Composition of simple geometric bodies. Constructing a perspective composition of geometric bodies

Select one or two of the best sketches and frame them in frames whose proportions correspond to the proportions of the future drawing. Thus, a sheet of A-3 format measuring 30 by 40 centimeters has a 3 to 4 ratio (Fig. 172). In search of the most successful composition of the sheet, you may have to adjust the point of view, and in some cases even make changes to the setting itself.

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

Stage 1.

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

Stage 2.

Figure 174. Draw linearly all geometric bodies. As you work, pay special attention to the correspondence of the opening of squares and ellipses lying in 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 the lines of your own and falling shadows and cover all the 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 working in the light. Carefully model shape using knowledge of the distribution of light and shadow on geometric bodies. On round surfaces, create smooth light-and-shadow transitions; on bodies formed by planes - sharp and clear.

When comparing light and dark tones of plaster in nature, you should strive to correctly convey their relationships in the drawing, but you also need to know about special techniques, helping 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 reality this is not always the case. For example, when there is a fairly well-lit surface next to the production, the reflections from it on location can be as bright as the light. They need to be “dampened down” by making them darker, otherwise in your drawing they will destroy the shape of the objects depicted.

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

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

Stage 5.

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

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Chapter 74 III

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

Make a sketch of the composition, observing the given proportions of geometric bodies (Fig. 178). Determine the general nature of the future composition, the position of the horizon line, the directions of the horizontal edges, and the main insets. Let us immediately warn you about a typical mistake that is often made by those who are working on their first composition based on an idea. When placing geometric bodies on a sheet of paper, a novice draftsman quite freely places round bodies next to each other (for example, a ball and a cone) or round bodies and bodies with inclined planes (for example, a ball and a hexagonal prism). The insertion of such bodies into each other is very difficult. Considering the limited time for completing the examination task, it would be more correct to use simple insets in the composition, when round bodies and bodies with inclined surfaces are intersected by horizontal and vertical planes.

You shouldn’t draw the sketch too carefully - on a small scale you still won’t be able to solve all the compositional issues. Even a very detailed sketch cannot be accurately transferred to a large sheet of paper. Secondary and insignificant elements will inevitably undergo quite serious changes, and therefore you should not pay attention to them excessive attention at the sketching stage. Enclose the sketch in a frame of appropriate proportions (3x4), make the necessary adjustments to the composition and begin working on a large-format sheet, trying to preserve the main idea, basic patterns and movements of large masses defined in the sketch.

Continuing to work on the composition, clarify the sizes and proportions of geometric bodies. Monitor the correspondence of the opening of squares and circles lying in horizontal and vertical planes, as well as the uniform convergence of parallel lines in perspective. Carefully draw insets of geometric bodies, depicting the lines of intersection of not only visible, but also invisible surfaces to the viewer. When working on individual elements, try to subordinate them to the general compositional idea, achieve integrity and harmony in your work.

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

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Chapter 80 IV

Chapter IV. Drawing of architectural details

Architectural details include architectural profiles (jib, heel, shaft, quarter shaft, fillet, scotia), geometric and floral ornaments, capitals, rosettes, vases, ionics, brackets, supporting and keystones of arches, entablatures. From all this variety, a vase, a capital and an ionic were chosen to perform educational drawings at the Moscow Architectural Institute’s evening preparatory courses.

When starting to draw an architectural detail, first define it 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 of paper, gradually complicate it, saturating it with details and carefully studying individual elements in a linear constructive drawing. Plan paired symmetrical volumes at the same time, under this condition it is easier to follow the promising reductions. If the image of any part of an architectural detail causes you some difficulties, make small sketches of it in the margins of your drawing - perspective sketches from different points and orthogonal projections. Completing the linear stage, introduce a light tone into the drawing, having previously outlined the lines of your own and falling shadows: this will allow you to clarify the main masses and identify possible mistakes before starting tone 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 and gradual, on faceted surfaces they are sharp and clear. The closer the light and shadow on an object are to the person drawing and the light source, the stronger the light and shadow contrast, and, conversely, the distant parts of objects have dimmer light and faded shadow. Falling shadows are more saturated with tone, while natural shadows are brightened by reflections, and therefore more airy and transparent. In both linear-constructive and light-and-shade drawings, try to work evenly across the entire sheet, constantly comparing individual parts of the image with the whole. At the final stage, clarify the tonal solution and summarize the work, striving for a feeling of completeness and harmony.

Drawing of a vase.

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

Start drawing a vase, like drawing any complex architectural detail, by analyzing its shape. Look carefully at the vase (Fig. 184). Mentally break it down into separate volumes and compare them with simple geometric bodies. The body of the vase has a complex drop-shaped shape, which can be conventionally represented as a combination of two balls and a cone; thus, the height contour of the vase body can be divided into three parts, each of which has its own curvature. The neck of the vase is similar to a cylinder, with a noticeable thinning in the middle, and is limited at the top and bottom by narrow shelves. The vase is crowned with a massive neck in the shape of a quarter shaft. The supporting part (base) of the vase consists of two cylinders of different diameters, connected by a jib-shaped profile. The handles of the vase have a complex three-part structure and thicken at the points where they are attached to the neck and body of the vase.

Continuing your study of nature, draw a frontal 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 must be large enough, only then will you be able to reflect in it all the information you have received: the proportional ratio of the main masses, the dimensions individual parts in height and width

drawing of architectural details 81

rine, their interrelation, 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 horizontally and vertically in the body of the vase, 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 - more massive, the base - lighter and more graceful than in real life. Of all the ways of depicting, perspective is the closest to what is actually perceived by the human eye. The orthographic projection of an object is always different from its perception in nature. But it is orthogonal projections, due to their accuracy and information content, that will now help you best study a complex architectural form, and in the future they will become a convenient and natural means of your professional communication.

Let's go back to nature. As you have already noticed, the main volume of the vase is symmetrical in 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 of different sizes and openings. The minor axes of these ellipses coincide with the axis of the vase, and the major axes are perpendicular to it.

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

Choose a point from which the perspective vertical reductions will be slight (for example, when the horizon line is slightly above the neck of the 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 draftsman may have in determining the opening of the ellipses. In addition, this position is the least successful for creating an expressive drawing.

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Stage 1.

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

Stage 2.

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

Stage 3.

Figure 188. Outline the outline of the vase in orthogonal projection. This outline does not take into account future changes, but 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 increases 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 development. Start as usual by defining the lines of your own shadow and the falling shadow. To do this, use nature and the knowledge you have already acquired about the nature of light and shadow on simple geometric bodies. The shadows on the neck of the vase, the belts, the shelves of the base, and the handles are similar to the shadows on the cylinder; the shadow on the neck is like the shadow on the ball; the shadow on the body of the vase can be imagined as a complex combination of the shadow on two balls and a cone. Carefully examine the falling shadows on the vase. Analyze what shapes cast shadows on the neck of the vase, its body, base, and handles. Sometimes it is convenient to do this with a pencil. If you slowly move the point of a pencil along the line of your own shadow on a vase, the shadow from the point of the pencil will also move along the line of the falling shadow, fixing at each moment of this movement a certain pair: a point and its shadow.

After determining the position of the lines of your own and falling shadows, continue the tonal drawing in the usual sequence. First, build up enough tone in the shadows, separating them from the light. Then you need to strengthen 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 move into the shadows, creating smooth light-and-shadow transitions on spherical and cylindrical surfaces. When completing the drawing, generalize the light and shadow relationships, trying to harmoniously subordinate all the elements of the image to the overall tonal design.

The stage-by-stage approach to doing your work is not accidental: it contains an important rule that is mandatory for everyone, and especially for beginning draftsmen: drawing from the general to the specific and from the specific to the general. Always start your drawing with total mass and only then proceed to the details. But do not immediately work out one of the details to the end. Draw the drawing across the entire sheet, moving from one part to another, checking the parts with the whole, constantly looking at the whole. This rule is true for both linear constructive and black and white drawings.

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 this - and you will see how logical and calm work will turn into chaotic rushing from one detail to another in an effort to put together a drawing that is “crumbling” before your eyes.

Remember also that design is the basis 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 corrected immediately.

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Chapter 88 IV

Drawing of a Doric capital.

The capital is the upper part of the column, which, in turn, is part of the architectural order. Order - strictly verified art system, expressing the essence of the work of a post-beam structure. The name order comes from the Latin “ordo” - order, order. The classical orders - Doric and Ionic - were formed in ancient Greece. Somewhat later, in the architecture of Rome they received their further development. The order consists of load-bearing and non-carrying elements, the load is transferred from the overlying elements to the ones located below. From the entablature (bearing part) to the column (bearing part), 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 the Greek ones, however, like all order systems, they are distinguished by a strict logic of form, precise 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 design, 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 parts in plan, to the lower, round parts, how each of the profiles is designed to support the elements located above and to transmit pressure from top to bottom.

Start your drawing by analyzing the shape of the capital (Fig. 191). The upper part of the capital is a square abacus (abacus) - a slab with a heel and a shelf. Echinus is a quarter of the shaft and is connected to the neck of the column through three successively decreasing belts. The astragalus, consisting of a roller and a shelf, passes into the trunk of the column through a fillet. The column trunk is decorated with twenty long semicircular grooves in plan - flutes with semicircular endings.

Draw a frontal projection of the capital. The drawing should be large enough so that the details are clearly visible. Label the names of all parts of the capital in the picture. This will make it easier for you to remember them. Analyze the basic proportions of the capital, select the total height of the echinus and belts as the unit of measurement. Compare your drawing with Figure 192.

Continuing to study the shape, go around the capital and look at it from different points. You will notice that the main volume, which is a round symmetrical shape, 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 to you more 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. If necessary, make a sketch to more accurately determine the composition of the sheet.

drawing of architectural details

Stage 1.

Figure 193. Place the future image on the sheet, determining its vertical and horizontal dimensions. Mark the corners 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 linear drawing to find the correct ratio of the opening of the upper ellipse of the echinus and the square of the abacus. Traditionally, draftsmen first depict an abacus, and then experience considerable difficulty in fitting an ellipse into it. Do it differently: having decided on the size and opening of the ellipse, draw it. Then draw a square around the ellipse, checking the directions of its sides with nature. Stage 2.

Figure 194. Mark all parts of the capital vertically and determine their horizontal dimensions. Draw the main masses taking into account the perspective abbreviations. Drawing the ellipses of the girdles, neck, astragalus and lower section of the column, correlate their openings with each other and with the already drawn upper ellipse of the echinus. Stage 3.

Figure 195. Draw the flutes. A plan of the column trunk will help you depict them correctly. If you do not have the opportunity to place the plan on the drawing itself, then attach an additional sheet of paper to your work. Points transferred from the plan to a perspective image will make the drawing accurate and convincing. At this stage, the drawing is mainly linear in nature, but when clarifying the main elements, it is possible to use tone, which helps to graphically reveal the “movement” of the main surfaces. In this case, the tone should be very light, suggesting further constructive elaboration of the form. Stage 4.

Figure 196. Reveal the shape of the capital using chiaroscuro. A clear understanding of the relative location in space of the light source, the object and the painter makes it possible to understand the geometry of one’s own and falling shadows, as well as to identify the basic tonal relationships. When determining the lines of your own and falling shadows, use your knowledge of the nature of chiaroscuro in simple Forms: mentally dissect the capital into separate volumes and compare them with the geometric bodies already known to you.

Stage 5.

Figure 197 Work out the shapes in shadows and light in detail, generalize the light-and-shadow relationships

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

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Ionic drawing.

Ionic is an architectural ornamental element consisting of an egg-shaped shape cut off from above, framed by a “shell”, a profiled roller, and also pointed leaves facing downwards. In architecture, Ionics are widely used on capitals and cornices of the Ionic and Corinthian orders. Ionic has two axes of symmetry, one of them runs along the egg-shaped shape, the other runs through the middle of the lancet sheet. 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. Outline the dimensions of the future image on the sheet. Draw a perspective view of the rectangular plate that serves as the basis for the ionic.

Stage 2.

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

Stage 3.

Figure 201. Draw the details - the egg, shells, profiled roller, leaves. Depicting leaves, make them in the margins close-up 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 shadow areas and shade them several times, separating them from the light. Then you need to intensify the falling shadows towards the object casting the shadow, the viewer and the light source. At the same time, strengthen the lines of your own shadows, forming reflex zones. At this stage, do not get carried away with details, “sculpt” general shape in accordance with the law of aerial perspective and the basic principles of the distribution of light and shadow on simple geometric bodies.

Stage 5.

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

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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 understanding and thorough knowledge general provisions drawing and good practice in the depiction of simpler forms.

The practical section “Drawing a plaster head” begins with an examination of its external shape in an “introductory drawing”. This first experience will become the basis for further, more detailed analysis. In the drawing of the skull, the structure of the bony base of the head is analyzed. In Houdon's drawing, the location and principle of operation of the main muscles, as well as cartilaginous tissues, are studied. For detailed consideration skull and muscles, it would be advisable to refer to anatomical atlases and manuals. In the following drawings, 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 ancient sculptures: Caesar, Aphrodite, Doryphorus, Diadumen, Socrates, Antinous and Apoxyomenos, traditionally offered for drawing at the 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 overall volumetric-spatial structure of the head, understand its details and basic proportions.

24. Introductory drawing. Head of Doryphoros.

The sculpture of Doryphoros was created in the 5th century BC by the Greek sculptor Polycletus, a representative of the Peloponnesian school. Polykleitos was not only a sculptor, but also an art theorist. He created the treatise “Canon”, where he developed in great detail perfect proportions human body. The figure of Doryphoros, 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 the immortal gods, equally beautiful in body and spirit, a courageous defender of his native city. The face of Doryphoros is schematic, it is devoid of individual features and expression, which is why the head of Doryphoros is offered for the first “introductory” work, as a result of which you will receive an initial, largely simplified idea of ​​​​the shape of the head.

The head has a brain and a facial part. Its external plasticity is known using a number of anatomical points - nodes (support points or beacons) and lines. Thus, the following are clearly visible on the head: chin tubercles, lower jaw line, corners of the mouth, lines limiting the mouth area, lip line, filter, base, tip and wings of the nose, nose bridge, cheekbones, zygomatic arches, orbital edges, tear ridges, eyebrow arches , lines limiting the brow arches, frontal tubercles, temporal lines, crown, auricles, 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 - beacons and characteristic lines, you will never get confused in the details and will always be able to distinguish the main thing from the accidental. To better understand the external spatial connections 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 overuse such schemes in drawings. They are needed only as visual aids for a competent and convincing depiction of the human head.

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Draw from the drawing by P.I. Churilin

from teaching aid"Structure of the human head"

Chapter 102 v

Draw from Pichurilin's drawing

from the textbook “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. A cut in this plane gives us the middle line, which is the basis of the professional line of the face and is very important for drawing the head.

The horizontal plane passes through the base of the back of the head and the base of the nose.

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

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The task of the “introductory” drawing is good composition on the sheet, the total volume is correctly conveyed, as well as the accurately found location and size of each part of the head.

Stage 1.

Figure 208. When starting work, determine the position of the horizon line and the angle. 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 draw the head from the front, the spaces on the left and right should be equal so that the image does not “fall over”, but if you draw the 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. Using light lines, outline the contour 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 an axial 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 relationships of the parts of the head. According to the Greek classical canon, the distances between these points should be equal. Draw horizontal lines through these points (in the figure going to the vanishing point on the horizon) and mark on them the width of the forehead, base of the nose and chin, respectively. For the right choice directions of these lines, use the sighting method.

In accordance with the ancient canon, along the eye line, the antique head is divided into two equal parts - from the top of the head to the eye line and from the eye line to the base of the chin. The segment from the superciliary arches (the point between the eyebrows) to the base of the wings of the nose is divided into three equal parts - the eye line runs along the upper division line, and the base and wings of the nose are separated along the lower division line. The segment between the point of the base 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, which is also called the lip line, runs along the upper division 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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Very often in the world of artists there are paintings that are significantly different from oil and pastel canvases. They are more reminiscent of drawings, patterns, sketches and are completely incomprehensible to the average viewer. Now we will talk about compositions of geometric shapes, discuss what they are like, what load they carry and why they occupy so much place of honor in the art of drawing and painting.

Simple compositions

Every master of the brush who started his journey with art school, will answer you that precise lines and their combinations are the first thing they teach there. This is how our vision and brain work, that if we initially learn to harmoniously combine simple shapes, then in the future draw complex paintings 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 directness of such images, they are drawn entirely by hand, without rulers or other auxiliary objects. The parameters of figures are measured using proportions, which can be located in a two-dimensional dimension (flat picture), or can go into perspective, to a single vanishing point of all lines.

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

3D paintings

In order to develop a sense of perspective, artists learn to depict compositions from three-dimensional geometric shapes 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. Similar drawing techniques are relevant in construction and architectural universities; they are used as exercises. However, students often make real ones out of these “picturesque studies” by drawing incredible insets of figures, dissecting compositions with planes and half-planes, and depicting pictures in cross-section.

In general, we can say that clarity and linearity are the main properties that any composition of geometric shapes has. At the same time, a drawing can be static or dynamic - it depends on the type of figures depicted and their location. If the picture contains mainly cones, triangular prisms, and balls, then it seems to be “flying” - this is definitely dynamic. Cylinders, squares, tetrahedral prisms are static.

Examples in painting

Geometric shapes have found their place in painting, along with romanticism and other trends. A striking example This is the artist Juan Gris and his most famous painting “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. Bright, clear and very unique picture.

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.

The graph on the left represents growth. The graph on the right means a fall. It just so happened. And, accordingly, in a composition, a diagonal line drawn from the lower left corner to the upper right is perceived better than a line drawn from the upper left corner to the lower right.

Closed and open composition

In a closed composition, the main directions of the lines tend to the center. This composition is suitable for conveying something stable and motionless.

The elements in it do not tend to go beyond the plane, but seem to be locked in the center of the composition. And the gaze from any point in the composition tends to this center. To achieve this, you can use a compact arrangement of elements in the center of the composition, a frame. The arrangement of elements (in the image - geometric shapes) so that they all point to the center of the composition.

An open composition, in which the directions of the lines emanate from the center, gives us the opportunity to mentally continue the picture and take it beyond the plane. It is suitable for conveying open space and movement.

Golden ratio rule

Different arrangements of elements on a plane can create a harmonious or inharmonious image. Harmony is a feeling and concept of correct location elements are very intuitive. However, there are several rules that are not at all intuitive.

The arrangement of simple geometric shapes in the image on the left looks much more harmonious. Why?

Harmony- this is coherence. A single whole in which all elements complement each other. Some kind of unified mechanism.

The largest such mechanism is the world around us, in which all elements are interconnected - animals breathe air, consume oxygen, exhale carbon dioxide, plants use its carbon and solar energy for photosynthesis, returning oxygen. Some animals feed on these plants, others regulate the number of plants that feed on them, thereby saving the plants, the water evaporates to fall as precipitation and replenish the supplies of rivers, oceans, and so on...

There is nothing more harmonious than nature itself. Therefore, the understanding of harmony comes to us from her. And in nature, a huge number of visual images obey two rules: symmetry And golden ratio rule.

I think you know what symmetry is. What is the golden ratio?

Golden ratio can be obtained by dividing a segment into two unequal parts in such a way that the ratio of the entire segment to the larger part is equal to the ratio of the larger part of the segment to the smaller one. It looks like this:

The parts of this segment are approximately equal to 5/8 and 3/8 of the entire segment. That is, according to the rule of the golden ratio, the visual centers in the image will be located like this:

Three thirds rule

This drawing does not follow the rule of the golden ratio, but creates a feeling of harmony.

If we divide the plane on which our geometric figures are located into nine equal parts, we will see that the elements are located at the intersection points of the dividing lines, and the horizontal stripe coincides with the lower dividing line. In this case, the three-thirds rule applies. This is a simplified version of the golden ratio rule.