Marchas composition of geometric shapes. Creation of perspective of composition of geometric bodies

Choose one or two of the best sketches and frame them in proportions that correspond to the proportions of the future drawing. So, a sheet of format A-3 measuring 30 by 40 centimeters has a propori 3 to 4 (Fig. 172) In search of the most successful composition of the sheet, you may have to correct your point of view, and in some cases even make changes to the production itself.

When composing a leaf, you should also take into account the location of the illuminated and shadow surfaces, as well as the boundaries of the falling shadows. Remember that chiaroscuro can disrupt the compositional harmony of line art.

Stage 1.

Figure 173 Starting a drawing on a large sheet, try to accurately transfer to it the arrangement of objects recorded in the best sketch. Mark the location of each geometric body with light lines. Check the size of the entire composition again, as well as its correspondence to the size of the sheet. Make the necessary changes to the drawing and continue working, specifying the size of each geometric body in relation to other bodies and to the entire composition as a whole.

Stage 2.

Figure 174. Draw all geometric bodies in a linear fashion. In the course of work, pay special attention to the correspondence of the disclosure of squares and ellipses lying in the horizontal and vertical planes.

Stage 3.

Figure 175. At this stage, it is necessary to strengthen those lines that are closer to the viewer, thus, you will create the effect of depth of space already in the linear-constructive drawing. Draw lines of own and falling shadows and paint over all shadows with a light stroke.

Stage 4.

Figure 176. Continue working in the shadows, making them more intense towards the viewer and towards the light source, and the falling shadows also towards the object casting the shadow. Gradually move on to work in the light. Carefully model the shape using knowledge of the distribution of light and shadow on geometric bodies. Create smooth light and shadow transitions on round surfaces; on bodies formed by planes - sharp and clear.

Comparing the light and dark tones of plaster in nature, you need to strive to correctly convey their relationship in the picture, but you also need to know about special receptions to help the draftsman create a sense of three-dimensional space on a flat sheet:

1. Dividing the tonal scale into light and shadow parts: in the drawing, the lightest place in the shadow should be darker than the darkest place in the light, in other words, the shadow should always be darker than the light. In nature, this is not always the case. For example, when there is a sufficiently well-lit surface next to the performance, the reflections from it on location can be as bright as the light. They must be "dimmed" by making them darker, otherwise in your drawing they will destroy the shape of the depicted objects.

2. "Aerial perspective". This phenomenon, which we have already mentioned, in nature can be observed at large distances, when objects significantly distant from the viewer look less contrasting due to the thickness of the air environment, weakening the shadows and darkening the light. With small dimensions of the depicted setting, this effect cannot be observed. It is created artificially in the drawing: the geometric bodies in the foreground have a greater contrast between light and shadow than the bodies in the background, while in nature the difference in illumination of the near and far plans can be almost imperceptible.

the main task architectural drawing - not transferring the state of the object, but, if possible, ver
new image of the form, the creation of volume. That is why, when drawing, we do not copy nature, but try
to see, select and transfer into our work only certain features that help us to re-
sew this task.

Stage 5.

Figure 177. Summarize the figure. Once again, carefully observe the tonal solution of the illuminated and shadowed surfaces. At the final stage, the painter does not work with a separate subject, detail, part of the image, but with the whole sheet at the same time, achieving the integrity of the work, harmonious subordination ™ of its parts. To do this, if necessary, increase the tone of illuminated surfaces in the background and shadow surfaces in the foreground.

Chapter III.

Chapter III.

black-and-white pattern of simple geometric solids 73

Chapter III

Linear-constructive drawing of a composition from geometric bodies according to representation.

Make a sketch of the composition, observing the specified proportions of geometric bodies (Fig. 178). Define the general nature future composition, the position of the horizon line, the direction of the horizontal edges, the main frames. Let us warn you right away about a typical mistake that is often made by someone who works on his first composition on presentation. When placing geometric bodies on a sheet, a beginner draftsman quite freely places round bodies (for example, a ball and a cone) or round bodies and bodies with inclined planes (for example, a ball and a hexagonal prism) next to it. Inserting such bodies into each other is very complicated. Given the limited time for completing the examination task, it would be more correct to use simple frames in the composition, when round bodies and bodies with inclined surfaces intersect with horizontal and vertical planes.

Do not overly carefully draw a sketch - on a small scale, you still cannot solve all compositional issues. Even a very detailed sketch cannot be accurately transferred to big leaf... Minor and minor in size elements will inevitably undergo rather serious changes, and therefore you should not pay too much attention to them at the sketching stage. Enclose the sketch in a frame of appropriate proportions (3x4), make the necessary adjustments to the composition and start working on a large sheet, trying to preserve the main idea, basic laws and movements of large masses defined in the sketch.

As you continue to work on the composition, refine the dimensions and proportions of the geometric bodies. Observe the correspondence of the disclosure of squares and circles lying in the horizontal and vertical planes, as well as the uniform convergence of parallel lines in perspective. Carefully frame the inset of geometric bodies, depicting intersection lines of not only visible, but also invisible surfaces to the viewer. Working on individual elements, try to subordinate them to a general compositional idea, achieve integrity and harmony in your work.

The drawing should be made with clear, expressive lines and easily worked out with a conditional tone: determine the position of the light source and cover with several layers of strokes the surfaces in the shadow. Consider Figures 179,180,181,182,183 for examples of such compositions.

black-and-white pattern of simple geometric solids

black and white simple geometric solids 77

black and white simple geometric solids 70

Chapter 80

Chapter IV. Drawing of architectural details

Architectural details include architectural profiles (gooseneck, heel, shaft, quarter shaft, fillet, scotch), geometric and floral ornaments, capitals, rosettes, vases, ionics, brackets, supporting and key stones of arches, entablatures. From all this variety for performing educational drawings in the evening preparatory courses MARCHI selected vase, capital and ionic.

When you start drawing an architectural detail, first define its geometric basis, imagine complex shape in the form of a combination of simple geometric bodies. Having depicted a simplified diagram in perspective on a sheet, gradually complicate it, saturating it with details and carefully studying individual elements in a linear structural drawing. Schedule paired symmetrical volumes at the same time, under this condition it is easier to follow the perspective cuts. If depicting any part of an architectural detail causes you some difficulty, make small sketches of it in the margins of your drawing - perspective sketches with different points and orthographic projections. Completing the linear stage, introduce a light tone into the drawing, having previously outlined the lines of its own and falling shadows: this will allow you to clarify the main masses and identify possible mistakes before starting tonal work.

Chiaroscuro on architectural details is also distributed according to the laws of drawing simple geometric bodies. On curved surfaces, the transitions from light to shadow are soft, gradual, on faceted surfaces, they are sharp, clear. The closer the light and shadow on the object to the painting and the light source, the stronger the cut-off contrast, and, conversely, the distant parts of the objects have a dimmer light and faded shadow. Falling shadows are more saturated with tone, their own ones are highlighted by reflexes, and therefore are more airy and transparent. And in the linear-constructive and in the cut-off drawing, try to work evenly throughout the sheet, constantly comparing individual parts of the image with the whole. In the final stage, refine the tonal solution and generalize the work, striving for a sense of completeness and harmony.

Drawing of a vase.

As an object for drawing, you are offered a plaster cast from a Greek vase (amphora) dating from the 4th century BC. The craftsmen of that time were distinguished by an amazing sense of proportions and constructive logic.

Begin drawing a vase, like drawing any complex architectural detail, by analyzing its shape. Examine the vase (fig. 184). Divide it mentally into separate volumes and compare them with simple geometric bodies. The body of the vase has a complex drop-like shape, which can be conditionally represented as a combination of two balls and a cone, thus the height of the body contour of the vase can be divided into three parts, each of which has its own curvature. The neck of the vase is similar to a cylinder, which has a noticeable thinning in the middle, and is bounded above and below by narrow shelves. The vase is crowned with a massive quarter-shaft-shaped neck. The supporting part (base) of the vase consists of two cylinders of different diameters, connected by a jib-like profile. The handles of the vase have a complex three-part structure and thicken at the points of their attachment to the neck and body of the vase.

Continuing the study of nature, draw a drawing of the front projection of the vase. To do this, you will have to use not only the sighting method, but also a long strip of paper and even a ruler. The projection should be large enough, only then you will be able to reflect in it all the information you have received: the proportional ratio of the main masses, the dimensions of individual parts in height and width.

architectural drawing 81

rine, their relationship, subordination and functional validity. Try to accurately convey the proportions of the vase, note how many times its width fits in height, how many times the neck fits in the body of the vase horizontally and vertically, etc. (Fig. 185).

Having depicted the facade of the vase, you will notice that in this projection, the neck of the vase looks too thick, the body is more massive, the base is lighter and more graceful than in nature. Perspective is the closest to real life of all ways of depicting. human eye... An orthogonal projection of an object is always different from its perception in nature. But it is the orthogonal projections, due to their accuracy and information content, that will help you now the best way study a complex architectural form, and in the future will become a convenient and natural means of your professional communication.

Let's get back to nature. As you have already noticed, the main volume of the vase is a symmetrical shape. All its horizontal sections are circles of different diameters with the center lying on the same vertical (the axis of the vase). In a perspective drawing, these circles are depicted as ellipses. different sizes and disclosure. The minor axes of these ellipses coincide with the axis of the vase, and the larger ones are perpendicular to it.

Changing your position relative to nature vertically (and, therefore, the level of the horizon line), follow the reduction in the vertical dimensions of individual elements and the entire vase, as well as how some parts of the vase overlap others.

Pick a point from which perspective vertical contractions will be negligible (for example, when the horizon line is slightly above the neck of a vase or below its base). The position where the horizon line passes through the body of the vase is not recommended due to some difficulties that a novice painter may have with determining the opening of ellipses. In addition, this position is the least successful for creating an expressive drawing.

Chapter 82

Stage 1.

Figure 186. Determine the dimensions of the vase on the sheet, mark its axis in the middle of the sheet. Break the total vertical dimension into segments corresponding to the large parts of the vase: neck, neck, body, base. Mark off the width of these elements.

Stage 2.

Figure 187. Indicate the position and dimensions in the figure small parts vases.

Stage 3.

Figure 188. Sketch the outline of the vase in orthographic projection. Such a contour does not take into account future changes, but it is a clear constructive basis for further work.

Stage 4.

Figure 189. Draw ellipses on the horizontal axes, in places of characteristic sections. Remember that the opening of the ellipse is the more, the further it is from the horizon line. Connect the ellipses with tangent arcs where one shape meets another. Outline the handles of the vase, generalizing them to a simple rectangular shape, and only after making sure that the basic relationships are correct, work out their details.

Stage 5.

Figure 190. The last stage is tonal study. Start as usual by defining your own and drop shadow lines. To do this, use the nature and already gained knowledge about the nature of chiaroscuro on simple geometric bodies. Own shadows on the neck of the vase, belts, base shelves, as well as handles are similar to the shadows on a cylinder; the shadow on the neck is like the shadow on a ball; The shadow on the body of the vase can be thought of as a complex combination of shadow on two balls and a cone. Take a close look at the falling shadows on the vase. Analyze the forms from which shadows fall on the neck of the vase, its body, base, handles. Sometimes it is convenient to do this with a pencil. If you slowly move the pencil point along the line of its own shadow on the vase, the shadow from the pencil point will also move along the line of the falling shadow, fixing at each moment of this movement a certain pair: a point and a shadow from it.

After determining the position of the natural and drop shadow lines, continue the tonal drawing in the usual sequence. First, build up enough strength in the shadows by separating them from the light. Then you need to enhance your own shadows towards the viewer and the light source, and the falling shadows - also towards the source of the falling shadow. Continuing to work in the shadows, gradually go into sowing, creating smooth light-and-shadow transitions on spherical and cylindrical surfaces. When completing the drawing, generalize the cut-off relationship, trying to harmoniously subordinate all the elements of the image to the general tonal concept.

The proposed staging of the work is not accidental: it contains important rule, compulsory for everyone, and especially for novice draftsmen: drawing from the general to the particular and from the particular to the general. Always start your drawing with the total mass and only then proceed with the details. But don't go through one of the details right away. Lead the drawing across the entire sheet, moving from one part to another, checking the parts with the general, constantly gazing at the whole. This rule is true for both the linear-constructive and the cut-off pattern.

Naturally, your desire is to see the final result as quickly as possible, to jump to the next stage without finishing the previous one. If you want - try to do it - and you will see how a logical and calm work will turn into a chaotic throwing from one detail to another in an effort to put together a picture "crumbling" before your eyes.

Remember, too, that design is at the heart of any forms. Errors in construction cannot be hidden by the most virtuoso tonal elaboration. Therefore, errors in construction and proportions discovered during the work must be immediately corrected.

architectural drawing 83

Chapter 86

architectural drawing 87

Chapter 88

Doric capital drawing.

The capital is the upper part of the column, which, in turn, is part of the architecture of the leg order. Order - strictly verified art system, expressing the essence of the work of the post-and-beam structure. The name of the order comes from the Latin "ordo" - order, order. Classical orders - Doric and Ionic - formed in antique greece... Somewhat later, in the architecture of Rome, they received their further development... The order consists of bearing and carrying elements, the load is transferred from the overlying elements to those located below. From the entablature (carried part) to the column (bearing), the load is transmitted through the capital, which becomes one of the most important components of the entire order composition.

As an object for drawing, you are offered a capital of the Roman Doric order. Roman orders are somewhat drier in their forms than Greek ones, however, like all order systems, they are distinguished by a strict logic of shaping, correct proportions and simplicity. The Doric order is the most laconic, strict and courageous of all. A novice architect needs to learn to understand and feel the logic of the structure's work, expressed in artistic form, which in architecture is called tectonics. Try to feel in the drawing of the capital, how the shape changes from the upper, square in plan parts, to the lower, round ones, as each of the profiles is designed to support the elements located above and to transfer pressure from top to bottom.

Start your drawing by analyzing the shape of the small caps (Figure 191). The upper part of the capital is square in the abacus (abacus) plan - a plate with a heel and a shelf. Echin is a quarter of the shaft and mates with the column neck through three successively decreasing belts. Astragalus, consisting of a roller and a shelf, passes into the column shaft through a fillet. The column's trunk is decorated with twenty long semicircular grooves - flutes with semicircular ends.

Draw a frontal projection of the capital. The drawing should be large enough for the details to be clearly visible. In the picture, sign the names of all parts of the small caps. This will make it easier for you to remember them. Analyze the main proportions of the capital, choose the total height of the echinus and belts as a unit of measurement. Compare your drawing with drawing 192.

As you continue to study the shape, walk around the small capital and examine it from different angles. You will notice that the main volume, which is circular and symmetrical, remains unchanged. Only the position of the square abacus changes. Choose a point of view for the drawing so that one side of the abacus is revealed more for you and the other less. The optimal ratio is 1 / 2-1 / 3. The horizon line should pass just below the capital, then its proportions will be close to orthogonal. Sketch, if necessary, to better define the composition of the sheet.

drawing of architectural details

Stage 1.

Figure 193. Place the future image on the sheet, defining its vertical and horizontal dimensions. Mark the angles of the abacus, the main axis, and also determine the dimensions corresponding to the main parts of the capital. It is very important at this stage of the line drawing to find the correct ratio of the opening of the upper echinus ellipse and the square of the abacus. Traditionally, draftsmen draw an abacus first and then have significant difficulty in fitting an ellipse into it. Do differently: having decided on the size and opening of the ellipse, draw it. Then draw a square around the ellipse, comparing the directions of its sides with nature. Stage 2.

Figure 194. Mark all parts of the capitals vertically and determine their horizontal dimensions. Draw the main masses taking into account perspective cuts. When depicting the ellipses of the belts, neck, astragalus and the lower cut of the column, correlate their openings with each other and with the already drawn upper echinus ellipse. Stage 3.

Figure 195. Draw flutes. The plan of the column trunk will help you to correctly depict them. If you are unable to place the plan on the drawing itself, then pin up an additional sheet of paper to your work. The points transferred from the plan to the perspective image will make the drawing accurate and convincing. At this stage, the drawing is mainly linear, but when clarifying the main elements, it is possible to use a tone that helps to graphically reveal the "movement" of the main surfaces. In this case, the tone should be very light, suggesting further constructive study of the form. Stage 4.

Figure 196. Reveal the shape of the capital using light and shade. A clear idea of ​​the relative position in space of the light source, the object and the painting, makes it possible to understand the geometry of proper and falling shadows, as well as to identify the basic tonal relationships. Determining the lines of own and falling shadows, use the knowledge about the nature of light and shade on simple Forms: mentally divide the capital into separate volumes and compare them with the geometric bodies already known to you.

Stage 5.

Figure 197 Work out in detail the shapes in the shadows and in the light, generalize the cut-off ratio

images, harmoniously subordinate them to each other, taking into account aerial perspective.

Chapter 92 IV

architectural drawing 93

Chapter 94

drawing of architectural details 95

Ionic drawing.

Ionic is an architectural ornamental element consisting of an egg-shaped cut from above, framed by a "shell", a profiled roller, and pointed leaves facing downward. In architecture, Ionic are widely used on capitals and cornices of the Ionic and Corinthian orders. Ionic has two axes of symmetry, one of them runs in an ovoid shape, the other in the middle of a lancet leaf. Studying the form, make a plan, facade and side facade (Fig. 198). This will help you better understand the structure of the ionic, and will also greatly facilitate further work on the drawing.

Stage 1.

Figure 199. Mark the dimensions of the future image on the sheet. Draw a perspective view of the rectangular slab that is the base for the ionic.

Stage 2.

Figure 200. Draw the diagonals of the ionic base plate and draw a vertical centerline - the main axis of symmetry. Imagine the generalized form of the ionic in the form of a solid quarter shaft with a beveled top, to which a small roller adjoins from below. Draw its plan on the upper surface of the ionic, separate the central egg-shaped volume from the lateral volumes, outline the axes of symmetry passing through the center of the lancet leaves, and specify the main axis. At this stage, pay special attention to the perspective reduction of equal length horizontal segments.

Stage 3.

Figure 201. Draw details - egg, shells, profiled roller, leaves. When depicting leaves, make them in the fields large view in front (Fig. 202). This will help you draw the leaves in perspective correctly.

Stage 4.

Figure 203. Draw lines of own and falling shadows. Start as usual with the shady areas and shade them several times, separating them from the light. Then it is necessary to enhance the falling shadows towards the object casting the shadow, the viewer and the light source. Reinforce the lines at the same time own shadows, forming reflex zones. At this stage, do not get carried away with details, "sculpt" the general shape in accordance with the law of aerial perspective and the basic principles of the distribution of light and shade on simple geometric bodies.

Stage 5.

Figure 204. Continuing to work, go to the large riveting in the light and then to the details. Complete the drawing with a generalization of the form, harmonious subordination of all its parts.

Chapter 98

plaster head drawing 99

Drawing of a plaster head

The human head is the most complex natural structure. This is due to its complex function in the human body. You can start drawing a head only if you have a sufficiently developed spatial representation, thorough knowledge general provisions drawing and good practice in drawing simpler shapes.

The practical section "Drawing a plaster head" begins with a study of its external form in the "introductory drawing". This first experience will become the basis for further, more detailed analysis... In the drawing of the skull, the structure of the bone base of the head is analyzed. Houdon's ekorche drawing examines the location and function of the main muscles, as well as the cartilaginous tissue. For a detailed examination of the skull and muscles, it will be advisable to refer to the anatomical atlases and manuals. In the following pictures, special attention is paid to the main details of the head: nose, lips, eyes and ear. And, finally, returning to the drawing of a plaster head at a new level of understanding of its architectonics (i.e., the relationship between the internal structure and external form), you will be able to consolidate and gradually improve your skills in drawing plaster casts from antique sculptures: Caesar, Aphrodite, Dorifor, Diadumenes, Socrates, Antinous and Apoxyomenos, traditionally proposed for drawing on entrance exams at the Moscow Architectural Institute.

Drawing "antiques" is a continuation of old academic traditions. The plastic perfection of classical sculpture, its static nature and extraordinary expressiveness will allow you to quickly understand the general volumetric-spatial structure of the head, to understand its details and basic proportions.

24. Introductory drawing. Dorifor's head.

The sculpture of Doryphoros was created in the 5th century BC by the Greek sculptor Polycletus, a representative of the Peloponnesian school. Polycletus was not only a sculptor, but also an art theorist. He created a treatise "Canon", where he developed in great detail ideal proportions human body... The figure of Dorifor - a young hoplite warrior (spearman) - was the embodiment of this canon. At the same time, she was supposed to become the personification of the ideal citizen of the Greek polis: a person similar to immortal gods, equal beautiful body and spirit, courageous protector hometown... Dorifor's face is schematic, it is devoid of individual features and expression, which is why Dorifor's head is offered for the first "introductory" work, as a result of which you will get an initial, largely simplified idea of ​​the shape of the head.

The head has a cerebral and facial parts. Its external plastic is recognized with the help of a number of anatomical points - nodes (anchor points or beacons) and lines. So, on the head are clearly visible: the chin tubercles, the line of the lower jaw, the corners of the mouth, the lines limiting the mouth area, the cut line of the lips, the filter, the base, the tip and wings of the nose, the bridge of the nose, cheekbones, zygomatic arches, orbital edges, tears, eyebrow arches , lines limiting the eyebrow arches, frontal tubercles, temporal lines, crown, ears, auditory openings, mastoid processes of the temporal bones, parietal and occipital tubercles, nuchal line, border of the neck and chin, jugular fossa and protrusion of the seventh cervical vertebra. Find all these points and lines in Figures 205 and 206, and then on the plaster head.

Knowing the anatomical points - lighthouses and characteristic lines, you will never get confused in the details and will always be able to distinguish the main from the accident. For a better understanding of the external spatial relationships of the points of the head, a simplified diagram is often used, representing its structure in the form of an irregular polyhedron. However, one should not abuse such schemes in the drawing. They are needed only as visual aids for a competent and convincing image of a person's head.

Chapter 100

architectural drawing 101

Break through from the drawing by P.I. Churilin

from study guide"The structure of the human head"

Chapter 102

Break out from the drawing of Pichurilin

from the tutorial "The structure of the human head"

It is also customary to study the human head by analyzing its sections in three mutually perpendicular planes: sagittal, horizontal and frontal (Fig. 207).

The sagittal plane is the plane of symmetry of the body. Its name comes from the Latin "sagttta" - arrow. An incision in this plane gives us a midline, which is the basis of the professional line of the face and is very important for the drawing of the head.

The horizontal plane passes through the base of the occiput and the base of the nose.

Frontal plane perpendicular to the first two and "dissects" the head at its widest point. It passes through the vertex, parietal tubercles and the points of support of the skull on the spine. Studying these cuts, as well as the orthogonal projections of the head: front, back, side and top views will help to you better understand the external plastic of the head and more accurately convey it in your drawing.

plaster head drawing 103

The task of the "introductory" drawing - good composition on the sheet, the correctly transmitted total volume, as well as the exact location and size of each head detail.

Stage 1.

Figure 208. When starting work, determine the position of the horizon line and the perspective. To do this, mentally enclose your head in a cube. Find the general dimensions and place the future image on the sheet using short serifs. Remember that if you are drawing a head in front - the spaces on the left and right should be equal so that the image does not "fall over", if you are drawing a head in profile, in 3/4 or 7/8 - the space of the sheet in front of the head (from the side face) should be larger than from the back of the head. Use light lines to outline the outline of the head (outline).

Stage 2.

Figure 209. Draw the main large parts: separate the mass of the head from the neck, outline the front part, its front plane, and easily draw the centerline profile line. Refining the profile line, find the characteristic points lying on it: the point of the top of the forehead (on the hairline), the point between the eyebrows, the point of the base of the wings of the nose and the fracture point of the chin. These points determine the basic canonical proportional ratios of the parts of the head. According to the Greek classical canon, the distances between these points must be equal. Draw horizontal lines through these points (in the picture going to the vanishing point on the horizon) and mark on them, respectively, the width of the forehead, base of the nose and chin. To correctly select the directions of these lines, use the sighting method.

In accordance with the antique canon, the antique head is divided into two equal parts along the line of the eyes - from the crown to the line of the eyes and from the line of the eyes to the base of the chin. The segment from the brow arches (points between the eyebrows) to the base of the wings of the nose is divided into three equal parts - the line of the eyes runs along the upper division line, and the base and wings of the nose are separated along the lower line. The segment between the base point of the wings of the nose and the fracture of the chin is also divided into three equal parts. The middle line of the mouth runs along the upper division line, which is also called the lip incision line, the lower line divides the chin in half. The distance between the eyes is equal to the length of the eye, i.e. the eye line is also divided into three equal parts. The height of the ear is equal to the length of the nose.

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Theme: Regularities of contrast, nuance as a means of organizing elements into a single stable system (p. 1.2.8).

The sequence of the task:

The sheet is conventionally divided into two parts. In the first part of the sheet:

1. Perform composition in black and white graphics by superimposing simple elements ( geometric shapes) on top of each other using contrast in size and shape.

Rice. 29. Organization of the plane using similar elements

Rice. 30. Organization of the plane using similar elements

Rice. 31. Regularities of meter and rhythm as a means of organizing elements into a single stable system

Rice. 32. Regularities of meter and rhythm as a means of organizing elements into a single stable system

Rice. 33. Regularities of meter and rhythm as a means of organizing elements into a single stable system

2. Perform composition in black and white graphics by superimposing elements on top of each other using nuanced relationships in size and shape.

On the second part of the sheet: create a figurative composition using the application of contrast or nuance using the applique method. The composition should have a distinct character. Examples of this work are shown in (Fig. 34, 35, 36, 37).

Typical mistakes:

contrast or nuance is not expressed consistently enough. The composition is of a borderline nature;

there is no balance of forms.

Materials: Sheet format A-3, colored paper, PVA glue, ink, ink liner, scissors.

Rice. 34. Organization of the plane using contrasting and nuanced relationships

Rice. 35. Organization of the plane using contrasting and nuanced relationships

Rice. 36. Organization of the plane using contrasting and nuanced relationships

Rice. 37. Organization of the plane using contrasting and nuanced relationships

The perspective of the composition is carried out according to an individual assignment. Number individual assignment corresponds to the ordinal number according to the list in the group log. Individual tasks in table number 3

Table #

Instructions for the implementation of SHEET 1

Before performing a perspective image of a composition of geometric bodies, you must first compose the composition itself, that is, determine the relative position of objects, their position relative to the main line of the picture, and the distance from the plane of the picture. Depending on the composition composed, you can choose the position of the point of view (point of view height and distance). The point of view range is chosen equal to one dimension of the composition. The height of the point of view is chosen either slightly less or slightly greater than the height of the tallest object.

In an individual task, the shape of the objects, their size, the angle of rotation to the plane of the picture, and the distance from the plane of the picture are determined. It is required to build a perspective of the composition of the spirit of faceted bodies, one of which is located frontally with respect to the plane of the picture, the other with a given angle of rotation to the picture and one body of revolution.

When performing a perspective image of a composition of geometric bodies, it makes sense to carry out preparatory work - to build a plan for the future composition. This plan can simply be drawn or, by cutting out the contours of the plans of geometric bodies from paper and moving them along the plane, choose the best compositional solution, as well as determine the position of objects on the object plane and the distance between them. At the same time, the overall overall size of the composition will become clear, which will determine the position of the height of the point of view, and the distance (distance from the observer to the picture).

An example of SHEET 1 - a perspective image of a composition of geometric bodies is shown in ( rice. 91)

Interior perspective

The interior is called interior view premises as a whole or its individual parts. In the practice of building interiors, various ways of depicting interiors are known, depending on the task that the artist sets himself. This tutorial examines one of the ways to build an interior using perspective scales. Depending on the location of the walls of the room relative to the picture, the image of the interior can be frontal or angular. If one of the walls of the room is parallel to the picture, then such an image is called a frontal perspective of the interior. If the walls of the room are at an angle to the plane of the sky, then such an image is called an angular perspective of the interior.

Any drawing begins with the compositional placement of images on a sheet of paper. The overall impression of the drawing largely depends on how this or that image is composed. It is necessary to study the principle of placing objects on a plane.

Word composition translated from Latin, literally means composing, linking, joining parts. The construction of a work of art, due to its content, nature and purpose, and largely determines its perception. Composition is the most important organizing moment of an artistic form, giving a work of unity and integrity, subordinating its elements to each other and to the whole. In the process of creating a decorative composition, the placement and distribution of pictorial elements occurs according to a certain scheme in a logical sequence laid down by the author. Visual aids and style features must be consistent, subordinate to the whole, while one must not forget the details that play a very important role.

In other words, composition is the correct distribution of objects on the sheet: the selection of the main object, filling the entire plane of the sheet, the balance of the right and left edges, the presence of a general concept or idea. Before drawing anything, the artist must come up with it.

1st tip:

To create an emotional and imaginative composition, you need to observe and see interesting events, characters, motives and different states of nature in the life around you. All this makes it possible to build interesting and original compositions.

2nd tip:

When choosing a composition format, you must take into account that:

The extended upward format will make the image slender and sublime;

The horizontal format conveys a sense of panning, breadth and vastness of space;

The square format is best used for balanced, static compositions;

The oval format is used to depict a portrait of a person, since its configuration is easily correlated with the oval of the face or the contour of the bust;

In a round format, a flower or plant composition is well combined.

3rd tip:

Avoid the following mistakes:

Do not put anything on the very edge of the sheet, the exception is an object that starts from the edge of the sheet and is done in fragments;

Items should not touch the side and top edges of the sheet;

Don't paint everything too small;

Do not carry items too large.

4th tip:

Remember the laws of perspective. The object that is closer to us in perspective is depicted on the plane of the sheet below. And the one farther from us is higher. So, closer - lower, further - higher.

5th tip:

When working in color, think about the laws of aerial perspective. Highlight the center of the composition with spot and color. Work in detail on objects in the foreground and highlight them with brighter, more vivid colors, but not louder than the center of the composition. The closer to the horizon line, the more the brightness and temperament of the color weakens, it becomes colder and more transparent. Write long-range plans in bluish, purple, blue, gray, silver colors.

6th tip:

Getting down to the last stage work - generalization, check:

Whether the center of the composition is highlighted in color or tone;

Whether the foreground has been worked out in detail;

Whether the foreground is highlighted;

Does anything break out of the overall design of the composition;

Are both parts of the composite sheet balanced?

Whether the laws of aerial perspective have been followed;

Does the composition attract the eye, is it pleasant to look at it.

A correctly constructed composition cannot raise doubts and feelings of uncertainty. It should have a clarity of ratios and proportions that soothes the eye.

Very often in the world of artists there are paintings that are largely different from oil and pastel canvases. They are more reminiscent of drawings, patterns, sketches and are completely incomprehensible to a common viewer. Now we will talk about compositions of geometric shapes, discuss what they are, what load they carry and why they generally occupy such an honorable place in the art of drawing and painting.

Simple compositions

Every brush master who started his journey with art school, will answer you that the exact lines, and their combinations - this is the first thing that is taught there. This is how our vision and brain work, that if you initially learn how to harmoniously combine with each other simple forms, then further draw complex pictures will be simpler. Compositions of geometric shapes allow us to feel the balance of the picture, visually determine its center, calculate the incidence of light, and determine the properties of its components.

It is worth noting that, despite the clarity and straightforwardness of such images, they are drawn exclusively by hand, without rulers and other auxiliary objects. The parameters of the figures are measured using proportions that can be located in a two-dimensional dimension (flat picture), and can go into perspective, to a single vanishing point for all lines.

Novice artists draw compositions of geometric shapes in two dimensions. For such paintings, one of the sides is chosen - a plan or a facade. In the first case, all the figures are depicted in a "top view", that is, the cone and the cylinder become a circle, the prism acquires the shape of its base. If the figures are depicted in the facade, one of their sides is shown, most often the front. In the picture we see triangles, squares, parallelograms, and so on.

Three-dimensional paintings

In order to develop a sense of perspective, artists learn to depict compositions of geometric volumetric figures that go into perspective. Such an image is considered three-dimensional, and in order to transfer it to paper, you need to clearly imagine everything. Such drawing techniques are relevant in construction and architecture universities, they are used as exercises. However, students often make real ones from these "picturesque sketches" by drawing incredible inset figures, dissecting compositions with planes and half-planes, depicting pictures in cross-section.

In general, we can say that clarity, linearity are the main properties that any composition of geometric shapes possesses. Drawing at the same time can be static or dynamic - it depends on the type of figures depicted and on their location. If in the picture there are mainly cones, triangular prisms, balls, then it seems to "fly" - this is definitely a dynamics. Cylinders, squares, tetrahedral prisms are statics.

Examples in painting

Geometric forms have found their place in painting, along with romanticism and other trends. A prime example to this is the artist Juan Gris and his famous painting"A man in a cafe", which, like a mosaic, consists of triangles, squares and circles. Another one abstract composition from geometric figures - canvas "Pierrot", artist B. Kubisht. A bright, clear and very distinctive picture.