with a shadow, if we want to display several objects at once.

Step by step drawing:

1. Draw two anchor points.
2. Step back down a certain distance and draw an ellipse.
3. Now draw two vertical lines up and draw an ellipse there too.
4. Erase the extra bottom line, you will get a kind of saucepan.
5. Now add two parallel points behind the shape.
6. Draw an ellipse and from it two lines down, with one line only to the first shape, and the second to the desired length.
7. Draw a bottom, curved line to cover the second shape.
8. Draw the third cylinder on the other side in the same way.
9. Now draw the shadow. It will be on the right, so on all the shapes, paint over the right side with denser shading.
10. Using small rectangular strokes from the beginning of the curved line, draw a shadow from the objects on the surface.

Your work is ready. We have seen how to draw a cylinder with a shadow, with several elements in the picture.

By the same principle, you can draw many turrets at your discretion, the main thing is not to use the ruler and not go to the first figures, so that the work is voluminous.

Draw a cylinder on the table

Now let's look at how to draw a cylinder with an environment. To draw everything correctly, take a real object and put it on the table. Adjust the light so that the shadow falls beautifully on the table without being too short or long.

The neat drawing can be done on a tablet by stretching a sheet of paper over it. The suitable size for this device is 30 x 40 cm.

Let's move on to the very process of creating a picture:

1. Determine the location of the shape and draw "invisible lines" for the future cylinder.
2. Construct a cylinder by first drawing two parallel lines, then an ellipse at the top and bottom.
3. "Invisible lines" are also required for the correct placement of light and shadow. Draw invisible edges on the face of the cylinder so you can see which areas will be darker and which will be lighter.
4. You do the hatching according to the shape of the figure, in small lines, so that later it will be easier to smear the strokes.
5. Fill in the previously drawn shadow. It should be darker.
6. Now we need to draw the plane of the table and the back wall. Moreover, the back wall will be darker than the table, but lighter than the main shadow from the figure.

Thus, you can draw a volumetric figure very carefully and slowly. It is not necessary that it was a cylinder, you can take a ball or a cube.

How to draw a composition with multiple objects

To practice your skill, use several figures at once. A cube will work well for starters, and place a cylinder on top of it. Adjust the light so the shadow falls beautifully on the table and start painting.

How to draw a cylinder and a cube with a pencil:

1. Since we will have a cube below, we first draw it on a piece of paper. To draw it correctly, first draw the front square, and then the diagonal lines to give volume. Connect the lines at the back, then erase the extra edges.
2. Now we draw a cylinder. The process of recreating it is no different from the previous options, since a cube is also a flat plane.
3. When you position the shapes, erase the extra edges.
4. Moving on to the shadows. Since we have a pyramid in the drawing, they will have one common shadow in the shape of a tower.
5. Draw the foreground shadows on the shapes according to the way the light hits you.
6. Finish the work with the back wall and table.

Such compositions can be done in a wide variety of ways, depending on your desire. Once you master the skill of drawing geometric shapes, you can draw more complex objects or compositions.

1. To understand how to draw a cylinder correctly, it is better to take a real object as a basis, having adjusted the lighting in advance.
2. It is more convenient to draw on a tablet, as the sheet will not slide.
3. Use pencils with varying degrees of hardness.
4. Take your time when completing the elements, and if something does not work out, do not be afraid to start over.

This lesson is part of initial complex assignments in. WITH drawing geometric shapes acquaintance with the basic laws and rules of academic drawing begins.

Select one, two or three for staging geometric figures, for example, a cube, cylinder or plaster vase with a simple section. Objects are depicted on a white object plane, against a light background. The emphasis is on the image of the figure, excluding the study of the surrounding space. Lighting is installed above and to the left of objects for a visual structure of classical volumes and a greater difference between light and shadow, which at the first stages of training is of great importance for analyzing the form and transferring tonal gradations on the sheet.

The purpose of drawing geometric shapes.

• Learn to arrange objects on a sheet;
• Master the basic skills of building and shaping objects on a plane;
• Get an idea of ​​the perspective location, shortening the horizon line;
• To acquire the skills of working with a pencil, to put a stroke on the form, to use tones and halftones, to correctly convey the location of plans.

To work with the subsequent tasks of the program, all the techniques and techniques used here will be useful. The main result of this task, of course, is the ability to arrange objects in space. Your drawing will become a reflection of the space on the sheet, where everything is subject to the invariable laws of composition and the location of light and shade on objects.

Examples of drawings of simple geometric shapes made by students of our school.

This is a basic and important task, where, using a simple example, without cluttering objects and tones, the construction and principles of constructing the key shape that underlies most things - a cube - is clearly demonstrated. This simple geometric shape provides the foundation for creating any object.

The work has been completed.

Having learned how to correctly build and depict the corners, edges and planes of the cube, accurately depict the perspective reduction, correctly determine the vanishing points, model the volume and shadows with a stroke, you will be able to intuitively imagine the structures and volumes of any objects. It is not for nothing that the basis of three-dimensional modeling of the most complex structures is always a cube, as the basis for creating any subsequent shape. And for drawing, a cube is the embodiment of a three-dimensional image; when drawing it on a sheet with lines, vertical is shown as height, horizontal as width and the third line as depth, which reveals space, making the object three-dimensional.

It is difficult to overestimate the importance of this assignment. Let the simplicity of the setting do not repel, since it contains the fundamental principle of creating works of art: from simple to complex.

If you are new to fine arts and want to learn how to create easy 3D pencil drawings for beginners, then our article will help you figure out the first basics.

3D painting has taken the art of drawing to a whole new level. Lots of contemporary artists creates mind-blowing 3D drawings that literally burst into the air from the surface of the paper through the use of shadows, flawless perspective, and the use of multiple sheets of paper to create a more complex composition.

You can learn to draw in the same way as these masters, but first you need to learn more about the basic principles and techniques. We will help you with this.

Basic principles

The first thing that needs to be mastered when drawing volumetric images is how to properly hatch the place on the sphere that is farthest from the light.

The points on which the light falls should be the lightest, and the surface of the object should get darker the further you move from the light source.

If you are planning to take a snapshot of your drawing, as many artists do, you should pay attention to the actual light source in the area where you are working. See how it affects the object you are drawing. This can enhance the impression that the object in the drawing is actually in the room.

Don't forget to work through how the different textures (stone, brick, leaves) look depending on the lighting.

This is not such a difficult thing when you remember its basic rule: objects that are closer to the viewer are depicted larger than those that are farther away.

If you want to visually check this rule and make sure that it really works like that, just find a long street, stand at the end of it in the middle and look in the opposite direction. The width of the road will gradually decrease towards the horizon.

When you draw your 3D picture, think about how the viewer will be positioned, how will he look at it - from the side or from above?

Going beyond the sheet... Some artists use their hand as an addition to a drawing. The fact is that the hand interacts with the drawing and adds a sense of reality, complements the 3D effect.

At first, some photographs show that the master seems to be holding his image with his fingers ... But only then we see that this is just an illusion.

Some craftsmen choose a real glass or pencil to interact with the picture. They place them in some way next to the objects depicted or even on top of them. And sometimes it is not clear where is reality and where is creativity!

Drawing 3D Shapes

If you want to learn how to draw 3D pictures with a pencil realistically, then you should start with basic volumetric geometric shapes. When you understand the principles of depicting multidimensional forms, you can apply the knowledge gained to any object.

In our lesson, we will figure out how to create volumetric drawings of shapes such as a prism, a pyramid, a cube, a cylinder, a sphere and a cone with a pencil step by step.

Both of these shapes are based on triangles.

When drawing a prism, start with a regular isosceles triangle and a small point somewhere off to the side (a point on the horizon). It doesn't matter which side you choose it from.

Start drawing two dashed lines from the top of the triangle to our point and from the corner of the base that is closer to it. Determine how long the prism will be. Remember that the far visible edge of it will be parallel to the side of the triangle, relative to which the prism was lined up.

To create a pyramid, draw an equilateral triangle with a dotted line at its base. From the top, draw a vertical line downward. It should drop just below the dotted line.

Connect the lower point of the line segment diagonally to the corners at the base of the triangle. It's okay, if the angles are not quite identical, it even adds realism.

This figure can be depicted in several ways, below you will see two of them.

Method 1. Draw two squares of the same size. One should partially overlap the other, how much is up to you. Connect the top and bottom corners of the two squares to form the edges of the shape.

Method 2. The principle of drawing here is similar to the approach that we used when drawing a pyramid. Only this time you need to make three equal parallel lines. The two lines on the sides should be at the same level, and the one in the middle should be dropped a little lower.

Connect the top points of the three lines with diagonals, do the same with the bottom points. Draw lines through the top points parallel to the top edges of the cube closest to you. At their intersection, a point is formed - the far corner of the cube.

Cylinder

Start with an oval. Don't worry if you don't get it right the first time. Train!

If your oval is vertical, then draw perpendicular horizontal lines from its extreme points above and below (if the oval is horizontal, then, respectively, vice versa). Carry them out as long as you need, depending on how long you want the cylinder to be.

Connect the extremes of the drawn line segments with a curved line that follows the roundness of the oval. To make sure that the top and bottom of the cylinder are the same shape, try turning the pattern upside down or 90 degrees. This will change your perspective and any inconsistencies will stand out.

There are several ways of depicting a sphere, varying in complexity. But in any case, the drawing of the sphere will start with a simple circle. Draw it freehand or circle something like a glass.

To make the circle look like a volumetric sphere, you need to correctly shade its surface, define shadow areas. First, the lightest place of the ball is determined, where the light falls. Then with opposite side intense shading begins. There the shadow will be the darkest.

Gradually work your way up to the lighter area, reducing the intensity of the color so that you end up with the lightest color. Try to keep your strokes following the shape of the ball, not sharp, perpendicular.

To make the transitions from shadow to light place minimally noticeable, shade the surface of the sphere with your finger or special shading.

This figure is a cross between a cylinder and a pyramid. So, let's use our knowledge of both shapes and apply it now in drawing.

Straight lines are important when trying to draw a shape in 3D. To do this, especially at the beginning, use a ruler or some other flat object made of strong material (so that it does not bend) with a straight edge.

Pay attention to the corners and the position of the lines. For example, shapes such as a cube have right angles and parallel lines at the base. And the angles of the cone can be different.

Compare the corners with a pencil. If you want to achieve a really technical drawing, then use a protractor. Pencils and erasers are your friends. Whenever possible, draw with a pencil to get the angles and lines correct.

So, you have learned how to draw with a pencil step by step 3D drawings for beginners, basic geometric shapes that are the basis for various objects. Therefore, you can apply the knowledge gained in drawing many objects.

How to learn how to put a stroke on the shape of an object - we will improve our skills in using a pencil and learn to create a drawing of geometric shapes, creating their volume. We have a cube, a ball, a cone and a cylinder in our arsenal.

Our work will be divided into two parts. The first part - we draw by submission... Perhaps you have mock-ups of these shapes, if not, then you can look at the page on how to make a mock-up of geometric shapes and, in fact, make them, but we'll start with something else. We'll start by understanding, analyzing the form first without mockups. You can first create them and sometimes look at them when drawing, but the main thing now is to learn to analyze, to think logically, all your work now is to think, without nature, to learn how to convey the shape of these basic figures. Initially, the work takes place in the head, and not in front of the eyes. Right?

The second part - we will draw from nature, but just as in the first case, we do not cling to nature strongly, but first of all we think and analyze ourselves, and now we are already checking ourselves with what nature shows us.

So the first part. You can draw in A3 format. We take a drawing paper, a pencil and draw a figure, it is also not bad to use the knowledge of perspective when building it. And then you begin to "lay down" a stroke on the shape, sculpting the volume of the figure with the help of your mind and a pencil.

We already know that chiaroscuro is distributed over the shape of an object, creating tonal gradations, or zones. For now, let's take the three main ones - light, partial shade and shadow. We restrict ourselves only to figures, not using all the space.

Let's draw a cube. We avoid mistakes. I have a strong perspective in the picture on the left, too much, don't do that. Here it is enough to convey it quite a bit, slightly distorting the shape. Take a look at the picture on the right. See the difference between the front wall and the back? It's enough. Not like this with us big sizes are used to transform small forms into architecture.

Let's talk about light transmission. Light, shadow and partial shade are shown.

But do not forget about the golden rule - the light moving away along the shape of the object darkens, the shadow brightens. Look: the light, moving away into perspective, loses its brightness slightly, add a little hatching there. And now partial shade and shadow, the same picture, but in reverse order. Moving away, the shadow weakens, brightens slightly. But all the same, the general tone of the shadow will never be lighter than the general tone of the light, and the penumbra also does not break out of its tone boundaries. Everything is in its place.

We also look at how we conducted training from our first lesson, see the basics of the drawing, we do not forget about that even now. We select the corners and edges closest to us, make accents on them. The near edge and the corners are accented, which is what they take the main attention to themselves, everything else smoothly goes into space. But this space does not need to be transmitted strongly here, since our distances are, in principle, small.

Note: how to determine the general tone - squint your eyes a little. The sharpness will decrease and you will be able to see everything in general. And you also don’t need to look at the work "head-on", often distance it from yourself, diffuse your vision, do not cling to details.

And then the rest of the figures. These figures, in general, we have rather streamlined, rounded, so that we notice the following:

Let's say the ball is the first in the row. The emphasis on it here is the shadow and it will be strongest in the place where the ball is closest to us. At the edges, I have no accents, since there the shape has gone into space - take this moment into account when drawing a streamlined shape.

The same is the case with the cylinder and the cone. Where the form begins to curl up and goes into space, the emphasis should not be made. But where it is necessary to accentuate the form, then where there is a break in the form and where it will be closest to our eyes.

Pay attention to the cone - its lower part is closer to us than the top. This means that the lower part of it will be transmitted more strongly, and rising to the top weaker - look at the shadow, below it is stronger, while rising up it loses its activity. Do not make it the same key over the entire height. These values ​​are not huge here, but they still exist, otherwise the conditional space cannot be conveyed correctly.

I draw your attention to the shading. This is something that is one hundred percent stroke that lays down in shape. Despite the fact that it is somewhat monotonous and boring, it is very useful in terms of learning. He teaches discipline, concentration, teaches how to make straight lines and simply purity of execution. I recommend doing this work using this particular stroke, just try to "sculpt" the shape of a geometric figure, feel with your hands and eyes its entire volume and how its shape "lives" in space. It is written in a strange way, but I try to convey to you as richly as possible all the charm of this exercise. And we will talk further about the strokes that should fit in the shape of the object and what they are not.

And don't worry if something doesn't work out. No one is immune from mistakes, and there can be many of them and there is nothing ideal in the world. But each of us has the opportunity to try again to make it even better.

How to draw geometric shapes

How to draw geometric shapes - now let's try to draw geometric shapes with an environment. We wrap them in air, draw them in space. We take the main ones:

Let the cylinder go first. We put the cylinder on the object plane - a table, set the lighting so that the shadow of the figure falls beautifully on the object plane, is neither strongly stretched nor small, it is harmonious and emphasizes the volume of the figure.

Stretch the paper over the tablet to create a clean drawing. Take a tablet 30-40 in size, for this kind of work it is quite enough.

Now we need to compose our cylinder in the plane of the sheet, find its harmonious place in paper space, taking into account the shadows as well. Use the eye to find proportions, reinforce it with a sense of linear perspective.

Be sure to transfer the object plane. Our figure does not "float" in space, it is on the object plane!

When building a figure, be sure to show invisible faces, show how to build - construction lines. You need it more than the viewer. Place accents where needed, show the intersection of the planes. Don't forget about perspective. If you noticed, we can see the lower plane of the cylinder more than the upper one, which is correct, since the horizon line (at least for me, you may have it differently) gives such an overview.

See how the shadow is built - it can be correctly conveyed using the construction lines. Figuratively: rays come from the light source, which are divided into two types, some illuminate the figure, stop on it, therefore there will be no further light behind the figure. And the rays of light that do not fall on the figure go further, illuminating everything in their path. And we can show this border with you. And one more thing: the shadow, moving away from the figure, will tend to increase somewhat, this resembles a reverse perspective. Do you understand why? If you send the rays the other way around, then the lines of construction of the shadow will converge in one point-to-point from which the light comes.

This is how you should get it. Further, in principle, we no longer need nature, since everything can be analyzed independently. Include analytical thinking and reasoning logically. But, nevertheless, let's analyze further:
The figure shows that the light falls from the side and from above. This means that the upper plane of the cylinder will be illuminated most of all, and the light will also fall on the object plane, since it, like the plane of the cylinder, is also horizontal. The vertical planes - the wall and the clipping of the object plane, as well as the volume of the cylinder itself will receive less illumination, since they do not receive the incident main light.

Further: we do not make the object plane black - the angle of the object plane receives in this case enough light so that the shadow is not the most active here. But it is nevertheless necessary to highlight its objective plane. This is achieved by highlighting the corner of the object plane.

Next: our subject plane receives the main light, but we need to show that it is horizontally located. And we know that moving away the light goes out, weakens. The farther the object plane moves away from us, the weaker its light will be - we put a stroke in this way.

Now we need to deal with the part of the cylinder that will be in the shadow. Our cylinder is located vertically to the object plane, which means that the main light will fall on its horizontal upper plane. Everything else is in the shadow, except for the area where the light slides along the form, since the light does not fall exactly from above, but a little from the side - this area is highlighted for me as the lightest on its vertical plane. The general shadow of the cylinder is more active than the wall, since the cylinder has an active shadow of its own and itself is closer to us, although the wall is also located vertically.

The wall will be darker than the object plane, because it is vertical, it means there will be less light here, and because it will be farthest, it will be in the background. We put the stroke in this way.

The falling shadow of the figure will be the most active, but it also lies on the object plane, and therefore, moving away from it, it will become a little weaker.

Well, it remains to place accents where it is necessary - the breaks of the forms, which will be located closer to us, will be accented.

If at first the hand does not obey, it is difficult to hold a pencil and it is difficult to lay down a stroke in the form, and it is difficult to clearly define the shape itself with a stroke, that is, it is possible to work as shown in the figure on the left.

Lightly mark the breaks in the shape. That is, let's say you know how light is distributed over the shape of an object. You know that there are five of these zones: glare, light, partial shade, shadow and reflex. This is all accurate, but conditional. In order to convey more qualitatively the volume of the figure, you can outline as many kinks as you like, and the more there are, the softer the volume of the figure will be. Visually divide the figure into these zones and lay down the usual straight line, but so that to sculpt the volume, use the frequency of the stitch-line or the pressure of the pencil.

Here I ask you not to confuse two concepts: how light is distributed over the shape of an object and how a stroke is applied to the shape of an object. In the first case, we have 5 zones, in the second, we can outline as many zones, breaks in the shape, as you need. But do not blacken, all auxiliary lines should be subtle.

Note: if you could notice by looking at this picture, you saw that on the lighter side of the cone, the wall in the background is darker, and on the other, less illuminated side of the cone, the wall is lighter.
The fact is that the wall is the same here and there, but this is how our eye sees. For the acuteness of the sensation of reality, for the best accent of light and shadow, for a harmonious touch of the drawing with our eyes, and in the end, let's make our eye pleasing! Let him see in the drawing what he sees in nature. This is only a slight nuance that will only enrich our drawing, it can be unobtrusively conveyed.

Addition: see how the shadow of the cone is built.

Next, let's draw a ball drawing. You can see the construction on the left. Notice how the shape's shadow is drawn. We have already figured out the falling one, like: we determine with the help of an eye and reinforce the perspective with knowledge. Do not forget that the shadow falls on the object plane - this must be conveyed and understood.

But what about your own shadow? Interestingly, if you draw lines from the point of illumination to the center of the ball, through which the diameter passes, which forms the circle of the shadow, then this diameter will be perpendicular to the line drawn to the point of illumination. If you understand this, then how to put a stroke on the shape of the ball in order to show your own shadow is not at all difficult.

Now I became boring to draw something in one manner and wanted to experiment. Look at the work on the right. Do you think it is done with shading? Does not look like it. It is made with a tonal spot using pencils of various degrees of softness. If you take pencils with a solid lead, without a wooden frame, and you just type the tone on paper, and not hatch, then you will also get such a drawing.

And what else, besides the technique of execution, is wrong with us? The light is in place, the shadows too, so everything is in order.

But nevertheless, let us consider in more detail. We will have the brightest light on the illuminated side of the ball; on the plane it will not be so active and will fade away with distance from us. The darkest shadow will be falling, there will be a little more light on the fracture of the object plane, but nevertheless, we will accentuate this area.

Look at the ball's own shadow - I put emphasis on that area of ​​it that will be closer to us, and as it wraps in shape, the shadow will lose activity. Remember: the ball is streamlined.
The wall is in partial shade, moreover, in the background, so let it remain there unobtrusively. The only thing is that it will "play" with the volume of the ball. From the side of the world, the wall will appear somewhat darker, from the side of the shadow, it will appear lighter. Let's do something nice for our eyes here too;)

How to learn how to put a stroke on the shape of an object. Hatching

Here we smoothly come to what we already talked about at the very beginning of this page. How does a stroke fit in the shape of an object and what stroke is not. The fact is that each draftsman, in the process of work or study, develops his own certain style of stroke. Of course, there are canons, different historical times have their own canons of drawing and stroking, but it is not at all necessary to adhere to them. Optional. I believe that if with the help of a stroke it is possible to convey the volume of the figure and the space itself in the sheet, then it is absolutely all the same what this stroke represents from itself. The main thing is that everything is done competently and beautifully. In simple terms, do not make straw, learn to draw beautifully. This also applies to the stroke. On this page we learned how to add a stroke, let's continue a little more.

For example, this is how I draw a cube, which we have not yet drawn.

1. Determine the place of the figure in the sheet

2. We place the figure on the object plane and find its structure and its shadow, not forgetting to take into account the perspective

3. Determine the place of the light and shadow, apply a light stroke. This gives us the opportunity to immediately determine the distribution of light and shadow in our drawing, to separate them

If you look at the stroke that completes the work, it is quite unusual, right? In drawing lessons, it is better not to resort to such a stroke, do not frighten the teachers, they do not have such modern progressive views as you do. But in their creative works such a stroke can be applied, why not? After all, the drawing was made according to all laws. The space in the sheet is conveyed, the shape of the object is shown, the main tonal relationships in our drawing are conveyed. But to this we also added a touch that makes the work interesting and airy. Well, then again, we disassemble the drawing, analyze:

Let's go through the main tonal relationships, for a start, on the shadows: the darkest shadow is the falling one, then the cube's own shadow follows. The fracture of the object plane takes the third place, we highlight it, but not blacken it, since there is enough light there. And the fourth is the wall, which also receives light, we can say that the wall is in partial shade, but farthest. See how the penumbra of the wall plays with the shape of the cube: from the side of the illuminated part of the cube, the wall is darker, from the side of the shadow, it brightens. These gradations can be very small, but they are present.

Next, we analyze the light: the lightest and most illuminated part will be the upper plane of the cube, the second in terms of lightness is the object plane, which is horizontally in front of us and going into space, it loses light.

We make accents on the kinks of the forms. Select the near edges of the cube and the corners, this will help to pull it out of the space in front.

And do not forget - the light, moving away, darkens, goes out, the shadow, moving away, loses its activity and brightens somewhat, but we take into account the golden rule: the darkest half-tone in the light is lighter than the lightest half-tone in the shadow.

Lastly: if you decide to experiment with shading. Since the tonality of the light-shadow, which we transfer in paper space, varies, so the stroke can change its shape - play with the stroke size. The wall is finished with a mid-stitch stroke, quite static. The cube is made with a small and active stroke, which gives dynamics to the cube. And the object plane is made with long stitches, rather trivial and uninteresting. So, even a stroke helps to reveal the main character in the picture - a cube, which is made with the most dynamic stroke that attracts attention, in my opinion. What do you think?

Try to do something of your own, experiment, then the simplest work will be done with pleasure, great attention and great interest. And when you are sitting, doing work, for example, you try to put the stroke evenly in the form, and even you can do it, and at the same time you begin to notice that your breath stops from the concentration of your attention, in these very minutes you feel the whole limit of the drawing and you get unspeakable pleasure.