Tone Still Life 
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Tone pattern still life of household items is the main educational task in the process of teaching students a drawing in the first year. Performing this task, students continue to acquire new knowledge and skills in drawing a still life, and also continue to consolidate and improve the knowledge gained in the process of performing the two previous tasks (which are an integral part of this figure). The main thing is that this work forms the student’s concept of tone and tonal relationships, and not only in the drawing. Thinking in tone spots is necessary when creating compositions for both graphics and the painter. And here, really, you need to understand that drawing is the basis of all types of art.
There are two main methods of working on a tonal drawing of a still life. One is academic and traditional; the other is somewhat different from the first and is its derivative, because it requires some experience gained in working on a drawing of a tone still life in an academic approach. Usually, the performance of a tone still life according to the second technique should be followed by the first. This gives students the opportunity to compare both methods and note the useful aspects of each of them, while at the same time feeling the freedom of choice in the methods of approach to solving the tonal still-life drawing.
Consider the whole chain of the process of working on a still-life drawing, starting with foreskises and ending with generalization techniques for an almost completed drawing; get to know the tone and learn how to work with it; learn to sculpt the shape of an object with light and shadow.
Compositional sheet solution
The compositional solution to the tonal still-life drawing will require a creative approach from you. Unlike a constructive design, which is linear in its graphic content, the tonal design is spotty. The composition consists of different tone spots that form still life objects and the space in which the still life is located. These spots vary in tone and size. Your task is to create an interesting and balanced composition from these tone spots, in which all the tone spots of the composition are dependent on each other (and when you move, resize or delete any of them, the composition of the picture is destroyed - the design of the graphic sheet is also destroyed).
Prior to this assignment (in the still-life drawing), we examined the design of still-life objects, but there is also the design of the graphic sheet — this is the tonal structure of your drawing. The tonal structure is of paramount importance for the painting, being its design.
Color gives an emotional state. What will give the color blind the lack of tone in the painting? Gray spot. Consider the tonal structure of your still life through three generalized local spots. They will be dark, light and neutral spots. To ease your task, looking at the still life, squint slightly and you will see these generalized spots. The illuminated and bright parts of the still life merged into a single spot; dark, shadow parts and even parts of light objects in the shadow merged into another spot.
Pay attention to the proportional ratio of these spots. In one still life, the main thing in the design is dark tone, the other is based on the predominance of light tone, but never these tone spots in one still life can be equivalent. This is the law of composition, the "golden ratio". Further, working on the composition of the graphic sheet (picture), you will try to create a harmonious, proportional balance between these tone spots.
To select the point of view from which you will create a still-life picture, perform several foreskises. They are performed in tone, small size. Foreskis should be a simplified version of the future composition of the picture, in which the main task is to create local tone spots and find proportional relationships between them aimed at balancing the composition of your still life.
By foreskiz, we can judge the advantages and disadvantages of the composition of your still life. If there are more advantages in the composition you have chosen, then you need to think about how to fix the flaws. It’s permissible to slightly move still life objects in your composition, change the position of the light source, complicate the drapery plastic in the foreground, and adjust the falling shadows. In extreme cases, you can change the point of view and continue the compositional search.
Next, with light lines, we outline the compositional solution of the sheet according to the foreskis. Find the proportional relationship between still life objects and proceed to the constructive construction of still life objects in sheet space.
Constructive construction of still life objects
The way constructive construction of still life objects is carried out is considered by us in the two previous sections. The knowledge gained from them must be used in this section. In order not to repeat itself, it is enough to briefly recall the main points of the constructive construction of still life objects.
Based on the direct perspective method, build a table plane on which to draw traces of still life objects. Make sure that the tracks “lie” on the plane of the table, and then build the frames of the objects, observing the proportions and proportional relations between the objects of the still life. Apply the aerial perspective method to the still life lines.
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