Composition of geometric bodies drawing. Composition of geometric bodies at the entrance exams to the march

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

Simple compositions

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

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

3D paintings

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

In general, we can say that clarity, 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 on their location. If the picture is dominated by cones, trihedral prisms, balls, then it seems to “fly” - this is definitely dynamics. Cylinders, squares, tetrahedral prisms are static.

Examples in painting

Geometric forms have found their place in painting, along with romanticism and other trends. A prime 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 abstract composition of geometric shapes is the canvas "Pierrot" by artist B. Kubista. Bright, clear and very distinctive picture.

On fig. 6.1 shows the simple geometric bodies that the examination composition should consist of. In addition to the bodies already familiar to you, dies and sticks are presented here. Dies - additional flat square, round and hexagonal elements, the height of which is equal to one-eighth of the edge of the cube. Sticks are linear elements of the composition, the length of which is equal to the edge of the cube. In addition, bodies of the same proportions can be used in the composition, but different sizes. These are the so-called compositions with scaling (because in this case there are identical bodies on the sheet, but, as it were, taken at a different scale). Consider compositions made by applicants in last years(Fig. 6.2-6.20).

The form of the examination composition, its size, placement on the sheet, the degree and nature of the interaction geometric bodies have been established for a long time. All these positions are reflected in the examination task to one degree or another. Of course, you should immediately make a reservation that we will talk about the exam task that exists today - it may be changed at the time when you read this section of the manual. However, let's hope that the essence of the task will be preserved, and you will be able to use our tips and recommendations.

First of all, we list the criteria by which your compositions will be evaluated:

Compliance of the completed drawing with the task;

Compositional idea in general, harmony compositional solution and the complexity of the composition;

Leaf composition;

Competent image individual elements composition, the correctness of perspective and frames;

In your work, choose a topic that is close to you. It can be a massive stability or a light, aspiring to some conditional distance or upward movement. The movement can be looped or extinguished, stopped. The mass may be dense or rarefied. A composition can be built on metric, uniform patterns or, conversely, on a simple or complex rhythm. It may contain a uniform distribution of mass or sharp, highlighted accents. The listed properties can be combined (except, of course, those that exclude each other in one work). It should be remembered that the feeling of the complexity of the composition arises from the perception of the complex harmony of some non-trivial idea, and not only from the complexity of the inserts, and certainly not from the heap of many bodies.

Correct - a prerequisite for good composition. You have probably already noticed that when your composition consists of only a few geometric bodies, it is quite difficult to maintain the correct perspective on the sheet. Even if the basis of the work is almost perfectly built, the addition of each new body leads to a gradual increase in distortion.

Tracking them and correcting them is quite difficult, especially in the first compositions, when experience and practical skills are still small. That is why for correct definition disclosure of all faces and the direction of all lines on the sheet use various ways streamlining all these interrelated positions, bringing them into a single system. One of these systems is described in detail in the next task. This is the so-called grid - a spatial structure that determines the opening of the faces of geometric bodies and the direction of lines in perspective throughout the sheet.

In the process of preparing for the exam, the "grid" will help you to bring together all the variety of problems associated with the process of building a composition, and at once, easily solve them. Of course, the "grid" is a useful thing, but it, of course, has its pros and cons.

On the one hand, when depicting compositions based on a "grid", you, of course, spend some (sometimes quite a lot) time on preparatory stage(of the "grid" itself), thereby reducing the time of work on the actual composition.

On the other hand, the "grid" can significantly reduce the time for solving purely technical problems related to determining the directions of horizontal lines and the disclosure of various surfaces. Of course, a certain skill will allow you to minimize the time spent on the "mesh", but if a mistake is made in the "mesh" (which is quite likely under the stressful conditions of the exam), then you can notice this error only by drawing the first geometric body.

What to do in this case - fix the grid or abandon it altogether to make up for lost time? It is only obvious that you should start working on the exam composition from the “grid” only if you have learned how to make the “grid” quickly and efficiently for the exam, bringing this process almost to automatism, and easily build a composition based on it.

Another question that often worries the applicant is the question of tie-ins: what tie-ins should be done, how difficult should they be, and even should they be done at all? To begin with, it is possible not to make frames in the exam composition - in the examination task, the use of frames is only recommended and is not prerequisite, however, it should be understood that the composition without tie-ins is significantly inferior in complexity and artistic expressiveness . Do not forget that your composition will be evaluated among others, and therefore, by making a composition without tie-ins, you will obviously reduce the competitiveness of your own (worries. Of course, the level of the exam composition grows from year to year, and this dictates the inclusion of complex tie-ins in the composition that make the exam work is more expressive and interesting.However, they require additional time to complete, which is limited in the conditions of the exam.In this situation, it all depends on your experience - if you have been diligently preparing for the composition exam, most likely you already have your favorite tie-ins, which can be enough complex, but, outlined many times, they are depicted easily and, therefore, quickly.But you should not get carried away with complex frames, overcomplicate the work - remember that even a composition made using simple frames can be quite complex and expressive. how geometric bodies should crash into each other.Sometimes in compositions, geometric bodies are embedded so slightly that it seems as if they are not embedded into each other, but only barely touching. Such compositions tend to evoke a sense of instability, unsteadiness, and incompleteness. The viewer has an irresistible desire to make such a composition denser, to embed geometric bodies deeper into each other. Analyzing such a work, it is difficult to speak of it as a composition - a group of harmoniously subordinated volumes. In other compositions, the bodies are so deeply embedded in each other that it is no longer clear - what kind of bodies are they? Such a composition, as a rule, looks like a complex mass with parts of geometric bodies sticking out of it and does not create a sense of harmony in the viewer. The bodies in it cease to exist as independent objects, turning into a geometric mixture. If we do not consider such extreme cases (when geometric bodies almost do not crash into each other or when they turn into a single dense mass), to create a medium-density composition, one should adhere to the following rule: a geometric body should crash into another (or other) geometric bodies no more than than half, better - one-third. In addition, it is desirable that the viewer can always determine the main dimensions of a geometric body from its visible part. In other words, if it crashes into any body, its top, a significant part of the side surface and the circumference of the base should remain visible in the figure. If it crashes into any body, then parts of the lateral surface of the cylinder and the circles of its bases should remain visible. Particular mention should be made of inserts of cubes and tetrahedrons - in the composition these geometric bodies form a background or, in a way, a framework for arranging and inserting other geometric bodies that are more difficult to construct. Therefore, inserts are allowed when the visible parts of cubes and tetrahedrons make up less than half of their volumes.

MBOUDO Irkutsk CDT

Toolkit

Drawing of geometric bodies

Teacher of additional education

Kuznetsova Larisa Ivanovna

Irkutsk 2016

Explanatory note

This manual "Drawing of geometric bodies" is intended for teachers working with school-age children. From 7 to 17 years old. Can be used both when working in additional education, and in the course of drawing at school. The manual is compiled on the basis of the author's study guide"Drawing of geometric bodies" intended for first-year students of the specialty Arts and Crafts and Folk Crafts and Design (not published).

The drawing of geometric bodies is an introductory material for teaching drawing. The introduction reveals the terms and concepts used in the drawing, the concepts of perspective, the procedure for performing work on the drawing. Using the material presented, you can study the required material, teach children, analyze them practical work. Illustrations can be used both for your own deeper understanding of the topic, and in the lesson as visual material.

The purpose of teaching drawing from life is to instill in children the basics of fine literacy, teaching a realistic depiction of nature, that is, understanding and depicting a three-dimensional form on a sheet plane. The main form of education is drawing from a stationary nature. He teaches to correctly convey visible objects, their features, properties, gives children the necessary theoretical knowledge and practical skills.

The tasks of teaching drawing from nature:

To instill the skills of consistent work on a drawing according to the principle: from general to particular

To acquaint with the basics of observational, i.e., visual perspective, the concept of light and shade relations

Develop technical drawing skills.

In the drawing classes, work is carried out on the education of a complex of qualities necessary for an artist:

- eye placement

The development of "firmness of the hand"

The ability to see clearly

Ability to observe and remember what is seen

The sharpness and accuracy of the eye, etc.

This manual examines in detail one of the first topics of drawing from nature - “Drawing of Geometric Bodies”, allowing you to study in detail the shape, proportions, structural structure, spatial relationships, perspective contractions of geometric bodies and the transfer of their volume using light and shade ratios. Are being considered learning objectives- layout on a sheet of paper; construction of objects, transfer of proportions; from through drawing, to the transfer of volume by tone, the shape of objects to reveal light, penumbra, shadow, reflex, glare, full tonal solution.

Introduction

Drawing from nature

Drawing is not only an independent type of fine art, but also the basis for painting, engraving, posters, arts and crafts and other arts. With the help of the drawing, the first thought of the future work is fixed.

The laws and rules of drawing are assimilated as a result of a conscious attitude to work from nature. Each touch of the pencil on the paper must be thought out and justified by the feeling and understanding of the real form.

An educational drawing should give, perhaps, a more complete picture of nature, its form, plasticity, proportions and structure. It should be considered, first of all, as a cognitive moment in learning. In addition, it is necessary to know the features of our visual perception. Without this, it is impossible to understand why the objects around us in many cases do not appear to us as they really are: parallel lines seem to converge, right angles are perceived either sharp or obtuse, a circle sometimes looks like an ellipse; the pencil is larger than the house, and so on.

Perspective not only explains the mentioned optical phenomena, but also equips the painter with the techniques of spatial representation of objects in all turns, positions, and also at various degrees of remoteness from him.

Three-dimensionality, volume, shape

Every object is defined by three dimensions: length, width and height. Its volume should be understood as its three-dimensional value, limited by surfaces; under the form - the external view, the external outlines of the object.

Fine art mainly deals with three-dimensional form. Consequently, in drawing one should be guided precisely by the three-dimensional form, feel it, subordinate it to all the methods and techniques of drawing. Even when depicting the simplest bodies, it is necessary to develop this sense of form in children. For example, when drawing a cube, one cannot depict only its visible sides, without taking into account the sides hidden from view. Without representing them, it is impossible to build or draw a given cube. Without a sense of the whole form as a whole, the objects depicted will appear flat.

For a better understanding of the form, before proceeding to the drawing, it is necessary to consider nature from various angles. The painter is encouraged to observe the form from different points, but draw from one. Having mastered the main rules of drawing on the simplest objects - geometric bodies - in the future it will be possible to move on to drawing from nature, which is more complex in design.

The construction, or structure, of an object means the mutual arrangement and connection of its parts. The concept of "construction" is applicable to all objects created by nature and human hands, starting with the simplest household items and ending with complex shapes. A drawing person needs to be able to find patterns in the structure of objects, to understand their shape.

This ability develops gradually in the process of drawing from nature. The study of geometric bodies and objects close to them in form, and then objects more complex in structure, obliges the painters to consciously relate to drawing, to reveal the nature of the design of the depicted nature. So, the lid, as it were, consists of a spherical and cylindrical neck, a funnel is a truncated cone, etc.

Line

The line, or line drawn on the surface of the sheet, is one of the main elements of the drawing. Depending on the purpose, it may have a different character.

It can be flat, monotonous. In this form, it mainly has an auxiliary purpose (this is the placement of a drawing on a sheet, a sketch of the general outline of nature, the designation of proportions, etc.).

The line can also have a spatial character, which the painter masters as he studies the form in lighting and environmental conditions. The essence and meaning of the spatial line is easiest to understand by observing the master's pencil in the process of his work: the line either intensifies, then weakens or completely disappears, merging with environment; then it reappears and sounds at the full power of the pencil.

Beginning draftsmen, not realizing that the line in the drawing is the result of complex work on the form, usually resort to a flat, monotonous line. Such a line, with the same indifference delineating the edges of figures, stones and trees, conveys neither form, nor light, nor space. Completely ignorant of the issues of spatial drawing, such draftsmen pay attention, first of all, to the external outlines of the object, trying to mechanically copy it, in order to then fill the contour with random spots of light and shadow.

But the planar line in art has its purpose. It is used in decorative painting, wall paintings, mosaics, stained glass, easel and book graphics, poster - all works of a planar nature, where the image is linked to a certain plane of the wall, glass, ceiling, paper, etc. Here, this line makes it possible to generalize the image.

The profound difference between planar and spatial lines must be learned from the very beginning, so that in the future there will be no confusion of these various elements of the drawing.

Beginning draftsmen have another characteristic feature of drawing lines. They put too much pressure on the pencil. When the teacher shows with his hand the techniques of drawing with light lines, they trace the lines with increased pressure. It is necessary from the very first days to wean from this bad habit. You can explain the requirement to draw with light, “airy” lines by the fact that at the beginning of the drawing we inevitably change something, move it. And erasing lines drawn with strong pressure, we spoil the paper. And, most often, there is a noticeable trace. The drawing looks messy.

If at first you draw with light lines, in the process of further work it is possible to give them a spatial character, then strengthening, then weakening.

Proportions

A sense of proportion is one of the main elements in the drawing process. Compliance with proportions is important not only in drawing from nature, but also in decorative drawing, for example, for ornament, appliqué, etc.

Compliance with proportions means the ability to subordinate the sizes of all elements of the picture or parts of the depicted object in relation to each other. Violation of proportions is unacceptable. The study of proportions is given great importance. It is necessary to help the painter to understand the mistake he made or to warn against it.

A person drawing from life should keep in mind that with the same size, horizontal lines appear longer than vertical ones. Among the elementary mistakes of novice artists is the desire to stretch objects horizontally.

If you divide the sheet into two equal halves, then the lower part will always appear smaller. Due to this property of our vision, both halves of the Latin S seem equal to us only because its lower part in the typographic font is made larger. This is the case with the number 8. This phenomenon is well known to architects, it is also necessary in the work of the artist.

Since ancient times, great importance has been attached to educating the artist's sense of proportions and the ability to accurately measure the size by eye. Leonardo da Vinci paid much attention to this issue. He recommended games and entertainment invented by him: for example, he advised sticking a cane into the ground and, at one distance or another, trying to determine how many times the size of the cane fits into this distance.

perspective

The Renaissance for the first time created a mathematically rigorous doctrine of the ways of transmitting space. Linear perspective(from lat. Rers Ri ser e "I see through"“I penetrate with my eyes”) is an exact science that teaches to depict objects of the surrounding reality on a plane in such a way that an impression is created such as in nature. All construction lines are directed to the central vanishing point corresponding to the location of the viewer. The shortening of the lines is determined depending on the distance. This discovery made it possible to build complex compositions in three-dimensional space. True, the retina of the human eye is concave, and straight lines do not appear to be drawn along a ruler. Italian artists did not know this, so sometimes their work resembles a drawing.

Square perspective

a - frontal position, b - at a random angle. P is the central vanishing point.

Lines receding into the depth of the drawing seem to converge at the vanishing point. The vanishing points are on the horizon line. Lines receding perpendicular to the horizon converge at central vanishing point. Horizontal lines receding at an angle to the horizon converge at side vanishing points

circle perspective

The upper oval is above the horizon line. For circles below the horizon, we see their upper surface. The lower the circle, the wider it seems to us.

Already in the first tasks on drawing geometric bodies, children have to build the perspective of rectangular objects and bodies of revolution - cylinders, cones.

F 1 and F 2 - lateral vanishing points lying on the horizon line.

Perspective of a cube and a parallelepiped.

P is the vanishing point lying on the horizon line.

Chiaroscuro. Tone. Tonal relations

The visible form of an object is determined by its illumination, which is a necessary factor not only for the perception of an object, but also for its reproduction in a drawing. Light, spreading through the form, depending on the nature of its relief, has different shades - from the lightest to the darkest.

This is how the concept of chiaroscuro arises.

Chiaroscuro implies a certain source of light and mostly the same light color of the illuminated object.

Considering the illuminated cube, we notice that its plane facing the light source will be the lightest, called in the figure light; the opposite plane shadow; semitone one should name the planes that are at different angles to the light source and, therefore, do not completely reflect it; reflex- reflected light falling on the shadow sides; highlight- a small part of the surface in the light, completely reflecting the strength of the light source (observed mainly on curved surfaces), and finally, drop shadow.

In order of decreasing light intensity, all light shades can be conditionally arranged in the following sequence, starting with the lightest ones: glare, light, semitone, reflex, own shadow, drop shadow.

Light reveals the shape of an object. Each form has its own character. It is limited to straight or curved surfaces, or combinations of both.

An example of chiaroscuro on faceted surfaces.

If the shape has a faceted character, then even with a minimal difference in the luminosity of the surfaces, their boundaries will be certain (see the cube illustration).

An example of chiaroscuro on curved surfaces.

If the shape is round or spherical (cylinder, ball), then light and shadow have gradual transitions.

So far, we have been talking about the chiaroscuro of equally colored objects. By means of this chiaroscuro and limited to the second half of XIX century when transmitting illuminated plaster casts and nude sitters.

At the end In the 19th and early 20th centuries, during the period of the development of a deeper understanding of color, demands of a picturesque nature began to be made to the drawing.

Indeed, all the colorful diversity of nature, especially festive elegant costumes, diffused lighting that excludes clear chiaroscuro, the transfer of the environment - all this puts before the draftsman a number of tasks of a kind of picturesque nature, the solution of which is impossible with the help of chiaroscuro alone.

Therefore, the pictorial term entered the drawing - "tone".

If we take, for example, yellow and Blue colour, then being in the same lighting conditions, they will appear one light, the other dark. Pink appears lighter than burgundy, brown appears darker than blue, etc.

In the drawing, it is impossible to convey the brightness of the flame and deep shadows on black velvet “at full strength”, since the tonal differences between pencil and paper are much smaller. But the artist must convey all the various tonal relationships with modest means of drawing. To do this, the darkest thing in the depicted object or still life is taken to the full strength of the pencil, and the paper remains the lightest. He arranges all other shadow gradations in tonal relationships between these extremes.

Draftsmen need to practice in developing the ability to subtly distinguish between gradations of lightness in natural productions. You need to learn to catch small tonal differences. Having determined where there will be one - two of the lightest and one - two of the darkest places, one must take into account visual possibilities materials.

When performing training tasks, you must comply proportional dependence between the luminosity of several places in nature and the corresponding several parts of the drawing. At the same time, it must be remembered that comparing the tones of only one place in nature with its image is the wrong method of work. All attention should be given to the method of working with relationships. In the process of drawing, you need to compare 2 - 3 areas in terms of lightness in kind with the corresponding places in the image. After applying the desired tones, it is recommended to check.

Drawing Sequence

The modern drawing technique provides for the 3 most common stages of working on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and definition general forms; 2) plastic modeling of the form with chiaroscuro and a detailed description of nature; 3) summing up. In addition, each drawing, depending on the tasks and duration, may have more or less common stages, and each stage may include smaller drawing stages.

Let us consider in more detail these stages of work on the drawing.

1). The work begins with the compositional placement of the image on a sheet of paper. It is necessary to examine nature from all sides and determine from which point of view it is more effective to place the image on a plane. The painter must familiarize himself with nature, mark it characteristics understand its structure. The image is outlined with light strokes.

Starting a drawing, first of all, they determine the ratio of the height and width of the nature, after which they proceed to establishing the dimensions of all its parts. During work, you cannot change the point of view, since in this case the entire perspective construction of the drawing will be violated.

The scale of the objects depicted in the drawing is also determined in advance, and is not developed in the process of work. When drawing in parts, in most cases, the nature does not fit on the sheet, it turns out to be shifted up or down.

Premature loading of the sheet with lines and spots should be avoided. The form is drawn very generally and schematically. The main, generalized character of the large form is revealed. If this is a group of objects, you need to equate them to a single figure - to generalize.

Having completed the compositional placement of the image on a sheet of paper, the main proportions are set. In order not to be mistaken in proportions, one should first determine the ratio of large values, and then select the smallest ones from them. The task of the teacher is to teach to separate the main from the secondary. So that the details do not distract the beginner's attention from the main character of the form, you need to squint your eyes so that the form looks like a silhouette, like a common spot, and the details disappear.

2). The second stage is plastic modeling of the form in tone and detailed study of the drawing. This is the main and longest stage of work. Here, knowledge from the field of perspective, the rules of cut-off modeling is applied.

When drawing, it is necessary to clearly imagine the spatial arrangement of objects and the three-dimensionality of their constructive construction, since otherwise the image will be planar.

While working on a perspective construction of a drawing, it is recommended to regularly check, comparing the contractions of the surfaces of three-dimensional forms, comparing them with verticals and horizontals, which are mentally drawn through characteristic points.

After choosing a point of view, a horizon line is drawn in the drawing, which is at the level of the drawing's eyes. You can mark the horizon line at any sheet height. It depends on the inclusion in the composition of objects or their parts that are above or below the eyes of the painter. For objects below the horizon, their upper sides are shown in the figure, and for those placed above the horizon, their lower surfaces are visible.

When it is necessary to draw a cube standing on a horizontal plane or another object with horizontal edges that is visible at an angle, then both vanishing points of its faces are on the sides of the central vanishing point. If the sides of the cube are seen in the same perspective cuts, then their upper and lower edges are directed outside the picture to the side vanishing points. In the frontal position of the cube, which is at the level of the horizon, only one side of it is visible, which looks like a square. Then the edges receding into the depth are directed to the central vanishing point.

When we see 2 sides of a horizontally lying square in the frontal position, then the other 2 are directed to the central vanishing point. The drawing of a square in this case looks like a trapezoid. When depicting a horizontal square lying at an angle to the horizon line, its sides are directed towards the side vanishing points.

In perspective cuts, the circles look like ellipses. This is how bodies of revolution are depicted - a cylinder, a cone. The higher or lower the horizontal circle is from the horizon, the more the ellipse approaches the circle. The closer the depicted circle is to the horizon line, the narrower the ellipse becomes - the minor axes become shorter as they approach the horizon.

On the horizon line, both squares and circles look like one line.

The lines in the figure depict the shape of the object. The tone in the drawing conveys light and shadows. Chiaroscuro helps to reveal the volume of the object. By building an image, such as a cube, according to the rules of perspective, the painter thereby prepares the boundaries for light and shadows.

When drawing objects with rounded surfaces, children often experience difficulties that they cannot cope with without the help of a teacher.

Why is this happening? The shape of the cylinder and the ball remains unchanged during rotation. This complicates the analytical work of a novice draftsman. Instead of the volume of a ball, for example, he draws a flat circle, which he then shades from contour line. The light-to-shadow ratios are given as random spots - and the ball appears to be just a smudged circle.

On the cylinder and the ball, light and shadow have gradual transitions, and the deepest shadow will not be on the edge of the shadow side that carries the reflex, but rather moving away in the direction of the illuminated part. Despite the apparent brightness, the reflex must always obey the shadow and be weaker than the halftone, which is part of the light, that is, it must be lighter than the shadow and darker than the halftone. For example, the reflex on the ball should be darker than the semitone in the light.

When drawing a group setting of geometric bodies located at different distances from a light source incident from the side, it should be borne in mind that as they move away from it, the illuminated surfaces of the bodies lose their luminosity.

According to the laws of physics, the intensity of light is inversely proportional to the square of the object's distance from the light source. Considering this law, when placing light and shadow, one should not forget the fact that the contrasts of light and shadow increase near the source of illumination, and weaken as they move away.

When all the details are drawn, and the drawing is modeled in tone, the generalization process begins.

3). The third stage is summarizing. This is the last and most important stage of work on the drawing. At this stage, we sum up the work done: we check the general condition of the drawing, subordinating the details to the whole, clarifying the drawing in tone. It is necessary to subordinate lights and shadows, glare, reflexes and halftones to the general tone - one must strive to bring to a real sound and completion those tasks that were set at the very beginning of the work. Clarity and integrity, the freshness of the first perception should already appear in a new quality, as a result of long and hard work. At the final stage of work, it is desirable to return to a fresh, original perception again.

Thus, at the beginning of work, when the draftsman quickly outlines on a sheet of paper general form nature, it follows the path of synthesis - generalization. Further, when a careful analysis of the form is carried out in a generalized form, the draftsman enters the path of analysis. At the very end of the work, when the artist begins to subordinate the details to the whole, he again returns to the path of synthesis.

The work of generalizing the form for a novice draftsman presents rather great difficulties, because the details of the form attract his attention too much. The individual, insignificant details of an object observed by the draftsman often obscure the holistic image nature, do not make it possible to understand its structure, and, therefore, interfere with the correct depiction of nature.

So, consistent work on a drawing develops from the definition of generalized parts of the subject through a detailed study of complex details to a figurative expression of the essence of the depicted nature.

Note: This manual describes the image of a composition that is quite complex for younger students from the frameworks of geometric bodies. It is recommended to first depict the frame of one cube, one parallelepiped or cone. Later - a composition of two geometric bodies of a simple form. If the training program is designed for several years, it is better to postpone the image of a composition of several geometric bodies for subsequent years.

3 stages of work on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and determination of the general nature of the form; 2) construction of frameworks of geometric bodies; 3) creating the effect of the depth of space using different line thicknesses.

1). The first stage is the compositional placement of the image on the plane of a sheet of paper and the determination of the general nature of the form. Starting the drawing, determine the ratio of the height and width of the overall composition of all geometric bodies as a whole. After that, they proceed to establishing the dimensions of individual geometric bodies.

During work, you cannot change the point of view, since in this case the entire perspective construction of the drawing will be violated. The scale of the objects depicted in the drawing is also determined in advance, and not in the process of work. When drawing in parts, in most cases, nature either does not fit on the sheet, or is shifted up, down, or to the side.

At the beginning of drawing, the form is drawn very generally and schematically. The main, generalized character of the large form is revealed. A group of objects needs to be equated to a single figure - to generalize.

2). The second stage is the construction of frames of geometric bodies. It is necessary to clearly imagine the spatial arrangement of objects, their three-dimensionality, how the horizontal plane is located, on which geometric bodies stand relative to the eye level of the painter. The lower it is, the wider it appears. In accordance with this, all horizontal faces of geometric bodies and the circles of bodies of revolution look more or less wide for the painter.

The composition consists of prisms and bodies of revolution - a cylinder, a cone, a ball. For prisms, it is necessary to find out how they are located relative to the drawing - frontally or at an angle? The body, located frontally, has 1 vanishing point - in the center of the object. But more often, geometric bodies are located relative to the drawing at a random angle. Horizontal lines receding at an angle to the horizon line converge atside vanishing points located on the horizon line.

Perspective of the box at a random angle.

Construction of a body of revolution - a cone.

Thus, all geometric bodies are built.

3) Third, final stage- creating the effect of the depth of space using different line thicknesses. The drawing person sums up the work done: checks the proportions of geometric bodies, compares their sizes, checks the general state of the drawing, subordinating the details to the whole.

Topic 2. Drawing of plaster geometric bodies:

cube, ball (black and white modeling).

Note: this manual describes the image of a gypsum cube and a ball on one sheet. You can draw on two sheets. For tasks on cut-off modeling, illumination by a closely spaced lamp, soffit, etc. is highly desirable. on one side (usually on the side of the window).

Cube

1). The first stage is the compositional placement of the image on the plane of a sheet of paper. Gypsum cube and ball are drawn sequentially. Both are illuminated by directional light. The upper half of the sheet of paper (A3 format) is reserved for the cube, the lower half for the ball.

The cube image is composited with a drop shadow in the center of the top half of the sheet. The scale is chosen such that the image is neither too large nor too small.

2). The second step is building the cube.

It is necessary to determine the location of the horizontal plane on which the cube stands and the horizontal faces relative to the level of the eyes, their width. How is the cube located - frontally or at an angle? If frontally, the cube has 1 vanishing point at the level of the painter's eyes - in the center of the cube. But more often the edges are located relative to the drawing at a random angle. Horizontal lines receding at an angle to the horizon converge atside vanishing points located on the horizon line.

Building a cube

The drawing must find out which of the side faces of the cube seems to be wider for him - for this face, the horizontal lines are directed to the vanishing point more gently, and the vanishing point itself is farther from the depicted object.

Having built a cube, according to the rules of perspective, we thereby prepared the borders for light and shadows. Considering the illuminated cube, we notice that its plane facing the light source will be the lightest, called light; the opposite plane - a shadow; semitones are called planes that are at angles to the light source and therefore do not completely reflect it; reflex - reflected light falling on the shadow sides. The falling shadow, the contour of which is built according to the rules of perspective, is darker than all the surfaces of the cube.

Black and white modeling of the cube

White can be left on the surfaces of the cube or the sheet of paper on which it stands, illuminated by direct, bright light. The remaining surfaces should be hatched with light, transparent hatching, gradually increasing it on the lines of the light division (the edges of the cube where the illuminated and shadow faces meet). In order of decreasing light intensity, all light shades can be conditionally arranged in the following sequence, starting with the lightest ones: glare, light, semitone, reflex, own shadow, drop shadow.

Summing up, we check the general condition of the drawing, clarifying the drawing in tone. It is necessary to subordinate lights and shadows, glare, reflections and halftones to the general tone, trying to return to the clarity, integrity and freshness of the first perception.

Ball

1). The first stage is the compositional placement of the image of the ball along with the falling shadow in the center of the bottom half of the sheet of paper. The scale is chosen such that the image is neither too large nor too small.

Building a ball

2). The black-and-white modeling of a sphere is more complex than that of a cube. Light and shadow have gradual transitions, and the deepest shadow will not be on the edge of the shadow side that carries the reflex, but rather moving away in the direction of the illuminated part. Despite the apparent brightness, the reflex must always obey the shadow and be weaker than the halftone, which is part of the light, that is, it must be lighter than the shadow and darker than the halftone. For example, the reflex on the ball should be darker than the semitone in the light. Closer to the light source, the contrasts of light and shadow intensify, as they move away, they weaken.

Black and white modeling of the ball

3). When all the details are drawn, and the drawing is carefully modeled in tone, the generalization process begins: we check the general condition of the drawing, refining the drawing in tone. Again trying to return to the clarity, integrity and freshness of the first perception.

Topic 3. Still life drawing from plaster

geometric bodies (black and white modeling).

Note: this manual describes the image of a complex composition of plaster geometric bodies. If the training program is designed for several years, it is better to postpone the image of such a composition for subsequent years. It is recommended to first depict the composition of two geometric bodies of a simple shape. Later, you can move on to a more complex composition. For a task on cut-off modeling, illumination by a closely spaced lamp, spotlight, etc. is highly desirable. on one side (usually on the side of the window).

3 stages of work on a drawing: 1) compositional placement of the image on the plane of a sheet of paper and determination of the general nature of the form; 2) construction of geometric bodies; 3) modeling of forms by tone.

1). The first stage is the compositional placement of images of geometric bodies on the plane of a sheet of A3 paper. Starting the drawing, determine the ratio of the height and width of the overall composition of all geometric bodies as a whole. After that, they proceed to establishing the dimensions of individual geometric bodies.

The scale of the objects depicted in the drawing is determined in advance. Premature loading of the sheet with lines and spots should be avoided. Initially, the shape of geometric bodies is drawn very generally and schematically.

Having completed the compositional placement of the image on a sheet of paper, the main proportions are set. In order not to be mistaken in proportions, you should first determine the ratio of large values, and then smaller ones.

2). The second stage is the construction of geometric bodies. It is necessary to clearly imagine the spatial arrangement of objects, how the horizontal plane is located on which geometric bodies stand relative to the eye level of the painter. The lower it is, the wider it appears. In accordance with this, all horizontal faces of geometric bodies and the circles of bodies of revolution look more or less wide for the painter.

The composition consists of prisms, pyramids and bodies of revolution - a cylinder, a cone, a ball. For prisms, it is necessary to find out how they are located relative to the drawing - frontally or at an angle? The body, located frontally, has 1 vanishing point - in the center of the object. But more often, geometric bodies are located relative to the drawing at a random angle. Horizontal lines receding at an angle to the horizon line converge at lateral pointsgathering located on the horizon line. In the bodies of revolution, horizontal and vertical axial lines are drawn, and distances equal to the radius of the depicted circle are plotted on them.

Geometric bodies can not only stand or lie on the horizontal plane of the table, but also be at a random angle relative to it. In this case, the direction of inclination of the geometric body and the plane of the base of the geometric body perpendicular to it are found. If a geometric body rests on a horizontal plane with 1 edge (prism or pyramid), then all horizontal lines converge at the vanishing point lying on the horizon line. This geometric body will have 2 more vanishing points that do not lie on the horizon line: one on the line of the direction of the inclination of the body, the other on the line perpendicular to it, belonging to the plane of the base of the given geometric body.

3). The third stage is modeling the form with tone. This is the longest stage of work. Here knowledge of the rules of cut-off modeling is applied. By constructing geometric bodies according to the rules of perspective, the student thereby prepared the boundaries for light and shadows. The planes of the bodies facing the source of light will be the lightest, called light; opposite planes - a shadow; semitones are called planes that are at angles to the light source and therefore do not completely reflect it; reflex - reflected light falling on the shadow sides; and, finally, a falling shadow, the contour of which is built according to the rules of perspective.

White can be left on the surfaces of prisms, a pyramid or a sheet of paper on which they stand, illuminated by direct, bright light. The rest of the surfaces should be hatched with light, transparent hatching, gradually increasing it on the lines of the light division (edges of geometric bodies where the illuminated and shadow faces meet). In order of decreasing light intensity, all light shades can be conditionally arranged in the following sequence, starting with the lightest ones: glare, light, semitone, reflex, own shadow, drop shadow.

At the ball, light and shadow have gradual transitions, and the deepest shadow will not be on the edge of the shadow side that carries the reflex, but rather moving away in the direction of the illuminated part. Despite the apparent brightness, the reflex must always obey the shadow and be weaker than the halftone, which is part of the light, that is, it must be lighter than the shadow and darker than the halftone. For example, the reflex on the ball should be darker than the semitone in the light. Closer to the light source, the contrasts of light and shadow intensify, as they move away, they weaken.

White leaves only a highlight on the ball. The remaining surfaces are covered with light and transparent shading, applying strokes according to the shape of the ball and the horizontal surface on which it lies. The tone is gaining gradually.

As they move away from the light source, the illuminated surfaces of bodies lose their luminosity. Closer to the light source, the contrasts of light and shadow intensify, as they move away, they weaken.

4). When all the details are drawn and the picture is modeled in tone, the generalization process begins: we check the general condition of the picture, refining the picture in tone.

It is necessary to subordinate lights and shadows, glare, reflections and halftones to the general tone, trying to return to the clarity, integrity and freshness of the first perception.

Literature

Main:

Rostovtsev N. N. "Academic drawing" M. 1984

"School of Fine Arts" vol. 2, M. "Art" 1968

Trouble G.V. "Fundamentals of visual literacy" M. "Enlightenment" 1988

"School of Fine Arts" 1-2-3, "Fine Arts" 1986

"Fundamentals of Drawing", " Concise Dictionary artistic terms "- M. "Enlightenment", "Title", 1996

Additional:

Vinogradova G. “Drawing lessons from nature” - M., “Enlightenment”, 1980

Library " young artist» Drawing, tips for beginners. Issue 1-2 - "Young Guard" 1993

Kirtser Yu. M. “Drawing and painting. Textbook "- M., 2000

Kilpe T. L. "Drawing and Painting" - M., Publishing House "Oreol" 1997

Avsisyan O. A. "Nature and drawing by representation" - M., 19885

Odnoralov N.V. “Materials and tools, equipment in fine arts"- M., "Enlightenment" 1988

Applications

Topic 1. Building frames of geometric bodies

Topic 2. Drawing of plaster geometric bodies: cube, ball

Topic 3. Drawing of a still life from plaster geometric bodies

Explanatory note ____________________________________ 2

Introduction ________________________________________________ 3

Topic 1. Construction of frames of geometric bodies _____________ 12

Topic 2. Drawing of plaster geometric bodies: cube, ball (black and white modeling) _____________________________________________ 14

Topic 3. Drawing of a still life from plaster geometric bodies (black and white modeling) _____________________________________________ 17

Applications ____________________________________________ 21

84

Rice. 90. Drawing of a composition of geometric bodies, given in orthogonal

projections

Topic 2. Drawing a composition of geometric shapes by imagination

The applicant is invited to come up with a set of simple geometric bodiescomposition and draw it on the sheet. A set of 4-5 figures, their proportions and scale ratios are set. The task program is highlighted at the beginning of the exam in the form a drawing of two orthogonal projections of the bodies from which the composition. It is allowed to plunge one body into another, add and repeat 1- 2 tel.

You have 6 hours to complete the task. Work is carried out on a sheet of A3 format (30x42cm) issued admission committee and provided with a stamp. Surnamethe author is not written on the sheet, and the work indicating the surname and any notes are not evaluated.

WORK EVALUATION CRITERIA

The main purpose of this task is to assess the level of development of the volume-spatialimagination of the applicant, that is, the ability to represent complex volumes in variousangles, under different lighting and transfer it on the plane of the sheet. Should focus not on the search for a particularly complex compositional idea, but on expressive and competent presentation of the idea in the form of a finished drawing.

When evaluating work, the following is taken into account:

1. Correct compositional placement of the drawing on the sheet.

2. Competent image of geometric bodies and their joints, taking into account
linear perspective.

3. Tonal transmission of proportions.

4. Tonal elaboration - identification with the help of well-constructed
shadows of the shape of objects, transmission by amplification (weakening) of contrasts
the degree of remoteness of objects from the viewer, the general graphic culture.

5. The artistic quality of the composition, the integrity of the author's intention.
You need to understand that the drawing is evaluated as an artistic whole, and not

its individual components, and these criteria are used synthetically, complementing each other.

At the beginning of work on the same examination sheet where the finaldrawing, several search sketches are made. Preferably immediatelydetermine the place of the final large drawing and sketches, that is, consider composition of the sheet as a whole,

In 2-4 small sketches, combinations of given bodies are outlined.At the same time, it is important to understand that the composition is interesting not by a complex intersectiontwo bodies. (for example, a cone and a cylinder) with random adjunctions of other figures, and the organization of all elements is one. The sketches are looking for common expressive silhouette, possible compositional ideas are revealed -the formation of a composition around the nucleus - one of their bodies, the development of the composition alongaxis - vertical or directed away from the viewer, the intersection of twocomposition axes at right or other angles, etc. The composition can stand on an imaginary plane or "hang" in space. 86

P. Refinement of the composition

By choosing the most interesting option, you need to represent it with different sides Andfind the most expressive point of view for him in such a way that, on the one hand, sides of the objects, not too obscuring one another, were clearly readable, their places incisions or junctions were clearly visible and emphasized the shape of objects, and with on the other side, an interesting silhouette and rhythm of the planes were preserved, expressing the main compositional idea. Avoid coincidencescontours of objects.

Having specified, on the basis of this, his version and choosing the most convincing angle,you can go to the main drawing.

///. Construction of the main drawing (Fig. 92, 93)

First of all, you need to specify the size of the future image. The drawing should not be too small, "lost" in the sheet, which creates the impression of randomness and uncertainty, and should not be too large, "fitting" on the edges;the imaginary center of gravity of the depicted composition should be placed approximately at the geometric center of the sheet. Outlining the extreme points with light lines general contour, let's move on to drawing the details.

It is advisable to immediately clarify the ratios of all volumes indicated in the assignment,designate major divisions of the composition and the location of the main axes - thiswill save the further course of the drawing from strong corrections. To get it rightto convey the relative position of the figures, it is necessary to present not only visible, but also invisible parts of objects - therefore, the image of invisible lines and construction lines. It is important to know the laws of linear perspective - imagine a line horizon, vanishing points of parallel lines, picture plane. At the figuresrotation, you need to outline the axes and carefully draw the ellipses, rememberingincreasing their "opening" as they move away from the horizon line. Special attentionyou need to pay attention to the lines of embedding figures, in order to correctly draw them, you should represent the planes and surfaces that form the form, and the laws of their intersection. With all the care of drawing visible and invisible lines, it is impossible forget that we are not drawing lines, but volumes, and we need to constantly monitor and specify the proportions of objects (for example, the faces of a cube should seem to be at least located in different angles, but the same squares; the plate shouldlook the same thickness everywhere, etc.) and check the ratios of objects.To do this, by highlighting the visible lines, move away more often and compare objects. between themselves.

IV. Final study (Fig. 94)

The main task of this stage is to achieve a solid and vivid perception of the picture.First of all, you need to enhance the impression of volume and convey the degreethe distance of objects from the viewer. Keeping the construction lines, you need to strengthenvisible lines so that their contrast weakens from the foreground to back.

Chiaroscuro elaboration should be conditional and, obeying author's intention, emphasize the main thing in the composition. Borders own

shadows will help to reveal the nature of the bodies of revolution, and the general light or shadow unitesparallel or perpendicular planes of rectangular shapes. BasedThis is what the direction of the light should be. Light can come from above, emphasizing horizontal planes, or slide along the side surfaces of the composition, revealing all protrusions. Falling shadows are optional and are made only if the drawing is not clear without them.

The borders of own shadows must be built, on spherical volumesit is desirable to represent the invisible part of these boundaries. No need to strive forcomplex gradations of tone, tonal elaboration should maintain a conditionalcharacter, maintaining a large light-shadow relationship. The tone of the shadows should belight, increasing only to the borders of chiaroscuro, emphasizing the edges of objects.

At the end of the work, you should consciously place accents - check the generalthe impression of the sheet and, if necessary, loosen the preliminary sketches by highlightingmain drawing; in the main drawing, it is clearer to indicate the distance of objects from the viewer, enhancing the contrasts in the foreground.

"4H":.,. ■

i"

Rice. 91

68

Rice. 93

B. Construction of solids having a regular hexagon at the base

Rice. 95

B. The composition is formed according totwo perpendicular axes - vertical and horizontal

D. The composition is formed by twohorizontal axes;intersecting at an angle of 45

Rice. 97. Examples of various compositional ideas

Rice. 101

Rice. 103

Section III . Drawing of a human head from a sculptural model.

The human head is a very interesting object to draw. On the one side,this is a plastically complex volumetric form, and on the other hand, the portrait character of the model makes it easy to notice similarity errors.

The shape of the head combines a three-dimensional design common to all models, due to a single anatomical structure of the skull and muscles, and portrait individuality. In the early stages of learning to draw a head, the main attention should be given to the general scheme for constructing a symmetrical volume, the generalproportional system, general anatomical patterns (skull pattern,anatomical head, sketches of heads), and at the final stage of trainingthe identification of the individual characteristics of a particular head is emphasized. Topic 1. Anatomical structure of the human head

In general, the head has a symmetrical ovoid shape, paired detailswhich (eyes, ears, cheekbones, etc.) can be mentally combined with spicyparallel lines. Viewed from above or below, these lines will go to a common vanishing point on the horizon line. If you mentally draw horizontal section lines, you will get ellipses, the disclosure of which will also depend onangle (Fig. 106). ■

The shape of the head can be divided into a larger brain region andfacial section (the so-called "mask") (Fig. 105). The skull that is the basishead, consists of six main bones: the frontal, two parietal, two temporal andoccipital. In the places of their connection, frontal and parietal tubercles protrude. The frontal bone forms the upper edge of the eye sockets, above which the superciliary arches are located.and brow ridges. The lower edge of the borders is formed by auditory bones withgoing back to the ear openings, auditory arches. At the base of the cranialbox is a horseshoe-shaped bone of the lower jaw. In the anatomical headattention should be paid to the powerful chewing muscles coming from the cornerslower jaw under the auditory bones.

Analysis of the anatomical structure of the head, characteristic turns and protrusionsbones allows us to present a general design scheme with a front, twolateral (temporal), occipital, parietal and lower chin sides. Such a scheme should not replace the complex plasticity of the head, but help to see directions of the main planes and subordinate the details to them (Fig. 107).

To understand the design of the head, you should draw the skull and anatomical head, as well as their generalized models (stubs), where the planes forminghead, accented (Fig. 109-110).

In order not to fall into gross errors, you need to know the general proportionalhead structure and average canonical proportions. The ratio of brain andfacial departments determines the position of the bridge of the nose. Horizontal linepassing through the bridge of the nose usually divides the head into two parts of equal height.The face is divided into three equal parts: the first - from the hairline to the protrusions of the eyebrows,the second - from the eyebrow to the base of the root of the nose, the third - from the base of the nose to the bottom chin. In this case, you need to focus on the backbone, since the eyebrows can be thick, hanging or raised, and the tip of the nose may be higher or lower grounds. A third of the distance from the eyebrow to the base of the nose is the line of the eyes, 102

and a third of the distance from the base of the nose to the chin is the incision line of the mouth.The distance between the eyes is equal to the length of the eye. Between the ear and the corner of the eye, almost two ears can be placed in width. The ear horizontally lies on the same level withnose and approximately equal to it in height. Knowing the proportional structure, it is easy to outline the articulation of the head, and comparing with the canonical proportions - the proportions of a specific drawn head, it is easier to see it. individual characteristics, (Fig. 108).

The graph in the picture on the left means growth. The graph in the figure on the right means a fall. It just so happened. And, accordingly, in the 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. Such a composition is suitable for conveying something stable, motionless.

The elements in it do not tend to go beyond the plane, but, as it were, close in the center of the composition. And the view from any point of the composition tends to this center. To achieve it, you can use a compact arrangement of elements in the center of the composition, framing. The arrangement of elements (in the image - geometric shapes) in such a way 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 continue mentally the picture and take it beyond the plane. It is suitable for conveying open space, movement.

golden section rule

A different arrangement of elements on a plane can create a harmonious or inharmonious image. Harmony is a feeling and the concept of the correct arrangement of elements is very intuitive. However, there are several completely non-intuitive rules.

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

Harmony- it's harmony. A single whole in which all elements complement each other. Some single 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 amount of those that feed on plants, feeding on them, thereby saving the plants, water evaporates to fall as precipitation and replenish the reserves of rivers, oceans, and so on ...

There is nothing more harmonious than nature itself. Therefore, the understanding of harmony comes to us from it. And in nature great amount visual images obeys two rules: symmetry And golden section rule.

What is symmetry, I think you know. What is the golden section?

golden ratio can be obtained by dividing the 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 section, the visual centers in the image will be located as follows:

Three thirds rule

In this drawing, the rule of the golden section is not respected, but a feeling of harmony is created.

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