How to make compositions from geometric shapes. Category archives: fundamentals of architectural composition
What thoughts, what concepts come to your mind first when you think about photographic composition? Many will say: balance in the frame, the rule of thirds, rhythm, leading lines... Yes, all this is true. All this affects the composition of the frame. It all works and works great. But not only that! There is also foreshortening, perspective, the relationship of tones, colors, contrasts... The photographer needs to know all this and be sure to study composition, the laws of constructing an image on a plane. Those who have recently decided to seriously engage in photography, who have just come to photography and are still discovering it for themselves, getting acquainted with the rules and laws of composition, sometimes cannot even imagine how many interesting things this most interesting art includes. The laws of composition are much deeper than it might seem at first glance. But when starting to study composition, there is no need to worry at all. It is not so difficult. Just gradually getting acquainted with its laws, mastering them, you need to train. How? As the famous movie character used to say, “Elementary. Watson! Take more photos! Fortunately, current technology allows you to take a lot of photographs. Today there is practically no need for photographic film and expensive consumables.
Today we decided to talk to you about geometry in composition. Yes Yes! Do not be surprised! Geometry is one of the most important aspects of composition. And in this article we will try to prove it to you.
The majority of people who have a camera, without thinking about it, unconsciously use their knowledge of geometry when taking photographs, introducing various geometric shapes into a given frame. Don't believe me? Read the article further - and you will see that we are right. I would like to think that the information presented just below will give you an impetus to further develop your mastery of composition, to further improve your skills in photography.
Rectangles
Using these, perhaps the most popular figures in geometry, in a photographic composition is akin to using the rule of thirds. But, unlike this well-known rule, the frame is divided not into three imaginary equal parts, but into imaginary rectangles of the most different sizes. Just look at this photo. The bottom of the photo, the bank and the grass, form a horizontal rectangle. A left-hand side picture, where the large blue spot of the water surface is a vertical rectangle. These two rectangles in the composition of the photo very well highlight the lantern standing on the shore. It looks like an isolated, independent object.
Circles
Circles have their own energy. They seem to concentrate a certain energy in themselves, and thereby direct the viewer’s gaze into the depths of the frame. In order to create an effective composition, experienced photographers and good artists Not only circles, but also semicircles are often used. This photo, which we gave as an example, shows this very clearly. The circles in her composition concentrate the attention of the viewer and gradually lead him to the main thing in the frame - to the consideration of the beautiful mountain peaks in the distance.
Triangles
The triangle is perhaps the most frequently encountered geometric element in the composition of any image on a plane. Look carefully at least at your own photographs. Please note: triangles are everywhere! They are literally scattered throughout your photos! Here's an example for you - the most ordinary mountain landscape. The triangles in this photograph create an imaginary, but completely natural path that leads the viewer's eye from the hedge in the foreground towards the mountains themselves. And the mountains themselves, look closely, also have the shape of a triangle!
Polygons
Looking through the camera viewfinder, most photographers, especially beginners, hardly think that right now, mentally working on the composition of the future frame, they will imagine some kind of polygons. But then, when they see their pictures on the monitor screen, they will be very, very surprised: there will be polygons on them great amount! They are what give photographs their visual meaning. Pay attention to these pictures. They clearly show that geometric polygons appear in the plane of the frame not only due to the shape of the subjects themselves. They are also clearly visible due to the contrast of individual areas, due to light spots and shadows.
Squares
A square is considered perfect figure not only in geometry, but in general fine arts generally. Remember, at least, the famous “Black Square” by Kazimir Malevich. And for photography a square - perfect shape. Look at this illustration. Main object photographs fit easily and naturally into the square. And this square, in turn, is in perfect harmony with other squares - squares formed from books and bookshelves in the background.
Arches
Arches, in their manifestation in the composition of constructing an image on a plane, in some way repeat the “work” of circles. But, unlike circles, arches are more of a background element than an independent geometric shape. In this photo, for example, female hands, holding a rose and folded in the shape of a heart, form as many as three arches! And these imaginary arches form, as it were, a frame framing a beautiful and delicate flower.
Converging and parallel lines
Any experienced photographer or artist will tell you that using various types of lines correctly in a composition can be very difficult. However, it is quite possible. Both converging and parallel lines can, and even moreover, should be effectively used in the composition of the frame! Such lines work especially effectively when composing a background. Look at this photo. It is easy to see both converging and parallel lines. They very well direct the viewer's gaze to the main subject of the photograph - to the person sitting on the grass. Plus, these lines visually seem to be reflected from each other.
Attitude and balance of space
If you want to add more meaning to your photographs, in some way increase their emotional impact on the viewer, then try to understand the understanding of space. In some cases, compositionally photographs may be quite simple at first glance. Like these, for example. What's most important here? Right. The viewer’s proximity to the bench shown by the author and the presence of space, or rather even emptiness, directly behind it. This kind of compositional structure The frame allows the viewer to mentally, at the subconscious level, recreate in his mind the history of this plot, based on his experiences, on his personal experience, on his emotions.
Take your time to understand everything that we told you about today. Try to understand how geometric elements influence the composition of an image on a plane. This understanding may not come to you right away. But it's not scary at all. The main thing is that it seems to us that we, so to speak, have sown our seed. You just have to wait for the shoots first, and after a while the fruits.
MBOUDO Irkutsk CDT
Toolkit
Drawing of geometric bodies
Additional education teacher
Kuznetsova Larisa Ivanovna
Irkutsk 2016
Explanatory note
This manual “Drawing of Geometric Solids” is intended for teachers working with school-age children. From 7 to 17 years. Can be used both when working in additional education, and in the drawing course at school. The manual is compiled on the basis of the author's textbook "Drawing of geometric bodies" intended for first-year students of the specialty Arts and Crafts and Folk Crafts and Design (not published).
Drawing of geometric bodies is introductory material when teaching drawing. The introduction reveals the terms and concepts used in drawing, the concepts of perspective, and the order of drawing work. Using the material presented, you can study the required material, teach children, analyze them practical work. Illustrations can be used both for your own deeper understanding of the topic, and in the lesson as visual material.
The purpose of teaching drawing from life is to instill in children the basics of visual literacy, teaching them to realistically depict nature, i.e., understanding and depicting a three-dimensional shape on the plane of a sheet. The main form of training is drawing from a still nature. It teaches how to correctly convey visible objects, their features, properties, and gives children the necessary theoretical knowledge and practical skills.
Objectives of learning drawing from life:
Instill the skills of consistent work on a drawing according to the principle: from general to specific
Introduce the basics of observational, i.e. visual perspective, the concept of light and shadow relationships
Develop technical drawing skills.
In drawing classes, work is carried out to develop a set of qualities necessary for an artist:
- “position of the eye”
Development of “steady hand”
The ability to “see completely”
The ability to observe and remember what you see
The sharpness and accuracy of the eye gauge, etc.
This manual examines in detail one of the first topics of drawing from life - “Drawing of geometric bodies”, allowing you to study in detail the shape, proportions, structural structure, spatial relationships, perspective reductions of geometric bodies and the transfer of their volume using light-and-shadow relationships. Educational tasks are considered - layout on a sheet of paper; construction of objects, transfer of proportions; from end-to-end drawing to the transmission of volume in tone, the shape of objects to reveal light, penumbra, shadow, reflex, highlight, complete tonal solution.
Introduction
Drawing from life
Drawing is not only an independent form of fine art, but also the basis for painting, engraving, posters, arts and crafts and other arts. With the help of a drawing, the first thought of the future work is fixed.
The laws and rules of drawing are learned as a result of a conscious attitude towards working from life. Every touch of pencil to paper must be thought out and justified by a feeling and understanding of the real form.
An educational drawing should perhaps give a more complete idea of nature, its shape, plasticity, proportions and structure. It should be considered, first of all, as a cognitive moment in learning. In addition, knowledge of the characteristics of our visual perception is necessary. Without this, it is impossible to understand why the objects around us in many cases do not appear to us as they really are: parallel lines seem to converge, right angles are perceived as acute or obtuse, a circle sometimes looks like an ellipse; a pencil is larger than a house, and so on.
Perspective not only explains the mentioned optical phenomena, but also equips the painter with techniques for spatially depicting objects in all rotations, positions, as well as at various degrees of distance from him.
Three-dimensionality, volume, shape
Every object is defined by three dimensions: length, width and height. Its volume should be understood as its three-dimensional value, limited by surfaces; under the form - the appearance, the external outlines of the object.
Fine art mainly deals with three-dimensional form. Consequently, when drawing, one should be guided by the volumetric form, feel it, and subordinate it to all the methods and techniques of drawing. Even when depicting the simplest bodies, it is necessary to develop this sense of form in children. For example, when drawing a cube, you cannot depict only its visible sides, without taking into account the sides hidden from view. Without imagining them, it is impossible to either build or draw a given cube. Without a sense of the entire form as a whole, the depicted objects will appear flat.
To better understand the form, before starting to draw, it is necessary to consider the nature from various angles. The painter is advised to observe the form from different points, but draw from one. Having mastered the main rules of drawing on the simplest objects - geometric bodies - in the future it will be possible to move on to drawing from life, which is more complex in its design.
The design, or structure, of an object means the relative arrangement and connection of its parts. The concept of “design” is applicable to all objects created by nature and human hands, starting with the simplest household items and ending complex shapes. The drawer must be able to find patterns in the structure of objects and understand their shape.
This ability develops gradually in the process of drawing from life. The study of geometric bodies and objects that are close to them in their form, and then objects that are more complex in their structure, obliges those who draw to consciously approach drawing and to identify the nature of the design of the depicted nature. So, a lid seems to consist of a spherical and cylindrical neck, a funnel is a truncated cone, etc.
Line
A line, or a line drawn on the surface of a sheet, is one of the main elements of a drawing. Depending on the purpose, it may have a different character.
It can be flat and monotonous. In this form, it mainly has an auxiliary purpose (this is placing a drawing on a sheet of paper, sketching the general outline of nature, indicating proportions, etc.).
The line can also have a spatial character, which the drawer masters as he studies the form under lighting and environmental conditions. The essence and meaning of a spatial line is most easily understood by observing a master’s pencil as he works: the line sometimes strengthens, sometimes weakens, or completely disappears, merging with the environment; then it appears again and sounds with all the power of a pencil.
Beginning draftsmen, not understanding that a line in a drawing is the result of complex work on a form, usually resort to a flat and monotonous line. Such a line, which outlines the edges of figures, stones and trees with equal indifference, conveys neither form, nor light, nor space. Having absolutely no understanding of the issues of spatial drawing, such draftsmen pay attention, first of all, to the external outlines of an object, trying to mechanically copy it in order to then fill the contour with random spots of light and shadow.
But the flat line in art has its purpose. It is used in decorative paintings, wall paintings, mosaics, stained glass, easel and book graphics, poster - all works of a planar nature, where the image is linked to a certain plane of the wall, glass, ceiling, paper, etc. Here this line makes it possible to convey the image in a general way.
The deep difference between plane and spatial lines must be learned from the very beginning, so that in the future there will be no mixing of these different elements of the drawing.
Beginning draftsmen have another characteristic feature of drawing lines. They put too much pressure on the pencil. When the teacher demonstrates light line drawing techniques with their hand, they trace the lines with increased pressure. It is necessary to wean from this from the very first days bad habit. The requirement to draw with light, “airy” lines can be explained by the fact that at the beginning of the drawing we inevitably change or move something. And by erasing lines drawn with strong pressure, we spoil the paper. And, more often than not, a noticeable mark remains. The drawing looks untidy.
If you first draw with light lines, in the process of further work it is possible to give them a spatial character, sometimes strengthening, sometimes weakening.
Proportions
A sense of proportion is one of the main elements in the drawing process. Maintaining proportions is important not only in drawing from life, but also in decorative drawing, for example, for ornament, appliqué, etc.
Compliance with proportions means the ability to subordinate the sizes of all elements of the drawing or parts of the depicted object in relation to each other. Violation of proportions is unacceptable. The study of proportions is given great importance. It is necessary to help the artist understand the mistake he has made or warn against it.
A person drawing from life must keep in mind that when same size horizontal lines seem longer than vertical ones. Some of the elementary mistakes of beginning artists include the desire to stretch objects horizontally.
If you divide a sheet into two equal halves, the bottom part will always appear smaller. Due to this property of our vision, both halves of the Latin S seem equal to us only because its lower part is made larger in the typographic font. This is the case with the number 8. This phenomenon is well known to architects; it is also necessary in the work of an artist.
Since ancient times, great importance has been attached to instilling in the artist a sense of proportion and the ability to accurately measure quantities by eye. Leonardo da Vinci paid a lot of attention to this issue. He recommended games and entertainment that he invented: for example, he advised sticking a cane into the ground and, at a given distance, try to determine how many times the size of the cane fits within this distance.
Perspective
The Renaissance was the first to create a mathematically rigorous doctrine of how to convey space. Linear perspective (from Lat. Rers Ri ser e “I see through”“penetrating with my gaze”) is an exact science that teaches how to depict objects of the surrounding reality on a plane so that an impression is created the same as in nature. All construction lines are directed to the central vanishing point, corresponding to the viewer’s location. The shortening of the lines is determined depending on the distance. This discovery made it possible to build complex compositions in three-dimensional space. True, the retina of the human eye is concave, and straight lines do not appear to be drawn along a ruler. Italian artists did not know this, so sometimes their work resembles a drawing.
Square perspective
a – frontal position, b – at a random angle. P – central vanishing point.
Lines receding into the depth of the drawing appear to converge at a vanishing point. Vanishing points are located on the horizon line. Lines receding perpendicular to the horizon converge at central vanishing point. Horizontal lines receding at an angle to the horizon converge at lateral vanishing points
Circle perspective
The upper oval is above the horizon line. For circles lying below the horizon line, we see their upper surface. The lower the circle, the wider it seems to us.
Already in the first tasks of drawing geometric bodies, children have to construct the perspective of rectangular objects and bodies of rotation - cylinders, cones.
F 1 and F 2 – lateral vanishing points lying on the horizon line.
Perspective of a cube and parallelepiped.
P is the vanishing point lying on the horizon line.
Chiaroscuro. Tone. Tonal relationships
The visible shape of an object is determined by its illumination, which is a necessary factor not only for the perception of the object, but also for its reproduction in the drawing. Light, spreading across the form, depending on the nature of its relief, has different shades - from the lightest to the darkest.
This is how the concept of chiaroscuro arises.
Chiaroscuro presupposes a specific light source and predominantly the same light color of the illuminated object.
Examining the illuminated cube, we notice that its plane facing the light source will be the lightest, called in the figure light; opposite plane - shadow; halftone we should call planes that are at different angles to the light source and therefore do not completely reflect it; reflex– reflected light falling on the shadow sides; glare– a small part of the surface in the light, completely reflecting the strength of the light source (observed mainly on curved surfaces), and finally, falling shadow.
In order of decreasing light intensity, all light shades can be conventionally arranged in the following sequence, starting with the lightest: highlight, light, halftone, reflex, own shadow, falling shadow.
Light reveals the shape of an object. Each form has its own character. It is limited to straight or curved surfaces or combinations of both.
An example of chiaroscuro on faceted surfaces.
If the shape is faceted, then even with a minimal difference in the aperture ratio of the surfaces, their boundaries will be definite (see illustration of a cube).
An example of chiaroscuro on curved surfaces.
If the shape is round or spherical (cylinder, ball), then light and shadow have gradual transitions.
So far we have talked about chiaroscuro of equally colored objects. The means of this chiaroscuro were limited to the second half of the 19th century century in the transfer of illuminated plaster casts and nude models.
At the end XIX and early XX centuries, during the period of development of a deeper understanding of color, painterly demands began to be placed on drawing.
Indeed, all the colorful diversity of nature, especially festive elegant costumes, diffused lighting that excludes clear chiaroscuro, the rendering of the environment - all this puts before the draftsman a number of tasks, as if of a picturesque nature, the solution of which is impossible with the help of chiaroscuro alone.
Therefore, the pictorial term entered into drawing - "tone".
If we take, for example, yellow and blue, then being in the same lighting conditions, they will appear one light, the other dark. Pink seems lighter than burgundy, brown seems darker than blue, etc.
In a drawing it is impossible to “fully” convey the brightness of the flame and deep shadows on black velvet, since the tonal differences between pencil and paper are much smaller. But the artist must convey all the various tonal relationships using modest means of drawing. To do this, take the darkest thing in the depicted object or still life at full pencil strength, and leave the paper as the lightest. He places all other shadow gradations in tonal relationships between these extremes.
Drawers need to practice developing the ability to subtly distinguish gradations of lightness in full-scale productions. You need to learn to pick up small tonal differences. Having determined where there will be one or two lightest places and one or two darkest places, it is necessary to take into account the visual capabilities of the materials.
When completing training assignments, you must comply proportional dependence between the aperture ratio of several places in nature and the corresponding several parts of the drawing. At the same time, you need to remember that comparing the tones of only one place in nature with its image is the wrong method of work. All attention should be given to the method of working relationships. In the process of drawing, you need to compare 2 - 3 areas in terms of lightness in nature with the corresponding places in the image. After applying the desired tones, it is recommended to check.
Drawing Sequence
Modern drawing techniques provide for the 3 most general stages of working on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and determining the general nature of the form; 2) plastic modeling of the form with chiaroscuro and detailed characterization of nature; 3) summing up. In addition, each drawing, depending on the tasks and duration, may have more or fewer overall stages, and each stage may also include smaller drawing stages.
Let's take a closer look at these stages of working on a drawing.
1). The work begins with the compositional placement of the image on a sheet of paper. You need to examine the nature from all sides and determine from which point of view it is more effective to place the image on the plane. The painter must familiarize himself with the nature, note its characteristic features, and understand its structure. The image is outlined with light strokes.
When starting a drawing, first of all, they determine the ratio of the height and width of the model, after which they proceed to determine the sizes of all its parts. During work, you cannot change the point of view, since in this case the entire perspective construction of the drawing will be disrupted.
The scale of the objects depicted in the drawing is also determined in advance, and is not developed in the process of work. When drawing in parts, in most cases the nature does not fit on the sheet, it turns out to be shifted up or down.
Premature loading of the sheet with lines and spots should be avoided. The form is drawn very generally and schematically. The basic, generalized nature is revealed large shape. If this is a group of objects, you need to equate them to a single figure - generalize.
Having completed the compositional placement of the image on a sheet of paper, the basic proportions are established. In order not to be mistaken in proportions, you should first determine the ratio of large quantities, and then select the smallest ones from them. The teacher’s task is to teach how to separate the important from the secondary. So that the details do not distract the beginner’s attention from the main character of the form, you need to squint your eyes so that the form looks like a silhouette, like a general spot, and the details disappear.
2). The second stage is plastic modeling of the shape in tone and detailed elaboration of the drawing. This is the main and longest stage of work. Here, knowledge from the field of perspective and the rules of cut-off modeling are used.
When drawing, it is necessary to clearly understand the spatial arrangement of objects and the three-dimensionality of their structural structure, since otherwise the image will be flat.
While working on a perspective construction of a drawing, it is recommended to regularly check by comparing the abbreviations of the surfaces of volumetric forms, comparing them with the verticals and horizontals, which are mentally drawn through characteristic points.
After choosing a point of view in the drawing, a horizon line is drawn, which is at the eye level of the person drawing. You can mark the horizon line at any height of the sheet. This depends on the inclusion in the composition of objects or parts thereof that are located above or below the eyes of the painter. For objects located below the horizon, their upper surfaces are depicted in the figure, and for objects placed above the horizon, their lower surfaces are visible.
When you need to draw a cube or other object with horizontal edges standing on a horizontal plane, which is visible at an angle, then both vanishing points of its faces are located on the sides of the central vanishing point. If the sides of the cube are visible in the same perspective cuts, then their upper and lower edges are directed outside the picture to the lateral vanishing points. When the cube is in a frontal position, located at the horizon level, only one side of it is visible, which has the shape of a square. Then the ribs receding into the depth are directed to the central vanishing point.
When we see 2 sides of a horizontally lying square in a frontal position, then the other 2 are directed to the central vanishing point. The square pattern in this case looks like a trapezoid. When depicting a horizontal square lying at an angle to the horizon line, its sides are directed towards the lateral vanishing points.
In perspective contractions, circles look like ellipses. This is how bodies of rotation are depicted - a cylinder, a cone. The higher or lower the horizontal circle is from the horizon line, the more the ellipse approaches the circle. The closer the depicted circle is to the horizon line, the narrower the ellipse becomes - the minor axes become increasingly shorter as they approach the horizon.
On the horizon line, both squares and circles look like one line.
The lines in the drawing depict the shape of the object. The tone in the drawing conveys light and shadows. Chiaroscuro helps to reveal the volume of an object. By constructing an image, for example a cube, according to the rules of perspective, the painter thereby prepares the boundaries for light and shadows.
When drawing objects with rounded surfaces, children often experience difficulties that they cannot cope with without the help of a teacher.
Why is this happening? The shape of the cylinder and ball remains unchanged when rotated. This complicates the analytical work of a novice draftsman. Instead of the volume of a ball, for example, he draws a flat circle, which he then shades from the contour line. Light and shadow relationships are given as random spots - and the ball appears to be just a dirty circle.
On the cylinder and the ball, light and shadow have gradual transitions, and the deepest shadow will not be on the edge of the shadow side, which carries the reflex, but slightly moved away in the direction of the illuminated part. Despite the apparent brightness, the reflex must always obey the shadow and be weaker than the halftone, which is part of the light, that is, it must be lighter than the shadow and darker than the halftone. For example, the reflex on the ball should be darker than the halftone in the light.
When drawing a group setting of geometric bodies located at different distances from a light source incident on the side, one should keep in mind that as they move away from it, the illuminated surfaces of the bodies lose their luminosity.
According to the laws of physics, the intensity of light is inversely proportional to the square of the distance of the object from the light source. Taking into account this law when placing light and shadow, we should not forget the fact that close to the light source the contrasts of light and shadow intensify, and with distance they weaken.
When all the details are drawn and the drawing is modeled in tone, the process of generalization begins.
3). The third stage is summing up. This is the last and most important stage of working on the drawing. At this stage, we summarize the work done: we check the general condition of the drawing, subordinating the details to the whole, and clarify the drawing in tone. It is necessary to subordinate lights and shadows, highlights, reflections and halftones to the general tone - we must strive to bring to real sound and completion the tasks that were set at the very beginning of the work. Clarity and integrity, the freshness of the first perception should already appear in a new quality, as a result of long and hard work. On final stage work, it is advisable to return again to a fresh, original perception.
Thus, at the beginning of work, when the draftsman quickly outlines on a sheet of paper general form nature, he goes through synthesis - generalization. Further, when a careful analysis of the form is carried out in a generalized form, the draftsman enters the path of analysis. At the very end of the work, when the artist begins to subordinate the details to the whole, he again returns to the path of synthesis.
The work of generalizing a form is quite difficult for a beginning draftsman, because the details of the form attract his attention too much. The individual, insignificant details of the subject observed by the draftsman are often obscured by complete image nature, do not make it possible to understand its structure, and, therefore, interfere with the correct depiction of nature.
So, consistent work on a drawing develops from defining the generalized parts of an object through a detailed study of complex details to a figurative expression of the essence of the depicted nature.
Note: This manual describes the image of a composition made from frames of geometric bodies that is quite complex for younger schoolchildren. It is recommended to first draw the frame of one cube, one parallelepiped or cone. Later - a composition of two geometric bodies of simple shape. If the training program is designed for several years, it is better to postpone the image of a composition of several geometric bodies for subsequent years.
3 stages of working on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and determining the general nature of the form; 2) construction of frames of geometric bodies; 3) creating the effect of depth of space using different line thicknesses.
1). The first stage is the compositional placement of the image on the plane of a sheet of paper and determining the general nature of the form. Starting the drawing, determine the ratio of the height and width of the overall composition of all geometric bodies as a whole. After which they move on to establishing the sizes of individual geometric bodies.
During work, you cannot change the point of view, since in this case the entire perspective construction of the drawing will be disrupted. The scale of the objects depicted in the drawing is also determined in advance, and not during the work. When drawing in parts, in most cases the nature either does not fit on the sheet, or turns out to be shifted up, down or to the side.
At the beginning of drawing, the form is drawn very generally and schematically. The basic, generalized nature of the large form is revealed. A group of objects needs to be equated to a single figure - generalized.
2). The second stage is the construction of frames of geometric bodies. It is necessary to clearly imagine the spatial arrangement of objects, their three-dimensionality, how the horizontal plane is located on which geometric bodies stand relative to the level of the drawer’s eyes. The lower it is, the wider it appears. In accordance with this, all the horizontal edges of geometric bodies and the circles of bodies of rotation look more or less wide to the painter.
The composition consists of prisms and bodies of rotation - a cylinder, a cone, a ball. For prisms, it is necessary to find out how they are located relative to the drawer - frontally or at an angle? A body located frontally has 1 vanishing point - in the center of the object. But more often, geometric bodies are located at a random angle relative to the person drawing. Horizontal lines receding at an angle to the horizon line converge atlateral vanishing points located on the horizon line.
Perspective of a parallelepiped at a random angle.
Construction of a body of rotation - a cone.
All geometric bodies are constructed in this way.
3) The third and final stage is creating the effect of depth of space using different line thicknesses. The drawer sums up the work done: checks the proportions of geometric bodies, compares their sizes, checks the general condition of the drawing, subordinating the details to the whole.
Topic 2. Drawing of plaster geometric bodies:
cube, ball (black and white modeling).
Note: This manual describes the image of a plaster cube and a ball on one sheet. You can make a drawing on two sheets. For tasks involving cut-off modeling, illumination by a closely located lamp, spotlight, etc. is highly desirable. on one side (usually the window side).
Cube
1). The first stage is the compositional placement of the image on the plane of a sheet of paper. The plaster cube and ball are drawn sequentially. Both are illuminated with directional light. The upper half of the sheet of paper (A3 format) is reserved for the cube, the lower half for the ball.
The image of the cube is composed together with the falling shadow in the center of the upper half of the sheet. The scale is chosen so that the image is neither too large nor too small.
2). The second stage is building a cube.
It is necessary to determine the location of the horizontal plane on which the cube stands and the horizontal edges relative to eye level, their width. How is the cube positioned - frontally or at an angle? If viewed from the front, the cube has 1 vanishing point at the eye level of the drawer - in the center of the cube. But more often the edges are located at a random angle relative to the person drawing. Horizontal lines receding at an angle to the horizon converge atlateral vanishing points located on the horizon line.
Building a cube
The drawer must find out which of the side faces of the cube seems wider to him - on this face, the horizontal lines are directed towards the vanishing point of the hollower one, and the vanishing point itself is located further from the depicted object.
By constructing a cube according to the rules of perspective, we thereby prepared the boundaries for light and shadows. Examining an illuminated cube, we notice that its plane facing the light source will be the brightest, called light; the opposite plane is a shadow; halftone refers to planes that are at angles to the light source and therefore do not fully reflect it; reflex - reflected light falling on the shadow sides. The falling shadow, the contour of which is constructed according to the rules of perspective, is darker than all the surfaces of the cube.
Black and white cube modeling
You can leave the surfaces of the cube or the sheet of paper on which it stands, illuminated by direct, bright light, white. The remaining surfaces need to be shaded with light, transparent shading, gradually intensifying it on the light separation lines (edges of the cube where the illuminated and shadow edges meet). In order of decreasing light intensity, all light shades can be conventionally arranged in the following sequence, starting with the lightest: highlight, light, halftone, reflex, own shadow, falling shadow.
To summarize, we check the general condition of the drawing, clarifying the drawing in tone. It is necessary to subordinate lights and shadows, highlights, reflexes and halftones to the general tone, trying to return to the clarity, integrity and freshness of the first perception.
Ball
1). The first stage is the compositional placement of the image of the ball along with the falling shadow in the center of the lower half of the sheet of paper. The scale is chosen so that the image is neither too large nor too small.
Construction of the ball
2). The light and shadow modeling of a ball is more complex than that of a cube. Light and shadow have gradual transitions, and the deepest shadow will not be on the edge of the shadow side, which carries the reflex, but slightly moved away in the direction of the illuminated part. Despite the apparent brightness, the reflex must always obey the shadow and be weaker than the halftone, which is part of the light, that is, it must be lighter than the shadow and darker than the halftone. For example, the reflex on the ball should be darker than the halftone in the light. Close to the light source, the contrasts of light and shadow intensify, and as they move away, they weaken.
Black and white modeling of the ball
3). When all the details are drawn and the drawing is carefully modeled in tone, the process of generalization begins: we check the general condition of the drawing, refining the drawing in tone. Trying again to return to the clarity, integrity and freshness of the first perception.
Topic 3. Drawing a still life from plaster
geometric bodies (black and white modeling).
Note: This tutorial describes the image complex composition from gypsum geometric solids. If the training program is designed for several years, it is better to postpone the image of such a composition for subsequent years. It is recommended to first depict the composition of two geometric bodies of simple shape. Later you can move on to a more complex composition. For a task on cut-off modeling, illumination by a closely located lamp, spotlight, etc. is highly desirable. on one side (usually the window side).
3 stages of working on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and determining the general nature of the form; 2) construction of geometric bodies; 3) modeling of forms with tone.
1). The first stage is the compositional placement of images of geometric bodies on the plane of a sheet of A3 paper. Starting the drawing, determine the ratio of the height and width of the overall composition of all geometric bodies as a whole. After which they move on to establishing the sizes of individual geometric bodies.
The scale of the objects depicted in the drawing is determined in advance. Premature loading of the sheet with lines and spots should be avoided. Initially, the shape of geometric bodies is drawn very generally and schematically.
Having completed the compositional placement of the image on a sheet of paper, the basic proportions are established. In order not to make mistakes in proportions, you should first determine the ratio of large quantities, and then smaller ones.
2). The second stage is the construction of geometric bodies. It is necessary to clearly imagine the spatial arrangement of objects, how the horizontal plane is located on which geometric bodies stand relative to the level of the drawer’s eyes. The lower it is, the wider it appears. In accordance with this, all the horizontal edges of geometric bodies and the circles of bodies of rotation look more or less wide to the painter.
The composition consists of prisms, pyramids and bodies of rotation - a cylinder, a cone, a ball. For prisms, it is necessary to find out how they are located relative to the drawer - frontally or at an angle? A body located frontally has 1 vanishing point - in the center of the object. But more often, geometric bodies are located at a random angle relative to the person drawing. Horizontal lines receding at an angle to the horizon line converge at lateral pointsright away located on the horizon line. In bodies of rotation, horizontal and vertical axial lines are drawn, and distances equal to the radius of the depicted circle are laid out on them.
Geometric bodies can not only stand or lie on the horizontal plane of the table, but also be at a random angle in relation to it. In this case, the direction of inclination of the geometric body and the plane of the base of the geometric body perpendicular to it are found. If a geometric body rests on a horizontal plane with 1 edge (prism or pyramid), then all horizontal lines converge at the vanishing point lying on the horizon line. This geometric body will have 2 more vanishing points that do not lie on the horizon line: one on the line of direction of the body’s inclination, the other on a line perpendicular to it, belonging to the plane of the base of this geometric body.
3). The third stage is modeling the shape with tone. This is the longest stage of work. Here, knowledge of the rules of cut-off modeling is applied. By constructing geometric bodies according to the rules of perspective, the student thereby prepared the boundaries for light and shadows. The planes of bodies facing the light source will be the lightest, called light; opposite planes - shadow; halftone refers to planes that are at angles to the light source and therefore do not fully reflect it; reflex - reflected light falling on the shadow sides; and, finally, a falling shadow, the contour of which is constructed according to the rules of perspective.
The surfaces of the prisms, pyramids, or sheets of paper on which they stand, illuminated by direct, bright light, can be left white. The remaining surfaces need to be shaded with light, transparent shading, gradually intensifying it on the light separation lines (edges of geometric bodies where the illuminated and shadow edges meet). In order of decreasing light intensity, all light shades can be conventionally arranged in the following sequence, starting with the lightest: highlight, light, halftone, reflex, own shadow, falling shadow.
In a ball, light and shadow have gradual transitions, and the deepest shadow will not be on the edge of the shadow side, which carries the reflex, but slightly moved away in the direction of the illuminated part. Despite the apparent brightness, the reflex must always obey the shadow and be weaker than the halftone, which is part of the light, that is, it must be lighter than the shadow and darker than the halftone. For example, the reflex on the ball should be darker than the halftone in the light. Close to the light source, the contrasts of light and shadow intensify, and as they move away, they weaken.
White is left with only a highlight on the ball. The remaining surfaces are covered with light and transparent shading, applying strokes to the shape of the ball and the horizontal surface on which it lies. The tone builds up gradually.
As they move away from the light source, the illuminated surfaces of bodies lose their luminosity. Close to the light source, the contrasts of light and shadow intensify, and as they move away, they weaken.
4). When all the details are drawn and the drawing is modeled in tone, the process of generalization begins: we check the general condition of the drawing, clarifying the drawing in tone.
It is necessary to subordinate lights and shadows, highlights, reflexes and halftones to the general tone, trying to return to the clarity, integrity and freshness of the first perception.
Literature
Main:
Rostovtsev N. N. “Academic drawing” M. 1984
“School of Fine Arts” vol. 2, M. “Iskusstvo” 1968
Beda G.V. “Fundamentals of visual literacy” M. “Enlightenment” 1988
“School of Fine Arts” 1-2-3, “Fine Arts” 1986
"Drawing Basics", " Brief dictionary artistic terms" - M. "Enlightenment", "Title", 1996
Additional:
Vinogradova G. “Drawing lessons from life” - M., “Enlightenment”, 1980
Library of the “Young Artist” Drawing, advice for beginners. Issue 1-2 – “Young Guard” 1993
Kirtser Yu. M. “Drawing and painting. Textbook" - M., 2000
Kilpe T. L. “Drawing and Painting” - M., Publishing House “Oreol” 1997
Avsisyan O. A. “Nature and drawing from idea” - M., 19885
Odnoralov N.V. “Materials and tools, equipment in fine arts” - M., “Enlightenment” 1988
Applications
Topic 1. Construction of frames of geometric bodies
Topic 2. Drawing of plaster geometric bodies: cube, ball
Topic 3. Drawing a still life from plaster geometric bodies
Explanatory note _____________________________________ 2
Introduction ________________________________________________ 3
Topic 1. Construction of frames of geometric bodies _____________ 12
Topic 2. Drawing of gypsum geometric bodies: cube, ball (black and white modeling) __________________________________________ 14
Topic 3. Drawing a still life from plaster geometric bodies (black and white modeling) _____________________________________________ 17
Applications _____________________________________________________ 21
In Fig. 6.1 shows simple geometric bodies that should make up the examination composition. In addition to the bodies already familiar to you, dies and sticks are presented here. Dies are additional flat square, round and hexagonal elements whose height is equal to one-eighth of the edge of the cube. Sticks are linear elements of a composition, the length of which is equal to the edge of the cube. In addition, bodies of the same proportions, but of different sizes, can be used in the composition. These are so-called compositions with scaling (since in this case the sheet contains identical bodies, but as if taken on a different scale). Consider the compositions made by applicants in recent years (Fig. 6.2-6.20).
The form of the examination composition, its size, placement on the sheet, the degree and nature of the interaction of geometric bodies have long been established. All these positions are reflected to one degree or another in the examination task. Of course, you should immediately make a reservation that we will be talking about the exam task that exists today - it may be changed at the time you read this section of the manual. However, we hope that the essence of the task will be preserved, and you will be able to use our tips and recommendations.
First of all, we list the criteria by which your compositions will be evaluated:
Compliance of the completed drawing with the task;
The compositional idea as a whole, the harmony of the compositional solution and the complexity of the composition;
Leaf composition;
Competent depiction of individual elements of the composition, correct perspective and insets;
In your work, choose a topic that is close to you. This can be massive stability or light, directed into some conventional distance or upward movement. The movement can be looped or extinguished, stopped. The mass can be dense or discharged. The composition can be built on metric, uniform patterns or, conversely, on a simple or complex rhythm. It may contain a uniform distribution of mass or sharp, highlighted accents. The listed properties can be combined (except for those, of course, that exclude each other in one work). It should be remembered that the feeling of the complexity of the composition arises from the perception of the complex harmony of some non-trivial design, and not only from the complexity of the inserts and certainly not from the accumulation of many bodies.
Correct is a prerequisite for a good composition. You've probably already noticed that when your composition consists of only a few geometric bodies, maintaining the correct perspective on the sheet is quite difficult. Even if the basis of the work is almost perfectly constructed, the addition of each new body leads to a gradual increase in distortion.
It is quite difficult to track them and correct them, especially in the first compositions, when experience and practical skills are still small. That is why, to correctly determine the opening of all edges and the direction of all lines on a sheet, various methods are used to organize all these interconnected positions, bringing them into a single system. One such system is described in detail in the following assignment. This is the so-called grid - a spatial structure that determines the opening of the edges of geometric bodies and the direction of lines throughout the sheet.
In the process of preparing for the exam, the “grid” will help you bring together all the variety of tasks associated with the process of constructing a composition, and at once, easily solve them. Of course, the “grid” is a useful thing, but, of course, it also has its pros and cons.
On the one hand, when depicting compositions based on a “grid”, you, of course, spend some (sometimes quite significant) time on preparatory stage(drawing of the “grid” itself), thereby reducing the time spent working on the composition itself.
On the other hand, the “grid” can significantly reduce the time required to solve purely technical problems related to determining the directions of horizontal lines and revealing various surfaces. Of course, a certain skill will allow you to minimize the time spent on the “grid”, but if an error is made in the “grid” (which is quite likely under stressful exam conditions), then you will only be able to notice this error after drawing the first geometric body.
What to do in this case - correct the grid or abandon it altogether to make up for lost time? It is only obvious that you should start working on an exam composition with a “grid” only if for the exam you have learned how to make a “grid” quickly and efficiently, bringing this process almost to automatism, and you can easily build a composition based on it.
Another question that often worries applicants is the question of sidebars: what kind of sidebars should be done, how complex should they be, and is it even worth doing them at all? Let's start with the fact that there is no need to make sidebars in the examination composition - in the exam task, the use of sidebars is only recommended and is not prerequisite, however, it should be understood that a composition without insets is significantly inferior in complexity and artistic expressiveness. Do not forget that your composition will be evaluated among others, and therefore, by making a composition without sidebars, you obviously reduce the competitiveness of your own (concerns. Of course, from year to year the level of the examination composition is growing, and this dictates the inclusion in the composition of complex sidebars that make the examination work is more expressive and interesting. However, their completion requires additional time, which is limited in exam conditions. In this situation, it all depends on your experience - if you studied hard for the composition exam, most likely you already have your favorite boxes, which can be quite complex, but, outlined many times, they are depicted easily and, therefore, quickly. But do not get carried away with complex insets, overcomplicate the work - remember that even a composition made using simple insets can be quite complex and expressive. It is also important to say about how geometric bodies should cut into each other. Sometimes in compositions geometric bodies are cut so slightly that it seems as if they are not cut into each other, but only barely touching. Such compositions tend to evoke a feeling of instability, instability and incompleteness. The viewer has an irresistible desire to make such a composition denser, to cut geometric bodies deeper into each other. Analyzing such work, it is difficult to talk about it as a composition - a group of harmoniously subordinate volumes. In other compositions, the bodies are so deeply embedded in each other that it is no longer clear what kind of bodies these are? Such a composition, as a rule, looks like a complex mass with parts of geometric bodies protruding from it and does not create a sense of harmony in the viewer. The bodies in it cease to exist as independent objects, turning into a geometric mixture. If you do not consider such extreme cases (when geometric bodies almost do not crash into each other or when they turn into a single dense mass), to create a medium-density composition you should stick to next rule: a geometric body should crash into another (or other) geometric bodies by no more than half, preferably one third. In addition, it is desirable that the viewer can always determine the main dimensions of a geometric body from its visible part. In other words, if a cone crashes into any body, its top, a significant part of the lateral surface and the circumference of the base should remain visible in the figure. If it crashes into any body, then parts of the lateral surface of the cylinder and the circles of its bases should remain visible. Special mention should be made about the insets of cubes and tetrahedrons - in the composition, these geometric bodies form a background or, a kind of frame, for the arrangement and inset of other geometric bodies that are more complex in construction. Therefore, insets are allowed when the visible parts of cubes and tetrahedrons make up less than half of their volumes.
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 arrangement of objects on a plane.
Word composition translated from Latin, literally means composing, linking, connecting parts. The construction of a work of art, determined by its content, character and purpose and largely determining its perception. Composition is the most important organizing moment of an artistic form, giving the work 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 visual elements occurs according to a certain pattern in a logical sequence laid down by the author. Visual means and stylistic features must be coordinated and subordinated to the whole, while we must not forget the details that play a very important role.
In other words, composition is the correct distribution of objects on the sheet: highlighting the main object, filling the entire plane of the sheet, balancing the right and left edges, the presence of a general plan or idea. Before drawing anything, the artist must come up with it.
1st tip:
To create an emotional and figurative 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 need to consider that:
An elongated format will make the image slender and sublime;
The horizontal format conveys a sense of panoramic, broad and endless spaces;
The square format is best used to create balanced, static compositions;
The oval format is used to depict a portrait of a person, since its configuration easily correlates with the oval of the face or the contour of the chest image;
In a round format, a flower or plant arrangement is well arranged.
3rd tip:
Avoid the following mistakes:
Do not place anything on the very edge of the sheet, the exception is an object starting from the edge of the sheet and made in fragments;
Objects should not touch the side and top edges of the sheet;
Don't draw everything too small;
Don't make items too large.
4th tip:
Remember the laws of perspective. An object that is closer to us in perspective is depicted on the plane of the sheet below. And the one that is further 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 stain and color. Work in detail on the objects in the foreground and highlight them with brighter, richer 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, and becomes colder and more transparent. Paint distant plans in bluish, violet, blue, gray, silver colors.
6th tip:
Getting started last stage work – generalization, check:
Is the center of the composition highlighted by color or tone?
Has the first plan been worked out in detail?
Is the foreground highlighted in color?
Does anything break out from the overall design of the composition;
Are both parts of the composite sheet balanced?
Are the laws of aerial perspective observed;
Does the composition attract the eye, is it pleasant to look at?
A properly constructed composition cannot cause doubts or feelings of uncertainty. It should have a clarity of relationships and proportions that soothes the eye.
Imagine that in front of you is a flat sheet of paper that is absolutely not filled with any image elements. It’s easier to say - a blank slate. How is it perceived by us? Naturally, the plane of the sheet does not carry any information; we perceive it as meaningless, empty, and unorganized. But! One has only to apply any spot, line, or stroke on it and this plane begins to come to life. This means that our pictorial elements, any - a spot, a line, a stroke - enter into a spatial connection with it, forming some kind of semantic connection. It’s easier to say - the plane and any element on it begin to interact, conduct a dialogue with each other, and begin to “tell us” about something.
This is how we get the most primitive composition, which is difficult to even call it such, but this is what it is.
Further. You and I have one universal tool given to us by nature, these are our eyes, our vision. So, our eye sees and perceives the world around us in proportions and proportions. What does it mean? Our vision is capable of feeling harmony and what is not harmonious. Our eye is able to detect the difference between size discrepancies individual parts and the whole, or vice versa - to see complete compliance. Vision is capable of perceiving combinations of colors that do not irritate the eyes or, on the contrary, may turn out to be completely disharmonious. I will say more, our natural instinct from the very beginning, whether you like it or not, strives for a feeling of harmony in everything. And it subconsciously obliges, by feeling, to arrange objects and their parts so that not a single part of the composition turns out to be alien or disproportionate. You just need learn to listen to your feelings and understand how to achieve harmony, that is, to create a good composition. I love it.
Go ahead. Let's take some shape, for example a circle, and try to place it in various places sheet plane. We can see and feel that in some cases he will occupy a more stable position, in others - an unstable one. Figure on the left: look at how our vision works - it would seem that the most stable place for a circle is the coincidence of its center with the geometric center of the sheet plane (by drawing diagonal lines from corner to corner of the sheet, we get the center of the sheet at the intersection of these lines). However, that's not all. Because of optical illusion(the eye somewhat overestimates the upper one and underestimates bottom part plane), the circle is perceived to be slightly shifted down. Do you feel how the circle seems to be attracted to the base of the square? The circle is not clearly felt either in the middle or below, and this results in a misunderstanding of its position and a feeling of disharmony. How to achieve harmony? In what position should the circle be in order for us to perceive it harmoniously in the plane of the sheet? Naturally, it needs to be moved up a little. See the picture on the right. Do you feel the circle is in a stable position? It occupies exactly its place in the square. Thus, our simplest composition will be more harmonious, and therefore more correct.
Understanding: the plane and the object form a certain conditional spatial connection that we can correct.
Our plane initially has a certain conditional structure, even if there is not a single element on it yet. The plane can be divided into axes - horizontal, vertical, diagonal. We get the structure - look at the picture on the left. In the center of the plane (geometric center), all the forces of this hidden structure are in a state of equilibrium, and the central part of the plane is perceived actively, and the non-central parts are perceived passively. This is how we feel. This perception of conditional space is how our vision strives to find peace. This understanding is rather conditional, but true.
The eye strives to see harmony in what it observes; it determines the center of our composition, which for it seems more active, everything else is more passive. This is what only the study of one clean plane of the sheet can give us. Moreover, this is something that only the study of one square shape of the sheet plane can give us. But the principle is the same. This is what concerns the structure of the sheet plane.
But this would not be enough to dissect a plane or create a composition from one element on a sheet. It's boring and no one needs it, neither you nor the viewer. There is always more, more varied and much more interesting.
Now let's try to compose another composition, but with several participants. See the picture on the left. What do we see, what do we feel? And we feel that our composition is not harmonious, because its individual parts are not balanced. Objects are strongly shifted to the left, leaving empty, unnecessary, unused space on the right in the composition. And the eye always strives to balance everything and achieve harmony. What do we need to do here? Naturally, balance the parts of the composition so that they harmoniously form one large composition and are part of one whole. We need to make sure that our vision is comfortable.
Look at the picture on the right. Is this how you feel more harmonious? I think yes. What does it mean? When visually perceiving the elements and plane of the sheet and when analyzing their connections: the influence of the internal forces of the structure of the plane on the nature of the behavior of the pictorial elements is felt. What does it mean? Our elements participating in the composition interact with the conditional diagonal, vertical and horizontal axes of the plane. We have achieved stable visual balance of all components of the composition relative to the geometric center. Even if not a single figure here is in the middle, they balance each other, forming together a center where vision expects it, which is why looking at this drawing is more comfortable than the previous one.
And if you add a few more elements, then in this case they should be somewhat weaker in size or tone (or color) and in a certain place, so as not to visually disrupt the geometric center of the composition, otherwise you will have to change the arrangement of the elements in order to achieve harmony again, that is, harmonious perception. This is about the concept - geometric center of the composition, which we have now introduced into study.
You should always strive for stable visual balance of all components of the composition in its various directions - up and down, right and left, diagonally. And the composition should be harmonious from any position, in any rotation - turn your composition upside down, or 90 degrees, it should also be pleasant to view, without any hint of discomfort. And it’s easier to assume that the geometric center of the composition is at the intersection of the diagonal lines or a little higher, it is in this place that the eye, after viewing the composition itself, whatever it may be, ultimately stops and finds “rest”, calms down in this place, even if there is no object on it. This is a conditional place. And a harmonious composition is considered to be one when there is no longer any need to introduce new elements or remove any from it. All the “persons” participating in the whole composition are subordinated to one common idea.
Basics of composition - static balance and dynamic balance
The composition should be harmonious and separate areas it must be balanced. Let's move on and look at the following concepts:
Static balance And dynamic balance. These are ways to balance the composition, ways to create harmony. The methods are different, as they affect our vision differently. Let's say we have two compositions. We look at the picture on the left: what do we have? We have a composition that includes a circle and stripes. This shows the static balance of the circle and stripes. How is it achieved? Firstly, if you look at the hidden structure of the composition sheet, you can understand that it is built primarily along the horizontal and vertical axes. More than static. Secondly: static elements are used - a circle and stripes, the circle is balanced by stripes and does not fly out of the plane, and the conventional geometric visual center is located at the intersection of the diagonals, and the composition can be viewed from all sides, without giving rise to the identification of disharmony.
Now look at the picture on the right. We see a dynamic balance of several semicircles and circles with the dominant color highlighted. How is dynamic equilibrium achieved? If you look at the hidden structure of the sheet, then in addition to the horizontal and vertical axes of constructing a composition, you can clearly see the use of a diagonal axis. Its presence and use are revealed by a red circle, which in this composition is the dominant spot, the area to which the eye pays attention first. We introduce the concept- composition center.
Composition center. Dominant
Compositional center, dominant, how to understand it: in the composition on the left there is a certain compositional center, or dominant, which is the beginning of the composition and to which all other elements are subordinate. One can say more: all other elements enhance the significance of the dominant and “play along” with it.
We have the main character - the dominant and secondary elements. Minor elements can also be divided according to importance. More significant are accents, and less significant are secondary elements. Their significance is determined only by the content of the story, the plot of the composition, and all the elements of the composition are important and must be subordinated to each other, “twisted” into one whole.
The compositional center depends on:
1. Its size and the size of other elements.
2. Positions on the plane.
3. The shape of an element that differs from the shape of other elements.
4. The texture of an element, which differs from the texture of other elements.
5. Colors. By applying a contrasting (opposite color) to the color of the secondary elements (a bright color in a neutral environment, and vice versa, or a chromatic color among achromatic ones, or a warm color with an overall cold range of secondary elements, or a dark color among light ones...
6. Elaborations. Main element, the dominant is more developed than the minor ones.
Compositional and geometric centers of the composition
Let's continue... This dominant, a conspicuous active element, is not located in the center of the sheet, but its weight and activity is supported by many secondary elements located diagonally further, opposite this dominant. If you draw another diagonal, then on both sides of it the “weight” of the composition will be conditionally the same. The composition is balanced both vertically and horizontally, as well as diagonally. Elements are used that differ in activity from the previous composition - they are more actively located and more active in form. Although they are arranged elementary, according to a conventional grid, and the structure of the composition is simple, in addition, the composition has a dynamic balance, as it leads the viewer along a certain trajectory.
Note: the composition on the right was not created using paints on paper, but I really liked it, and in essence, by and large, this does not change. This is also a composition. Let's continue...
You say, where is the geometric center of the composition? I answer: the geometric center of the composition is where it should be. Initially, it may seem that it is located where the dominant is located. But the dominant is rather an accent, the beginning of the composition, that is, the compositional center. However, we do not forget that there is also a hidden structure of the composition, the geometric center of which is located as in the composition on the left. The viewer turns his first glance to composition center, the dominant, but after examining it, and then after reviewing the entire composition, your eye still stopped at geometric center, right? Check it out for yourself, monitor your feelings. He found “calm” there, the most comfortable place. From time to time he again examines the composition, paying attention to the dominant, but then again calms down in the geometric center. That is why such balance is called dynamic, it introduces movement - visual attention is not scattered evenly throughout the composition, but follows a certain course that the artist created. Your eye will find in composition center movement, but will not be able to calm down there. And it is precisely with the successful construction of the composition, namely, the correct use of the geometric center, that it is harmoniously visible from any turn. And the compositional center is where the composition begins to conduct a dialogue with the viewer; this is a section of the composition that allows you to control the viewer’s attention and direct it in the right direction.
Static composition and dynamic composition
Now we come to the following terms that we need to consider. These terms differ in meaning from static equilibrium and dynamic, meaning: any composition of any nature can be balanced different ways. So... What is it static composition? This is the state of a composition in which the elements balanced with each other as a whole give the impression of its composition. stable immobility.
1. A composition based on which one can visually clearly observe the use of a hidden leaf structure for construction. In a static composition there is a conditional order of construction.
2. Objects for a static composition are selected that are closer in shape, weight, and texture.
3. There is a certain softness in the tonal solution.
4. Color solution build on nuances - close colors.
Dynamic composition, accordingly, can be built in the opposite way. This is the state of a composition in which elements balanced with each other give the impression of it. movement and internal dynamics.
I repeat: but, whatever the composition, you should always strive for a stable visual balance of all components of the composition in its various directions - up and down, right and left, diagonally.
And the composition should be harmonious from any position, in any rotation - turn your composition upside down, or 90 degrees, by the general masses and color/tone spots, it should also be pleasant to view, without any hint of discomfort.
Basics of composition - exercises
Additional exercises can be performed with gouache, like appliqué, colored pencils and other materials that your heart desires to work with. You can perform from the exercise that you find most easy or interesting to the most difficult.
1. Balance several simple-shaped elements on a square plane. Using the same principle, create a composition of a simple landscape motif.
2. From simple stylized motifs of natural forms, make a sketch of a closed composition (not beyond the scope of the picture), enclosed in a sheet format. Closed composition - the action revolves only in the space you use, complete clarity. The compositions have a movement in a circle.
3. Organize several triangles and circles according to the principle of dynamic composition (asymmetrical arrangement of figures on a plane), varying the color, lightness of the figures and background.
4. Using the principle of dividing the elements of a composition, balance several figures of different configurations in a rectangular format. According to this principle, do simple composition on any topic.
5. From simple stylized motifs of natural forms, using the principle of dividing elements, make a sketch of an open composition. An open composition is a composition that can be developed further - in width and height.
6. Divide the plane of the sheet into a conditional structure based on sensation and compose a composition based on it: solution black and white.
Expressive means of composition
Expressive means of composition in decorative and applied arts include line, point, spot, color, texture... These means are at the same time elements of composition. Based on the assigned tasks and goals and taking into account the capabilities of a certain material, the artist uses the necessary means of expression.
Line is the main formative element that most accurately conveys the nature of the outlines of any shape. The line performs a double function, being both a means of representation and a means of expression.
There are three types of lines:
Straight: vertical, horizontal, inclined
Curves: circles, arcs
Curves with a variable radius of curvature: parabolas, hyperbolas and their segments
The expressiveness of the associative perception of lines depends on the nature of their outline, tonal and color sound.
The lines transmit:
Vertical - striving upward
Inclined - instability, fall
Broken lines - variable movement
Wavy - uniform smooth movement, swinging
Spiral - slow rotational movement, accelerating towards the center
Round - closed movement
Oval - the direction of the form towards the focal points.
Thick lines protrude forward, and thin lines retreat deeper into the plane. When sketching a composition, they create combinations of certain lines and spots that stimulate the manifestation of its plastic and color properties.
Point - as one of expressive means widely used in many works of decorative and applied art. It helps to identify the texture of the image and convey the conditional space.
The stain is used in the rhythmic organization of non-figurative ornamental motifs. Spots of various configurations, organized in a specific composition, acquire artistic expressiveness and, having an emotional impact on the viewer, evoke in him the appropriate mood.
Artists often use them as visual elements in their works. geometric figures: circle, square, triangle. Compositions of them can symbolize the movement of time, the rhythms of human life.
Rhythmic organization of ornamental motifs from non-figurative elements (spots of abstract configuration, silhouettes geometric shapes), combined into compositional structures, becomes a means of artistic expression.
More means of composition
1. Subordination: a person in the first second begins to perceive the composition as a silhouette image on a certain background: the area of the silhouette, the drawing of the contour line, the degree of compactness, tone, color, surface texture, and so on.
2. Symmetry and asymmetry: An effective means of achieving balance in a composition is symmetry - the regular arrangement of form elements relative to a plane, axis or point.
Asymmetry - the harmony of an asymmetrical composition is more difficult to achieve; it is based on the use of a combination of various patterns of composition construction. However, compositions built on the principles of asymmetry are in no way inferior in aesthetic value to symmetrical ones. When working on its spatial structure, the artist combines symmetry and asymmetry, focusing on the dominant pattern (symmetry or asymmetry), and uses asymmetry to highlight the main elements of the composition.
3. Proportions are the quantitative relationship of individual parts of a composition with each other and with the whole, subject to a certain law. A composition organized by proportions is perceived much easier and faster than a visually unorganized mass. Proportions are divided into modular (arithmetic), when the relationship of parts and the whole is formed by repeating a single given size, and geometric, which are built on the equality of relations and are manifested in the geometric similarity of divisions of forms.
4. Nuance and contrast: nuanced relationships are minor, weakly expressed differences in objects in size, pattern, texture, color, location in the space of the sheet. As a means of composition, nuance can manifest itself in proportions, rhythm, color and tonal relationships, and plasticity.
Contrast: it consists in a sharp opposition of elements of the composition. Contrast makes the picture noticeable and makes it stand out from others. There are contrasts: direction of movement, size, conventional mass, shape, color, light, structure or texture. When the direction is contrasted, the horizontal is opposed to the vertical, the tilt from left to right is the tilt from right to left. In size contrast, high is contrasted with low, long-short, wide-narrow. With mass contrast, the visually heavy element of the composition is located close to the light one. In contrast, “hard”, angular forms are contrasted with “soft”, rounded ones. With light contrast, light areas of the surface are contrasted with dark ones.
6. Rhythm is a certain ordering of single-character elements of a composition, created by repeating elements, alternating them, increasing or decreasing. The simplest pattern on the basis of which a composition is built is the repetition of elements and intervals between them, called modular rhythm or metric repetition.
A metric series can be simple, consisting of one element of shape, repeated at regular intervals in space (a), or complex.
A complex metric series consists of groups of identical elements (c) or may include individual elements that differ from the main elements of the series in shape, size or color (b).
The form is significantly enlivened by the combination of several metric rows combined into one composition. In general, the metric order expresses staticity, relative peace.
A certain direction can be given to the composition by creating a dynamic rhythm, which is built on the patterns of geometric proportions by increasing (decreasing) the sizes of similar elements or on a natural change in the intervals between identical elements of the series (a - d). A more active rhythm is obtained by simultaneously changing the size of the elements and the intervals between them (e).
As the degree of rhythm increases, the compositional dynamics of the form intensifies in the direction of thickening the rhythmic series.
To create a rhythmic series, you can use a natural change in color intensity. In conditions of metric repetition, the illusion of rhythm is created as a result of a gradual decrease or increase in the intensity of the color of the element. With changing sizes of elements, color can enhance the rhythm if its intensity increases simultaneously with an increase in the size of the elements, or visually balance the rhythm if the color intensity decreases with increasing size of the elements. The organizing role of rhythm in a composition depends on the relative size of the elements that make up the rhythmic series and their quantity (to create a series you need to have at least four to five elements).
Warm bright colors are used to highlight the active elements of the composition. Cool colors visually remove them. Color has an active effect on the human psyche and can evoke a wide variety of feelings and experiences: to please and sadden, to invigorate and depress. Color affects a person regardless of his will, since we receive up to 90% of information through vision. Experimental studies show that the least eye fatigue occurs when observing colors in the middle part of the spectrum (yellow-green region). The colors in this area give a more stable color perception, and the extreme parts of the spectrum (violet and red) cause the greatest fatigue of the eyes and irritation of the nervous system.
According to the degree of impact on the human psyche, all colors are divided into active and passive. Active colors (red, yellow, orange) have a stimulating effect and accelerate the vital processes of the body. Passive colors (blue, purple) have the opposite effect: they calm, cause relaxation, and decreased performance. Maximum performance is observed under the influence of green color.
The natural human need is to color harmony = subordination of all colors of the composition to a single compositional concept. The entire variety of color harmonies can be divided into nuanced combinations based on convergence (identity of tonality, lightness or saturation), and contrasting combinations based on opposition.
There are seven options for color harmony, based on similarities:
1. the same saturation at different lightness and color tone;
2. the same lightness with different saturation and hue;
3. identical Color tone at different saturation and lightness;
4. the same lightness and saturation with different color tones;
5. the same color tone and lightness at different saturations;
6. the same color tone and saturation at different lightness;
7. identical color tone, lightness and saturation of all elements of the composition.
With changing tonality, harmony can be achieved by combining two main and intermediate colors (for example, yellow, green and mustard) or by contrasting tonality. Contrasting combinations consist of additional colors(for example, red with cool green, blue with orange, violet with yellow...) or from triads that include colors equally spaced on color wheel(eg yellow, magenta, green-blue, red, green and blue-violet). Color harmony is formed not only by combinations of chromatic colors, but also of rich chromatic and achromatic colors (blue and gray, brown and gray, and so on).
More exercises...
1. Sketch a natural motif with a line and spot
2. Create a thematic composition using graphic means of expression - line, spot, dot
3. From objects freely placed in space, create a balanced composition of a still life, without resorting to perspective abbreviations of objects and spatial plans
8. Dissect the plane of a circle inscribed in a square (black and white solution), and from the dissected circles create a rapporteur composition. You can do the same with other geometric shapes.
Artist and composition
Now we will not talk about how to compose a composition, but rather about the forces that motivate it to be created. These forces are much stronger and more efficient than if you thoroughly and spend many hours studying the technical aspects of its creation, but skimp on putting at least a drop of your soul into the process. This is a strong motivation, a driving force. You are an artist, no matter what knowledge and skills you have and what stage of development you are at. You are an ARTIST, a creative person. Before creating a composition, any composition, you harbor an idea, think, feel emotions, and observe its creation within yourself. Some of us dream about it, some of us are under the influence of this magical process day after day, sometimes it simply prevents us from living like everyone else ordinary people, because we create it from the very beginning within ourselves. Any composition, any creation is a sublimation of those sensations and experiences that accompany the artist and grow in him, in his consciousness. And then, one day, at one moment, you understand that here it is, creation, it can now be born and you finally understand what you must do. And the composition is born. Now nothing can stop your creative process. But by and large, the composition this is the mood the artist's thoughts, the very idea that he splashes out onto the lifeless plane of the sheet or canvas, forcing them to LIVE their own, unique life, not like everyone else. And even if the artist is not very strong in studying the laws of composition on a sheet of paper, the creative power of creation is many times stronger, everything else is a matter of profit. Don't be afraid to express your thoughts and feelings. Bold and simple, mysterious and angry, joyful and fantastic.... no one can tell you better about your thoughts, only you yourself.
