Composition of geometric bodies in pencil step by step. Composition of geometric bodies

Subject: Patterns of contrast and nuance as a means of organizing elements into a single stable system (clause 1.2.8).

Sequence of task execution:

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

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

Rice. 29. Organizing a plane using similar elements

Rice. 30. Organizing a plane using similar elements

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

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

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

2. Create a composition in black and white by layering elements on top of each other using nuanced relationships in size and shape.

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

Typical mistakes:

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

there is no balance of forms.

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

Rice. 34. Organizing the plane using contrasting and nuanced relationships

Rice. 35. Organizing the plane using contrasting and nuanced relationships

Rice. 36. Organizing the plane using contrasting and nuanced relationships

Rice. 37. Organizing the plane using contrasting and nuanced relationships

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 proportion of 3 to 4 (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 architectural drawing- not transferring the state of the object, but, if possible,
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 72 III

black and white drawing of simple geometric bodies 73

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 too much attention to them at the sketching stage. Enclose the sketch in a frame of appropriate proportions (3x4), make the necessary adjustments to the composition and 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.

black and white drawing of simple geometric bodies

black and white drawing of simple geometric bodies 77

black and white drawing of simple geometric bodies 70

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 determine its geometric basis, imagine complex shape in the form of a combination of simple geometric bodies. Having depicted a simplified diagram in perspective on a sheet 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 errors before starting tonal work.

Chiaroscuro on architectural details is also distributed according to the laws of drawing simple geometric bodies. On curved surfaces the transitions from light to shadow are soft 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 of 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 help you now the best way 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. different sizes and disclosure. 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.

Chapter 82 IV

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 the position and dimensions in the figure small parts vases

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. Final stage- tonal elaboration. 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 staged approach to conducting work that we propose is not accidental: it contains important rule, 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 the general 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.

drawing of architectural details 83

Chapter 86 IV

drawing of architectural details 87

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.

Chapter 92 IV

drawing of architectural details 93

94 Chapter IV

drawing of architectural details 95

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. When depicting leaves, make a large front view of them in the margins (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” the 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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plaster head drawing 99

Drawing of a plaster head

The human head is the most complex natural structure. This is due to its complex function in the human body. You can start drawing a head only if you have a sufficiently developed spatial 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 a detailed examination of the 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 the ideal proportions of the human body were developed in great detail. 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 hometown. 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 incision 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.

Chapter 100 V

drawing architectural details 101

Draw from the drawing by P.I. Churilin

from the textbook “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.

plaster head drawing 103

The task of the “introductory” drawing is a good composition on the sheet, a correctly conveyed total volume, as well as an accurately found location and size of each detail 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. To correctly select the 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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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 find the difference between the discrepancy between the sizes of 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. Due to an optical illusion (the eye slightly overestimates the upper and underestimates the lower part of the 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 analyzing their connections: the impact is felt internal forces the structure of the plane on the nature of the behavior of visual elements. 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 must be harmonious and its individual sections 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 palette of secondary elements, or dark color among the bright...

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 movement in the compositional center, but will not be able to settle 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. Using this principle, perform a simple composition on an arbitrary theme.

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 create a composition based on it: a black and white solution.

Expressive means of composition

Towards 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.

The rhythmic organization of ornamental motifs from non-figurative elements (spots of abstract configuration, silhouettes of geometric figures), 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 contour line, 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, tall is contrasted with low, long with short, wide with 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 involving colors that are equally spaced on the color wheel (for example, yellow, purple, 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. Are you an artist, 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 all 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, composition is the artist’s mood, thoughts, the very idea that he splashes out onto the lifeless plane of a 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.

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.