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In my travel blog, I already managed to talk about a package from Australia, which I received a few days ago.

Souvenirs from a distant mysterious country were painted based on the art of Australian aborigines. In Australia, it is held in high esteem, it is even studied in universities. And, of course, they are applied to souvenir products. After all, what can better tell about a country than its ethnic art?

It was painted by Australian artist Ron Potter

I have never seen anything like it in my life. My daughter and I were delighted and, of course, decided to try to portray something similar.

It seemed to us that we would get it beautifully - after all, the patterns are not so complicated. We drew first with a simple pencil (outlines), then with a gouache brush, and then applied the gouache with cotton swabs (this was the most fun in the drawing process).

However, the simplicity of the image proved to be very deceiving. Well, we, of course, are not that great either. In general, no matter how hard we tried, we didn't get the same beauty.

And this - I drew ...

This drawing depicts a kangaroo - the totem of the coastal clans of the Aboriginal. Australian Aboriginal art is highly symbolic. And each drawing contains a whole story. The kangaroo totem makes its way to the central part of the continent to sell goods and get money.

The ocher patterns just symbolize money (gold). And the traces mark the trade route. Do you see how difficult it is?

By the way, Australian artists are involved in the promotion of Aboriginal art for a reason, but for charitable purposes. And the interest from the sale of souvenirs to enthusiastic tourists goes to the maintenance and preservation of this art, which brings a good income to the aborigines. Great idea, isn't it?

And this - my daughter tried ...

Australia is a very rich country in terms of beauty. And absolutely unknown to me and my children.

I think our drawings are just the beginning of our acquaintance with Australia. And my daughter and I will definitely read about Australian animals and will draw some of them.

Well, you can find my story about a parcel from Australia here - worldroads.ru/posyilka-iz-avstralii. I am sure you will be interested!

Do you know anything about Australian Aboriginal art?

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(function (w, d, n, s, t) (w [n] \u003d w [n] ||; w [n] .push (function () (Ya.Context.AdvManager.render ((blockId: "RA -351501-3 ", renderTo:" yandex_rtb_R-A-351501-3 ", async: true));)); t \u003d d.getElementsByTagName (" script "); s \u003d d.createElement (" script "); s .type \u003d "text / javascript"; s.src \u003d "//an.yandex.ru/system/context.js"; s.async \u003d true; t.parentNode.insertBefore (s, t);)) (this , this.document, "yandexContextAsyncCallbacks"); In addition to termite mounds, which, in principle, were cool, but of little interest to contemplate, we wanted to see something more valuable and unique that has survived to this day in Australia - aboriginal rock paintings. But we still climbed to look at the drawings. They climbed, because how to get to them is not so easy.

And when I saw very, very old Japanese women on the rocks, who were helplessly examining the stones, not understanding how to get out of there, I had to help!


I am always amazed at the elderly people I meet abroad. I myself am already a pensioner, but I often see very old tourists who use crutches to climb to the idols of Easter Island, or, like now, to steep rocks to the drawings of the aborigines. And nothing stops them from trying at the end of their lives to see as much of everything interesting on this Planet as possible ...


And not because they have more money than our pensioners, they just have not lost their interest in life to gray hair. Local Aboriginal tribes seriously guard these drawings and do not allow any research with them, which is why so far so little is known about this rock art.


And although almost every drawing has a plate with a narrative of what is depicted, personally it seems to me that all this has no scientific basis under it, because no one really knows for certain what the ancient artist was trying to portray.


In June 1997, three elders and a young disciple from one of the Aboriginal communities left their native Kimberley Plateau in the far northwest of Australia and traveled to Europe to exhibit photographs of their holy cave paintings and explain what they mean.


By their actions, which until recently were punishable by death, they are trying to close access to their holy places for livestock, which are driven here to graze, mining companies, tourists and souvenir hunters.


Rock art is a kind of visual document for the aborigines who never had their own written language. This is a "written law" written in their terms. The white man's law changes every year, but these drawings never change. The illustration of the transfer of an object from one person to another, for example, has never been modified, and it has always been here for the aborigines. For the natives, this is the power of the law.


These drawings differ significantly from European Paleolithic painting, primarily in a kind of X-ray style with an absolutely cute name - "Mimi". On them, the depicted is made in the form of a skeleton and internal organs, both animals and people.


The oldest drawings are fifty-three thousand years old, and they are the oldest known specimens of rock art on Earth, but it has not yet been possible to establish this with certainty due to the local population's taboo on any research.

For millions of years Australia was part of Antarctica before breaking away from it and moving north towards the equator. Until now, no one knows exactly how the first aborigines appeared here, their past is still shrouded in mystery, but the finds indicate that this happened about 50,000 years ago, exactly when the rock carvings are dated.


Although the complex of paintings on rocks and grottoes in the Kakadu National Park, where we photographed, is included in the World Cultural Heritage List, their preservation is under constant threat, both from nature (forest fires, erosion) and from tourists visiting them. And in order to preserve this information in 2013 the Australian company "Maptek" began work on a large-scale project - scanning Aboriginal rock paintings in Kakadu Park.


If you try to describe what is happening, captured on the rock paintings, using the description in English on a nearby plate, you get something like the following ...


This drawing is the most frequently photographed drawing.


Main character - Namarndjolg (no. 3)... It is believed that he and his "sister" violated the law on the inadmissibility of marriage between "relatives". Namarndjolg later developed into Ginga, combed crocodile. "Sister" in this case is not a blood sister, but a woman from that clan / totem, who was forbidden to marry the clan of Namarndjolg. Even today, if a European marries an Aboriginal woman (or vice versa), then he will be "enrolled" in a certain clan, so that it is clear to which clan his children will belong, and whom they can / cannot marry.
Namarrgon (1) - Lightning Man ( Lightening man), drawn to the right of Narmarndjolg.

"Horns" / "Mustache" / "Arc" / "Bandage" on his head are lightning. He has a stone sword (near his knees), and with his elbows he generates thunderclaps.
Legend has it that Namarrgon, his wife Barrginj (2) and their children Aljurr came from the north coast in search of a good place to live. Namarrgon now lives at the top of the Lightening Dreaming Plateau. His children Aljurr are lightning bolts, but they can also be bright orange and blue grasshoppers that come at the very beginning of the rainy season. It is believed that they are looking for Namarrgon. For the natives, the appearance of such grasshoppers meant that it was time to seek shelter from storms. Barrginj, Namarrgon's wife, is drawn just below Namarndjolg.
Men and women (4) in the picture are sent to the ceremony. The breasts of nursing mothers are covered with pieces of cloth.


Guluibirr (5) , Saratoga fish - popular for the waters of streams and rivers of those places.


Such is the story of life, captured in stone and come down to us!

Across Australia, more than 50 thousand places have been discovered where drawings were discovered, but most of these places are kept in the strictest confidence not only from tourists, but also from the authorities.
In general, according to my observations, the natives are not very friendly people towards the "white" population, although it is understandable. What the colonists did here is comparable to Nazism at its worst. Only in 1970 did the government stop taking away children from Aboriginal people under the slogan "Assimilation of Australian Indigenous People." These children have even been called the "Stolen Generation".
Today the situation with the aboriginal has changed somewhat, but frankly, this is not particularly striking. Among them there are a huge number of alcoholics and drug addicts, and there is even a law in the northern territories that prohibits the sale of alcohol to the aborigines and there are cards by which it can be purchased in the store. They are issued, for example, to tourists upon check-in at a hotel. But on the way we met very friendly local people, although we still tried to stay away from them (just in case) and not leave the car unattended, because “the laws are not written here” and there is no police at all. In addition, we encountered here in the north of the country with a completely unprecedented case when a gas station refused to sell us gasoline !!! We were asked the question “is the situation with gasoline critical?”, They answered that they were running out, and then the answer followed - well, then you’ll get yourself to the next gas station ……………. "Gogol's silent scene".

Communication in these places is also a complete disaster, nothing works, neither mobile phones, nor navigators, aboutWi- Fi I don't even stutterJ In short, you need to be very, very prepared if you want to poke your nose into the north of the country.
I would also like to warn travelers who want to make contact with local aborigines without having guides (rangers) accompanying you. Australian aborigines have very strong magic that allows you to achieve the desired effect without using anything belonging to a person (while usually it is a person's personal thing that is a kind of conductor for influencing a person). For this, special tunes are used and the concentration of the sorcerer's thoughts on the person being influenced.A sorcerer can even sing death to a person in this way. For many, Australian magic is a way to solve the problem when there is no access to things related to the object. Is she strong? Yes! But none of the scientists can explain what its action is based on.Therefore, be careful!

Before there how to draw an Indian, I must tell you a little about the subject. The Indian is a red-skinned bro, so named because of the ridiculous mistake of Mr. Columbus (the famous, who did not even suspect that he had discovered not India at all, but America) According to generally accepted concepts, the Indian always looks thoughtful, smokes a pipe and walks in a kokoshnik made of feathers. When a stranger steps on their land, the Indian (clapping his palm on his lips and making the sound O-O-O) runs headlong to his tribe, where they kindle and sharpen their spears and arrows. But when strangers present them with overseas gifts, the Indian bury the ax of war. Later, the leader of the tribe and guests sit in a circle, in the most tuned wigwam, and light a pipe of peace (most likely with some kind of unusual grass, since the leader very often sees all sorts of visions prophesying evil).

The Indian is perfectly adapted to life, he knows how to kill animals with his tomahawk and strip them of their skins, grow corn and make popcorn out of it. An Indian woman plucks poor birds and sews dream catchers from their feathers. The female Indian is most often beautiful, judging by the cartoon Pocahontas.

Currently, the Indians, as such, are practically gone. By a special court order, a decree was adopted to move all Indians to museums, and to build naphtha towers, factories and clubs with poker and courtesans in their place of residence. And a little later, the blacks rebelled and filled the whole of America. So it goes.

How to draw an Indian with a pencil step by step

Step one. To begin with, let's designate the position of the person. Step two. We draw the elements of the face: eyes, nose, mouth, we mean plumage. Step three. Add hair and strokes all over the body. We will do the same with the feathers. Use shading to create shadows. Step four. Erase the construction lines and detail the objects. It should work out somehow. You can also color it with crayons. In addition, we also have interesting lessons, for example.

The desire for the beautiful forced the Australian to cover his shield, club, boomerang with ornaments, draw patterns and images on rocks and stones, and wear jewelry on his body. The artistic endeavor was joined by performances that endowed some of the adornments and ornaments with supernatural properties and turned them into sacred images.

Thus, the works of fine art of Australians are divided into two types: sacred, religious and magical images and ornament and drawings that satisfy the aesthetic need, but devoid of any religious content. And again, like works of folklore and dances, there is no external difference between both types: drawings that are completely identical in form and appearance could in one case mean some sacred mythological plot, and in the other, have nothing to do with mythology.

Therefore, leaving aside for the time being the question of the presence or absence of religious and magical meaning in Australian painting and ornamentation, and focusing only on its artistic and technical side, one can try to systematize the works of the fine arts of Australians. They can be classified by place of application, by technique of performance, by style.

At the place of application, the following groups of works of art are outlined: ornamentation and decoration of the body, ornamentation of weapons and utensils, images on totemic emblems (churinga, vaninga, etc.), images on rocks and in caves.

Body jewelry can be categorized as permanent or temporary. Scars on the skin, made during initiation ceremonies, and sometimes from childhood, served as permanent adornments. Scarring was mainly men, but sometimes women. Scars were applied most often on the chest, abdomen, in some tribes on the back, arms. Ras

the position and pattern of the scars indicated tribal affiliation, sometimes belonging to a particular phratry and marriage class, but most of all, the passage of initiation rites. The pattern of scars is very simple: usually they are parallel horizontal lines across the chest or short lines in different parts of the body. The Australians, like most black peoples, did not know real skin tattoos. Temporary body adornments were much more abundant and varied. Australians were adorned before various corrobores, festivals and religious ceremonies. Ornaments often covered the entire body and were complemented by a headdress, sometimes of large sizes and bizarre shapes.

Weapons and various household items were not always decorated. Shields, as a rule, have a relief ornament on the outer surface and, in addition, are painted with ocher. Many tribes, especially in the southeast, also had ornamented clubs. Of the boomerangs, a special ornamented variety stands out - these are products of the tribes of western Queensland. Spears only in rare cases were decorated with carvings near the tip. Tools of labor, axes, knife handles, troughs and other objects were occasionally ornamented, and more often remained without any decorations.

Cult inventory (Central Australian churi gi, widespread "buzzers", etc.) were usually covered with ornaments or images of symbolic conventional meaning.

Rock and cave paintings are of different types. Some of them represent monuments of ancient art, about the origin of which the Australians themselves now know nothing. The other part is the work of contemporary Australians. According to their meaning, cave paintings are divided into drawings associated with religious and magical beliefs, and into simple writings that do not have anything sacred or secret in the eyes of the Australians. But in their outward appearance, some do not differ from others. The most famous rock carvings in the northwest, as well as in Central Australia. Among the southeastern tribes, the place of rock paintings was taken by images carved on the bark of trees and drawn on the ground. They, like the tribes of Central Australia, also made relief figures on the ground, which had a sacred meaning.

As for the technique of applying an ornament, here you can establish several specific types. Spencer and Gillen give the following classification of the Central Australian tribes' ornamentation methods, which can be extended to the whole of Australia: carving, burning, coloring with ocher, clay and coal, ornamentation with bird or vegetable fluff. Sometimes two or more methods were combined.

Carved ornament is most often found on wooden items. The carving tool was sharp flint or sometimes an opossum cutter; the latter, in particular, made carvings on churingas. Scarring of the body can be attributed to the same type.

The pictures were burned out very rarely; according to Spencer and Gillen - only on magic wooden sticks.

The most commonly used surface coloring with dyes. Their assortment was very limited, and the range of colors was just as limited. White clay or gypsum gave white color, ocher - yellow and red, charcoal - black. These four colors almost exhausted the range of paints used by Australians. They did not use either blue or green paint, probably due to the lack of natural dyes, and did not even have special designations for these colors in their language, calling them the same as yellow (for aranda - tierga , or turga ).

It is very typical for Australians to use down for decorative purposes. The fluff was taken either from birds or from vegetation, usually white, but often it was dyed, mixed with red ocher. Most often, Australians used fluff to decorate themselves before corroborei. They covered body skin, hats, etc. with fluff, using blood or resin as an adhesive. Whole patterns were laid out on the body with white and colored down.

In its artistic style, Australian decorative arts, for all their simplicity, are very distinctive. By style, you can divide it into certain types.

In general, the visual arts of Australians are characterized by a conventionally schematic style, with a predominance of geometric and geometrized motives, in contrast to the realistic and objective style of visual arts, for example, the European Paleolithic or contemporary Bushmen. However, it is not the same everywhere.

According to Spencer and Gillen, good connoisseurs of the decorative arts of Australians, it is possible to draw a conditional line from north to south across the whole of Australia, so that the line will run from the southern part of the Gulf of Carpentaria to the Gulf of Spencer and cut the mainland into two approximately equal parts: in the western half, the geometric style, in the east - more substantive (imitative). The western half of the mainland, characterized by a geometric style, can in turn be subdivided into the western and central parts proper: in the western, rectangular figures and zigzags served as the favorite ornamental motifs, in the central, concentric circles, spirals and curved lines.

It is this Central Australian style of ornament that is most characteristic. What is remarkable in it is mainly the tendency towards continuous filling of the surface with a pattern. The artist usually took into account the shape of the thing being decorated. On elongated objects - shields, churingas - wavy lines were often applied in full length, emphasizing the longitudinal axis of the object; or, on the contrary, it was dissected into parts by transverse stripes of alternating colors, for example, red and white. But in many cases, the master only tried to fill the entire field with patterns, regardless of the shape of the object. He covered it with rows of wavy lines, concentric circles, etc., filling the free space entirely with white or a different color dots. When decorating the human body, its lines and contours were also taken into account: wavy or gently curving lines and stripes followed the outlines of the body or crossed them. Observing the figures of painted dancers and corroborei participants, one cannot deny Australian artists a peculiar, albeit rude taste.

When an ornament covers sacred objects, churingi or is generally associated with religious and magical ideas, the elements of this ornament, while retaining their purely geometric shape, acquire a conventional symbolic meaning: they mean images of totemic ancestors and individual episodes of myths. Moreover, in many cases there is some similarity between the ornamental motif and the depicted object. For example, the mythical snake was almost always depicted as a wavy line or stripe. Traces and paths of movement of the mythical creatures that wandered around the country were conveyed by dotted lines, rows of dots or short dashes; sometimes even realistically separate traces were looming. Horseshoe-shaped figures that are constantly encountered in the ornament usually mean a seated person (perhaps by the resemblance to his spread legs). But more often there is no, even remote resemblance to the depicted object, and the same motive means in one case “one thing, in another - completely other. For example, the favorite motif of concentric circles or spirals depicts a frog on one churing, a tree on the other, a pond on the third, a man on the fourth, and a place where the wandering mythical ancestors stopped at the fifth. In drawings that are not related to a cult, the same motives may not mean anything at all. It is never possible to determine from the outward appearance of a drawing whether it has any symbolic meaning and which one. This was known only by those who were directly related to this drawing.

It is difficult to say how the connection of individual ornamental motifs with certain mythological representations was established, for example, concentric circles depicting frogs, etc. It is possible that a gradual geometrization of a drawing that was once more realistic took place here. It is also possible that the drawing never had a realistic look, and an arbitrary connection was made between certain mythological images and their graphic symbols.

In Western Australia, the dominant style of ornament remains geometric, but curvilinear figures there are replaced by rectilinear ones.

Instead of concentric circles and spirals, we find here rectangles inscribed in one another (the sides of which are mutually parallel); angular meanders, instead of wavy lines - zigzags. There is an assumption that this rectilinear style is a further development of the curvilinear one, that, therefore, the tribes of Western Australia in the visual arts have taken a step forward in comparison with the Central Australian tribes.

In the eastern half of Australia, the geometric style in decorative arts is combined, as noted above, with object images. Geometric motives are more varied, and compositions are more complex and stricter. The most characteristic patterns are on shields and clubs. Their usual elements are parallel rows of zigzag lines, dotted and linear patterns in a chess composition.

Subject realistic depictions were rare in Australian life. Almost the only area where they are marked is the northeastern part of Arnhemland. The Berndts recently described not only object drawings, but also wooden plastic figures depicting men and women. Here the absolutely undoubted influence of the visiting Indonesian sailors affected; this influence began several hundred years ago, and the manufacture of carved and painted human figures became firmly established in the life of the aborigines.

Elsewhere, realistic depictions were very rare. However, when an Australian happened to do them for some reason, they sometimes turned out to be so well done that one should assume that Australians have a deep tradition of realistic art. Taking a European pencil or coal in their hands, they draw on paper * extremely expressive figures of animals, everyday scenes and landscapes full of dynamics and expression. The best examples of this style are paintings by the Aboriginal artist Albert Namajira and the artist boys from the Carroll School School (for more on these, see the chapter “The Australian Present”). These lively, spontaneous drawings contrast sharply with religious and magical images, dryly schematic, dull and colorless. When folk art is not constrained by conventionally religious tradition, it is capable of producing highly artistic samples. In general, Australian fine art is similar in type to the art of the Neolithic and partly the Mesolithic of Europe. Realistic depictions also resemble some forms of late Paleolithic painting.

The beginnings of positive knowledge

In bourgeois literature, backward peoples are often portrayed as ignorant "savages" whose consciousness is so saturated with gross superstitions that they are not even capable of thinking logically and cognizing the real world. This narrow-minded opinion is deeply mistaken, as can be easily seen on the example of the same Australians - one of the most backward peoples on earth.

Of course, the religious and magical ideas of the Australians are wild and absurd, but such are any religious ideas of any people, although among the peoples of Europe, for example, they are clothed in a refined, "cultural" form. “I believe because it’s ridiculous,” is a well-known saying of Christian theologians. But in everything that does not concern religion, Australians are able to reason as sensibly and logically as we do. This has been noted more than once by conscientious observers. Australian school teachers who have to deal with Aboriginal children notice that these children are doing well in school subjects, keeping up with their "whites;" comrades; however, it is very rare for the natives to get at least a secondary education, and even less often they can find application for their knowledge, because the path to intellectual work is closed for them.

The accumulation of positive experience and the ability to generalize, to a rudimentary systematization of the observed facts are confirmed by the ability of Australians to perfectly adapt to the natural environment.

Australian hunters are well aware of their immediate surroundings. The area in which this group (clan, tribe) roams, be it steppe, mountainous country, savannah or tropical jungle, is the home for all members of the group. They know every tree, every rock, every body of water within their nomadic territory. Their knowledge of applied botany is amazing: they know hundreds of species of trees, shrubs, herbs that grow in the vicinity, they know all their useful properties and how to use them. Some plants provide food (roots, tubers, seeds, etc.), others are material for crafts; The Australians know the technical features of each wood species as well as any forestry technician. It is amazing the ability of Australian women to process various plants and prepare food from them: they neutralize little edible and even poisonous plants in the wild through complex processing. This kind of practical chemistry can be surprising. No less great is the knowledge of the Australian hunters of the animal world: they know all the animals and birds within their area, know their characteristics and habits, traces and paths of movement. The hunter knows how to find, outwit and catch even the most cautious and timid animal.

The amazing ability of the Australians to navigate the deserted desert, to find a way, water, food, was also noted more than once.

A wandering hunting life by no means represented, as is always thought, an unconditional brake on the development of positive knowledge. On the contrary, in some respects he favored the expansion of this knowledge. The mobility of Australian hunting groups, constantly communicating with each other, frequent migrations, campaigns, expeditions, intertribal gatherings, exchange relations - all this contributed to the expansion of the mental horizons of the Australian aborigine.

It is necessary to dwell separately on the question of the traditional medicine of the Australians. The chapter on religion spoke of the witchcraft practice of their healers. But Australians also know and use a variety of rational medicine. Until now, bourgeois researchers have paid little attention to them, being more interested in just the healer-magical practice of the Australians. But the work of the Viennese ethnographer and doctor of medicine Erich Drobetz "Medicine in the natives of Australia" collected a lot of very interesting material on this topic.

To their sick, as well as to decrepit old people, the Australians are very careful, take care of them, if necessary, wear them when migrating on themselves. These facts, like all the medical practice of the Australians, refute the idea, widespread in bourgeois reactionary literature, of them as "rude savages."

It turns out that some of the medical and surgical tools used by Australians are quite rational. This is especially clear in relation to the techniques of primitive surgery: they know how to heal wounds, fractures and dislocations well and do it by their own means, without even resorting to healers and sorcerers.

Clay, fat of a snake or other animals, bird droppings, resin of some trees, milk juice of ficus plants, stems crushed into gruel, sometimes with an admixture of ocher, etc. are applied to a bleeding wound. Human urine and mother's milk are also used for wound healing. Some of these substances are also used for tumors and abscesses. Drobets indicates that some of these folk remedies are also recognized by European medicine. Bandage wounds with soft tree bark. Charcoal, ash, cobweb, iguana fat are used as a styptic. In case of bone fracture, bandages of bark and wooden splints are applied. However, as the sources indicate, the period of overlap is not long enough, which, however, is quite understandable in the conditions of nomadic life.

Snake bites are treated by sucking, pulling the bitten body particles, burning the wound, and a circular incision. For some ailments, for example, with a headache, with rheumatism, the patient is allowed to bleed with the help of incisions.

The diseased tooth is removed by tying it with a cord.

Sometimes the pain is relieved by applying the leaves of plants containing narcotic substances ("snake grass", etc.).

There is information, although little reliable, about real surgical operations, for example, with a wound in the abdomen.

Skin diseases are treated by applying clay, red ocher, tincture of certain types of bark, and washing with urine.

With inflammation, with febrile heat, cold lotions are used. For colds, rheumatic pains, and other cases, the patient is forced to perspire; some southeastern tribes set up a real steam bath. Having dug a hole, they heat it with hot stones, put damp leaves and branches on them, and over the pit they build a roof made of poles; a well-wrapped patient lies there. In some cases, the patient was buried for four to five hours in damp earth, with the addition of water (kamilaroi), or in sand (gevegal, yualayi).

For gastric diseases, laxatives (honey, eucalyptus resin, castor oil) and fixative (various tinctures, orchid bulb, clay, etc.) were used.

The pharmacopoeia of Australians is generally quite rich. They know the healing properties of many plants. Walter Roth lists 40 types of plants used for medicinal purposes.

The use of many of the mentioned traditional medicines is combined with magical techniques, usually with conspiracies. But this does not prevent the traditional medicine of Australians from remaining rational in its essence, because it is built on positive folk experience.

Indians are a very interesting people, they have excellent musculature due to their very active lifestyle. If you are interested in their culture and like to draw, then in your head, most likely, the question arose: "How to draw an Indian?" This people is unique, but, unfortunately, their culture is forgotten. During the colonization period, many people died. This article will answer your question about how to draw an Indian.

Few facts

Before you learn how to draw an Indian with a pencil, learn a few interesting facts about them.

Preparatory stage

Would you like to draw an Indian? Step by step instructions are provided below. You will need the following materials:

• Pencils of different hardness (hard for sketching and soft for filling with color).
• A sheet of a suitable format.
• Eraser or nag.

The first way

For this answer to the question of how to draw an Indian, the hero of the cartoon "Little Hiawatha" is taken as a basis.

Step one. Draw an oblong band just above the middle of the leaf. Under it, depict a face with large cheeks.

Step two. Draw rounded eyes, mouth and nose for the baby.

Step three. Draw voluminous hair above the headband, make it stick out from under it. In the hair, draw a feather peeking out from under the headband.

Step four. Let's move on to drawing the body. First the neck and shoulders, then the chubby arms. Now draw a line for the chest and back.

Step five. Draw the legs bent at the knees. He has wide trousers on his feet, his feet are bare.

Step six. At this end, it remains only to decorate the resulting drawing.

You can supplement the little Indian as you like. In his hand, you can draw a tomahawk or a bow, his body can be decorated with various patterns or bandages.

Little Indian is ready!

A little harder

This version of how to draw an Indian is a little more difficult and realistic.

First step. Sketch the auxiliary lines along which you will draw the Indian. First draw a circle for the head, then two triangles, one for the chest and the other for the pelvic area. Add connecting lines for the neck, arms and legs.

Second phase. Sketch the shape of the face, keep in mind that the Indians have a pointed chin and an elongated face. Draw massive eyebrows on the face.

Stage three. Now draw the hair of the Indian, it should be long and thick.

Fourth stage. When the head is sketchy, sketch out the slightly narrow eyes, nose and mouth. There should be a slight hump on the nose.

Fifth stage. The Indians most often wear headdresses with feathers. You can draw any headdress you like. In this workshop, an Indian will be wearing a multi-feather headband.

Sixth stage. Now it's time to move on to drawing the human body. Start by sketching the shoulders, outline the torso below, and draw strong arms. The left hand should be clenched, since later it is necessary to depict a tool there, the right hand should be relaxed.

Seventh stage. You are doing great if you get to this stage. Draw a bandage on the top of the arm that wraps the arm, you can paint on it any pattern you want. After finishing the bandage, sketch the Indian amulet.

Eighth stage. Now we need to draw the pants. They should be wide, without tapering to the bottom of the leg, with a thick fringe on the sides. Draw legs in simple shoes below, protruding slightly from under the legs.

Ninth stage. Now draw folds on the legs to make the drawing look more realistic. Detail the drawing: draw wrinkles and muscle relief. The Indians led an active lifestyle, do not forget about this.

Stage ten. This is almost the final step! Remember the clenched left hand? Draw a bow or spear in it. Now, using an eraser or a nag, erase the auxiliary lines from the first step.

Eleventh stage. Paint over the drawing. Do not forget about light and shade, one side should be lighter than the other. Determine where the light is coming from, and then distribute the shades.

Your Indian drawing is ready!